Trip #3 - DEATH
JACK SARGEANT: The topic of death is a limit that I think people focus on again and again. And the thematic of death is so important because it's the unknown, it's the ultimate unknown. I mean it's like how more unknown can you get than being dead.
JACK SARGEANT: Death is an absolute and maybe it's the one thing you can't transgress.
CHERIE MATRIX: The one thing that people still have to hold out on is the fetish about death, and, to romanticise it and sexualise it and dream about it and perform about it, you know, recreate it almost.
JORG BUTTGEREIT: In our modern society we lost the sense for death. We lost the fact that it's a normal thing. We try to shut it away. You know, it's not hip to be dead.
ALAN MOORE: The only place where we are likely to come into contact with the idea of death now is in a film where if it gets too much, we can switch it off you know. Where we know it's going to work out okay at the end. Where death is tamed for us.
JORG BUTTGEREIT: I try to put in to my movies this kind of realistic approach, you could say. My aim was to do it the right way. Because very often I had the feeling... No, no, they are spoiling everything. They had this scene in the movie. They had that scene. They had a different approach, but in the end there was always the need to be happy.
JORG BUTTGEREIT: I would even say that my movies are very moralistic movies. You know, they are not very, very sensational or very exploitational. You know, when you look at the 'Nekromantic' poster, you say, wow, this must be a very disgusting movie. Then you watch the movie and you say... Well, that's a very beautiful and romantic movie...
CHERIE MATRIX: There's no reason to actually go any further than you need to legally. Because you can recreate most things that you would want to fantasise about with special effects.
DAVID OSWALD: People like to see things that are taboo. People like to see things that they are not supposed to see. I mean, everybody's a peeping tom at heart, so no matter how offensive a thing is, or how shocking a thing is a person will be compelled to watch.
DAVID OSWALD: I wanted to do a snuff movie to show people that it is faked. It can be faked. Don't believe what you see. And that was the idea behind that, just to see what people would think. What people's reaction would be to actually watching this supposed snuff movie. And it was interesting because even though a couple of people were offended by it, they never walked out at any point. Which just goes to prove that people are fascinated, watching death or sex or whatever on the screen.
ALAN MOORE: We have made death into a pornography. We have made the serial killer into the perfect stud of the death age.

In dealing with the Whitechapel Murders, it was something that I was particularly sensitive about, because this is it, this is the is the grandfather of all the Freddie Kruegers. All of the dark figures in the shadows with something sharp in their hands. I mean, this is Jack the Ripper. This is what haunts us. This is a great twentieth century myth figure. And I had to portray the killing of five women in the Whitechapel area. Now, what I chose to do was to portray it in a flatly realistic manner.

Five women had miserable deaths in sordid, shitty backalleys in Whitechapel. This is not an excitement. This is nothing that should arouse us. This is nothing that we should be getting off on. Something powerful happened, certainly, but I don't know if our response to it is appropriate. Jack the Ripper is a perfect example, because he's the only one who didn't get trapped by history. We never found out that he was a sad guy who'd got a bit of a problem in his relationship with his mother. We never found out that he was pitiful. The noose remained empty, he escaped from history and into myth. He became this giant figure that had no human dimension at all. We know how small Peter Sutcliffe was, we know every detail of Peter Sutcliffe's life. He has a dimension. Jack the Ripper goes on forever. There is no edges to him. There is just this dark shape with a Gladstone bag and a top hat and a knife. That is in our dreams, and is real in our dreams.

ANNIE WRIGHT: Some radical feminists have a problem that I portray women as serial killers. It's alright to portray male violence against women, which is a terrible problem. And I think it's important that other people do work about that. And it is done.
ANNIE WRIGHT: I talk about the violence that women inflict both on men and on women. And that for them is unacceptable. Some women are becoming increasingly violent towards the outside world. I think the other thing is that serial killers in general are mythic figures.
ANNIE WRIGHT: Actually, if you're going to get offed by somebody, it will probably be a member of your own family. Which says a lot about family values. But there are still these strange creatures, these serial killers, who're almost like modern day vampires, prowling around particularly big cities with a lot of anonymity. Seeking out their victims. We still have a picture of men doing that, but some women do as well. What do they look like? How do they think? And, this is the area that fascinates me. This is the area I'm trying to explore and I'm trying to describe. So, a woman could look like anybody. She could look like Princess Diana, she could look like Barbie.
NICK ZEDD: A lot of times people that want to censor will lump sex and violence together when in fact they're polar opposites.
NICK ZEDD: Violence makes you closer to mortality and awareness of the finite nature of existence.
TOMMY TURNER: Live fast, die young thing. I never thought that I was going to live to thirty. I had overdosed several times by the time I was twenty five. A lot of my friends also overdosed. Part of the thing with our films back then, was just do 'em as fast as we could. Get it over with before we all died, you know. And a lot of the people in these films, like, some of the films I just got back recently half the people in 'em are dead. And it's a weird thing, but they did some f***ing kick-ass stuff while they were here, so I mean, I think that's a really important thing.
GENESIS P. ORRIDGE: We have a built in instinct for survival and self-preservation and it's a very, very unhappy individual that chooses to hurl themselves through that final doorway when they are unprepared. My personal belief is that people don't do that. And those that do are going to do that anyway.

I found interesting, the recent events with the people who tried to hop onto a comet. And they were all dressed androgynously in the same clothes and several were castrated. And I found that an incredibly significant event. I think that the statement made by that refusal to be just a mundane human being to leave so many cycles and to do it joyously and voluntarily, is very significant. Very important, very inspiring.

NICK ZEDD: The world is so dismal and boring, but it's also exciting too. So, you know, we find the exciting things and focus on them and in the process shock a few people and entertain them at the same time. I have a lot of ideas for things I want to do and I'm just going to keep, you know, going further.
ALAN MOORE: We are aroused by the idea of death. We are titillated by the idea of death. We have made death into another form of entertainment. One of the things our culture is guilty of is amusing itself to death.
TOMMY TURNER: When I'm a dead guy I'll work on dead guy films or something.
TOMMY TURNER: Maybe we should go all the way down.