Vorarephilia, or vore for short, is a sexual fetish characterized by the erotic desire to be consumed by, or consume, another person, animal, or monster. If local filmmaker Dan Schneidkraut has his way, a large number of people will be looking at the fetish in a whole new light after his new film, Vore King, debuts at the Minneapolis St. Paul International Film Festival. The documentary follows Ray Whalen (a.k.a. Rock N Roll Ray), a local celebrity of sorts who has made a living producing fetish films, most recently a monster-centric vore series called La Vore Girl.
Vore King follows Whalen as he shoots videos for his series and works on his own movie, Vorehemoth, which Schneidkraut also worked on as cinematographer and producer. The movie features a massive monster of the same name, capable of eating dozens of people in quick succession. We connected with both Schneidkraut and Whalen ahead of the debut screening of the Vore King documentary to talk about both films and the fetish itself.
City Pages: How would you explain vorarephilia?
Ray Whalen: Vorarephilia is an eating fetish. The fetish itself is as diverse the United States of America, meaning there are categories and sub-categories and variations on this fetish that can keep you busy for months. For example, you have normal eating, just eating food. There’s vore, where it’s just a closeup of someone’s mouth. Then there’s being eaten by somebody and somebody eating another person. It doesn’t necessarily have to be male-female, it can be homosexual.
What I focus on is monster vore, which is just monsters eating people. For myself it’s primarily females, because that’s more what I’m interested in. I feel I can make more money doing that. There is homosexual monster vore, but the monsters themselves aren’t necessarily one human sexuality. They don’t listen to the rules that we lay down for gender. It’s monster rules and it depends on the monster involved.
CP: Did vore seek you out or did you seek it out?
RW: Vore sought me out. I had no idea; I didn’t realize it until I was watching a movie called It Came From Hollywood. There was a segment that Gilda Radner hosted about monsters, and one of the monsters was this giant carpet-like monster that swallowed people up. It looked like a carpet slug. There were ladies being eaten, and I noticed that all the ladies had on fancy underwear, and stockings, and heels. At first I was like, “Oh, that’s interesting,” but then I noticed some tingling going on.
I later discovered monster vore via doing my Balloon Buster Belle balloon popping fetish series. I discovered that there are people making monsters and having girls eaten by them. It’s a thing, and people buy this stuff.
CP: How long have you been making vore films?
RW: I’ve been doing vore since mid-2012. June 2012 was when I first debuted my first live-action vore video. Before that I did a couple animated pieces just to test the market and see if this was viable.
CP: When did you conceive the idea for Vorehemoth?
RW: That came about when Dan was talking to me about doing a documentary. I told him I didn’t have much going for me and I thought this documentary really needed a punch. I told him a couple ideas I had, one of them being the idea for Vorehemoth. It was an idea I wanted to do in Minneapolis... I was planning it with Carolyn Kopecky in 2010 and it never came to fruition. She was going to help me build a big monster, and I was gonna feed a bunch of girls to it. Dan’s eyes lit up when I told him the story. I came up with the name and we partnered up and pulled it off.
CP: How did you meet Ray?
Dan Schneidkraut: I first saw Ray at an Atomic Midnight Movie at St. Anthony Main Theater, probably in 2002. After that, I knew I had to be friends with him. He’s a pretty magnetic, compelling dude. A couple years later, a mutual friend introduced us, and then I cast him in my first feature film, Seeking Wellness, and we became friends after that.
CP: Vore King was funded by a grant, but you busted your ass to raise money via Indiegogo to build Vorehemoth. What made you want to do that?
DS: My number one goal when I’m making a movie is to make it interesting. So when I’m making a documentary, I’m not trying to make an educational film. I don’t want it to be dry or didactic. I thought that would be something really interesting to have in the movie, so I had to make sure the building of Vorehemoth actually happened. The grant was for Vore King, not Vorehemoth, so I thought it was ethically questionable to use any of the grant money on building the monster, but I needed it to happen to make the movie I wanted to make.
CP: What was the shooting schedule like for the two films?
DS: I didn’t sleep for that entire month. The people helping us build the monster, which were the guys from Fright Props, would work all day and then come work on the monster all night. So I would be documenting building the monster and also helping build the monster, and then during the day we had a shooting schedule for the narrative that Ray had for Vorehemoth.
CP: What is your history with the Uptown Theatre?
RW: Before I left Minneapolis, I was playing Uptown on a semi-regular basis. I would host movies there... I can’t think of a better place for it to debut.
What I find ironic is it that it’s playing at Uptown and St. Anthony Main. The funny thing about that is I was fired from St. Anthony Main, and Dan was fired from Uptown. So these screenings are at two places where we were both fired, kind of on bad terms.
CP: What is the status of Vorehemoth?
RW: Vorehemoth is going to be entering post production. It’s going to be a short subject, so maybe about 30 minutes in length.
CP: What’s next for Vore King after MSPIFF?
DS: It’s playing at at least one other film festival, and I’m in negotiations with others, but I can’t say which because they aren’t totally confirmed... I would like to get Ray to every man, woman, and child on Earth through this film. My secret goal is to stimulate an insatiable public hunger for vore pornography at some point — or at least a curiosity for it.
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