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Your new movie The
Red Lips of the Octopus - in a few words, what's it about, and
what can you tell us about your character?
The
Red Lips of the Octopus is Rahel Kapsaski’s amazing adaption of
an original Aleister Crowley poem [Rahel
Kapsaski interview - click here]. I play him in his fading
years as he looks back on his affair with drag queen Herbert Pollitt.
Playing Aleister Crowley, what kind of research did you do in regards to the man,
and what does Crowley mean to you, personally? Much of what
I know about Crowley came from my research for this movie. I looked at
film clips and photos to study his posture and mannerisms and listened to
recordings of his voice to get the feel of the man. I wanted my portrayal
to be recognisable because he means so much to a lot of people. What did
you draw upon to bring your character to life, and how much Jeff Kristian
can we find in him? I believe Crowley had a strong sense of
his own ability and limitations. He was a showman, which I understand. I
pulled out my full drama queen for the ceremonial shots on the beach! But
of course he was human, and I’m hoping my scenes of him alone at
Boleskine House have captured his melancholy. How did you get involved with the
project in the first place?
Rahel asked me if I would
compose and produce its soundtrack. Then later she asked me if I’d be
interested in portraying Crowley. Of course I said yes. Then seeing the
script, I realised it was going to be a great film. What can you tell us about The
Red Lips of the Octopus director Rahel Kapsaski [Rahel
Kapsaski interview - click here], and what was your collaboration
like? It was wonderful. The thing is, I trust Rahel.
She’s always got a clear artistic vision about everything she works on.
And even though Octopus is her debut as a director, I knew she’d know
exactly how to approach what she needed from me, both as an actor and
composer. The
Red Lips of the Octopus isn't the first time you've worked with
Rahel Kapsaski - so what can you tell us about your previous
collaborations, and how did you first meet even?
The first was Spidarlings,
which starred Rahel with Sophia Disgrace [Sophia
Disgrace interview - click here] and was written and directed by
her sister Selene Kapsaski [Selene
Kapsaski interview - click here]. I wrote songs for that and played a couple of
character roles. I think we first met in a production meeting in London
with Après
Vague. And they were producers for our US TV show insert London
Calling, also directed by Selene. Rahel did a fabulous cameo in one
episode as a mad psychic! I then composed the soundtrack for Gabriella Kapsaski’s
Artemis of the Wildland, which also stars Rahel.
Back to The Red Lips of the
Octopus: What can you tell us about the shoot as such, and the
on-set atmosphere? We filmed my scenes in Kent over one
very long day. On the beach in the morning I was performing a ritual with
a dagger in full ceremonial gown, so we got a few side-glances. The energy
felt very real, I don’t know if we made magick happen somewhere? But I
remember it as a wonderfully creative day with lots of love and laughter.
Exclusive film fact for Crowley and Thelema devotees… the location we
used for Boleskine House had the door number ninety-three.
You also composed the score for
The
Red Lips of the Octopus - so what can you tell us about creating
the music and the musical style? The
Red Lips of the Octopus is set in two different Crowley eras. So
we could have had music in the style of the nineteen-forties or turn of
the century. But Rahel’s vision for the film was surreal arthouse, so we
decided to invoke the psychedelic spirit of the late sixties and early
seventies. The Crowley revival inspired The Beatles, The Rolling Stones,
The Doors, Led Zeppelin and Black Sabbath among others. The first song I
worked on was Myriad Stars, because it was needed for choreography.
In that moment I think, we realised we had chosen the right genre.
Exclusive film fact number two… the magick notebooks Crowley refers to
at Boleskine are actually a collection of my songwriting notes. Alchemy! Any future projects
you'd like to share? I’ve finished filming on two James
Crow movies due later this year or next, Last Village On The Right
and The Wicker Children. Gabriella Kapsaski’s Artemis of the
Wildland is out soon. Both Artemis of the Wildland and The
Red Lips of the Octopus will be part of the anthology Films
Confiscated from a French Brothel. Next year, I begin work on Selene
Kapsaski’s The Moon Is a Hologram [Selene
Kapsaski interview - click here].
What got you into acting in the
first place, and did you receive any formal training on the subject? I
fell into my first acting role in 1970. I played Charlie Chaplin as a
child in the workhouse after his mother entered an asylum. Then I kept
getting offered stage and theatre roles in and out of school, so I
received training on the hoof. Upon leaving, I had a choice… acting
classes or singing and songwriting in a band. The decision was easy. What
can you tell us about your filmwork prior to The
Red Lips of the Octopus? Happily, I’m usually
cast as someone unhinged. I love to explore the extremities of the mind,
going where most people rarely go. I’ve been an alien, a paranoid
mother, a serial killer, a psychopathic murderer, a cross-dresser, a trans
courtesan and a drug-addicted princess. And now of course, a ceremonial
occultist. But more hideous than any of those, I’ve just been cast as a
politician! Besides making movies,
you've also put on many a stage show - so do talk about those for a bit! Halloween
2016, The Jeff Kristian Show finished after a fifteen-year
residency in London’s West End. I had a slow realisation that I’d been
singing and dancing live on stage in cabaret non-stop for thirty-five
years and I needed a rest. But I made so many great friends and memories.
It got me some great film and TV roles, my stint on Channel 5‘s Big
Brother’s Bit on the Side in the UK came from cabaret. I’m
humbled that people still talk about it. Also
talk about Jeff Kristian, the musician, some more, and your musical
influences! This year is the fortieth anniversary of my
debut solo single. So I’ve been working through my entire back
catalogue, re-mastering for digital re-issue. It’s been a very cathartic
experience, like therapy. My first band The Berry Lane has been doing the
same, although we’ve made new recordings of old songs. The latest is our
single Shout! At the same time, I’ve been working on a new studio album
of solo material. One of its songs has just entered the LGBTQ Music
Chart at No.10. It’s called Icon, please go listen. How would you describe yourself as an actor,
and how as a musician?
I’m a character actor who prefers
film and TV to theatre, which I’m told is unusual. I guess for some
actors it’s the instant audience response from being on stage, whereas
I’ve always had that fix with cabaret. As a musician I have always sung,
but I think I’d call myself a songwriter first and foremost. I get
credited as a composer, but really I just write songs. Actors, musicians, filmmakers,
whoever else who inspire you? Inspiration comes from
everywhere. I am easily moved to tears by performances that connect with
spirit. Humans are so amazing when they’re being creative. It’s often
breathtaking. My own music spins constantly in my head, I don’t know if
other songwriters suffer with this? If my eyes glaze over as we speak,
it’s probably because another musical arrangement has arrived… I know
not from where! The distraction of other people’s creativity is often a
welcome tonic. Your favourite movies? I like
films that are otherworldly, so some of my choices may seem a bit naff. I
could quite happily live in Oz with Dorothy and her friends. I’m looking
forward to seeing Wicked. And I do love costume dramas, visiting a time
gone by whether modern or classic cinema. But I’m also a big fan of
documentary movies, particularly musician related. Is it called a
rockumentary? ... and of course, films you really deplore? I’m don’t
really deplore films because I’m always aware that to some writer,
producer, crew or actor somewhere, that is their blood sweat and tears,
their inspiration and possibly their dream come true. But I do seriously
balk at filmmakers who use their skills to harm others.
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Your website, social media, whatever else? Everything sprouts forth from
my website www.jeffkristian.com Anything else you're dying
to mention and I have merely forgotten to ask? I’ve begun
work on recording the soundtracks of my two novels, Where D’Ya Put
Yer Willy? and its sequel Where’s Yer Willy Now? They’re
comedy murder mysteries set in London’s Soho drag scene, so of course
they’re full of brand new songs which should be out early next year.
Both books are in stores right now. Don’t read them if you’re easily
shocked! Thanks
for the interview! Thank you too, Michael. I love (re)Search
My Trash! x
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