Interview with Lucifer Valentine (Vomit Gore Trilogy) (en)
This is the original english Version of this Interview.
I believe most of our readers are familiar with your work but for those who are not would you introduce yourself and your work?
I’m Lucifer Valentine, a filmmaker hahah…
Your movies are quite abstract. How can I picture the process of film making? Do you work with a detailed screenplay or is there more just an idea you work around? Do you have some exact images to shoot already in mind? How much influence do cast and crew have on the creative process?
Well I don’t ever have a screenplay, however, I will sometimes write notes about certain scenes if there is a specific idea and I don’t want to forget what I’m doing or I’ll simply make a list of the scenes I want to shoot in a specific order, for practical purposes, for a night of shooting. When there are certain pieces of dialogue I want a performer to say, I will write those down on paper and on set I will have the performer say them pretty much as written — for example, Ameara’s LaVey “Pact With the Devil” scene in Slaughtered Vomit Dolls is a lot of dialogue for someone to remember, so instead of having her memorize it , I set up cue cards so I could “feed” her lines as necessary. Yes, often I will have a specific image that I want to capture that comes from my imagination when coming up with the general ideas of a movie, and sometimes I try to create that image in the form of reality when shooting, but for the most, the actual filming of my movies comes from me and a performer setting up the “circumstances” in which the performance will spontaneously take place and I can capture it. The way we set up the circumstances for one of my movies is talking in depth beforehand and cultivating our friendship in the professional context of a director/performer, but, more importantly as two close friends who are collaborating on an art project. Usually we talk online or by email or texting, out of convenience and then also on the day of the film shoot we will sit and talk about things as well. So it’s more about creating a proper atmosphere in which aspects of the story will be invoked and naturally take place.
I really love your sound design. What are your main inspirations for that?
Well growing up I’ve always loved very heavy music and experimental drone and noise projects by various artists, so when I’m making my movies come together in post production, I’ll usually start by editing the movie down to a manageable size at first (but still about double the length it will end up being in the end, for example, I’ll cut it down to 3 hours, knowing I actually want it to be an hour and a half) and then begin to write and record sounds to add to the visuals at this “longer”stage of the movie. Creating the sound design is one of the most rewarding and thrilling aspects of filmmaking as I can really see the interplay of the emotions and the ideas of images with the performers voices mixing in with the sounds I am attributing to them, its such a beautiful process.
How does your art reflect your own personal view on human kind and on the world?
Well, one of the most prominent vibes that I am putting forth in my art is the inevitable destruction of human form: meaning, the physical forms (as we see in the Vomit Gore films especially haha), and also, perhaps more importantly, the destruction of mental/emotional/psychological forms. What I mean by this is that my movies are an actual portal into the realm of the non-rational mind (what Carl Jung refers to as the Unconscious) in which aspects of one’s true nature (which is also the primordial nature of “darkness” in the universe) play out uninhibited by the confines of standardized human thought. This is shown in my movies as an amplified visual mutation of the Human Condition and often creates very extreme and surreal physical depictions of gruesome violence: a clear example of this is in ReGOREgitated Sacrifice, we see Hank Skinny, a personification of bulimia, “gutting” and ripping apart the intestines of a beauty queen pageant character named Miss Lake Washington (Amy Lee), then “force-feeding” her her own intestines causing her to vomit into her gaping profusely bleeding stomach. This scene relates to the archetypal main character of Angela Aberdeen as “the lost girl”; the abused, neglected, traumatized teenage runaway who experiences her demise and her downward spiral into hell on the streets and in hotel rooms from her addictions and the lifestyle of stripping, porn and prostitution. So, my movies are made by showing various grotesque physical manifestations of psychological/emotional pain, darkness and destruction, and in the Vomit Gore movies this emanates from the mind and soul of Angela Aberdeen. Angela’s bulimia is shown as an actual monstrous physical form (Hank Skinny) and he shows the horrifyingly disgusting and destructive endless cycle of binging an purging using Amy Lee’s body to represent the “Slaughtered Vomit Doll” aka. Angela Aberdeen.
Some people would say you’re going way too far with your art. Are there some boundaries for yourself. Is there anything taboo?
My art has always been an extreme and gruesome expression for sure haha. Even at a young age I always went deeply into very dark subject matter and it’s really just the most natural and truest way to express myself at my core essence — so, “I” honestly just try to stay out of “my way” and let it flow naturally when making art, which means I don’t inhibit myself from allowing my true nature to come out and manifest, then I shape it and style it, so to speak, into an art form that feels right to me in the context of my persona Lucifer Valentine which is in fact a character I play as the director of my movies which provides a proper context for the characters and stories.
- Interview mit Magnus Blomdahl (Revisiting Melancholie der Engel) - 2. Dezember 2017
- Interview mit Lucifer Valentine (Vomit Gore Trilogie) - 16. November 2017
- Interview with Lucifer Valentine (Vomit Gore Trilogy) (en) - 17. Oktober 2017