Nicholas Vince, best known as the Chatterer Cenobite in Hellraiser and Hellbound: Hellraiser II, talks to WILLIAM BOVE about his experiences in horror cinema, his inspirations, and his latest projects, including the drama-documentary I Am Monsters!
There are many visions of hell – some see a barren, unforgiving wasteland of fire and sulphur, where every soul suffers. Others imagine a frozen abyss, an eternity of ice and solitude.
But in Hellraiser, hell is endless halls and shadowed corridors, filled with dread. Strange noises and haunted wails reach out to embrace you. Yet, you are not alone. A pale blue light seeps into the darkness. The walls and floors creak as a haunting, innocent melody drifts through the air, shaping torment or delight – depending on why you have come to see Leviathan.
In these horrors, you will need a guide. Behind you, a figure emerges from the shadows, bathed in a sickly pale yellow glow. You know he sees you. You know because you can hear him chattering.
But do not worry – you can escape hell. You just need Nicholas Vince to show you the way.
There is a peaceful cemetery he can take you to. One where the dead do not stay that way, where they live by the moon. But be careful—they must accept you first.
Nicolas Vince: I Am Monsters Interview
WILLIAM BOVE: Please introduce yourself and give everyone a quick overview of your latest project.
NICOLAS VINCE: Hi, my name is Nicholas Vince, and I played the Chatterer Cenobite in Hellraiser and Hellbound: Hellraiser II. I also portrayed Kinski, the “moon-faced guy”, and a Berserker (uncredited) in Nightbreed.
My latest project, which took nearly four years to bring to Blu-ray, is I Am Monsters! – a full-length drama-documentary based on my one-man show from the London Horror Festival and Las Vegas in 2019. It’s available as a limited-edition collector’s Blu-ray at darkrifthorror.com or with a dedication from nicholasvince.com.
What were the inspirations behind I Am Monsters! and The Chattering Hour?
I Am Monsters! was inspired by my time as a patron of the London Horror Festival, the largest and longest-running festival of live horror performance. Watching one-person shows encouraged me to compile my stories about the making of Hellraiser, Hellbound, and Nightbreed, while also exploring my lifelong love of monsters and what it means to be one.
A key moment in the film is my conversation with Clive Barker about my teenage experiences, which influenced the Chatterer’s design.
The Chattering Hour was a lockdown project, and I’m grateful to my manager, Chris Roe, for producing it. I had the chance to interview fascinating people like Traci Lords, Jonathan Breck, Caroline Munro, and Malcolm McDowell. We had planned to revive the show this year, but the Los Angeles fires affected many of our potential guests.
In Hellraiser and Hellbound: Hellraiser II, you played the Chatterer Cenobite. Can you tell us about his origins?
The Chatterer’s design stemmed from a conversation I had with Clive Barker, which I explore in depth in I Am Monsters!.
His backstory intrigued me—how does a seemingly young boy end up in Hell? Over the years, this idea grew into Prayers of Desire, a short story I wrote for an anthology by Clive’s publishing company in 2016. That story will also be the title piece of my third horror short story collection, which I’m currently working on.
Is there an overall theme in your work? Does a leitmotif reoccur?
I’m fascinated by the idea that monsters, at their core, are human. When playing a monster, I always ask: could this be me?
There was a TV series with the tagline, “We can all become murderers; it just takes a very bad day.” I believe the same applies to monsters—under the right circumstances, any of us could behave monstrously.
Why did you choose to do Nightbreed? Does it reflect you or your experiences?
I jumped at the chance to do Nightbreed. Working with Clive again was exciting, and this time, I had a speaking role—though my voice was ultimately dubbed. That’s a long story for another time!
I love the film’s premise: the “monsters” are actually the good guys, while the real monsters are the Sheriff and the townsfolk, The Sons of the Free.
What do you love most about Hellraiser and Nightbreed?
Hellraiser was my first feature film, so the whole experience was thrilling. Bringing Clive’s designs and Nigel Booth’s sculpting to life through mask work was unforgettable.
It took me about 10 years before I could watch Hellraiser as a film rather than as a collection of memories from set. When I finally did, I was struck by how well-crafted it is.
When I started making short films and later I Am Monsters!, I revisited Hellraiser to study its horror filmmaking techniques. One scene that stands out is when Julia hesitates between light and darkness before committing her first murder—it’s a beautifully crafted moment.
Another highlight was working with the talented makeup artists. Neil Gorton, who designed Kinski in Nightbreed, later founded Millennium FX, the company behind Doctor Who’s modern prosthetics. His assistant, Mark Coulier, has since won three Oscars for makeup.
Do you have a favourite film you’ve acted in or a favourite book you’ve written?
Hellraiser, of course, for film. For fiction, Prayers of Desire—so far! It’s like asking a parent to name their favourite child.
I also treasure a framed fan letter on my study wall, quoting something I wrote for Hellraiser comics. (See question 11.)
What interests you about acting and writing?
Storytelling. Whether writing or collaborating on a film set, it all comes down to the joy of telling a story.
Telling your own stories is a basic human need, and I’m lucky to still be acting and writing. My goal for 2025 is to release more fiction and screenplays.
What do you enjoy about horror?
When done intelligently, horror is about much more than jump scares. While making audiences jump is cathartic, the real power of horror is in exploring big themes—life, love, death, and sex.
What is the hardest part of acting? Did any of your roles challenge you?
Getting it right, whether on the first take or repeatedly in theatre. I avoided theatre partly because I feared getting bored during a long run.
Physically, Hellraiser was tough—working without hearing, speaking, or seeing properly. There’s also the time I nearly died on Hellbound.
Beyond that, the fear of forgetting lines and letting others down on set is always there. But ultimately, the camaraderie and joy of playing make-believe outweigh the challenges.
You wrote Hellraiser and Nightbreed comics for Marvel. What can you tell us about them?
Dan Chichester, the editor of the Hellraiser comic, encouraged me to submit a story idea, which became my first script sale—though it was never published due to missing artwork.
One of my Hellraiser stories led to a fan letter that means a lot to me. The letter, sent to Cerebus the Aardvark’s letters page, was from a policeman of colour on duty during the Rodney King riots. He quoted my story’s message about uncertainty and fear, saying it resonated with his experiences. As a creator, knowing you’ve touched someone’s life is deeply rewarding.
What’s the funniest thing that happened while filming a movie?
After playing the Berserker in Nightbreed, I had to wring out my sweat-soaked t-shirt and socks into a bucket.
Do you have any upcoming projects?
Coming soon is How to Kill Monsters, directed by Stewart Sparke. Already available online are Advent by Anthony Hayles and He Sees You When You’re Sleeping by Charlie Steeds.
I recently filmed The Death of Us with first-time director Arabella Rich. My dialogue-heavy role was challenging, but the cast and crew were incredibly supportive—even giving me a round of applause after my main shot.
What do you think of Nicholas Vince’s insights into horror and storytelling? Share your thoughts in the comments!
