Zoë Lund

If you know more information about Zoë Lund help us to improve this page

Birthday:

9 February 1962, New York City, New York, USA

Birth Name:

Zoë Tamerlis

Height:

170 cm

Zoe Lund was born Zoe Tamerlis to a Swedish mother and Romanian father on February 9, 1962 in New York City. She was an accomplished composer/musician and devout political activist at an early age. In 1981 at age 19, Lund gave a stunning performance as Thana, a mousy, mute garment worker and rape victim who violently strikes back against male oppression and exploitation of women in Abel Ferrara's outstanding distaff vigilante cult classic Ms .45 (1981). She was likewise excellent and impressive in a demanding dual role as both a murdered aspiring Southern Belle actress and the lookalike New York woman who was used to replace her in Larry Cohen's nifty thriller Special Effects (1984). From 1980 to 1985, Lund lived and worked with critic and filmmaker Edouard (Yves) De Laurot. She did a guest spot on an episode of Miami Vice (1984) and appeared as herself in the racy documentary Heavy Petting (1989).Lund co-wrote the script for and had a supporting role as a drug addict in Ferrara's crime drama Bad Lieutenant (1992). Lund was a staunch advocate of heroin drug use. In addition, she was a professional model in her 20s and a writer who penned various essays, short stories, novels and film scripts (one of these unfinished screenplays was about supermodel Gia Carangi; Lund appears as an interview subject in the documentary The Self-Destruction of Gia (2003) (in which she candidly discusses her own heroin use). In 1993, Lund wrote, directed and starred in the one and a half minute short feature Hot Ticket (1993). Zoe Lund was working on a short story anthology when she died of drug-related heart failure at the tragically young age of 37 in Paris, France on April 16, 1999. Show less «

That which is not yet, but ought to be, is more real than that which merely is.

I could write a concerto with 17 violins that could be very powerful, but film works on a more visceral level where I can go into the collec...Show more »

I could write a concerto with 17 violins that could be very powerful, but film works on a more visceral level where I can go into the collective audience and make sure my point gets across. Show less «

[on her role in Ms .45 (1981)] In the beginning stages of the film, the only material that existed was vague descriptions of the several sce...Show more »

[on her role in Ms .45 (1981)] In the beginning stages of the film, the only material that existed was vague descriptions of the several scenes. Being that my face is on camera, without dialogue, for something like 98% of the time, I was involved very much. As to the film being pro-woman, I go beyond that by saying that the film is as much pro-woman as it is pro-garment worker, whatever. Show less «

[on her role in Bad Lieutenant (1992)] There was a lot of rewriting done on the set. Two other characters were cut, and my character modulat...Show more »

[on her role in Bad Lieutenant (1992)] There was a lot of rewriting done on the set. Two other characters were cut, and my character modulated and took on more and more. A lot of things had to be changed and improvised. The vampire speech - which is crucial to the Lieutenant - was written two minutes before it was shot. I memorized it and did it in one take. The speech is important because she is acute in knowing the journey the Lieutenant makes. She shoots him up, sends him off, knowing of his passion, she lets him go. Show less «