Interview: Lucifer Valentine (Slow Torture Puke Chamber, ReGORGEgitated Sacrifice)

Cascading Intestinal Chunks with Lucifer Valentine “Slow Torture Puke Chamber” 

Note: This interview contains some really sick images, turn back now if easily offended

Modern horror no longer evokes fright from the dark recesses of the collective psyche. The screams of horror no longer are a cacophony of a primal atavistic nightmare unleashed upon both innocent and iniquitous prey. In fact it seems that the only howling within horror arises from its fans begging the genre to get its anal cavities cleansed with a creative colonic cocktail.

Subjecting our ocular senses to the insipid visual storytelling of independent sterility and the corporate mass digestion of banal cinematic regurgitation suggests the muse of our species is dead.

This is where Lucifer Valentine reanimates that corpse muse beneath an enema of partially digested chunks, going out rather than in of course.

The latest creation by Lucifer Valentine is called Slow Torture Puke Chamber, which may or may not be the pet name for his bedroom. Only his girlfriends may know for certain. A synopsis for the film is as follows:
The third and final installment of Lucifer Valentine’s infamous Vomit Gore Trilogy: Making good on her pact with Satan, Angela Aberdeen’s tortured and vomit-soaked soul descends into Hell. But Satan is not finished with her yet – He has more suffering planned for his ravaged slave. Angela is sent back up to the surface to stalk and destroy yet another victim. Her return initiates the emergence of a new Angela who is steadily and painfully infected with the Devil’s Curse. An appalling metamorphosis befalls the chosen young victim as she is racked by bulimia, and subjected to the dark, forbidden secrets of incest and abuse. Slowly, the two Angela’s merge into one Perfect Child of Satan and descend to an eternity of suffering in Hell. It is A GRUELING, HIDEOUS, BRUTAL CINEMATIC ATROCITY. 

As I sit here with my friend Lucifer, subjecting him to my alcoholism and collection of frozen plastic wrapped naked dead girls, which cannot puke on him by the way, we begin to wax upon his latest feature film for the enlightenment of my readers. This of course is only the first part of our discussion. Watch for part two of our conversation as soon as I clean off the yellow and brown pieces enough to transcribe the thing.

Necromagickal: So my brother, tell my hungry readers about what you are scooping out of the vomit bucket for them to feast on.

Lucifer: Well my newest film is called Slow Torture Puke Chamber.

Necromagickal: What was the inspiration for the name Slow Torture Puke Chamber?

Lucifer: The name of the movie is actually based on the carnivorous plant called the Cobra Lily; I wanted the name Slow Torture Puke Chamber to represent a living Satanic Chamber; an organism that is a vessel-dungeon-torture-chamber within which Angela’s/Hope Likens’ descent to Hell can seen in a most horrific “organic” way and the disgusting destructive process of Angela’s descent to Hell is “held within” this beautiful and brutally cruel natural entity. The Cobra Lily is a beautiful plant that resembles the head of a Cobra with a long red outstretched tongue than fans out and attracts insects as prey by using nectar glands that they cannot resist; if you don’t mind i will paste a description here I found somewhere online that helps to describe it:

“The whole leaf has nectar glands that are highly concentrated on the two leaf-like pieces hanging down and along the edge of the tube. They both go up towards that opening where the insect will follow. Looking up into the hole it is very bright with the sunlight. When the insect enters the opening, the light encourages it to go upward. Once realizing it is in a trap, it will either run around the inside wall and slip down into the tube or fly towards the light, bump into the “windows” and then fall. Inside the tube are covered in fine needle-like hairs that feel like silk in one direction but stop movement upwards. The deeper the victim goes, the tighter the tube until bottom is reached and the prey can’t move any further in either direction. The walls sweat and drown the insect. Bacteria and mites assist the digestion.”

The “chamber” in which the Cobra’s prey (Angela) initially enters has translucent false “windows” that appear to be exits for the prey but they are only decoys and act as a Satanic and gruesome endless “hall of mirrors” to encourage the insect to bash itself into the walls of its dungeon hoping for escape but only actually exhausting itself as it is increasingly broken down by bacteria and protozoa slowly working to destroy the prey. From the outside, “viewers” (people watching the movie) can see the horrifying silhouette of the trapped insect slowly dying and being dragged down further to its Death as the glaring sunlight illuminates the translucent walls of the living Death Chamber inside the Cobra’s head.

I thought the Cobra Lily was a beautiful and appropriate inspiration in my initial feelings toward Slow Torture Puke Chamber and also to represent the entire Vomit Gore Trilogy itself.

Necromagickal: This is the third and final film within this specific storyline as initiated with SVD. This “conclusion” of course is only upon the superficial level of a finite paradigm of film, as the natures and energies the trilogy embodies are unbound, cyclic, and thus infinite. Lucifer, you and I understand this terminology as what the films conceptualize can at times transcend those things that a linear cogency of human consciousness requires. With this being said, it may be fair to claim that Angela’s/Ameara’s tormented journey “concludes” within the final film. What would you like to add in regard to her enlightened disentangling of shall we say what could be compared to her completing the degrees of the post mortem Tibetan Bardo?

Lucifer: Wow, yes very interesting question as there are many levels to the idea of “completing” the Vomit Gore Trilogy; on the most basic level, I think that the 3rd and final film in the Trilogy definitely shows and “end” to Angela/Ameara’s story out of sheer practicality in that I need to form a cohesive set of 3 movies to be released by certain dates as part of my distribution deal, however, with Angela’s story, the end is actually a process of further illuminating a very beautiful and horrific paradoxical state, that, as you rightly point out, is like the Tibetan Bardo in that Angela/Ameara is depicted in a phantasmagoric “in between” state of life and Death.

And, oddly enough, in “completing” the Vomit Gore Trilogy, I feel that a definite multidimensional realm is created that has an “ongoing” feel to it like a progression of formless unity within this Satanic realm of Quantum Unity, if you will, that actually sets up my own point of view, or artistic premise, as a film maker that I hope explains a lot when viewers reflect on all three films in the Trilogy and my next films moving forward as they are all related and intertwined to varying degrees.

Necromagickal: Do you feel that the trilogy adequately expresses the Quantum superposition of demonic potential and uncertainty principles within human consciousness/incarnation, specifically as they relate to and are illustrated by the journey of Angela/Ameara? 

Lucifer: Ha ha ! Wow! Again these are incredibly cool questions!

(I nod telling him I already know that)

I’ll try to answer this concisely: In case some readers are not overly familiar with a few of these terms, I’ll start by saying that the “Quantum Superposition of Demonic Potential and Uncertainty Principles within human consciousness”, is a very interesting term for me to talk about in the context my movies because I very often fuse concepts of Quantum Mechanics with Satanism and Alchemy, among many other disciplines and areas of influence, in the formation of a formless undulating mutation of cinematic/artistic spiritual expression on my part.

Furthermore, in regards to Angela/Ameara’s journey throughout the Vomit Gore Trilogy in relation to the fusing of Quantum/Satanic principles, I am very satisfied with the overall experience created in these films.

I encourage viewers of my movies, who may at first be frustrated by an apparent lack of any semblance of adherence to the so-called “laws of filmmaking”, to try to detach themselves from that notion and that world entirely, for it’s not necessary at all and simply doesn’t exist in my creative process, so any expectation of “linear cogency” on the viewer’s part is actually a great hindrance to experiencing my movies; what I feel is most important in experiencing my movies is an embracing of the simultaneous disintegration and coalescence of cinematic matter and antimatter, if you will, which creates the paradox of continuous discontinuity, which conceptually invokes the Uncertainty Principle in Quantum Mechanics, and in film terms, for me creates a state of Presence in my movies wherein I want viewers to potentially realize that although my movies need to begin and end, it’s actually a realm devoid of time and space, the human condition, the human anatomical vessel of the body and therefore concrete reality, and is quite obviously completely devoid of anything remotely resembling humans’ conditioned ideas of linear narrative filmmaking.

Necromagickal: The fabric of your own individual reality is sewn into the essence of the trilogy. Was its completion somewhat cathartic or therapeutic on an emotional or psychological level? Or do you yet perceive that such quantum contagion of its natures within your being is something that will eternally curse, or bless your existentiality? Are they forces that you can, or desire to and the pun is intended, purge from your system?

Lucifer: The completion of the Vomit Gore Trilogy for me has been quite revelatory and illuminating but it feels ongoing and unending to me; on one hand, it preserves on film a beautiful and traumatic period of my life during which I had a very intense sexual and spiritual relationship with the amazing and talented Ameara LaVey, and on the other hand, to this day I continually learn more and more about myself and Ameara combined as a creative entity from the existence and life of the Trilogy.

Yes I definitely feel that the “quantum contagion”, the sub atomic particles, if you will, of the creative substance of my movies which I guess make up aspects of my personality as an artist are now perceivable to me in various ways as they are literalized somewhat in the release of actual DVDs of movies; however, to be honest I really don’t know what to “think” about my movies, I am very happy about them and I find them really fascinating, but, it’s a never ending flow of spiritual energy and I just embrace it and dissolve into it.

Necromagickal: Your films have had an eclectic collection of unusual and gifted performers, to say the least of their abilities intestinally. The third film introduces the world to Hope Likens. What can you tell us about Hope and the interesting story behind her name?

(I smack him for not putting me in the film, but I cannot vomit on cue so I forgive him)

Lucifer: Hope Likens stars with Ameara LaVey in the 3rd installment of the Vomit Gore Trilogy and she is an amazingly talented and gorgeous woman. Hope is an extreme bulimic and she contacted me through MySpace as she was a big fan of Slaughtered Vomit Dolls. Hope and I came up with her name Hope Likens after Sylvia Likens the 16-year-old child torture murder victim from Indiana who died in 1965.

Sylvia Likens was brutally and incomprehensibly abused and tortured to death by Gertrude Baniszewski, some of the Baniszewski children and other neighborhood girls and boys in possibly the most heinous crime committed against a child in American history. Hope and I thought it was appropriate to use the name Likens as a symbol of immense and unimaginable suffering of young girls everywhere.

Necromagickal: You have made a new distribution deal for your films. Please illuminate us upon this new development? Do you feel that a connection with new distribution will expose your art to larger audiences, enlightening exponentially the mundane into a greater collective mutation of perception?

Lucifer: Yes! Stephen Biro’s Unearthed Films is a great distribution company and I am very pleased to be signed to a deal with Unearthed. I can see already that a much larger audience will be exposed to my movies through Unearthed Films and I am proud to be on the same roster as movies like Guinea Pig and Man Behind the Sun! My movies are extremely underground and obscure even within the ranks of extreme gore and so now that I have a Trilogy ready for release I think is a great time for more exposure and to get people globally ready for the Vomit Gore trilogy box set and then move on to other non-Vomit Gore movies too!

Necromagickal: With the Vomit Gore trilogy purged from your system at least cinematically, tell us about the other projects you will be unleashing upon the world? How do you foresee your other projects as being an expression of the non-linear quantum philosophy underlying your cinematic manifestations?

Lucifer: Well the first non-Vomit Gore movie I will release after the Trilogy is called BLACK METAL VEINS; it is a documentary about a group of extreme heroin junkies and the main characters are obsessed with Norwegian Black Metal, so I got immersed into their lives and followed them with my camera rolling for months off and on
.
BLACK METAL VEINS was without a doubt the most harrowing and morbid experience I have ever had in filmmaking; because the whole thing is real, I saw some of the darkest, most hopeless and painfully sad regions of people’s psyches and souls I have ever seen; people in the cast died, nearly died from overdoses, and were incarcerated during the filming of this movie and I am both extremely proud of and very afraid of BLACK METAL VEINS.

Necromagickal: Tell us about the relational dynamics between Hope and Ameara? Do you feel that the alchemy between the two transcended simply a celluloid level, perhaps forming an infinite unconscious connection through their experiencing the elements within the third film?

Lucifer: Hope and Ameara are actually details and fragments of the same thing, which is the horrific manifestation and physical materialization of extreme darkness and loss, which is the indescribable pain and loss of innocence and utter desperation and hopelessness and feeling of rape in all senses.

physical/emotional/psychological/spiritual and so on that a young girl feels as darkness descends and preys upon her in the form of the human beings in the world and in the 3rd installment, I think of Hope and Ameara as the same “thing”, and the same “person” occupying two seemingly different bodies for the purposes of depicting a movie And yes, Hope and Ameara’s real lives reflect this interwoven Hellish tapestry, as I normally take aspects of my actors’ real lives and origins and integrate and create my stories around theirs.

Necromagickal: Please tell us about your theory of the “paradox of the relativism of the human condition and spirituality”, and how this has affected your cinematic pursuits?

Lucifer: Sure! Well conceptually this final installment creates a very interesting paradox for me; it concludes Angela’s/Ameara’s journey to Hell from a young girl who ran away from severe abuse at home, to being further abused by a local priest who took her in after leaving home, to denouncing Christianity and making a Pact with Satan, to becoming a stripper, hardcore p*rn actress, and finally a bulimic prostitute with a horrible drug and alcohol problem resulting in her complete mental and physical breakdown and eventual suicide; however, the movie also shows an infinite and eternal loop of Hellish energy that can swarm and consume people’s souls if they enter into the darkest of realms of pain, sorrow, loneliness, neglect and abuse, and within the grasp of this traumatic energy there is what I would call the paradox of the relativism of the human condition and spirituality, in which the human body can become a grotesque materialization of the horrific mutation of the mind and spirit which can manifest interchangeably possessing multiple bodies in different locations, which accounts, in large part, for the “over-the-top” or bizarre nature of the Vomit Gore movies I have made.

So, this means that outwardly I am using the actors’ bodies as instruments with which to demonstrate and project upon the various horrifying mental/emotions conditions of Angela/Hope/Ameara/Hank Skinny and so on, but also keeping in mind that they are all shattered pieces of the same devastating dark sadness, they are all SLAUGHTERED VOMIT DOLLS, they are all ReGOREgitated Sacrifices.

Necromagickal: There were incidents within the third film where you and Hope had possibly accessed horrific and atavistic states of consciousness. Can you elaborate upon this transmutative experience? 

Lucifer: I know for a fact that I am thoroughly happy with this 3rd installment because there were many times during filming that both Hope and myself felt outside our bodies and actually truly horrified ourselves with our performances, often finding ourselves in a state of disbelief after having shot certain scenes that created a particularly otherworldly and at times transcendent feeling in us.

Since I don’t want to give away too much about the actual scenes we shot, let me just say that Hope and were truly dedicated to delving as deeply as we could into her personal and my personal darkness as we fused with Angela and her story, we totally became Angela and Lucifer Valentine (Lucifer Valentine is the name Angela gave to her only friend in life, her imaginary friend and Dominant father figure/protective guardian personality as she detached herself from her abuse she created multiple personalities to displace herself “from herself”.

Necromagickal: You are not simply a fetishistic emetophile, but recognize the more esoteric elements to the act of purging. Do you feel that the loss of both physical control and a dislocating of a “unity of consciousness” invariable within vomiting enables the unconscious to access more primal and transcendent recesses of a theoretical multiverse?

Lucifer: Oh absolutely! Yes the act of Vomiting, in the context of Satanic sexual ritual and in Vomit Gore movies, definitely invokes a primordial state physically and mentally in me and the girl doing the Vomiting, there is a psychological “dislodging” of the connection to the rational conscious mind and proliferation of a primal animalistic state in which basic beast-like emotions and physical qualities creates a beautiful guttural inhuman sexual atmosphere. And when one throws off the silly petty and ridiculous trappings of the so-called human condition, one can enter various states of Satanic euphoria devoid of the tedious rational puny human mind.

Necromagickal: Enlighten our audience as to how the Jungian theory of synchronicity has such a cinematic subliminal resonance within your films? 

Lucifer: Carl Jung’s theory of synchronicity has been a major influence on my life for many years, and a great deal of my ideas stem from a place where the cumulative effect of many coincidences actually create “constellations” of intersections of combinations of related experiences and occurrences from multiple, parallel, tangential and actually infinite worlds begin to form their own new psychic spiritual realms interweaving a web of culminations of the combinations of emotional aspects from different worlds which, when seen in an overall sense can reveal a much larger collective transcendent meaning and can greatly influence what most people view as concrete reality, meaning the planet earth, year 2009 (this earth the tiniest sliver of a potential world which can be experienced and perceived).

An example of this idea of Synchronicity occurs in ReGOREgitated Sacrifice, wherein we begin to see a connection between the suicide Deaths of Angela Aberdeen and Kurt Cobain, and the fact that “Aberdeen” is Kurt Cobain’s hometown is just the very beginning of the accumulation of these connective detail.

Necromagickal: Hallucinogenic unconscious manifestations within the character of Angela suggest many things when subjected to analysis. Such manifestations may be seen as possible interpenetration of multiple spectral psyches beneath a parallel universe theorematic or commentaries on individuation and the dichotomous tension between forces synthesizing as tragic art as Nietzsche would have it. It is an important statement, however conscious on your part, within the first two films. How is this continued in the third film?

Lucifer: Yes, in fact the entire 3rd film can be viewed as Hope’s Angela intersecting with Ameara’s Angela; and, therein, if one is inclined, one can see a “cross section” of the concept of Angela Aberdeen begin to emerge and materialize yielding, perhaps, a realization that the Vomit Gore Trilogy represents a never ending Demonic loop of archetypal circumstances and beings that repeat endlessly as kind of energy that can inhabit human bodies to be physically viewed. 

Necromagickal: Satanic and Luciferian gnosis plays a great part within your films. Can you elaborate on how it holds a presence within the third film?

Lucifer: Yes definitely, in the 3rd film, the Satanic Presence is there as it has been all along since Slaughtered Vomit Dolls, in the form of me, Angela’s “imaginary friend”, like an imagined projection of herself to be a dominating force and protector (a role I fulfilled in real life as Ameara LaVey’s boyfriend) but seen as another person, a friend or personality named Lucifer Valentine that is both kind and caring and alternately brutal and destructive; representing the raw duality of the human condition.

The “hold” that Lucifer Valentine has on Angela Aberdeen in their relationship is that of “entrusted, self-inflicted possession”. Angela, whether in the form of Ameara or Hope or anyone else, willfully submits to Lucifer to relinquish control of her emotions and physical safety because they are perceived to be too troubling and painful for Angela in human form, Lucifer, as the Satanic Presence, is inhuman, a Demonic Beast that transcends the petty human condition and can therefore guide Angela through her own “Paradise of Hell”; mercilessly and fearlessly delving deeper into Angela’s darkness than she could ever have imagined in order to go beyond the earthly experience of it as pure trauma; transforming it into a grotesquely beautiful inhuman Demonic Energy.

Necromagickal: Do you find that contemporary Satanists are missing the point in regard to attributing a magickal current within Satanism? Do you feel that there is more to its crooked paths beyond indulging psyche and physical form within existentialist and hedonistic impulses?

Lucifer: Yes I do feel there is far more to Satanism than mere indulgence and hedonism, however, it seems that there are so many varying views on Satanism that it would be impossible for me to form a real opinion on what most people think Satanism is, I can only speak for myself. Satanism, for me represents the Unknown, and within that realm, most non-Satanists experience true fear, as the Unknown creates discomfort and oftentimes aggression in them, which reveals the pathetic human dysfunctional mind, locked into its tiny concrete reality world of rigid rules and conventions; I completely reject that world, and Satanism for me represents a total rejection and obliteration of all human thought and the so-called human condition which is inherently violent, ignorant, dull, limited, petty, and above all dysfunctional and destructive; and, as a Satanist, my art is created in direct opposition to all of these things, oftentimes purposely exaggerating themes of violence and human suffering (as well as my disgust at the human condition), in order to surpass the normal human threshold of perception of these things to transcend them and create something new beyond that.

Necromagickal: Evolving past the Vomit Gore, Satanic, and surrealistic non-linear psychoanalytical cinematic interpretations, what do you foresee as the creative artistic Omega point for your career involving?

Lucifer: Wow, well that’s hard to say as I never really know what I’m going to do from moment to moment, I know for sure that I’ll go with whatever flow of energy compels me, and that The World of the Dead is one of my main focuses, that is, to inhabit often precarious in-between states of life and Death/physical and Supernatural. Basically, when I feel a presence of true darkness and am experiencing things that have no real explanation to me and am with interesting talented people as collaborators I am very happy and will definitely be filming what happens. 

Lucifer Valentine - Interview - Slow Torture Puke Chamber - ReGORGEgitated Sacrifice 2

Necromagickal: To continue the above thread to a degree, with such elements ingrained within the unconscious psyche of your cinematic pursuits, is it possible that an overlapping thematic string theory of content in your films will be subject to causal precepts and thus unavoidable?

Lucifer: Ha ha! Yes definitely! I think this overlapping thematic String Theory you mention will slowly unravel itself over the course of all my films that I make during my career as a filmmaker, and the detectable nature of it will certainly fluctuate from film to film. However, since you mention String Theory, in those terms I can say conceptually there are at least eleven dimensions to any one idea; which is like having a coin with eleven sides to it while still paradoxically remaining a coin that is commonly seen with the two “known” sides, heads and tails, but as you know, it could really be endless and its actually pointless to even ascribe numbers to these things.

To answer your question more specifically, I don’t actually think that separateness exists, so for me, everything is actually one thing, so, any idea or character or scene in a movie or the entire movie itself or all of my movies combined for that matter are really ONE THING; obviously, we need to sort them out and experience theme chronologically as earthlings or they wont make any “sense” so we do that and it’s kind of fun, but to me there’s no actual this or that, happiness or sadness, good or bad etc. etc.

Necromagickal: As you “flesh out” the Satanic and psychoanalytical realms of cinema, what kind of cumulative experience do you want viewers to have as they unwind the shrouds of their conscious limitations once exposed to your films?

(He refuses to take another drink yet again proving I can out drink him or suggests I have a problem maybe)

Lucifer: Wow, that’s a great question!

(I pat myself on the back for him)

Well, I would like viewers to feel manic, frenzied Demonic lustful Satanic energy from watching my films, which will cause total irreverence for the human condition and lead to viewers feeling the obliteration of human thought and its sad structures.

Necromagickal: The Black Angels of Hell played a significant part within ReGORGEgitated Sacrifice as entities of guiding psychic transference that also shared a Quantum connection between the birth/death synthesis exchanged with Angela and Cobain. Will they appear, or how do they still play a role in the final film?
(As I receive a text from one of those Black Angels as he speaks)

Lucifer: The Black Angels of Hell actually do not appear in the 3rd installment of the Vomit Gore Trilogy, but, conceptually, they placed Ameara’s Angela on the threshold of the deepest darkest pit of Hell of her existence where we begin to see her mutate and fuse with Hope Likens’ Angela. In ReGOREgitated Sacrifice, Ameara actually creates the Black Angels of Hell by conjuring them up from within herself as an amplified version of her idea of guiding protector big sister types of entities.

Necromagickal: Cinderella as everyone should know was your sister in real life, someone whose tragic story you have related to me years ago. She no longer is embodied within the phenomenal universe of mundane perceptions but she still maintains a vibratory essence that continues to thrive. Cinderella was/is symbolic of an infinite mutation of energies within parallel dimensions and psychic recesses. How does her character manifest such eternal energies within the third film?

Lucifer: Thank you for that description, yes my sister Cinderella was and is the most influential and important person in my life, and, since she is the reason why I began filmmaking (as I filmed my little sister for her entire life), she continues to be my muse from The World of the Dead. Cinderella represents closeness of my relationships with many of my collaborators in my films, and as Cinderella and myself went way beyond the imagined taboo of incest, we were so closely connected that we became incest, we actually became each other, and were interchangeably inseparable, that to me is very rare to find with another person and actually defines for me a personal basis of Satanic existence in human form, meaning, sometimes a connection between two people can actually transmutate them entirely into a new Supernatural realm and that’s from where the atmosphere and premises of films originate.

Necromagickal: Do you feel that you have successfully accessed what may be called, for lack of better terminology, a “collective suicidal energy” within both your personal and cinematic life? Such suffering energies seem to have permeated your life on a degree that on the surface, have amplified your expression of “tragic art”.

Lucifer: Yes I would agree with that for sure; I think that the factors that often can lead to a troubled person committing suicide are often the same factors that can lead that person directly to me and have them be very attracted to me as a temporary safe house for them before they die or continue to live for a while longer.

Most of my close personal relationships involve suicide in some form or another whether it be attempted or actual; again, the extreme nature of my life and my tendency to care for people that are very troubled and/or mentally disturbed has caused me to experience a great deal of bizarre and painful scenarios relating to other people’s trauma. I think that people, like Ameara LaVey when she first met me, know that I will never judge them and I will never turn away from Darkness, that I do not fear pain and sorrow at all and so I can be a good “venue”, if you will, for them to deal with many issues in their life as I have objectivity and a good deal of detachment from it.

Necromagickal: Well Lucifer, it’s been a thought provoking interview. Perhaps it’s time to descend unto a more monosyllabic one-dimensional finality with questions a retarded twelve year old would comprehend. What’s next for Lucifer Valentine?

Lucifer: Ha ha! Well I talk to all kinds of very interesting beautiful people online everyday so I’ll just continue to meet these fine folks and begin filming them and putting together the footage – the stories in my movies get crafted along the way as I go from place to place and so I’ll just continue to float and flow wherever I end up and make pictures out of it.

Necromagickal: Are their any websites, people, places, or things you wish to whore to the audience?

Lucifer: Sure, the official trailer on the Unearthed Films website and the Youtube teaser.

http://www.unearthedfilms.com

Necromagickal: Any last purges for now? I have a towel and bucket so it’s cool.

Lucifer: Laughs…and proceeds to insert his finger in the mouth of his date.

Stay tuned for part two of our conversation…

Interview: Lucifer Valentine (Slow Torture Puke Chamber, ReGORGEgitated Sacrifice)

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