Monday, 1 April 2013

Only known Interview with Lung Leg

Only known Interview with Lung Leg 

Duane Davis: How did you first get involved with acting/filmmaking?
Lung Leg: I was studying film and video in New York. I started hanging out with Nick Zedd and Richard Kern. Kern needed someone for one of his films… so I decided to take a stab at acting. I named myself Lung Leg. The Word ‘Lung’ in Chinese means ‘Dragon’; the word ‘hand-lung’ in German means ‘to act’

DD: Acting in a film or making a film is often a matter of control; and the body of the actor is the site of that control. When you were acting in Kern’s films, the role you took was often that of the victim: What control was exercised over you by the director, the script, the other actors and finally, yourself, your own view of the script or situation and what is demanded?
LL: The films are essentially Richard’s Expression. A lot of the ideas were mine, of course, but the spirit is Richard Kern’s. I played only one role as Victim… in Fingered… I was really taken for a ride in this movie… Unfortunately there was no script, if I had seen the script I wouldn’t have had anything to do with it. Half way through the film I realized, this woman, Lunch is not making a film, Lunch is playing some kind of bored game; with me and the other people involved… manoeuvring… manipulating… etc… and for that reason I would never want to work with her again. She is abusing the medium. She obviously tried to make me appear ugly so I wouldn’t get her boys, and in doing so reduced greatly the quality of the film. Richard’s other films were based upon his theories of compromise with all the people involved.

DD: In making your own films, do you start with an idea or situation that you want to explore? Do you think of film as a structure of images rather than narrative of words and verbal exchanges?
LL: The structure often appears to me as dreams… and I chose from a variety of variables a deliberate symbolism. I use, at times combinations of four languages in my scripts which at times form a magical dialogue similar to a forgotten angelic language. I have been experimenting with semi-precious stones to produce a filter that will create magically beautiful film. I have written three films but as yet have not been able to finance them. These films are based upon lines… lines after lines… lines of crank… lines of meth… lines of X. Finding interesting lines to do… is a most pleasurous way of life.

DD: What is the relation between your own life and the roles you have performed in films? How much do you draw from your own experiences in creating a role? In creating a film? Are the films a way of acting out or exorcising the violence, whether physical, mental or emotional, that has been done to you in your everyday life?
LL: I don’t in any way live an ordinary life. I think it is horrible to put what is od minuscule importance to others to watch, no, people waste too much time as it is watching one another dribble, of course, you should use the most meaningful symbols you can find, and bleed over them before the shoot. What I have done to others, this is what is of contriversial importance to the gods who have saught me out to torture and punish.

DD: What is your background, Family, education, who were your friends your enemies etc?
LL: Well my background was stable… I mean there was a stable on the ground out back. My father holds the national record for the decathlon. But people are always asking me that, about my parents, about my upbringing; about my psychology. To clarify things for the worst, I’ll have you know that I think psychology is a load of Horse manure… Trodding down a road… that leads to nowhere… a dead end… the wrong way to go… when there is no place left to turn… damn, right, ‘cause before you know it… we’ve all jumped on the bandwagon that leads straight to the funny farm… a mighty weird place to grow (up)? The FunKnee Farm… Where a Hardon is just a funny bone, and no one is laughing. Where they find patients… waiting for the cows to come Home. And they never get home. The Funny Farm, for people who are too chicken, where everybody wants to leave, where the money grows on trees, and there out there raking It in. The Funny Farm, Where what the grow is corns on their feet, And the ears of corn are listening. The Blacks are out looking for their roots. And the Plants are factories. The Funny Farm, it’s like a sick joke, and everyone dies laughing.

©Duane Davis
Reprinted in "Deathtripping: Cinema of Transgression" by Creation Books