Ole Munk was born in a dark Norwegian forest on 24 December 1970. His parents are unknown but apparently he was raised by his uncle Knut, living in the forest for the first 10 years of his life. Going back to the time of the vikings, his family are known to be loners, claiming territory inside the forest and protecting the mountains and deep lakes. Ole quickly learnt the “old ways”, living of psilocybin mushrooms and hunting wildlife. He is still using the survival techniques of the “weeping wolf”, which is now a rare talent. In the early 1980s his uncle Knut fell ill, and Ole carried him across the mountain to the hospital in Molde.
Knut never recovered and Ole was raised by foster parents Eyja and Dufthak, who were infamous hooligans in Trondheim. It was here that Ole started to appreciate football and developed the rules for “voldbold” (Norwegian for “violent football”), a combination of wrestling and Australian soccer. Around 1990, after a dispute with his foster parents, Ole moved to the city of Aarhus in Denmark, to begin a new life. He studied medicine and physics, but dropped out after a few years. He was a carpenter and woodcarver for two years, before becoming involved with social work in the suburb Skåde, operating from a log cabin in the forests south of Aarhus.
Ole has been a location researcher and caster for Foking Films since 2004. He is known as “Guld Ole” meaning Ole “the Golden Child”. Just like the expensive metal, he is a rare but unusable individual, obsessed with metal music. Ole starred as the barbarian in the first Foking Films production Son of Odin and its sequel as “the innocent victim”: “That was the most important role in my life”, Ole stated when interviewed in his cabin in 2007. “It only lasted a few seconds on the screen, but was a key scene in the film. I am happy to have been part of something great… I feel like the trunk of a tree, with branches and leaves… they need to drink too.” Indeed, Ole has a talent for portraying pain and suffering, but has to date not had a leading role in a film.
When searching for an explanation for this, I talked to an anonymous camera man on the set of Sex and the Zombie in 2008: “He (Ole) is often heard complaining loudly on the sets, to the frustration of the director and actors. I remember one time, during the filming of Creature from the Faeces Lagoon, he pointed out the lack of realism of zombies living in tents. He may have been right, I only film the damned thing.” Apparently, an argument broke out with director Hans Bruntt and actor Rasmus Skat Andersen. It is a case that has not yet been resolved. When asked about the incident, Ole has refused to comment, but repeated that “I have seen things you people wouldn’t believe!”, referring to the “cheap and amateurish” methods often employed by the Foking Films crew, not due to lack of funding but laziness and incompetence.
