¿Cómo puede uno presentar a Bruce LaBruce sin caer en tópicos? ¿Enumerando todas y cada una de sus facetas artísticas? ¿Diciendo que es uno de los principales pornógrafos de la historia? ¿Que ha creado grandes iconos como Tony Ward paseando en shorts por Los Angeles o François Sagat follando convertido en un zombie? ¿Que además dirige óperas? ¿Y que va a rodar su próxima película en España?. Yo, desde luego, no puedo mejorar nada de esto, así que con todos ustedes… ¡Bruce LaBruce!
HC: Although, inevitably, we end up talking about it, are you tired of being asked by pornography?.
HC: With a career based on creating eroticism, what excites Bruce LaBruce?, which are (or were) your erotic myths?.
BL: Lately, I’ve been interested in the lives of saints and how sublimated or repressed sexuality can manifest itself in the most sexually perverse and tortured ways.
HC: Your movies continue the work begun by the tandem Warhol-Morrissey, Kenneth Anger or by Peter Berlin, but now what?. Which are the referents that interest you today?.
BL: ’m always interested in how contemporary geo-political and cultural clashes configure sexual imagery. The Abu Grahib photographs during the US-Iraqi war were a good example of that kind of bizarre synthesis. I’m also generally interested in the sexualization of cultural or political phenomena, which is why I make porn-ish movies about such things as zombies or extreme left wing revolutionaries.
I try to follow the tradition of the great gay avant-garde, including the artists you’ve mentioned, whose work often referenced pop culture, politics, religión, etc. They tended to anticipate and interpret the zeitgeist, always keeping a step ahead of the sexual and social trends, and also pinpointing many of the contradictions or paradoxes of modern culture. Warhol/Morrrissey’s brilliant Women In Revolt is a good example. It was an incisive critique of orthodox feminism that was way ahead of its time, but it also managed, almost in spite of itself, to make the feminist movement seem glamorous and exciting. Their use of the three superstar trannies also anticipated the importance of transgendered people in the gay and feminist movements.
Bruce Labruce’s Hustler White
HC: In your professional career, you went from punk to skinheads (Not skin off my ass; Skin Flick/Skin Gang), zombies (L.A. Zombie; Otto, or up wih dead people) and now, to religion with your new movie Santo, The Obscene. Is it absurd to ask you what’s next?.
BL: Well, I’m still writing the script for Santo the Obscene, so I don’t want to give too much away! Let’s just say I’m exploring the convergence of sexuality and spirituality.
HC: You have recently been in Spain looking for locations for Santo, The Obscene. You’re going to shoot a movie about a saint who performs miracles through obscene actions in a deeply catholic Country. Is all part of a plan to kill censorship?.
BL: Santo, the Obscene will hopefully deal with the issues of sexuality, religión, and spirituality in a complex and nuanced manner. It isn’t meant to be offensive to religión, but neither will it shy away from the deep perversions and sexual extasíes that it has inspired.
HC: You also took the opportunity to attend the party “Who’s the boss by Silvia Prada” accompanied by Luizo Vega, the star of Santo. Have you had indecent proposals to get in your film?.
BL: Not as many as I would like…
HC: Which spanish actors / actresses would you like to work with?. I have read in one of your recent interviews, you would like to count on Rossy de Palma (hopefully!).
BL: Yes, of course, Rossy de Palma is a great star. It’s a bit premature to get into casting ideas, however!
HC: The opening scene of Hustler White with Tony Ward masturbating is one of the most erotic scenes in film history for many gays (among whom I include, of course), how can we thank you?.
BL: Donations toward the production of Santo, the Obscene will suffice.
HC: In Skin Flick / Skin Gang you work with the photographer Slava Mogutin. He told us here that he was not very hard to convince. How did you get the idea of working with him?.
BL: Slava and I have been close friends for many years. I was always a great fan of his poetry and he is also a great beauty, so I figured he would be perfect for my movie that was not only a neo-Nazi porn, but also an investigation into the historical relatioship between homosexuality and fascism. (I used several of his poems in the movie). I assembled an international cast and had various actors sing their country’s national anthem for the film, so naturally I got Slava to sing The Internationale! Slava is an intellectual as well as a poet and an artist, and he also has a great body, so he was perfect for the kind of “political porn” that I was making.
HC: But besides making movies, you have written a memoir, you’ve worked with numerous publications as a photographer and writer, like the mythical Honcho or BUTT magazine, and currently you have a blog in Vice Magazine. Is there anything to be done?.
BL: I’ve also been doing a lot of theatre over the past four years. This past March I directed my very first “opera” in Berlin, an adaptation of Arnold Schoenberg’s “Pierrot Lunaire”. It’s actually considered a musical melodrama as opposed to an opera; someday I would like to direct a “real” opera. But my first love is and always will be the cinema.
HC: And finally, the rumors about your intention to shoot a new version of Querelle de Brest, are they true?. Should we stop dreaming about the torso of Brad Davis?.
BL: This is just a rumour. Cinematically, how could one compete with Fassbinder’s version? It would be a daunting task.
HC: Thank you so much Mr. LaBruce.