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However, it’s something that if you don’t do it right, you get your nuts nailed to the wall.
As an artist, it creates a climate of I think that’s an unhealthy thing for a creative community to feel. But I was really afraid of how people would perceive that.
Amanda Manitach: This is your first feature length film, right? I was fascinated by the medium, by the way that it’s formatted. Going into the film, someone said she actually was a professional cam girl.
Greg Lundgren: Yeah, I used to make a lot of shorter films in the late ’90s. Because in traditional pornography there’s always this fast forward button. On the way out I heard she was an actor from the East Coast. I don’t like giving people a million chances to get their lines right.
She’s a nurse in Baltimore, Maryland and I picked her because she’s very smart, comfortable in her own skin, very curious. Though my boyfriend said he dozed off at least once. I think the improvisational one-take gives a chance for the actors to experience a sense of humanity and authenticity.
I wanted to portray someone who was powerful, making all the decisions on her own terms. I think because we’re used to the cadence of texting and waiting and communicating that way via devices, the pace seemed natural. It’s amazing that there will be 2,000 people watching this girl in real time. It was interesting to me that this happened at the same time the Yellow Fish Epic Durational Performance Festival. I’m definitely influenced by , by Harmony Korine, Larry Clark and in a lot of ways Andy Warhol.
There are certainly proven cases where this has happened with sex workers. While she was being filmed, was she chatting with you the whole time? We shot in Megan’s apartment and we were actually on Skype giving directions, prompting conversations, wanting her to respond naturally. The promise of sex or nudity (or violence for that matter) will always keep people sticking around, in film or anywhere. She said she would take her panties off, but she never does. When I was younger I didn’t understand the power of those films.My fuck sculpture, “Cliff,” I named “Cliff” because if I’d left it untitled, I was afraid that too many people would think it was a “woman” made by a white guy. As a woman, there are things that you can make that I can’t make. I generally don’t censor myself, which is a luxury. If, for instance, Susie Lee had made to be a feminist film.A white guy who’s fucking a thing that can’t move, that can’t defend itself. But if it were made by a woman, that would be taken for granted.Lundgren is a little nervous because, bluntly put, he’s a white man making a film about sex work.In today’s political/artistic climate—especially in Seattle—red flags go up when male privilege wants to tell us something about sexuality and women.
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