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>> MIND IF I SMOKE
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WHILE YOU'RE EATING?
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>> KISSING WITH THEIR TONGUE.
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>> AND THAT'S FIRST CLASS?
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>> CORRECT.
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>> WHICH PART OF FIRST CLASS?
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SEX OR NONSEX?
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>> IT'LL BE LIKE I NEVER
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EVEN EXISTED.
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>> I'M LUKE SKYWALKER.
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I'M HERE TO SAVE YOU.
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>> I'M BEING RESCUED BY
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A TRANSVESTITE?
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>> MY GOD, HE'S A PERVERT, TOO.
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>> WHAT WE DID WAS
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TERRIBLY WRONG.
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>> IS THIS SEXUAL HARASSMENT?
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>> YEAH...
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>> DO YOU THINK YOU'RE
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LIBERATED?
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>>
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>>YOU'RE A FUCKING ASSHOLE!
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>> I DESPISE YOU!
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>> FUCK THAT SHIT. RUN.
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>> AND THANK YOU FOR FLYING
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STAR TOURS.
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♪♪
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>> MOVIES HAVE BEEN MAKING US
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LAUGH AND CRY, GASP AND SCREAM
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FOR OVER 100 YEARS.
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AND SINCE THE EARLIEST DAYS
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OF CINEMA, ADULT FILMS HAVE
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BEEN A PART OF THE MOTION
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PICTURE LANDSCAPE, MAKING US
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GASP FOR ENTIRELY DIFFERENT
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REASONS.
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AS FAR BACK AS THE 1880's,
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FILMMAKERS SAW THE GOLDMINE
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POTENTIAL OF EROTIC FILM--
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LOOPS, STAG FILMS,
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PEEP SHOW BOOTHS.
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FOR THE NEXT 90 YEARS,
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SOCIETY WATCHED SEX IN
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A VARIETY OF WAYS.
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THEN IN THE 1970's,
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EVERYTHING CHANGED.
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TAKING ADVANTAGE OF A MORE
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SOCIALLY PERMISSIVE ATMOSPHERE,
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DIRECTORS BEGAN TELLING STORIES
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SURROUNDING THE HARDCORE SEX.
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FOR THE FIRST TIME EVER,
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FULL-LENGTH MOVIES WITH
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EXPLICIT SEX WERE BEING SHOWN
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IN THEATERS FOR A MASS AUDIENCE.
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IT'S IMPOSSIBLE TO OVERSTATE THE
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IMPORTANCE OF GERARD DAMIANO'S
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FILM, "DEEP THROAT."
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THIS MOVIE OPENED THE DOOR FOR
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VIRTUALLY EVERY ADULT FEATURE
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THAT CAME AFTER.
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WHILE THE EXAGGERATED CLOSE-UPS,
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CAMPY PERFORMANCES, AND
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FIREWORKS GOING OFF DURING
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ORGASMS MIGHT SEEM A LITTLE
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COMICAL TO A MODERN AUDIENCE,
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IN 1972, AUDIENCES HAD NEVER
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SEEN ANYTHING LIKE IT.
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WHETHER DISCUSSING ADULT OR
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MAINSTREAM, "DEEP THROAT"
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REMAINS ONE OF THE MOST
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>> YOU SAY THAT YOU WANT MORE
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OUT OF SEX THAN JUST A LOT OF
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LITTLE TINGLES?
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>> YES, I WANNA HEAR BELLS
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AND BOMBS--
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>> YES, WE JUST WENT THROUGH
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THAT, MISS LOVELACE. LET'S NOT
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DO THAT PART AGAIN.
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>> I DON'T THINK PEOPLE UNDER
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A CERTAIN AGE UNDERSTAND JUST
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HOW EDGY AND HOW RADICAL IT WAS
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TO PUT ACTUAL SEX IN A BIG MOVIE
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THEATER.
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>> "DEEP THROAT," IN PARTICULAR,
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OPEN A LOT OF DOORS.
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IT MADE IT-- SEEING SOMETHING
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LIKE THAT MORE ACCESSIBLE,
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AND THEN THAT HELPED IN MAKING
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>> "DEEP THROAT" AND...
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"THE DEVIL IN MISS JONES"
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PLAYED THE DOUBLE BILL FOR,
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>> WHEN "DEEP THROAT" CAME OUT
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IN NEW YORK THEATERS, LINES
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AROUND THE BLOCK-- JACKIE O.
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>> JACKIE KENNEDY WENT TO SEE--
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>> DEEP THROAT IS THIS GIRL
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SHE'S-- SHE'S TIRED OF-- OF SEX.
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SHE THINKS THAT IT SHOULD BE
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MORE THAN JUST LITTLE TINGLES.
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>> IT MAKES ME FEEL SORT OF
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TINGLY ALL OVER, AND THEN--
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>> AND THEN WHAT?
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>> NOTHING. I MEAN THERE SHOULD
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BE MORE TO SEX THAN A LOT OF
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LITTLE TINGLES.
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THERE SHOULD BE BELLS RINGING,
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SEAMS BURSTING, BOMBS GOING
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OFF-- SOMETHING.
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>> DO YOU WANNA GET OFF, OR DO
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YOU WANNA WRECK A CITY?
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>> SHE CAN'T UNDERSTAND WHY SHE
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CAN'T HAVE AN ORGASM, BECAUSE
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SHE HAS ALL THIS SEX, AND
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NOTHING-- I MEAN IT'S NICE, BUT
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NOTHING HAPPENS.
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SO, UM, SHE GOES TO SEE A SEX
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THERAPIST, MR. HARRY REIMS,
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WHO, UM, EXAMINES HER AND
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DISCOVERS THAT HER CLITORIS
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IS ACTUALLY ALL THE WAY IN
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THE BACK OF HER THROAT.
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>> WELL, THERE IT IS.
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YOU LITTLE BUGGER!
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THERE IT IS!
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>> WHAT?
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>> WELL, YOUR CLITORIS, IT'S
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DEEP DOWN IN THE BOTTOM OF YOUR
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THROAT.
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>>
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>> NOW, NOW, MISS LOVELACE,
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LISTEN, HAVING A CLITORIS DEEP
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DOWN IN THE BOTTOM OF YOUR
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THROAT IS BETTER THAN HAVING
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NO CLITORIS AT ALL.
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>> THERE'S A THEME SONG--
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I FORGOT.
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UM, THERE'S A THEME SONG
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WHEN SHE DISCOVERS THIS--
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THIS, UH, SKILL.
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>> ♪ DEEP THROAT ♪
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♪ DEEPER THAN DEEP YOUR THROAT ♪
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♪ DEEP THROAT ♪
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♪ ROW ROW YOUR BOAT ♪
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>> SHE FINALLY HAS AN ORGASM.
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THERE'S A MONTAGE OF FIREWORKS
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AND BELLS RINGING AND A ROCKET
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SHIP GOING UP WHILE IT'S
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FLASHING BETWEEN HER FACE COMING
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AND... SO FUNNY.
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SO HE HIRES HER AS A NURSE,
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AND SHE GOES OUT ON CALL
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AND FUCKS ALL THESE GUYS.
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>> TELL ME, MR. MOORE,
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HOW DO YOU FEEL NOW?
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>> AND, EVENTUALLY, SHE FINDS
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THE PERFECT PENIS
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FOR HER THROAT.
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AND THEY HAVE ANOTHER MONTAGE.
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IN MOST '70s PORNO, EVERYONE
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HAS A LOT OF HAIR, BUT IN
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"DEEP THROAT," LINDA IS
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COMPLETELY CLEAN-SHAVEN.
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I WONDERED IF MAYBE SHE STARTED
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THAT TREND PERHAPS?
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OR MADE IT POPULAR AT LEAST?
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I DON'T KNOW, BECAUSE SO MANY
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PEOPLE SAW IT,
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>> NIXON, ALONG WITH KEATING,
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AND THAT ADMINISTRATION WAS OUT
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TO STOP THE NEGATIVE PRESS OF
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WATERGATE AND, UH, VIETNAM.
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>> I THINK REVISITING THIS STORY
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AND REVISITING, YOU KNOW, THE
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TACTICS THAT CAME INTO PLAY
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THAT, UH, THEY HAD A PROBLEM
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MORALLY WITH SUBJECT MATTER,
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AS IN "DEEP THROAT," THE FILM,
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UM, IS IMPORTANT.
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>> AND THE EASIEST TARGET WAS
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THE ADULT FILM INDUSTRY.
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NIXON RIGGED THE COURTROOM AND
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RIGGED THE JUDGE AND GOT HIS,
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UH, CONVICTIONS AGAINST THE CAST
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MEMBERS OF "DEEP THROAT."
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>> I DEFINITELY THINK SHE'S--
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SHE'S BETTER AT, UM,
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DEEP-THROATING THICKER COCKS
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THAN I AM, BUT I DEFINITELY
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DROOL A LOT MORE THAN SHE DOES.
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>> LADIES AND GENTLEMEN, YOU ARE
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ABOUT TO WITNESS THE RAVISHMENT
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OF A WOMAN WHO HAS BEEN
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ABDUCTED.
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>> I ANSWERED AN AD IN THE
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"SAN FRANCISCO CHRONICLE"
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THAT SAID "NOW CASTING FOR A
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MAJOR MOTION PICTURE."
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SO I WALKED UP THE STAIRS, AND I
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SAT IN THEIR OFFICE, AND HERE'S
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THESE TWO BROTHERS WHO ARE
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ABSOLUTELY CHARMING, FABULOUS
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NOT THE LEAST BIT OF A QUESTION
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IN MY MIND THAT THEY WERE
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TOTALLY HONEST GUYS.
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THEY EXPLAINED TO ME THE STORY
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OF "BEHIND THE GREEN DOOR,"
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WHICH I THOUGHT WAS VERY COOL,
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BECAUSE THAT WAS THE TIME OF
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DRUGS, SEX, AND ROCK-N-ROLL.
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IT WAS JUST, YOU KNOW,
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ANYTHING WENT.
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BEFORE I LEFT, I SAID, "IF YOU
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DO WANT ME TO DO THIS, BY THE
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WAY, I WANT THIS AMOUNT OF
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MONEY AND THIS PERCENTAGE OF
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WHATEVER FOR SO MANY YEARS."
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AND THEY SAID, YOU KNOW, "DON'T
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CALL US, WE'LL CALL YOU."
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SO ABOUT AN HOUR LATER, I'M
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SITTING AT MY HOUSE, AND THEY
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CALLED AND SAID, "WE WANNA
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DO IT."
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SO THEY CAME OVER FOR ME TO
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SIGN THE CONTRACT, AND THAT WAS,
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UH, THAT WAS THE END OF THAT.
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>> ALTHOUGH, AT FIRST,
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HER REACTIONS MAY LEAD YOU TO
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BELIEVE THAT SHE IS BEING
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TORTURED, QUITE THE CONTRARY
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IS TRUE, FOR NO HARM WILL COME
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TO THOSE BEING RAVISHED.
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IN THE MORNING, SHE WILL BE
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SET FREE, UNAWARE OF ANYTHING
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EXCEPT THAT SHE HAS BEEN LOVED
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AS NEVER BEFORE.
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>> THE WHOLE THING ABOUT THE
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MOVIE WAS-- AND I SAID TO THEM,
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"I'M AN ACTRESS, AND I SAY
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NOT ONE WORD."
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HE SAID, "OH, NO, THAT'S EVEN
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MORE DIFFICULT," WHICH IT IS.
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BECAUSE YOU REALLY HAVE TO
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CONVEY YOUR FEELINGS, WHATEVER
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THEY MAY BE, THROUGH YOUR EYES
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AND YOUR ACTIONS.
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AND I SAID, "I DON'T REALLY
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WANNA KNOW WHAT'S GONNA HAPPEN.
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I KNOW IT'S GONNA BE WILD AND
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SEXY, AND IT'S GONNA BE SCARY,
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PROBABLY, FOR ME AT CERTAIN
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TIMES, BUT I DON'T
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WANT TO KNOW."
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JOHNNIE KEYES, HE WAS THE BLACK
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GUY WITH THE SHARK TEETH
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AROUND HIS NECK AND, UM,
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VERY ETHNIC LOOKING.
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AND WHEN WE STARTED TO HAVE SEX,
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IT WAS THE KIND OF THING WHERE
259
00:08:48,742 --> 00:08:50,033
I WAS, LIKE, TOTALLY FREAKED
260
00:08:50,033 --> 00:08:50,660
OUT, I DIDN'T THINK I WAS GONNA
261
00:08:50,660 --> 00:08:51,491
>> I FUCKED HER FOR A LONG TIME.
262
00:08:52,450 --> 00:08:53,575
I FUCKED HER FOR 43 MINUTES
263
00:08:53,575 --> 00:08:55,284
WITHOUT STOPPING. NOBODY DOES
264
00:08:55,284 --> 00:08:57,325
THAT. THAT WAS A MARATHON FUCK.
265
00:08:57,325 --> 00:08:57,992
WHERE IT TURNED FROM TERROR
266
00:09:01,075 --> 00:09:02,535
TO PLEASURE, AND I REALLY
267
00:09:02,535 --> 00:09:03,367
BELIEVE YOU CAN SEE THAT.
268
00:09:03,367 --> 00:09:03,993
AND I KNOW THAT THERE WAS A TIME
269
00:09:03,993 --> 00:09:06,493
THAT I FELT MYSELF SLIP ON TO
270
00:09:06,493 --> 00:09:06,869
THE OTHER SIDE,
271
00:09:06,869 --> 00:09:07,535
IF YOU KNOW WHAT I MEAN.
272
00:09:07,535 --> 00:09:09,826
>> UH, MARILYN, SHE PASSED OUT,
273
00:09:09,826 --> 00:09:12,285
SHE FAINTED. AND I-- IN MY MIND,
274
00:09:12,285 --> 00:09:12,869
I SAID, "SHIT, I'M GOING TO
275
00:09:12,869 --> 00:09:13,494
JAIL. I DONE KILLED THIS WHITE
276
00:09:13,494 --> 00:09:14,536
WOMAN WITH MY DICK."
277
00:09:14,536 --> 00:09:16,411
>> WELL, THE TRAPEZES
278
00:09:16,411 --> 00:09:17,369
WERE A BIT MUCH.
279
00:09:17,369 --> 00:09:18,244
IT'S A GOOD THING I WAS IN
280
00:09:18,244 --> 00:09:19,744
PRETTY GOOD SHAPE, BECAUSE THERE
281
00:09:19,744 --> 00:09:20,494
WAS A LOT OF STANDING AROUND,
282
00:09:20,494 --> 00:09:23,454
LITERALLY, ON TOP OF PEOPLE,
283
00:09:23,454 --> 00:09:24,579
AND THERE WAS TRAPEZES
284
00:09:24,579 --> 00:09:25,537
AND WHATNOT. YOU HAD TO BE
285
00:09:25,537 --> 00:09:27,953
A GYMNAST, DEFINITELY.
286
00:09:27,953 --> 00:09:29,287
THE WAY THAT THE STORY OF--
287
00:09:29,287 --> 00:09:30,412
WHEN "BEHIND THE GREEN DOOR"
288
00:09:30,412 --> 00:09:32,288
AND "IVORY SOAP BOX" CAME OUT,
289
00:09:32,288 --> 00:09:33,288
I TOLD THE MITCHELL BROTHERS
290
00:09:33,288 --> 00:09:34,787
THAT, "OH, BY THE WAY, I DID
291
00:09:34,787 --> 00:09:36,079
THIS COMMERCIAL FOR PROCTER &
292
00:09:36,079 --> 00:09:37,871
GAMBLE, UH, IVORY SOAP BOX."
293
00:09:37,871 --> 00:09:39,663
AND THEY'RE SAYING, "WHAT?"
294
00:09:39,663 --> 00:09:41,164
WE WALKED DOWN THE SOAP AISLES,
295
00:09:41,164 --> 00:09:43,122
WE LOOK, AND THERE IS MY MUG
296
00:09:43,122 --> 00:09:45,414
ON ALL THESE BOXES, STARING DOWN
297
00:09:45,414 --> 00:09:46,913
AT US, AND IT JUST HAPPENED TO
298
00:09:46,913 --> 00:09:47,871
BE THE VERY SAME WEEK THAT
299
00:09:47,871 --> 00:09:48,829
"BEHIND THE GREEN DOOR" OPENED
300
00:09:48,829 --> 00:09:49,496
IN THE THEATERS.
301
00:09:49,496 --> 00:09:51,121
I'M NOT GONNA SAY THAT I CREATED
302
00:09:51,121 --> 00:09:51,705
PORNO CHIC, BUT I KNOW THAT I
303
00:09:51,705 --> 00:09:53,289
WAS PART OF IT.
304
00:09:53,289 --> 00:09:55,122
AND THAT WAS A VERY IMPORTANT
305
00:09:55,122 --> 00:09:56,330
TIME IN OUR HISTORY WHERE PEOPLE
306
00:09:56,330 --> 00:09:56,955
LIKE JOHNNY CARSON WERE WAITING
307
00:09:56,955 --> 00:09:59,038
IN LINE TO SEE "DEEP THROAT."
308
00:09:59,038 --> 00:10:00,582
IT WAS COUPLES, AND IT WAS
309
00:10:00,582 --> 00:10:02,289
ALL DIFFERENT PEOPLE FROM
310
00:10:02,289 --> 00:10:02,873
DIFFERENT WALKS OF LIFE GOING
311
00:10:02,873 --> 00:10:05,165
TO SEE ADULT FILMS AND GETTING
312
00:10:05,165 --> 00:10:05,789
>> YOU'RE TELLING ME THAT
313
00:10:06,831 --> 00:10:10,416
I'M DEAD, AND YOU'RE TRYING TO
314
00:10:10,416 --> 00:10:11,541
DECIDE WHETHER TO SEND ME UP TO
315
00:10:11,541 --> 00:10:15,082
HEAVEN OR DOWN TO HELL.
316
00:10:15,082 --> 00:10:17,666
>> I REALLY HONESTLY THOUGHT
317
00:10:17,666 --> 00:10:20,999
NOBODY I KNEW-- MUCH LESS
318
00:10:20,999 --> 00:10:22,584
ANYBODY I WAS RELATED TO--
319
00:10:22,584 --> 00:10:25,709
WOULD EVER KNOW ABOUT IT.
320
00:10:25,709 --> 00:10:27,542
I CERTAINLY DID NOT EXPECT
321
00:10:27,542 --> 00:10:30,168
IT TO BECOME A HOUSEHOLD WORD.
322
00:10:30,168 --> 00:10:31,000
>> "THE DEVIL IN MISS JONES"
323
00:10:31,000 --> 00:10:34,083
WAS DEFINITELY AN ART MOVIE,
324
00:10:34,083 --> 00:10:36,293
AND I'M STILL NOT REALLY 100%
325
00:10:37,501 --> 00:10:41,876
SURE EXACTLY WHAT THE STORY WAS.
326
00:10:41,876 --> 00:10:44,000
BUT I STILL THINK IT WORKED.
327
00:10:44,000 --> 00:10:47,917
>> CAN YOU HELP ME?
328
00:10:47,917 --> 00:10:49,543
I-- I SEEMED TO HAVE LOST
329
00:10:49,543 --> 00:10:51,169
MY WAY.
330
00:10:51,169 --> 00:10:52,501
>> I'LL HELP YOU ALL I CAN,
331
00:10:52,501 --> 00:10:53,711
BUT YOU'RE NOT LOST.
332
00:10:53,711 --> 00:10:55,627
>> THEN WHERE AM I?
333
00:10:55,627 --> 00:10:56,711
>> YOU'RE HERE.
334
00:10:56,711 --> 00:10:59,127
>> JERRY DAMIANO WAS
335
00:10:59,127 --> 00:11:02,711
THE SWEETEST GUY I EVER MET.
336
00:11:02,711 --> 00:11:03,752
HE LOOKED BACK OVER AT ME,
337
00:11:03,752 --> 00:11:04,877
AND HE SAYS, "CAN YOU COOK?"
338
00:11:04,877 --> 00:11:05,587
I SAID, "YEAH."
339
00:11:05,587 --> 00:11:07,336
HE SAID, "OKAY, YOU WANNA
340
00:11:07,336 --> 00:11:08,421
COOK ON THE FILM?"
341
00:11:08,421 --> 00:11:09,170
I SAID, "SURE."
342
00:11:09,170 --> 00:11:10,754
HE SAID, "I GOT SOMEBODY COMING
343
00:11:10,754 --> 00:11:11,503
IN TO READ THE PART OF THE DEVIL
344
00:11:11,503 --> 00:11:14,087
IN THIS FILM I'M DOING.
345
00:11:14,087 --> 00:11:15,463
WOULD YOU MIND READING
346
00:11:15,463 --> 00:11:15,754
WITH HIM?"
347
00:11:15,754 --> 00:11:18,337
AND I SAID, "SURE,
348
00:11:18,337 --> 00:11:19,338
I'D BE GLAD TO."
349
00:11:19,338 --> 00:11:21,045
I'VE DONE EVERYTHING THAT
350
00:11:21,045 --> 00:11:22,963
I'VE BEEN TAUGHT.
351
00:11:22,963 --> 00:11:24,754
DOESN'T THAT COUNT FOR ANYTHING?
352
00:11:24,754 --> 00:11:25,589
AND HE LOOKS OVER AT ME,
353
00:11:25,589 --> 00:11:26,630
HE SAID, "WOULD YOU LIKE TO PLAY
354
00:11:26,630 --> 00:11:28,547
MISS JONES?"
355
00:11:28,547 --> 00:11:32,506
AND I SAID, "AND COOK?"
356
00:11:32,506 --> 00:11:34,715
HOW ABOUT LUST?
357
00:11:34,715 --> 00:11:35,547
>> LUST?
358
00:11:35,547 --> 00:11:37,631
>> YES, LUST.
359
00:11:37,631 --> 00:11:39,173
IT IS ONE OF THE SEVEN DEADLY
360
00:11:39,173 --> 00:11:40,755
SINS, ISN'T IT?
361
00:11:40,755 --> 00:11:42,298
>> HE OFFERED ME $100 A DAY TO
362
00:11:42,298 --> 00:11:43,465
DO MISS JONES.
363
00:11:43,465 --> 00:11:44,631
AND I SAID, "THAT SOUNDS GOOD."
364
00:11:44,631 --> 00:11:47,465
SO I WAS MAKING 125 A DAY,
365
00:11:47,465 --> 00:11:47,922
INSTEAD OF JUST 100.
366
00:11:47,922 --> 00:11:50,673
>> GEORGINA WAS AMAZING.
367
00:11:50,673 --> 00:11:52,632
HER ACTING WAS FANTASTIC,
368
00:11:52,632 --> 00:11:57,466
AND THE WAY THAT SHE FUCKED
369
00:11:57,466 --> 00:11:58,591
WAS SO PASSIONATE.
370
00:11:58,591 --> 00:12:00,966
LIKE, SHE-- SHE BROUGHT ENERGY
371
00:12:00,966 --> 00:12:02,258
TO ALL OF THE SCENES, AND IT
372
00:12:02,258 --> 00:12:03,550
REALLY, REALLY SHOWED.
373
00:12:03,550 --> 00:12:05,048
>> FOR THAT DAY, IT WAS A BIG
374
00:12:05,048 --> 00:12:06,257
BUDGET FILM.
375
00:12:06,257 --> 00:12:07,175
I THINK THEY WERE SPENDING
376
00:12:07,175 --> 00:12:08,758
SOMETHING LIKE $25,000.
377
00:12:08,758 --> 00:12:09,633
IT DIDN'T PUT MY KIDS THROUGH
378
00:12:09,633 --> 00:12:12,176
COLLEGE, BUT IT CERTAINLY DID
379
00:12:12,176 --> 00:12:12,799
OPEN UP AN INTERESTING CAN OF
380
00:12:12,799 --> 00:12:15,217
WORMS FOR MY LIFE.
381
00:12:15,217 --> 00:12:18,718
THAT SUICIDE SCENE-- EVERY ACTOR
382
00:12:18,718 --> 00:12:21,719
AND ACTRESS IN THE WORLD,
383
00:12:21,719 --> 00:12:24,051
FROM THE BEGINNING OF TIME,
384
00:12:24,051 --> 00:12:26,343
WANTS TO PLAY A DEATH SCENE.
385
00:12:26,343 --> 00:12:27,719
>> A SUICIDE AT THE BEGINNING
386
00:12:27,719 --> 00:12:28,968
OF A PORN MOVIE REALLY SETS
387
00:12:28,968 --> 00:12:29,968
THE TONE.
388
00:12:29,968 --> 00:12:31,678
AND I THINK IT'S ALSO VERY
389
00:12:31,678 --> 00:12:33,802
BRAVE TO START A MOVIE THAT'S
390
00:12:33,802 --> 00:12:36,843
SUPPOSED TO BE ABOUT SEX
391
00:12:36,843 --> 00:12:37,885
WITH DEATH.
392
00:12:37,885 --> 00:12:40,428
>> AH, HERMAN, HERMAN, THAT
393
00:12:40,428 --> 00:12:44,594
BEAUTIFUL, SWEET, AFFECTIONATE
394
00:12:44,594 --> 00:12:47,470
BOA, WHO COULD TURN AND LOOK AS
395
00:12:47,470 --> 00:12:48,844
FIERCE AS YOU WANTED HIM TO.
396
00:12:48,844 --> 00:12:50,094
WHAT AN ACTOR.
397
00:12:50,094 --> 00:12:51,512
IT WASN'T PLANNED FOR HIM
398
00:12:51,512 --> 00:12:52,471
TO BE IN THE FILM.
399
00:12:52,471 --> 00:12:54,053
AND I'M TALKING TO THE SNAKE
400
00:12:54,053 --> 00:12:55,721
ON THE BED, AND JERRY WALKS BY
401
00:12:55,721 --> 00:12:58,512
AND SKIDS TO A HALT AND SAID,
402
00:12:58,512 --> 00:12:59,762
"YOU'RE A SNAKE WRANGLER."
403
00:12:59,762 --> 00:13:01,637
HE SAID, "WOULD YOU DO
404
00:13:01,637 --> 00:13:02,762
A SCENE WITH IT?"
405
00:13:02,762 --> 00:13:04,430
MARKS SAYS, "$100 A DAY,
406
00:13:04,430 --> 00:13:05,555
SAME AS I GET."
407
00:13:05,555 --> 00:13:07,722
SO HERMAN WAS IN THE FILM.
408
00:13:07,722 --> 00:13:09,013
THE ANAL SCENE, WHICH EVERYONE,
409
00:13:09,013 --> 00:13:09,804
OF COURSE, ALWAYS ASKS ABOUT--
410
00:13:09,804 --> 00:13:11,513
I DON'T KNOW-- IT'S-- IT'S A
411
00:13:11,513 --> 00:13:12,804
HUGE FANTASY IN EVERYONE'S MIND,
412
00:13:12,804 --> 00:13:15,096
I THINK, TO-- TO GIVE IT A TRY.
413
00:13:15,096 --> 00:13:17,681
AND WHEN IT GETS ALL BIG AND FAT
414
00:13:17,681 --> 00:13:20,764
AND HARD AND SLIPPERY, AND YOU
415
00:13:20,764 --> 00:13:23,265
COULD STICK IT IN MY ASS.
416
00:13:23,265 --> 00:13:23,805
GETTING FUCKED IN THE ASS
417
00:13:23,805 --> 00:13:26,097
IS JUST A COUPLE OF MINUTES OF--
418
00:13:26,097 --> 00:13:28,348
YOU GET USED TO IT.
419
00:13:28,348 --> 00:13:29,931
>> ONE OF MY FAVORITE THINGS
420
00:13:29,931 --> 00:13:31,514
ABOUT THE SEX SCENES WAS
421
00:13:31,514 --> 00:13:32,847
GEORGINA'S DIRTY TALK.
422
00:13:32,847 --> 00:13:33,764
>> CAN YOU FEEL HIS PRICK?
423
00:13:33,764 --> 00:13:35,432
CAN HE FEEL YOU?
424
00:13:35,432 --> 00:13:35,889
CAN YOU FEEL HIM?
425
00:13:35,889 --> 00:13:38,265
CAN YOU FEEL YOUR COCKS
426
00:13:38,265 --> 00:13:39,098
TOGETHER?
427
00:13:39,098 --> 00:13:41,641
CAN YOU, RUBBING AGAINST MY...
428
00:13:41,641 --> 00:13:46,433
>> IT SO ADDED TO THE SEX SCENE.
429
00:13:46,433 --> 00:13:46,973
THE DIRTY-- THE DIRTY TALK
430
00:13:46,973 --> 00:13:48,932
WAS ONE OF THE HOTTEST THINGS
431
00:13:48,932 --> 00:13:50,224
OF THE MOVIE FOR ME.
432
00:13:50,224 --> 00:13:52,601
>> WHEN JERRY CALLED ME ABOUT
433
00:13:52,601 --> 00:13:55,100
A YEAR AFTER WE DID THE FILM
434
00:13:55,100 --> 00:13:56,350
AND SAID, "I WANT YOU TO GO TO
435
00:13:56,350 --> 00:13:57,684
TORONTO FOR THIS GRAND
436
00:13:57,684 --> 00:13:58,892
OPENING--"
437
00:13:58,892 --> 00:14:02,727
IT WAS LAVISH, IT WAS ELEGANT,
438
00:14:02,727 --> 00:14:05,268
IT WAS COVERED BY A MILLION
439
00:14:05,268 --> 00:14:07,808
CAMERAS ALL OVER THE ROOM, AND
440
00:14:07,808 --> 00:14:10,351
SPLASHED ALL OVER THE PLACE.
441
00:14:10,351 --> 00:14:13,101
AND...
442
00:14:13,101 --> 00:14:14,351
I SAID, "WELL, SO MUCH FOR
443
00:14:14,351 --> 00:14:16,560
ANIM-- ANONYMITY NOW.
444
00:14:16,560 --> 00:14:17,060
I GUESS I-- I GUESS I'LL
445
00:14:17,060 --> 00:14:18,935
HAVE TO TELL MY PARENTS WHAT
446
00:14:18,935 --> 00:14:20,352
>> WHAT'S YOUR NAME?
447
00:14:21,103 --> 00:14:22,519
>> MISTY BEETHOVEN.
448
00:14:22,519 --> 00:14:23,437
>> IS THAT YOUR REAL NAME?
449
00:14:23,437 --> 00:14:24,562
>> NO, IT'S NOT.
450
00:14:24,562 --> 00:14:25,562
I THOUGHT IT WOULD SOUND
451
00:14:25,562 --> 00:14:25,936
MORE IMPORTANT.
452
00:14:25,936 --> 00:14:26,853
>> WHAT WAS IT BEFORE?
453
00:14:26,853 --> 00:14:30,102
I WAS CAST IN "MISTY BEETHOVEN"
454
00:14:30,810 --> 00:14:33,810
AND I FLEW TO NEW YORK,
455
00:14:34,977 --> 00:14:37,269
AND I MET HIM, AND HE TALKED TO
456
00:14:37,269 --> 00:14:38,228
ME AND EVERYTHING AND TOLD ME
457
00:14:38,228 --> 00:14:40,520
TO GO BACK HOME AND TO GET
458
00:14:40,520 --> 00:14:41,145
EVERY BIT OF CLOTHING,
459
00:14:43,188 --> 00:14:44,521
EVERY PHOTOGRAPH THAT HAD EVER
460
00:14:44,521 --> 00:14:45,146
BEEN TAKEN OF ME IN MY ENTIRE
461
00:14:45,146 --> 00:14:47,354
LIFE, AND BRING IT ALL BACK
462
00:14:47,354 --> 00:14:47,979
TO NEW YORK.
463
00:14:47,979 --> 00:14:49,854
>> AS HYMAN MANDEL ONCE SAID,
464
00:14:53,147 --> 00:14:55,606
"NEVER LET THE FACT THAT THEY
465
00:14:55,606 --> 00:14:57,564
ARE DOING IT WRONG STOP YOU
466
00:14:57,564 --> 00:14:58,022
FROM DOING IT RIGHT."
467
00:14:58,022 --> 00:15:00,980
>> WHO WAS HYMAN MANDEL?
468
00:15:00,980 --> 00:15:02,230
>> I DON'T KNOW.
469
00:15:02,230 --> 00:15:03,814
I READ THAT ON THE MEN'S ROOM
470
00:15:03,814 --> 00:15:04,272
WALL AT THE NEW YORK
471
00:15:04,272 --> 00:15:04,939
>> IT'S A TAKE ON GEORGE BERNARD
472
00:15:07,106 --> 00:15:09,690
SHAW'S "PYGMALION" OR MODERN-DAY
473
00:15:09,690 --> 00:15:11,064
"MY FAIR LADY" OR EVEN "SHE'S
474
00:15:11,064 --> 00:15:12,148
ALL THAT," IF YOU'RE IN THE
475
00:15:12,148 --> 00:15:14,815
BUT IT'S TAKING THIS WOMAN,
476
00:15:16,732 --> 00:15:17,274
WHO IS, LIKE, A DIME-STORE
477
00:15:17,274 --> 00:15:18,981
HOOKER, BASICALLY, GIVING
478
00:15:18,981 --> 00:15:20,483
HAND JOBS IN MOVIE THEATERS.
479
00:15:20,483 --> 00:15:20,815
>> EXCUSE ME,
480
00:15:20,815 --> 00:15:22,400
MY GUM WAS IN FRONT OF YOU.
481
00:15:22,400 --> 00:15:23,106
>> HOW'D YOU KNOW
482
00:15:23,106 --> 00:15:23,483
THAT WAS YOURS?
483
00:15:23,483 --> 00:15:23,857
>> FIVE SEATS IN.
484
00:15:23,857 --> 00:15:25,523
FIVE'S MY LUCKY NUMBER.
485
00:15:25,523 --> 00:15:26,107
YOU AMERICAN?
486
00:15:26,107 --> 00:15:26,523
>> MOST OF THE TIME.
487
00:15:26,523 --> 00:15:28,065
>> FIVE BUCKS FOR A HAND JOB.
488
00:15:28,065 --> 00:15:29,733
I'LL MEET YOU OUTSIDE IN
489
00:15:29,733 --> 00:15:30,524
TEN MINUTES.
490
00:15:30,524 --> 00:15:31,441
>> TEN MINUTES?
491
00:15:31,441 --> 00:15:32,484
>> MM-HMM. TEN MINUTES.
492
00:15:32,484 --> 00:15:33,609
I HAVE TO MEET NAPOLEON.
493
00:15:33,609 --> 00:15:34,650
>> NAPOLEON?
494
00:15:34,650 --> 00:15:36,567
>> NAPOLEON.
495
00:15:36,567 --> 00:15:38,775
HI. YOU'RE RIGHT ON TIME.
496
00:15:38,775 --> 00:15:40,108
>> JAMIE GILLIS WAS A
497
00:15:40,108 --> 00:15:41,650
SEXOLOGIST, AND HE WAS GOING
498
00:15:41,650 --> 00:15:43,609
TO TRAIN ME TO BECOME THE
499
00:15:43,609 --> 00:15:44,610
>> HE TAKES HER ON AS A PROJECT
500
00:15:45,984 --> 00:15:49,109
WHERE HE FEELS HE CAN TURN THIS
501
00:15:49,109 --> 00:15:52,735
LOWLY STREET GIRL INTO A
502
00:15:52,735 --> 00:15:54,942
>> MY DEAR, YOU ARE THE ABSOLUTE
503
00:15:56,360 --> 00:15:58,652
NADIR OF PASSION, THE MOST
504
00:15:58,652 --> 00:16:00,152
UNEXCITING THING GOD HAS EVER
505
00:16:00,152 --> 00:16:01,985
CREATED, A SEXUAL CIVIL
506
00:16:01,985 --> 00:16:02,944
SERVICE WORKER.
507
00:16:02,944 --> 00:16:05,278
NOBODY NEEDS TO READ MY LAST
508
00:16:05,278 --> 00:16:06,068
BOOK MORE OR DESERVES TO BE IN
509
00:16:06,068 --> 00:16:08,612
MY NEXT BOOK LESS THAN YOU.
510
00:16:08,612 --> 00:16:09,570
>> IT'S FASCINATING, BECAUSE
511
00:16:09,570 --> 00:16:10,570
YOU'RE WATCHING THIS VERY
512
00:16:10,570 --> 00:16:12,069
INSECURE CONSTANCE MONEY
513
00:16:12,069 --> 00:16:13,904
GO FROM THIS VERY UNATTRACTIVE
514
00:16:13,904 --> 00:16:16,861
WIG AND MAKEUP TO THE END, WHERE
515
00:16:16,861 --> 00:16:19,570
SHE'S BASICALLY TAKING ONE OF
516
00:16:19,570 --> 00:16:21,153
THE MOST PRESTIGIOUS MEN IN TOWN
517
00:16:21,153 --> 00:16:23,779
AND PUTTING A STRAP ON
518
00:16:23,779 --> 00:16:24,779
AND FUCKING HIM WITH IT.
519
00:16:24,779 --> 00:16:25,945
>> I WENT UP TO SEE A FELLOW
520
00:16:25,945 --> 00:16:27,404
BY THE NAME OF RADLEY METZGER,
521
00:16:27,404 --> 00:16:29,654
WHO, UH, HIS NOM DE PORN
522
00:16:29,654 --> 00:16:31,654
BECAME HENRY PARIS.
523
00:16:31,654 --> 00:16:34,070
AND, UM, UH, INSTEAD OF BEING,
524
00:16:34,070 --> 00:16:36,988
UH, ON THE FILM, HE'S A BIT OF A
525
00:16:36,988 --> 00:16:38,739
SVENGALI, AND I WOUND UP BEING
526
00:16:38,739 --> 00:16:39,988
IN THE FILM.
527
00:16:39,988 --> 00:16:40,863
YOU DON'T THINK I'M GONNA LET
528
00:16:40,863 --> 00:16:42,988
HIM MAKE THAT PERILOUS JOURNEY
529
00:16:42,988 --> 00:16:44,946
ALONE?
530
00:16:44,946 --> 00:16:46,614
IT WAS QUITE AN EXPERIENCE,
531
00:16:46,614 --> 00:16:47,989
BECAUSE I WAS UNFAMILIAR WITH
532
00:16:47,989 --> 00:16:50,406
WHAT BEHAVIOR AND PROTOCOL WAS
533
00:16:50,406 --> 00:16:52,740
SUPPOSED TO BE LIKE, UH, ON AN
534
00:16:52,740 --> 00:16:54,072
ADULT SET, SO IT WAS REALLY
535
00:16:54,072 --> 00:16:56,031
BREAKING INTO SOMETHING THAT
536
00:16:56,031 --> 00:16:57,990
BROKE ALL THE RULES.
537
00:16:57,990 --> 00:17:00,948
>> ♪ WISH I HAD HER BESIDE ME ♪
538
00:17:00,948 --> 00:17:02,199
>> IT'S FUNNY-- I WASN'T EVEN
539
00:17:02,199 --> 00:17:03,616
AWARE-- IT WAS-- I WAS WATCHING
540
00:17:03,616 --> 00:17:04,823
THE FILM, BUT I WAS ROOTING FOR
541
00:17:04,823 --> 00:17:05,408
BOTH OF THEM TO BE TOGETHER
542
00:17:05,408 --> 00:17:07,700
UNTIL THE ACT-- END MOMENT WHERE
543
00:17:07,700 --> 00:17:09,325
SHE'S GIVING HIM A BLOW JOB,
544
00:17:09,325 --> 00:17:11,408
AND HE'S DEGRADING HER AS IF
545
00:17:11,408 --> 00:17:13,075
SHE'S NOT IN THE ROOM, UH,
546
00:17:13,075 --> 00:17:14,742
PRETENDING THAT SHE'S NOT THERE,
547
00:17:14,742 --> 00:17:15,325
AND THEN THEY HAVE THIS MOMENT
548
00:17:15,325 --> 00:17:17,408
WHERE THEY-- THEY COME TOGETHER.
549
00:17:17,408 --> 00:17:19,074
IT'S JUST-- IT'S BEAUTIFUL.
550
00:17:19,074 --> 00:17:20,074
>> YOU KNOW WHY MOST PEOPLE
551
00:17:20,074 --> 00:17:22,200
HAVE SEXUAL PROBLEMS?
552
00:17:22,200 --> 00:17:24,117
THEY TALK TOO GODDAMN MUCH!
553
00:17:27,784 --> 00:17:30,493
>> JAMIE IS A VERY SWEET PERSON
554
00:17:30,493 --> 00:17:31,075
ON ONE HAND, AND ON THE OTHER
555
00:17:31,075 --> 00:17:33,201
HAND, IS A VERY DISTURBED
556
00:17:33,201 --> 00:17:34,075
INDIVIDUAL.
557
00:17:34,075 --> 00:17:35,701
JAMIE HAD HIS DEMONS.
558
00:17:35,701 --> 00:17:37,784
>> YOU INSTANTLY JUST ARE SO
559
00:17:37,784 --> 00:17:38,744
ENGAGED BY HIM.
560
00:17:38,744 --> 00:17:39,368
IN FACT, WHEN I STARTED WATCHING
561
00:17:39,368 --> 00:17:40,910
THE-- THE OPENING IN "MISTY
562
00:17:40,910 --> 00:17:41,951
BEETHOVEN," I WASN'T EVEN AWARE
563
00:17:41,951 --> 00:17:43,661
THAT JAMIE GILLIS WAS A PORN
564
00:17:43,661 --> 00:17:44,577
PERFORMER.
565
00:17:44,577 --> 00:17:45,160
I THOUGHT HE WAS GOING TO NOT
566
00:17:45,160 --> 00:17:47,744
HAVE ANY SEX IN THE MOVIE,
567
00:17:47,744 --> 00:17:49,369
BECAUSE HE WAS SO GOOD.
568
00:17:49,369 --> 00:17:50,620
YOU THINK TO YOURSELF, "HOW
569
00:17:50,620 --> 00:17:52,661
COULD THIS GUY BE A PORN ACTOR?"
570
00:17:52,661 --> 00:17:53,911
>> WORKING FOR RADLEY METZGER
571
00:17:53,911 --> 00:17:57,120
WAS, UM-- I DON'T REALLY KNOW.
572
00:17:57,120 --> 00:18:00,329
I-- I DON'T KNOW HOW TO REALLY
573
00:18:00,329 --> 00:18:03,621
SAY IT-- IT COMES BACK TO THAT
574
00:18:03,621 --> 00:18:04,828
THING, "IF YOU CAN'T SAY
575
00:18:04,828 --> 00:18:05,204
ANYTHING NICE..."
576
00:18:05,204 --> 00:18:07,829
>> OKAY, LET'S GET YOU
577
00:18:07,829 --> 00:18:09,413
UNDRESSED.
578
00:18:09,413 --> 00:18:11,078
NO, NO, NO, YOU DON'T DO IT
579
00:18:11,078 --> 00:18:12,412
YOURSELF.
580
00:18:12,412 --> 00:18:13,205
YOU DON'T KNOW HOW,
581
00:18:13,205 --> 00:18:13,995
FOR ONE THING.
582
00:18:13,995 --> 00:18:15,455
>> HE TOLD ME HE DIDN'T THINK
583
00:18:15,455 --> 00:18:17,287
I COULD ACT, AND THAT'S WHY HE
584
00:18:17,287 --> 00:18:18,537
PUT ME THROUGH EVERYTHING.
585
00:18:18,537 --> 00:18:19,163
THAT WAS HIS JUSTIFICATION.
586
00:18:19,163 --> 00:18:23,413
>> I THINK MEN STINK.
587
00:18:23,413 --> 00:18:25,372
>> WELL, THEY THINK YOU STINK.
588
00:18:25,372 --> 00:18:26,038
IN FACT, IT'S ONE OF THE MOST
589
00:18:26,038 --> 00:18:27,997
PERFECTLY BALANCED EQUATIONS
590
00:18:27,997 --> 00:18:28,246
IN NATURE.
591
00:18:28,246 --> 00:18:29,830
>> I'D LIKE TO SAY THAT MOVIE
592
00:18:29,830 --> 00:18:30,830
WAS MADE MORE WITH BLOOD AND
593
00:18:30,830 --> 00:18:31,955
SWEAT THAN MONEY.
594
00:18:31,955 --> 00:18:32,289
HE REALLY DID
595
00:18:32,289 --> 00:18:34,498
MAKE A MASTERPIECE.
596
00:18:34,498 --> 00:18:36,332
I'VE HEARD SO MANY PEOPLE QUOTE
597
00:18:36,332 --> 00:18:37,831
LINES FROM IT THAT HE MUST HAVE
598
00:18:37,831 --> 00:18:38,373
BEEN DOING SOMETHING RIGHT.
599
00:18:38,373 --> 00:18:40,499
>> IT HAS AN EXTREMELY STRONG
600
00:18:40,499 --> 00:18:42,457
STORY WITH BEAUTIFUL IMAGERY.
601
00:18:42,457 --> 00:18:43,081
>> AND, ALSO, I MEAN, LOOKING AT
602
00:18:43,081 --> 00:18:45,041
IT ALL THESE YEARS LATER, IT WAS
603
00:18:45,041 --> 00:18:46,124
ALSO-- I MEAN I LOOKED
604
00:18:46,124 --> 00:18:47,333
PRETTY GOOD, TOO.
605
00:18:47,333 --> 00:18:48,416
I THINK IT WAS ALSO THE FACT
606
00:18:48,416 --> 00:18:49,040
THAT IT WAS MORE REALITY
607
00:18:49,040 --> 00:18:51,291
THAN FANTASY.
608
00:18:51,291 --> 00:18:53,667
>> THERE IS SO MUCH GOING ON
609
00:18:53,667 --> 00:18:55,791
WITHIN THAT MOVIE THAT REALLY
610
00:18:55,791 --> 00:18:57,957
SAYS, "THIS IS AN ARTISTIC
611
00:18:57,957 --> 00:18:58,874
>> EXCUSE ME. UH, PARDON ME.
612
00:19:01,209 --> 00:19:02,460
DO YOU MIND IF I BLOW
613
00:19:02,460 --> 00:19:03,459
YOUR WAITER?
614
00:19:03,459 --> 00:19:06,459
>> NOT AT ALL.
615
00:19:06,459 --> 00:19:07,708
>> I DON'T KNOW WHAT ON EARTH
616
00:19:07,708 --> 00:19:08,791
HAPPENED TO MINE.
617
00:19:08,791 --> 00:19:10,875
>> BARBARA BROADCAST WAS A MOVIE
618
00:19:10,875 --> 00:19:12,459
ABOUT A WOMAN WHO IS A SEX
619
00:19:12,459 --> 00:19:13,292
WORKER WHO WROTE A BOOK.
620
00:19:13,292 --> 00:19:14,417
IT'S TAKING PLACE AT A
621
00:19:14,417 --> 00:19:15,209
RESTAURANT, AND PEOPLE ARE
622
00:19:15,209 --> 00:19:16,459
GIVING BLOW JOBS AS IF
623
00:19:16,459 --> 00:19:17,375
IT'S NO BIG DEAL.
624
00:19:17,375 --> 00:19:18,251
NOBODY'S BATTING AN EYE,
625
00:19:18,251 --> 00:19:19,709
NOBODY'S LOOKING AT IT
626
00:19:19,709 --> 00:19:20,668
PEOPLE ARE HAVING SEX ON TABLES.
627
00:19:22,335 --> 00:19:25,084
AND IT WAS WHAT I FEEL A TRUE
628
00:19:25,084 --> 00:19:26,168
ADULT SHOULD-- FILM SHOULD BE,
629
00:19:26,168 --> 00:19:27,543
WHERE THERE'S ABSOLUTELY ZERO
630
00:19:27,543 --> 00:19:28,960
JUDGMENT ABOUT EVERYTHING THAT'S
631
00:19:28,960 --> 00:19:30,628
GOING ON AROUND THEM.
632
00:19:30,628 --> 00:19:31,211
>> YES, WE'LL HAVE YOUR
633
00:19:31,211 --> 00:19:32,127
RESERVATION IN ABOUT FIVE
634
00:19:32,127 --> 00:19:32,377
MINUTES.
635
00:19:32,377 --> 00:19:34,044
>> THANK YOU VERY MUCH.
636
00:19:34,044 --> 00:19:42,921
>> YOU'RE QUITE WELCOME.
637
00:19:42,921 --> 00:19:44,337
>> THERE'S A LOT OF JOKES IN
638
00:19:44,337 --> 00:19:45,545
"BARBARA BROADCAST."
639
00:19:45,545 --> 00:19:46,505
ONE OF THEM IS WHEN THE
640
00:19:46,505 --> 00:19:47,755
MAITRE 'D, UM, HE RECEIVES A
641
00:19:47,755 --> 00:19:49,295
BLOW JOB EVERY TIME SOMEBODY
642
00:19:49,295 --> 00:19:51,338
DROPS A PLATE OR MESSES UP.
643
00:19:51,338 --> 00:19:53,129
AND IT'S JUST SO CAVALIER IN
644
00:19:53,129 --> 00:19:54,087
THAT HE JUST UNBUTTONS
645
00:19:54,087 --> 00:19:55,879
HIS PANTS, AND THEY GET
646
00:19:55,879 --> 00:19:57,130
DOWN ON THEIR KNEES.
647
00:20:01,838 --> 00:20:01,880
>> WELL, BOBBY ASTER I REMEMBER
648
00:20:03,254 --> 00:20:04,922
VERY WELL, BECAUSE HE'S THE VERY
649
00:20:04,922 --> 00:20:06,297
FIRST PERSON THAT I EVER WORKED
650
00:20:06,297 --> 00:20:08,380
>> ANNETTE HAVEN'S A BEAUTIFUL
651
00:20:09,547 --> 00:20:11,296
WOMAN, AND IT LENDS ITSELF TO
652
00:20:11,296 --> 00:20:13,506
THIS IDEA THAT YOU CAN BE
653
00:20:13,506 --> 00:20:14,297
A BEAUTIFUL WOMAN
654
00:20:14,297 --> 00:20:16,048
AND BE A SEXUAL WOMAN.
655
00:20:16,048 --> 00:20:17,256
>> MY BROTHER'S KIND OF SHY,
656
00:20:17,256 --> 00:20:19,465
AND, WELL, HE'S A BIG, BIG FAN
657
00:20:19,465 --> 00:20:20,839
OF YOURS.
658
00:20:20,839 --> 00:20:21,715
WELL, WOULD YOU MIND GIVING HIM
659
00:20:21,715 --> 00:20:23,715
AN AUTOGRAPH AND A LITTLE HEAD?
660
00:20:23,715 --> 00:20:26,465
>> ANNETTE, UM, WAS JUST, UH,
661
00:20:26,465 --> 00:20:29,591
JUST ONE OF THE MOST FLAWLESSLY
662
00:20:29,591 --> 00:20:31,048
BEAUTIFUL WOMAN I HAD EVER SEEN,
663
00:20:31,048 --> 00:20:31,674
LET ALONE I THINK IT WAS THE--
664
00:20:31,674 --> 00:20:33,674
THE FIRST RED BUSH
665
00:20:33,674 --> 00:20:35,090
THAT I HAD EVER SEEN.
666
00:20:35,090 --> 00:20:36,424
SERIOUS AS A HEART ATTACK AND A
667
00:20:36,424 --> 00:20:37,800
GREAT BUSINESSWOMAN,
668
00:20:37,800 --> 00:20:39,258
AND, UH, NUTTIER THAN A
669
00:20:39,258 --> 00:20:40,467
FRUITCAKE AS WELL.
670
00:20:40,467 --> 00:20:41,759
>> IN "BARBARA BROADCAST,"
671
00:20:41,759 --> 00:20:43,509
METZGER'S USING THESE VERY WIDE
672
00:20:43,509 --> 00:20:45,133
SHOTS WHERE YOU'RE SEEING SEXUAL
673
00:20:45,133 --> 00:20:47,551
ACTIVITY HAPPENING WHILE THERE
674
00:20:47,551 --> 00:20:49,676
IS DIALOGUE HAPPENING BETWEEN
675
00:20:49,676 --> 00:20:50,801
THE MAIN CHARACTERS.
676
00:20:50,801 --> 00:20:51,384
THERE ALSO WAS ANOTHER JOKE IN
677
00:20:51,384 --> 00:20:52,259
"BARBARA BROADCAST" THAT I LOVED
678
00:20:52,259 --> 00:20:54,635
WHERE I BELIEVE IT WAS THEY
679
00:20:54,635 --> 00:20:56,427
ORDERED UP A NUMBER 17, WHICH,
680
00:20:56,427 --> 00:20:58,134
BASICALLY, WAS A MAN CAME ON
681
00:20:58,134 --> 00:20:59,009
A SALAD.
682
00:20:59,009 --> 00:21:00,134
>> HE DOES A WONDERFUL
683
00:21:00,134 --> 00:21:01,176
CAFE AU LAIT.
684
00:21:01,176 --> 00:21:02,510
>> IT'S CINEMATICALLY BEAUTIFUL,
685
00:21:02,510 --> 00:21:04,426
THE LOCATIONS, I MEAN, SHOOTING
686
00:21:04,426 --> 00:21:06,511
AT, UH, A RESTAURANT.
687
00:21:06,511 --> 00:21:07,677
I MEAN, THE KITCHEN SCENE WITH
688
00:21:07,677 --> 00:21:09,051
C.J. LAING WITH ALL THE STEAM
689
00:21:09,051 --> 00:21:10,259
AND THE POTS AND THE PANS AND
690
00:21:10,259 --> 00:21:11,802
THE THIS AND THE THAT AND...
691
00:21:11,802 --> 00:21:12,802
>> THEY TOOK A SCENE FROM "MISTY
692
00:21:12,802 --> 00:21:14,427
BEETHOVEN," I UNDERSTAND, AS A
693
00:21:14,427 --> 00:21:16,094
FILLER FOR THE GIGANTIC CLIM--
694
00:21:16,094 --> 00:21:17,470
CLIMAX OF THE FILM.
695
00:21:17,470 --> 00:21:18,678
>> SO WE HAVE THIS LITTLE PET
696
00:21:18,678 --> 00:21:20,177
WORKING FOR US, AND TO SET HER
697
00:21:20,177 --> 00:21:22,428
STRAIGHT, WE LET CURLY AT HER,
698
00:21:22,428 --> 00:21:24,261
TO ACT OUT ONE OF HIS FANTASIES.
699
00:21:24,261 --> 00:21:25,970
JIMMY WASN'T VERY NICE TO ME
700
00:21:25,970 --> 00:21:26,762
WHEN HE FIRST MET ME.
701
00:21:26,762 --> 00:21:27,387
THE MAKEUP LADY,
702
00:21:29,221 --> 00:21:30,429
SHE KEPT PUTTING MORE HAIRPIECES
703
00:21:30,429 --> 00:21:31,429
IN MY HAIR, MORE AND MORE
704
00:21:31,429 --> 00:21:32,845
HAIRPIECES. SHE SAID, "WELL,
705
00:21:32,845 --> 00:21:34,304
I DON'T WANT HER BRAINS TO SPILL
706
00:21:34,304 --> 00:21:35,221
AND JAMIE SAID, "WELL, IF IT'S
707
00:21:36,262 --> 00:21:38,180
GONNA BE REALISTIC-- IF THEY'RE
708
00:21:38,180 --> 00:21:39,096
GONNA COME OUT, THEY'RE GONNA
709
00:21:39,096 --> 00:21:39,679
COME OUT.
710
00:21:39,679 --> 00:21:40,472
STOP PUTTING THOSE HAIRPIECES
711
00:21:40,472 --> 00:21:40,805
IN HER HAIR."
712
00:21:40,805 --> 00:21:42,222
I DIDN'T EVEN KNOW WHAT WAS
713
00:21:42,222 --> 00:21:47,931
GOING ON.
714
00:21:47,931 --> 00:21:48,555
>> JAMIE WOULD CALL ME WHENEVER
715
00:21:48,555 --> 00:21:50,431
HE WAS IN KIND OF ONE BIND OR
716
00:21:50,431 --> 00:21:50,640
ANOTHER.
717
00:21:50,640 --> 00:21:51,971
HE SAYS, "MITCH, YOU'VE
718
00:21:51,971 --> 00:21:52,806
GOTTA COME HERE RIGHT AWAY.
719
00:21:52,806 --> 00:21:53,681
YOU'VE GOTTA COME RIGHT-- RIGHT
720
00:21:53,681 --> 00:21:55,305
AWAY," AND I HEAR THIS, LIKE,
721
00:21:55,305 --> 00:21:56,305
WATER SOUND, LIKE,
722
00:21:56,305 --> 00:21:58,014
THIS FLUSHING SOUND.
723
00:21:58,014 --> 00:21:58,931
HE'S LIKE, "HURRY, HURRY."
724
00:21:58,931 --> 00:21:59,972
SO I THREW SOMETHING ON,
725
00:21:59,972 --> 00:22:01,056
AND I JUMPED IN A CAB.
726
00:22:01,056 --> 00:22:04,806
I GET THERE, AND JAMIE WAS
727
00:22:04,806 --> 00:22:07,223
FUCKING C.J. FROM BEHIND,
728
00:22:07,223 --> 00:22:08,682
BUT HAD HER HEAD IMMERSED
729
00:22:08,682 --> 00:22:10,015
IN THE TOILET BOWL, AND SHE HAD
730
00:22:10,015 --> 00:22:11,349
A NECKLACE ON, AND THE CATCH GOT
731
00:22:11,349 --> 00:22:13,140
CAUGHT, AND SO HE HAD TO KEEP
732
00:22:13,140 --> 00:22:14,973
FLUSHING THE TOILET IN ORDER FOR
733
00:22:14,973 --> 00:22:16,057
HER TO GET AIR.
734
00:22:16,057 --> 00:22:17,266
AND I GOT THE CATCH FROM
735
00:22:17,266 --> 00:22:18,891
UNDERNEATH HER NECK, AND, UH,
736
00:22:18,891 --> 00:22:20,141
SHE COMES UP FOR AIR AND SAYS,
737
00:22:20,141 --> 00:22:20,891
>> I'LL GIVE YOU $10 IF YOU LET
738
00:22:22,225 --> 00:22:23,099
ME LOOK AT YOUR TITS.
739
00:22:23,099 --> 00:22:23,475
>> MR. GREENFIELD!
740
00:22:23,475 --> 00:22:26,059
>> PLEASE, PLEASE, I JUST WANNA
741
00:22:26,059 --> 00:22:26,683
LOOK AT YOUR PRETTY LITTLE TITS.
742
00:22:26,683 --> 00:22:28,643
>> YOU KNOW WE'RE ALL
743
00:22:28,643 --> 00:22:29,850
GOOD GIRLS.
744
00:22:29,850 --> 00:22:31,059
>> THE DIRECTOR AT THE TIME--
745
00:22:31,059 --> 00:22:32,059
I'D WORKED FOR HIM QUITE A FEW
746
00:22:32,059 --> 00:22:33,643
TIMES-- I HELPED CAST
747
00:22:33,643 --> 00:22:34,975
SOME PEOPLE IN THAT FILM.
748
00:22:34,975 --> 00:22:37,310
I ALSO, UM, FOUND A WAY TO GET
749
00:22:37,310 --> 00:22:40,059
ACCESS TO BROOKLYN COLLEGE.
750
00:22:40,059 --> 00:22:41,976
AND WE KINDA KNEW WHEN THE
751
00:22:42,519 --> 00:22:44,519
FACILITIES WERE OPEN.
752
00:22:44,519 --> 00:22:45,435
WE-- IT WAS LIKE "DO WHAT YOU
753
00:22:45,435 --> 00:22:47,477
CAN WHEN YOU CAN."
754
00:22:47,477 --> 00:22:47,936
WE JUST LUCKED OUT.
755
00:22:47,936 --> 00:22:48,477
WE DIDN'T GET CAUGHT DOING
756
00:22:48,477 --> 00:22:51,100
ANYTHING.
757
00:22:53,435 --> 00:22:55,310
>> I DON'T THINK I WAS EVER
758
00:22:55,310 --> 00:22:56,519
ON SET WHEN BAMBI WOODS WAS
759
00:22:56,519 --> 00:22:57,268
ON SET.
760
00:22:57,268 --> 00:22:58,310
MAYBE I MET HER ONE TIME.
761
00:22:58,310 --> 00:23:00,228
SHE WAS, FOR THAT TIME,
762
00:23:00,228 --> 00:23:01,478
INCREDIBLY HOT-LOOKING.
763
00:23:01,478 --> 00:23:02,478
>> DEBBIE, WHAT ARE YOU
764
00:23:02,478 --> 00:23:02,728
GONNA DO?
765
00:23:02,728 --> 00:23:04,520
>> RAISE THE MONEY FAST.
766
00:23:04,520 --> 00:23:04,977
>> WHEN DO YOU HAVE TO
767
00:23:04,977 --> 00:23:05,936
LEAVE, DEBBIE?
768
00:23:05,936 --> 00:23:06,812
>> IN TWO WEEKS.
769
00:23:06,812 --> 00:23:07,978
>> BUT THAT'S NOT ENOUGH TIME
770
00:23:07,978 --> 00:23:10,020
TO RAISE THE FARE.
771
00:23:12,312 --> 00:23:13,479
>> THE WORST THING ABOUT
772
00:23:13,479 --> 00:23:15,937
"DEBBIE DOES DALLAS" IS
773
00:23:15,937 --> 00:23:16,522
R. BOLLA'S THE ONLY GUY THAT
774
00:23:16,522 --> 00:23:18,563
GETS TO FUCK HER.
775
00:23:18,563 --> 00:23:20,188
YOU WANNA FUCK THAT GIRL.
776
00:23:20,188 --> 00:23:20,772
I MEAN, IT'S A COMPLETE TEASE.
777
00:23:20,772 --> 00:23:22,522
IT'S A-- IT'S A COCK-TEASING
778
00:23:22,522 --> 00:23:23,854
FILM, AND IT WORKED
779
00:23:23,854 --> 00:23:25,813
ON THAT LEVEL.
780
00:23:31,105 --> 00:23:33,314
>> SIX, SEVEN, EIGHT...
781
00:23:33,314 --> 00:23:38,147
>> OH!
782
00:23:38,147 --> 00:23:38,524
>>
783
00:23:38,524 --> 00:23:40,815
>> THE DALLAS COWBOYS STARTED
784
00:23:40,815 --> 00:23:41,356
THE WHOLE CHEERLEADER CRAZE,
785
00:23:41,356 --> 00:23:43,607
AND IT REALLY WENT VIRAL.
786
00:23:43,607 --> 00:23:45,065
IF YOU COULD USE THAT WORD
787
00:23:45,065 --> 00:23:46,897
BACK THEN. AND SOMEBODY WAS
788
00:23:46,897 --> 00:23:48,273
SMART ENOUGH TO CAPITALIZE ON
789
00:23:48,273 --> 00:23:49,357
THAT. THEY DIDN'T HAVE ANY IDEA
790
00:23:49,357 --> 00:23:52,106
IT WOULD BLOW UP LIKE IT DID.
791
00:23:52,106 --> 00:23:54,232
>> NO, MOM. YOU KNOW
792
00:23:56,690 --> 00:23:57,649
I'M GONNA STAY WITH YOU.
793
00:23:57,649 --> 00:24:03,357
>> OH, DARLING, I'M SO GLAD.
794
00:24:03,357 --> 00:24:04,399
KIRDY STEVENS.
795
00:24:04,399 --> 00:24:06,316
WE MET-- WE MET AT A RESTAURANT
796
00:24:08,525 --> 00:24:12,692
IN, UM, WEST L.A., AND HE TOLD
797
00:24:12,692 --> 00:24:14,317
ME IT WAS ABOUT INCEST, AND I
798
00:24:14,317 --> 00:24:15,776
SAID, "NO, ABSOLUTELY NOT."
799
00:24:15,776 --> 00:24:17,735
>> I LOVED "TABOO" AS A MOVIE.
800
00:24:17,735 --> 00:24:19,609
IN FACT, THE ENDING WAS SO
801
00:24:19,609 --> 00:24:21,193
DISTURBING AND BOTHERSOME TO ME
802
00:24:21,193 --> 00:24:22,068
THAT SHE DIDN'T END UP WITH HER
803
00:24:22,068 --> 00:24:23,568
SON, IT MADE ME QUESTION MY OWN
804
00:24:23,568 --> 00:24:25,693
>> HE PERSISTED, AND THEN, UM,
805
00:24:29,443 --> 00:24:32,069
AGAIN, I-- I CAN ONLY DESCRIBE
806
00:24:32,069 --> 00:24:33,653
THIS AS MY HIGHER SELF JUMPED IN
807
00:24:33,653 --> 00:24:35,611
AND SAID, "DO IT."
808
00:24:35,611 --> 00:24:36,778
BECAUSE SOMEBODY'S GOING TO
809
00:24:36,778 --> 00:24:38,027
DO IT.
810
00:24:38,027 --> 00:24:39,570
YOU-- IF YOU DO IT, YOU CAN
811
00:24:39,570 --> 00:24:41,986
BRING CONSCIOUSNESS AND QUALITY
812
00:24:41,986 --> 00:24:43,236
TO IT, SO DO IT.
813
00:24:43,236 --> 00:24:44,444
>> WE ARE CENSORING OURSELVES
814
00:24:44,444 --> 00:24:46,278
FROM DOING THINGS THAT ARE AS
815
00:24:46,278 --> 00:24:47,403
FREE AND AS OPEN AS THEY WERE
816
00:24:47,403 --> 00:24:49,737
35 YEARS AGO.
817
00:24:49,737 --> 00:24:51,111
I MEAN THEY WERE MORE FREE
818
00:24:51,111 --> 00:24:51,444
35 YEARS AGO.
819
00:24:51,444 --> 00:24:52,611
>> I HATED THE SCRIPT THE FIRST
820
00:24:52,611 --> 00:24:55,153
TIME I READ IT.
821
00:24:55,153 --> 00:24:56,362
IT WAS-- IT WAS REALLY
822
00:24:56,362 --> 00:24:59,530
DIFFICULT TO, UM-- TO READ ABOUT
823
00:24:59,530 --> 00:25:01,488
INCEST IN SUCH A SORT OF
824
00:25:01,488 --> 00:25:04,696
FLIPPANT, UM, MANNER.
825
00:25:04,696 --> 00:25:06,154
BUT IT WAS SO WRONG.
826
00:25:06,154 --> 00:25:07,946
>> LOOK, MA, I DON'T THINK ANY
827
00:25:07,946 --> 00:25:09,946
LESS OF EITHER ONE OF US.
828
00:25:09,946 --> 00:25:12,656
IT HAPPENED,
829
00:25:12,656 --> 00:25:14,822
AND I GOTTA TELL YA,
830
00:25:14,822 --> 00:25:17,322
I WANT IT TO HAPPEN AGAIN.
831
00:25:17,322 --> 00:25:19,781
>> DON'T-- DON'T... NO, PAUL,
832
00:25:19,781 --> 00:25:23,239
DON'T. THE WORLD HAS
833
00:25:23,239 --> 00:25:24,698
A DIRTY WORD FOR THIS.
834
00:25:24,698 --> 00:25:25,490
>> THERE'S THESE-- THESE MOMENTS
835
00:25:25,490 --> 00:25:27,490
THAT KIND OF MAKE YOU SAY,
836
00:25:27,490 --> 00:25:29,365
"WHOA!" THESE JARRING MOMENTS,
837
00:25:29,365 --> 00:25:30,366
LIKE, FOR EXAMPLE, WHEN KAY
838
00:25:30,366 --> 00:25:31,407
PARKER IS IN THE KITCHEN, AND
839
00:25:31,407 --> 00:25:32,449
HER BREAST IS HANGING OUT OF HER
840
00:25:32,449 --> 00:25:33,699
SHIRT, AND SHE'S STANDING THERE
841
00:25:33,699 --> 00:25:34,658
WITH HER SON, AND IT'S ALMOST AS
842
00:25:34,658 --> 00:25:37,199
IF THERE'S NO COVERING UP,
843
00:25:37,199 --> 00:25:38,573
AND IT-- IT'S JUST, AGAIN,
844
00:25:38,573 --> 00:25:39,824
SEX IS OUT THERE.
845
00:25:39,824 --> 00:25:41,241
>> I MEAN I'M NOT EXACTLY
846
00:25:41,241 --> 00:25:44,574
OVER-THE-HILL, YOU KNOW.
847
00:25:44,574 --> 00:25:47,115
>> YOU'RE TELLING ME.
848
00:25:47,115 --> 00:25:48,241
>> YOU SEE IT A LOT WITH KAY
849
00:25:48,241 --> 00:25:49,407
PARKER'S FRIEND IN THE MOVIE,
850
00:25:49,407 --> 00:25:51,242
WHO IS HAVING ORGIES AND-- AND
851
00:25:51,242 --> 00:25:52,658
DOESN'T HAVE ANY ISSUES WITH--
852
00:25:52,658 --> 00:25:54,158
SHE THINKS IT'S HOT IMAGINING
853
00:25:54,158 --> 00:25:54,617
THAT HER SON WOULD BE
854
00:25:54,617 --> 00:25:56,492
HAVING SEX WITH HER.
855
00:25:56,492 --> 00:25:58,367
SHE REFERENCES THAT KAY PARKER
856
00:25:58,367 --> 00:25:59,992
IS, YOU KNOW, HAS BEEN KIND OF
857
00:25:59,992 --> 00:26:02,076
ASSAULTED BY HER BOSS.
858
00:26:02,076 --> 00:26:03,117
AND SHE'S ON THE PHONE WITH HER
859
00:26:03,117 --> 00:26:03,700
FRIEND, AND THE FRIEND SAYS...
860
00:26:03,700 --> 00:26:07,743
>> WHAT'S GOING ON OVER THERE?
861
00:26:07,743 --> 00:26:09,159
IS JERRY RAPING YOU?
862
00:26:09,159 --> 00:26:10,117
>> CUT THAT OUT,
863
00:26:10,117 --> 00:26:10,577
YOU SON-OF- A-BITCH!
864
00:26:10,577 --> 00:26:13,576
>> WHAT'S HE DOING?
865
00:26:13,576 --> 00:26:15,327
DOES HE HAVE HIS COCK OUT?
866
00:26:15,327 --> 00:26:17,161
>> BUT IT-- IT-- IT LENDS ITSELF
867
00:26:17,161 --> 00:26:19,453
TO THIS IDEA THAT THERE'S LOTS
868
00:26:19,453 --> 00:26:20,662
OF DIFFERENT THINGS THAT PEOPLE
869
00:26:20,662 --> 00:26:23,036
FIND SEXUALLY AROUSING, EVEN IF
870
00:26:23,036 --> 00:26:23,703
IT IS NEC-- EVEN IF IT IS
871
00:26:23,703 --> 00:26:25,620
FORBIDDEN.
872
00:26:25,620 --> 00:26:26,537
>> WHENEVER I THINK ABOUT THE--
873
00:26:26,537 --> 00:26:28,787
THE SCENE, THE SEDUCTION SCENE
874
00:26:28,787 --> 00:26:30,454
WITH MIKE RANGER IN "TABOO,"
875
00:26:30,454 --> 00:26:31,746
I-- I GET GOOSEFLESH--
876
00:26:31,746 --> 00:26:33,328
I'M GETTING RIGHT NOW, AS I--
877
00:26:33,328 --> 00:26:34,578
AS I GET READY TO TALK ABOUT IT,
878
00:26:34,578 --> 00:26:37,411
BECAUSE I DO REFER TO IT AS A
879
00:26:37,411 --> 00:26:40,662
VERY, UM, SPIRITUAL EXPERIENCE.
880
00:26:40,662 --> 00:26:42,329
>> SHE'S JUST LEFT THIS ORGY
881
00:26:42,329 --> 00:26:44,496
PARTY THAT SHE FELT EXTREMELY
882
00:26:44,496 --> 00:26:45,079
UNCOMFORTABLE AND DID NOT
883
00:26:45,079 --> 00:26:47,912
PARTICIPATE IN, AND SHE JUST
884
00:26:47,912 --> 00:26:49,871
FINDS IT WITHIN HERSELF THAT
885
00:26:49,871 --> 00:26:51,288
SHE MUST HAVE SEX,
886
00:26:51,288 --> 00:26:53,205
AND HE'S SAFE FOR HER.
887
00:26:53,205 --> 00:26:54,038
HE IS SAFE.
888
00:26:54,038 --> 00:26:55,705
>>
889
00:26:59,956 --> 00:27:02,331
>> I LOST MYSELF IN THAT SCENE.
890
00:27:02,331 --> 00:27:03,706
I WAS NOT THERE.
891
00:27:03,706 --> 00:27:07,164
I SURRENDERED, IF YOU WILL, TO
892
00:27:07,164 --> 00:27:08,624
THE PART, AND THE PART, OR THE
893
00:27:08,624 --> 00:27:12,665
ROLE, THE MOTHER, JUST TOOK ME,
894
00:27:12,665 --> 00:27:15,123
UM, ON THIS TRIP.
895
00:27:15,123 --> 00:27:16,749
>> IT WAS ALMOST LIKE, YES, THIS
896
00:27:16,749 --> 00:27:18,249
IS THE NATURAL THING THAT SHOULD
897
00:27:18,249 --> 00:27:21,082
HAPPEN BETWEEN MY MOTHER AND I.
898
00:27:21,082 --> 00:27:21,833
THAT'S--
899
00:27:21,833 --> 00:27:22,457
>> I'M APPALLED.
900
00:27:22,457 --> 00:27:24,250
>> THERE'S NOTHING WRONGER
901
00:27:24,250 --> 00:27:25,792
>> WHAT'LL IT BE, GENTS?
902
00:27:27,458 --> 00:27:28,916
>> OH, THE MASTER WILL HAVE
903
00:27:28,916 --> 00:27:31,542
A BEER, ANYTHING IMPORTED.
904
00:27:31,542 --> 00:27:32,708
>> BOTTLE OF BUFFALO PISS,
905
00:27:32,708 --> 00:27:34,124
PLEASE.
906
00:27:34,124 --> 00:27:36,166
>> THE AMERO BROTHERS MADE A BIG
907
00:27:36,166 --> 00:27:38,500
BUDGET COMEDY. WE JUST HAD A LOT
908
00:27:38,500 --> 00:27:40,709
OF FUN. I SWEAR, THE BURNING OF
909
00:27:40,709 --> 00:27:41,626
ATLANTA SCENE OR WHATEVER WAS
910
00:27:41,626 --> 00:27:43,709
THE FUNNIEST THING I'VE EVER
911
00:27:43,709 --> 00:27:45,584
>> NOW, REMEMBER, PAY NO
912
00:27:47,000 --> 00:27:48,084
ATTENTION TO ME WHEN I'M TALKING
913
00:27:48,084 --> 00:27:49,626
TO YOU, JUST DO WHAT I SAY.
914
00:27:49,626 --> 00:27:51,000
THIS IS A VERY SIMPLE LITTLE
915
00:27:51,000 --> 00:27:52,544
SCENE I'D LIKE TO GET DONE
916
00:27:52,544 --> 00:27:54,502
QUICKLY, BECAUSE WE ARE SHOOTING
917
00:27:54,502 --> 00:27:54,960
THE BOMBING OF ATLANTA
918
00:27:54,960 --> 00:27:56,377
THIS AFTERNOON.
919
00:27:56,377 --> 00:27:58,418
>>
920
00:28:00,794 --> 00:28:02,835
>> IT WAS FUNNY AND QUIRKY.
921
00:28:07,503 --> 00:28:11,212
IT WAS-- IT WAS VERY HORNY,
922
00:28:11,212 --> 00:28:12,087
IT HAD SO MANY SEX SCENES.
923
00:28:13,629 --> 00:28:15,337
I WAS REALLY IMPRESSED.
924
00:28:15,337 --> 00:28:18,212
>> I DID IT IN A BOAT ONCE,
925
00:28:18,212 --> 00:28:19,838
AND I HAD TO DO ALL THE ROWING.
926
00:28:19,838 --> 00:28:22,671
>> R. BOLLA AND I ARE IN
927
00:28:22,671 --> 00:28:24,797
WYOMING, WHERE WE MEET
928
00:28:24,797 --> 00:28:27,587
THE CANE SISTERS.
929
00:28:32,587 --> 00:28:34,588
I DECIDE TO TAKE THEM TO
930
00:28:34,588 --> 00:28:36,879
NEW YORK WITH US, AND-- AND SHE
931
00:28:36,879 --> 00:28:38,505
SAYS SOMETHING LIKE, "WHAT,
932
00:28:38,505 --> 00:28:39,713
YOU GOT AN AIRPLANE?"
933
00:28:39,713 --> 00:28:41,046
>> ANYWAY, I'M TO BE QUEEN
934
00:28:41,046 --> 00:28:42,129
OF THE FAIRIES, AND I'VE GOT
935
00:28:42,129 --> 00:28:44,089
THIS TERRIFIC GOWN RIGGED UP.
936
00:28:44,089 --> 00:28:45,506
>> A GOWN?
937
00:28:45,506 --> 00:28:46,339
ARE YOU ONE OF THOSE
938
00:28:46,339 --> 00:28:47,422
TRANSYLVANIANS?
939
00:28:47,422 --> 00:28:48,839
>> SUSIE MANDELL WAS THE-- MY
940
00:28:48,839 --> 00:28:52,339
FAVORITE OF THE TWO CHARACTERS.
941
00:28:52,339 --> 00:28:54,674
>> CANDY, WHAT'S A FILM LOOP?
942
00:28:54,674 --> 00:28:55,714
>> YOU'VE GOT ME.
943
00:28:55,714 --> 00:28:59,423
>> THEY'RE LOOKING FOR 46 GIRLS
944
00:28:59,423 --> 00:29:00,632
AND A MONKEY.
945
00:29:00,632 --> 00:29:02,048
>> IT WAS REALLY A TRIBUTE TO
946
00:29:02,048 --> 00:29:05,383
THE, UH, MGM MOVIES,
947
00:29:05,383 --> 00:29:08,216
ONLY WITH HARDCORE SEX.
948
00:29:08,216 --> 00:29:09,633
>> FUCK.
949
00:29:09,633 --> 00:29:11,300
>> THE RAPE SCENE WHERE THE
950
00:29:11,300 --> 00:29:13,259
YANKEES CAME IN AND, LIKE,
951
00:29:13,259 --> 00:29:15,175
BANGED ALL THE CHICKS.
952
00:29:18,509 --> 00:29:20,467
>> I WANT A CUM SHOT, OR NONE OF
953
00:29:20,467 --> 00:29:22,133
YOU FAGGOTS GET PAID!
954
00:29:22,133 --> 00:29:24,801
>> "BLONDE AMBITION" WAS PLAYING
955
00:29:24,801 --> 00:29:26,925
IN NEW YORK-- THE R-RATED
956
00:29:26,925 --> 00:29:27,801
VERSION AT ONE THEATER,
957
00:29:27,801 --> 00:29:30,592
AND THE X-RATED VERSION AT
958
00:29:30,592 --> 00:29:31,842
>> IT'S SANDY, AM I RIGHT?
959
00:29:34,925 --> 00:29:37,260
OH, BUT THERE IS AN AMAZING
960
00:29:37,260 --> 00:29:38,718
RESEMBLANCE.
961
00:29:38,718 --> 00:29:40,176
BUT NOW THAT I LOOK AT YOU,
962
00:29:40,176 --> 00:29:41,426
>> WELL, IS MY SISTER HERE
963
00:29:42,552 --> 00:29:44,094
OR NOT?
964
00:29:44,094 --> 00:29:46,719
>> "NEON NIGHTS" HAD A VERY
965
00:29:46,719 --> 00:29:48,387
VERONICA HART PLAYED A MADAME,
966
00:29:51,219 --> 00:29:54,262
AND I WAS KIND OF HER BOY-TOY,
967
00:29:54,262 --> 00:29:55,554
>> I'M GONNA MAKE YOU SWEAT,
968
00:29:56,679 --> 00:29:57,886
BABY.
969
00:29:57,886 --> 00:29:59,053
YOU'RE MY PRIVATE FUCKING
970
00:29:59,053 --> 00:30:00,970
>> THE FILM WAS ACTUALLY
971
00:30:02,136 --> 00:30:03,846
KIND OF FUCKED UP.
972
00:30:03,846 --> 00:30:06,471
UM, THE DAUGHTER IS LISTENING TO
973
00:30:06,471 --> 00:30:08,555
HER MOM AND HER MOM'S BOYFRIEND
974
00:30:08,555 --> 00:30:10,054
AND THEN SHE STARTS
975
00:30:10,472 --> 00:30:13,221
MASTURBATING WITH A HAIRBRUSH.
976
00:30:13,221 --> 00:30:15,555
AND THEN SHE'S IN THE BATHROOM,
977
00:30:15,555 --> 00:30:15,930
AND HE COMES IN,
978
00:30:15,930 --> 00:30:18,096
AND HE'S TELLING HER TO SHUSH
979
00:30:18,096 --> 00:30:19,638
AND TURN AROUND, AND HE'S
980
00:30:19,638 --> 00:30:20,388
GRABBING ON HER
981
00:30:20,388 --> 00:30:21,347
AND TOUCHING HER.
982
00:30:21,347 --> 00:30:23,096
>> NO.
983
00:30:23,096 --> 00:30:26,055
>> TURN AROUND, COME ON.
984
00:30:26,055 --> 00:30:29,097
TURN AROUND, BABY.
985
00:30:29,097 --> 00:30:31,639
THAT'S A GIRL.
986
00:30:31,639 --> 00:30:32,847
THAT'S A GOOD GIRL.
987
00:30:32,847 --> 00:30:34,222
>> WHEN JAKE TEAGUE MAKES
988
00:30:34,222 --> 00:30:35,848
LYSA THATCHER ELEVATE, THEY DID
989
00:30:35,848 --> 00:30:37,306
IT VERY WELL, LIKE, HE WAS
990
00:30:37,306 --> 00:30:38,557
PUTTING HIS ARMS UNDERNEATH HER
991
00:30:38,557 --> 00:30:40,640
BUTT AND OVER HER BOOBS AND
992
00:30:40,640 --> 00:30:42,307
OVER HER VAGINA AND, LIKE, DOING
993
00:30:42,307 --> 00:30:43,848
THE WHOLE CREEPY THING, AND THEN
994
00:30:43,848 --> 00:30:46,306
I LOVE HOW HE GOT IN HER MIND.
995
00:30:46,306 --> 00:30:48,057
HE WAS HAVING SEX WITH ANOTHER
996
00:30:48,057 --> 00:30:50,099
WOMAN WHILE HE WAS INSIDE OF HER
997
00:30:50,099 --> 00:30:50,933
MIND, AND SHE WAS FEELING
998
00:30:50,933 --> 00:30:51,850
EVERYTHING THAT HIM AND THE
999
00:30:51,850 --> 00:30:52,975
OTHER WOMAN WERE DOING.
1000
00:30:52,975 --> 00:30:55,057
I THOUGHT THAT WAS PRETTY
1001
00:30:55,057 --> 00:30:56,392
INTERESTING.
1002
00:30:56,392 --> 00:30:59,267
>> SO VERONICA, BACK HOME,
1003
00:30:59,267 --> 00:31:03,600
IS TAKING A SHOWER, AND A LA
1004
00:31:03,600 --> 00:31:08,476
HITCHCOCK IN "PSYCHO," UH, I
1005
00:31:08,476 --> 00:31:10,602
ENTER-- BUT I HAD SOME FLOWERS--
1006
00:31:10,602 --> 00:31:12,184
AND I PULL BACK THE CURTAIN,
1007
00:31:12,184 --> 00:31:13,768
AND SHE SCREAMS.
1008
00:31:13,768 --> 00:31:15,850
>>
1009
00:31:15,850 --> 00:31:18,518
♪♪
1010
00:31:19,851 --> 00:31:22,101
>> GOTCHA!
1011
00:31:22,101 --> 00:31:23,811
OH, MAN, WERE YOU EVER GOIN'!
1012
00:31:23,811 --> 00:31:24,727
>> NO!
1013
00:31:24,727 --> 00:31:25,435
>> PEEING IN YOUR PANTS,
1014
00:31:25,435 --> 00:31:28,310
YOU WERE SO SCARED.
1015
00:31:28,310 --> 00:31:29,394
>> YOU FUCK!
1016
00:31:29,394 --> 00:31:31,143
>> SHE'S ALL PISSED OFF AT THAT,
1017
00:31:31,143 --> 00:31:31,852
AND THEN WE GO OFF IN THE
1018
00:31:31,852 --> 00:31:35,270
BEDROOM AND MAKE REALLY FRANTIC
1019
00:31:35,270 --> 00:31:36,478
AND HARD, HARD SEX.
1020
00:31:36,478 --> 00:31:37,936
>> I THOUGHT HE DID VERY WELL AT
1021
00:31:37,936 --> 00:31:39,311
KEEPING THE PLOT TOGETHER AND
1022
00:31:39,311 --> 00:31:40,020
MAKING IT AN INTERESTING MOVIE
1023
00:31:40,020 --> 00:31:43,061
THAT IS, NOT ONLY RISKY AND
1024
00:31:43,061 --> 00:31:45,437
DIFFERENT AND VERY INTERESTING
1025
00:31:45,437 --> 00:31:47,688
WITH THE MAGICIAN AND HER
1026
00:31:47,688 --> 00:31:49,062
HITCH-HIKING AND BEING IN LOVE
1027
00:31:49,062 --> 00:31:51,604
WITH HER MOTHER'S BOYFRIEND,
1028
00:31:51,604 --> 00:31:52,230
>> I WANNA GIVE IT A TRY.
1029
00:31:53,937 --> 00:31:56,146
I DON'T WANNA LOOK BACK
1030
00:31:56,146 --> 00:31:57,105
WITH REGRETS.
1031
00:31:57,105 --> 00:31:58,480
YOU KNOW, IF ONLY I'D GONE
1032
00:31:58,480 --> 00:31:59,522
TO NEW YORK, I COULD'VE BEEN
1033
00:31:59,522 --> 00:32:01,022
>> THE PLOT OF "ROOMMATES" IS
1034
00:32:03,231 --> 00:32:05,606
SHE HAPPENS TO BE A HOOKER,
1035
00:32:07,398 --> 00:32:09,022
AND SHE DECIDES TO GET OUT
1036
00:32:09,022 --> 00:32:09,398
OF THE BUSINESS.
1037
00:32:09,398 --> 00:32:10,896
AND HER APARTMENT'S TOO BIG
1038
00:32:10,896 --> 00:32:12,689
FOR HER, SO SHE CONSIGNS
1039
00:32:12,689 --> 00:32:13,147
TWO ROOMMATES TO COME
1040
00:32:13,147 --> 00:32:14,855
>> WELL, THERE YOU HAVE IT--
1041
00:32:15,439 --> 00:32:17,105
>> ONE WAS, UH, A BEAUTIFUL,
1042
00:32:19,523 --> 00:32:21,649
GORGEOUS MODEL, WHO,
1043
00:32:21,649 --> 00:32:23,189
UNFORTUNATELY, SEEMED TO HAVE
1044
00:32:23,189 --> 00:32:24,357
A DRUG PROBLEM AND GET IN
1045
00:32:24,357 --> 00:32:25,856
AND I PLAYED A COLLEGE STUDENT
1046
00:32:27,982 --> 00:32:29,399
WHO, ACTUALLY, I THINK,
1047
00:32:29,399 --> 00:32:30,400
RAN AWAY FROM COLLEGE.
1048
00:32:30,400 --> 00:32:32,440
I WAS HAVING AN AFFAIR WITH MY
1049
00:32:32,440 --> 00:32:33,650
COLLEGE PROFESSOR, AND IT
1050
00:32:33,650 --> 00:32:35,108
FINALLY DAWNED ON ME THAT
1051
00:32:35,108 --> 00:32:37,108
HE DIDN'T LOVE ME AT ALL.
1052
00:32:37,108 --> 00:32:38,108
>> MY CHARACTER HAD SOME BAD
1053
00:32:38,108 --> 00:32:41,276
PEOPLE IN HER LIFE, AND, UH,
1054
00:32:41,276 --> 00:32:43,818
STUFF HAPPENS BECAUSE I RUN
1055
00:32:43,818 --> 00:32:45,316
RAMPANT, AND I KIND OF
1056
00:32:45,316 --> 00:32:46,192
LEARN MY LESSON.
1057
00:32:46,192 --> 00:32:47,526
WHERE AM I?
1058
00:32:47,526 --> 00:32:48,609
>> YOU'RE IN QUEENS. WHERE THE
1059
00:32:48,609 --> 00:32:49,734
FUCK DO YOU THINK YOU ARE?
1060
00:32:49,734 --> 00:32:51,442
>> THE FAMOUS RAPE SCENE
1061
00:32:51,442 --> 00:32:53,150
FROM "ROOMMATES."
1062
00:32:53,150 --> 00:32:55,401
SO MUCH OF IT WAS INFERRED.
1063
00:32:55,401 --> 00:32:57,568
THE BACKS OF THE ACTORS WERE TO
1064
00:32:57,568 --> 00:32:58,527
THE CAMERA.
1065
00:32:58,527 --> 00:32:59,819
I WAS LAYING ON THE FLOOR.
1066
00:32:59,819 --> 00:33:01,318
>> RUB SOME ON HER FACE, SAL,
1067
00:33:01,318 --> 00:33:02,319
RUB IT IN.
1068
00:33:02,319 --> 00:33:02,985
MAKE HER EAT IT.
1069
00:33:02,985 --> 00:33:04,943
>> AGAIN, YOU HEAR THE SOUNDS,
1070
00:33:04,943 --> 00:33:07,151
YOU HEAR THEIR VOICES, YOU CAN
1071
00:33:07,151 --> 00:33:08,943
ONLY IMAGINE THE WORST POSSIBLE
1072
00:33:08,943 --> 00:33:11,652
THING IS HAPPENING TO ME.
1073
00:33:11,652 --> 00:33:13,735
JAMIE GILLIS COMES BURSTING IN,
1074
00:33:13,735 --> 00:33:15,319
STARTS KNOCKING THE GUYS ASIDE,
1075
00:33:15,319 --> 00:33:16,820
AND THEN JAMIE STARTS DOING
1076
00:33:16,820 --> 00:33:18,111
JAMIE GILLIS.
1077
00:33:18,111 --> 00:33:18,570
>> DID THEY HURT YOU?
1078
00:33:18,570 --> 00:33:19,695
>> NO.
1079
00:33:19,695 --> 00:33:21,361
>> LET ME SEE IF THEY HURT YOU.
1080
00:33:21,361 --> 00:33:23,279
THEY STUCK THE BOTTLE--
1081
00:33:23,279 --> 00:33:24,237
DID THEY HURT YOU WITH--
1082
00:33:24,237 --> 00:33:24,778
DID THEY HURT YOU WITH THE
1083
00:33:24,778 --> 00:33:26,529
BOTTLE WHEN THEY-- WHEN THEY
1084
00:33:26,529 --> 00:33:27,571
SHOVED IT IN?
1085
00:33:27,571 --> 00:33:28,696
>> HE'S NOT THERE TO HELP ME,
1086
00:33:28,696 --> 00:33:30,362
HE'S THERE TO JERK OFF ON ME,
1087
00:33:30,362 --> 00:33:31,070
YOU KNOW?
1088
00:33:31,070 --> 00:33:33,404
SICK, TWISTED JAMIE GILLIS.
1089
00:33:33,404 --> 00:33:34,821
>> HE WASN'T INTERESTED IN
1090
00:33:34,821 --> 00:33:36,321
DEGRADING ANYBODY, YOU KNOW?
1091
00:33:36,321 --> 00:33:37,488
CHUCK'S IDEA OF A GREAT TIME
1092
00:33:37,488 --> 00:33:39,697
WAS TO-- TO HAVE FUN.
1093
00:33:39,697 --> 00:33:41,363
>>
1094
00:33:41,363 --> 00:33:42,864
COME ON, YOU GUYS ARE ANIMALS.
1095
00:33:42,864 --> 00:33:44,738
TAKE A BREAK ALREADY.
1096
00:33:44,738 --> 00:33:45,989
IT DIDN'T FIT INTO ANY CATEGORY.
1097
00:33:45,989 --> 00:33:47,030
SO CHUCK REALLY WENT OUT
1098
00:33:47,030 --> 00:33:49,281
ON A LIMB TO MAKE THIS.
1099
00:33:49,281 --> 00:33:51,197
IT WAS ONE OF THE FIRST MOVIES
1100
00:33:51,197 --> 00:33:51,989
WHERE EVERYBODY WASN'T RUNNING
1101
00:33:51,989 --> 00:33:54,114
AROUND, GOING "FUCK ME, FUCK ME,
1102
00:33:54,114 --> 00:33:54,364
FUCK ME."
1103
00:33:54,364 --> 00:33:56,448
>> IN THE END OF THE 1970s,
1104
00:33:56,448 --> 00:33:57,615
THEATRICAL PORN FILMS
1105
00:33:57,615 --> 00:33:59,198
BEGIN TO STRUGGLE.
1106
00:33:59,198 --> 00:33:59,990
OBSCENITY PROSECUTIONS ROSE,
1107
00:33:59,990 --> 00:34:02,656
ZONING LAWS HAD FORCED ADULT
1108
00:34:02,656 --> 00:34:03,782
THEATERS INTO THE WORST
1109
00:34:03,782 --> 00:34:05,782
NEIGHBORHOODS, AND THE PORN CHIC
1110
00:34:05,782 --> 00:34:06,865
THAT FUELED TICKET SALES
1111
00:34:06,865 --> 00:34:07,115
DIED OUT.
1112
00:34:07,115 --> 00:34:09,906
BUT THERE WAS A NEW FRONTIER
1113
00:34:09,906 --> 00:34:10,407
OPENING FOR ADULT MOVIE
1114
00:34:10,407 --> 00:34:13,740
PRODUCERS-- THE VCR WAS ABOUT
1115
00:34:13,740 --> 00:34:15,240
TO REDEFINE THE PORN INDUSTRY
1116
00:34:15,240 --> 00:34:16,156
>> WHEN DID PEOPLE START
1117
00:34:17,448 --> 00:34:19,907
TO BUY VHS's?
1118
00:34:19,907 --> 00:34:20,950
WHEN WAS THAT STARTING TO BE
1119
00:34:20,950 --> 00:34:22,200
THE NORM VERSUS, UH,
1120
00:34:22,200 --> 00:34:23,492
GOING TO THE THEATER?
1121
00:34:23,492 --> 00:34:24,200
>> IN THE MID-'70s, THE MACHINES
1122
00:34:24,200 --> 00:34:26,241
CAME OUT, AND PEOPLE THOUGHT
1123
00:34:26,241 --> 00:34:28,075
THIS WAS THE GREATEST INVENTION
1124
00:34:28,075 --> 00:34:29,701
AND THEY HAD TO HAVE ONE--
1125
00:34:31,158 --> 00:34:31,576
YOU HAD TO GO OUT.
1126
00:34:31,576 --> 00:34:32,993
BUT, LIKE YOU SAID, THEY WERE
1127
00:34:32,993 --> 00:34:33,576
EXPENSIVE. THEY WERE
1128
00:34:33,576 --> 00:34:34,034
$1,000 A MACHINE.
1129
00:34:34,034 --> 00:34:36,702
AND THE MOVIES THEMSELVES
1130
00:34:36,702 --> 00:34:39,159
WERE $95.
1131
00:34:39,159 --> 00:34:41,034
THEY WOULD HAVE PARTIES, THOUGH.
1132
00:34:41,034 --> 00:34:41,993
THEY WOULD GO IN AND CHIP IN
1133
00:34:41,993 --> 00:34:42,535
>> THERE WAS MORE WORK THAN--
1134
00:34:44,743 --> 00:34:45,909
THAN GIRLS IN THE BUSINESS.
1135
00:34:45,909 --> 00:34:47,494
LIKE, THERE WERE, LIKE, 12 OF US
1136
00:34:47,494 --> 00:34:48,286
REALLY IN THE BUSINESS,
1137
00:34:48,286 --> 00:34:50,578
IT SEEMED, AND I THINK WE ALL
1138
00:34:50,578 --> 00:34:52,745
I MEAN, IT WAS JUST-- THE--
1139
00:34:54,161 --> 00:34:55,370
THE PRODUCERS COULDN'T GET
1140
00:34:55,370 --> 00:34:56,453
ENOUGH GIRLS.
1141
00:34:56,453 --> 00:34:57,578
>> SO WHAT WAS IT LIKE
1142
00:34:57,578 --> 00:34:59,035
SHOOTING-- WHAT WAS A DAY ONSET
1143
00:34:59,035 --> 00:35:00,244
LIKE BACK THEN?
1144
00:35:00,244 --> 00:35:01,244
>> UM, LET'S SEE, THERE WAS
1145
00:35:01,244 --> 00:35:03,787
USUALLY A SCRIPT, LIKE, A
1146
00:35:03,787 --> 00:35:05,161
20-PAGE SCRIPT, WHICH ALWAYS
1147
00:35:05,161 --> 00:35:06,661
IRRITATED ME, 'CAUSE I WAS NOT
1148
00:35:06,661 --> 00:35:08,078
GOOD AT MEMORIZING THINGS.
1149
00:35:08,078 --> 00:35:09,620
IT WAS ALWAYS SHOT AT, LIKE,
1150
00:35:09,620 --> 00:35:10,953
A REALLY NICE HOUSE,
1151
00:35:10,953 --> 00:35:12,787
THE LOCATION-- NOT ALWAYS, BUT
1152
00:35:12,787 --> 00:35:13,370
FOR THE MOST PART IT WAS, YOU
1153
00:35:13,370 --> 00:35:15,453
KNOW, SHOT IN REALLY NICE HOUSES
1154
00:35:15,453 --> 00:35:17,454
UP IN PORN VALLEY SOMEWHERE.
1155
00:35:17,454 --> 00:35:18,954
THEY ALWAYS HAD CATERING,
1156
00:35:18,954 --> 00:35:19,371
HAIR, AND MAKEUP.
1157
00:35:19,371 --> 00:35:22,663
I MEAN, IT WAS LIKE-- IN A WEIRD
1158
00:35:22,663 --> 00:35:24,329
WAY, IT WAS KINDA LIKE BEING ON
1159
00:35:24,329 --> 00:35:25,246
A REAL MOVIE SET, ONLY WE WERE
1160
00:35:25,246 --> 00:35:27,372
NAKED HAVING SEX.
1161
00:35:27,372 --> 00:35:27,955
>> YOU COULD ACTUALLY SEE THE
1162
00:35:27,955 --> 00:35:29,497
PLAYBACK AT-- ON THE SET.
1163
00:35:29,497 --> 00:35:31,581
IT WAS LIKE A WHOLE NEW WORLD.
1164
00:35:31,581 --> 00:35:33,080
BUT THE VIDEO QUALITY IN THOSE
1165
00:35:33,080 --> 00:35:35,498
DAYS WAS NOT THE BEST.
1166
00:35:35,498 --> 00:35:36,956
BUT EVERYBODY WANTED TO DO IT
1167
00:35:36,956 --> 00:35:38,081
BECAUSE IT WAS CHEAP,
1168
00:35:38,081 --> 00:35:39,582
IT WAS QUICK, IT WAS PAINLESS.
1169
00:35:39,582 --> 00:35:42,164
>> SO, AS A PERFORMER, WHAT...
1170
00:35:42,164 --> 00:35:43,456
DID THE CONSUMERS
1171
00:35:43,456 --> 00:35:44,457
SORT OF EXPECT FROM YOU?
1172
00:35:44,457 --> 00:35:45,291
LIKE, WERE YOU GUYS SHOOTING
1173
00:35:45,291 --> 00:35:46,874
A LOT OF CRAZY SEX ACTS?
1174
00:35:46,874 --> 00:35:47,206
>> NUDITY. NO.
1175
00:35:47,206 --> 00:35:48,290
>> OR DID THEY WANT YOU TO BE
1176
00:35:48,290 --> 00:35:50,708
A GOOD ACTRESS
1177
00:35:50,708 --> 00:35:51,666
DID THEY JUST WANNA SEE YOUR--
1178
00:35:51,666 --> 00:35:53,540
>> I THINK, IN 1984, THEY WERE
1179
00:35:53,540 --> 00:35:55,249
JUST HAPPY THAT THEY COULD WATCH
1180
00:35:55,249 --> 00:35:57,457
A FILM IN THEIR HOUSE OF A NAKED
1181
00:35:57,457 --> 00:35:58,999
GIRL SUCKING A GUY'S DICK.
1182
00:35:58,999 --> 00:36:00,874
LIKE, THERE WAS DEFINITELY NO
1183
00:36:00,874 --> 00:36:02,541
CRAZY SEX ACTS LIKE THERE ARE--
1184
00:36:02,541 --> 00:36:03,291
I MEAN, IT WAS KINDA LIKE, YOU
1185
00:36:03,291 --> 00:36:04,291
KNOW, THE TYPICAL THREE
1186
00:36:04,291 --> 00:36:07,957
POSITIONS, HEAD, HIM EATING ME
1187
00:36:07,957 --> 00:36:09,333
OUT, BUT IT WASN'T CRAZY SEX.
1188
00:36:09,333 --> 00:36:11,501
I REALLY THINK, BACK IN '84,
1189
00:36:11,501 --> 00:36:12,125
PEOPLE WERE JUST SO HAPPY THAT
1190
00:36:12,125 --> 00:36:13,292
THEY COULD WATCH PEOPLE HAVE SEX
1191
00:36:13,292 --> 00:36:16,042
>> GOOD EVENING, MUTANTS
1192
00:36:17,209 --> 00:36:21,209
AND MUTETTES, AND WELCOME TO
1193
00:36:21,209 --> 00:36:25,293
>> THE STORYLINE IS THERE'S BEEN
1194
00:36:27,835 --> 00:36:29,877
THING AND, IN THE WAKE OF THAT,
1195
00:36:33,628 --> 00:36:36,419
STILL STAND THE TOUCH OF ANOTHER
1196
00:36:38,169 --> 00:36:40,503
HUMAN BEING, AND THE REST OF
1197
00:36:40,503 --> 00:36:41,961
THEM CAN'T.
1198
00:36:41,961 --> 00:36:42,587
>> TRUST ME, FOLKS, I KNOW WHAT
1199
00:36:42,587 --> 00:36:44,169
YOU WANT, AND I KNOW WHAT IT
1200
00:36:44,169 --> 00:36:45,713
FEELS LIKE WHEN YOU DON'T
1201
00:36:45,713 --> 00:36:46,169
GET IT.
1202
00:36:46,169 --> 00:36:49,837
NEED IS MY FIX, LADIES AND
1203
00:36:49,837 --> 00:36:50,628
GENTLEMEN.
1204
00:36:50,628 --> 00:36:52,211
>> AND SO THE PEOPLE WHO CAN
1205
00:36:52,211 --> 00:36:53,795
TOUCH OTHER PEOPLE AND,
1206
00:36:53,795 --> 00:36:55,629
THEREFORE, HAVE SEX ARE FORCED
1207
00:36:55,629 --> 00:36:58,378
TO STAGE THESE LIVE SEX SHOWS
1208
00:36:58,378 --> 00:37:01,839
FOR THE PEOPLE WHO CAN'T HAVE
1209
00:37:01,839 --> 00:37:02,921
SEX LIKE THAT.
1210
00:37:02,921 --> 00:37:03,379
IT'S, LIKE, WEIRD AND
1211
00:37:03,379 --> 00:37:05,213
EXPERIMENTAL, BUT THEN IT'S GOT
1212
00:37:05,213 --> 00:37:08,337
THIS VERY OBVIOUS METAPHOR
1213
00:37:08,337 --> 00:37:11,213
ABOUT PORNOGRAPHY AND ITS PLACE
1214
00:37:11,213 --> 00:37:12,046
IN THE WORLD.
1215
00:37:12,046 --> 00:37:14,213
>> LEAVING SO SOON, FRIEND?
1216
00:37:14,213 --> 00:37:17,130
FEELING A LITTLE QUEASY?
1217
00:37:17,130 --> 00:37:18,381
>> LIVE THEATER, ON THE OTHER
1218
00:37:18,381 --> 00:37:20,422
HAND, AND THE HISTORY OF LIVE
1219
00:37:20,422 --> 00:37:21,922
THEATER, YOU CAN SEE A LOT OF
1220
00:37:21,922 --> 00:37:23,423
WHERE "CAFE FLESH'S" REFERENCES
1221
00:37:23,423 --> 00:37:25,007
PROBABLY CAME FROM.
1222
00:37:25,007 --> 00:37:26,798
>> "CAFE FLESH" STANDS THE TEST
1223
00:37:26,798 --> 00:37:28,299
OF TIME BECAUSE IT'S A PORNO
1224
00:37:28,299 --> 00:37:30,965
ABOUT PORNO.
1225
00:37:30,965 --> 00:37:34,173
IT, IT VERY MUCH IS WHAT IT IS,
1226
00:37:34,173 --> 00:37:36,674
AND THERE'S SOMETHING SO
1227
00:37:36,674 --> 00:37:39,174
WONDERFULLY HONEST ABOUT IT.
1228
00:37:39,174 --> 00:37:41,466
BUT THEN IT'S GOT ALL OF THE
1229
00:37:41,466 --> 00:37:43,383
OTHER LAYERS, SO IT REMAINS
1230
00:37:43,383 --> 00:37:44,801
INTERESTING.
1231
00:37:44,801 --> 00:37:46,632
I MEAN, YOU WATCH IT SIX OR
1232
00:37:46,632 --> 00:37:47,966
SEVEN TIMES, YOU'RE STILL GONNA
1233
00:37:47,966 --> 00:37:49,466
>> DOES IT EVER BOTHER YOU
1234
00:37:51,675 --> 00:37:52,592
FUCKING YOUR BEST FRIEND'S
1235
00:37:52,592 --> 00:37:54,133
WIFE?
1236
00:37:54,133 --> 00:37:56,759
>> YOU'RE IN
1237
00:37:56,759 --> 00:37:57,300
>> "SCOUNDRELS" WAS THE FIRST
1238
00:37:59,509 --> 00:38:01,217
FILM TO WIN A BEST PICTURE AWARD
1239
00:38:01,217 --> 00:38:02,759
AND HOWARD SAID TO ME, CECIL
1240
00:38:04,050 --> 00:38:04,676
HOWARD, "YOU'RE NOT GONNA CRACK
1241
00:38:04,676 --> 00:38:05,301
ONE JOKE IN THIS.
1242
00:38:05,301 --> 00:38:07,635
YOU'RE NOT GONNA BE-- NO MUGGING
1243
00:38:07,635 --> 00:38:08,301
TO THE CAMERA.
1244
00:38:08,301 --> 00:38:09,551
YOU'RE NOT GONNA BE A HAM."
1245
00:38:09,551 --> 00:38:11,010
>> RON JEREMY SCARED ME AT THAT
1246
00:38:11,010 --> 00:38:12,176
TIME, UM...
1247
00:38:12,176 --> 00:38:12,719
IT WAS, IT WAS REALLY ODD
1248
00:38:12,719 --> 00:38:14,594
BECAUSE, BEFORE I HAD MET
1249
00:38:14,594 --> 00:38:16,051
RON JEREMY, I HADN'T HEARD
1250
00:38:16,051 --> 00:38:18,093
ANYTHING ABOUT HIM, UM, BUT HIS
1251
00:38:18,093 --> 00:38:19,094
HEADSHOT TO ME LOOKED LIKE
1252
00:38:19,094 --> 00:38:19,803
>> HOWARD WAS A TOUGH GUY.
1253
00:38:20,678 --> 00:38:21,845
CECIL HOWARD WAS TOUGH.
1254
00:38:21,845 --> 00:38:22,344
HE WANTED THINGS HIS WAY.
1255
00:38:22,344 --> 00:38:24,469
BUT I RESPECT THAT.
1256
00:38:24,469 --> 00:38:25,678
>> I REALLY ENJOYED WORKING WITH
1257
00:38:25,678 --> 00:38:27,927
CECIL HOWARD, AND HE WAS ONE OF
1258
00:38:27,927 --> 00:38:28,846
MY FAVORITE DIRECTORS,
1259
00:38:28,846 --> 00:38:30,345
AND I WORKED FOR HIM
1260
00:38:30,345 --> 00:38:31,512
>> EVERYTHING IN THE MOVIE IS
1261
00:38:32,429 --> 00:38:34,637
VERY DARK LIT AND VERY DARK
1262
00:38:34,637 --> 00:38:35,762
IN GENERAL.
1263
00:38:35,762 --> 00:38:37,471
THE DRAMA OF THE MOVIE, I THINK,
1264
00:38:37,471 --> 00:38:38,513
>> AH, I'M GONNA CHANGE.
1265
00:38:45,512 --> 00:38:47,804
>> THAT'LL BE THE DAY.
1266
00:38:47,804 --> 00:38:48,680
>> IT'S A FASCINATING
1267
00:38:48,680 --> 00:38:49,847
PSYCHODRAMA.
1268
00:38:49,847 --> 00:38:51,388
THROUGHOUT THE MOVIE,
1269
00:38:51,388 --> 00:38:52,971
I'M IN CLOWN WHITE
1270
00:38:52,971 --> 00:38:53,430
TALKING ABOUT MY LIFE.
1271
00:38:53,430 --> 00:38:55,388
>> I'VE BEEN GOOD.
1272
00:38:55,388 --> 00:38:56,806
I'VE BEEN REAL GOOD.
1273
00:38:56,806 --> 00:38:58,972
FUCK IT, NOBODY TELLS THE TRUTH
1274
00:38:58,972 --> 00:38:59,723
ALL THE TIME.
1275
00:38:59,723 --> 00:39:00,723
>> EVERYBODY'S FUCKING EVERYBODY
1276
00:39:00,723 --> 00:39:01,972
IN THIS MOVIE, BUT IT'S NOT A
1277
00:39:01,972 --> 00:39:03,180
HAPPY-GO-LUCKY THING, YOU KNOW.
1278
00:39:03,180 --> 00:39:05,306
THE DOCTOR IS CHEATING ON HIS,
1279
00:39:05,306 --> 00:39:06,431
UM, HIS WIFE WITH HIS SECRETARY.
1280
00:39:06,431 --> 00:39:08,472
AND, YOU KNOW, HIS SECRETARY'S
1281
00:39:08,472 --> 00:39:10,223
CHEATING ON HIM WITH HIS BEST
1282
00:39:10,223 --> 00:39:10,889
FRIEND WHO, I BELIEVE, HIS WIFE
1283
00:39:10,889 --> 00:39:12,348
IS ALSO SLEEPING WITH.
1284
00:39:14,391 --> 00:39:16,600
AND THEN THEY HAVE THIS TEENAGE
1285
00:39:16,600 --> 00:39:18,974
DAUGHTER WHO FEELS INVISIBLE.
1286
00:39:18,974 --> 00:39:20,391
>> MY PERFECT PARENTS.
1287
00:39:20,391 --> 00:39:21,766
THEY DON'T KNOW ANYTHING
1288
00:39:21,766 --> 00:39:22,391
ABOUT ME.
1289
00:39:22,391 --> 00:39:25,559
WHAT DO I LIKE?
1290
00:39:25,559 --> 00:39:27,266
I LIKE MAKING LOVE.
1291
00:39:27,266 --> 00:39:28,308
>> SO SHE'S TAKING IT OUT
1292
00:39:28,308 --> 00:39:29,433
BY BECOMING A WHORE
1293
00:39:29,433 --> 00:39:31,100
AND HAVING ALL THE SEX
1294
00:39:31,100 --> 00:39:32,058
IN THE WORLD THAT SHE CAN.
1295
00:39:32,058 --> 00:39:32,851
>> SHE'S THE GIRL AT THE CANDY
1296
00:39:32,851 --> 00:39:34,726
STORE ON THE CORNER.
1297
00:39:34,726 --> 00:39:35,642
THAT'S WHY I GET TO SEE HER
1298
00:39:35,642 --> 00:39:36,518
EVERY DAY, AND THEN FINALLY,
1299
00:39:36,518 --> 00:39:38,057
I JUST TELL HER TO HOP IN.
1300
00:39:38,057 --> 00:39:39,100
SHE GETS IN MY CAR, AND WE'RE
1301
00:39:39,100 --> 00:39:41,058
GONNA ESCAPE AND RUN AWAY.
1302
00:39:41,058 --> 00:39:42,475
>> MY MOM ALWAYS TOLD ME
1303
00:39:42,475 --> 00:39:43,475
I SHOULD MARRY A DOCTOR.
1304
00:39:51,560 --> 00:39:54,435
>> WE CRASH MY CAR AND DIE.
1305
00:39:54,435 --> 00:39:55,518
WHICH IS CERTAINLY A STATEMENT
1306
00:39:55,518 --> 00:39:56,435
AGAINST INFIDELITY, YOU KNOW?
1307
00:39:56,435 --> 00:39:59,227
>> EVERYBODY HAS A DARK SIDE,
1308
00:39:59,227 --> 00:40:00,519
AND IT'S REALLY HARD TO HIDE
1309
00:40:00,519 --> 00:40:00,935
NO MATTER HOW PRETTY
1310
00:40:00,935 --> 00:40:01,603
YOUR SURROUNDINGS ARE.
1311
00:40:01,603 --> 00:40:03,894
AND THIS MOVIE REALLY DIGS INTO
1312
00:40:03,894 --> 00:40:05,603
EVERYBODY'S SEXUALLY DEVIANT
1313
00:40:05,603 --> 00:40:06,436
DARK SIDE.
1314
00:40:06,436 --> 00:40:06,854
>> NO ONE FILMS LIKE
1315
00:40:06,854 --> 00:40:07,436
THAT ANYMORE.
1316
00:40:07,436 --> 00:40:09,395
CECIL HOWARD, CHUCK VINCENT,
1317
00:40:09,395 --> 00:40:10,395
RADLEY METZGER, HENRI PACHARD,
1318
00:40:10,395 --> 00:40:11,437
ANTHONY SPINELLI ON THE WEST
1319
00:40:11,437 --> 00:40:13,812
COAST, THESE GUYS MADE FILMS
1320
00:40:13,812 --> 00:40:14,437
WHICH HAD SEX IN IT.
1321
00:40:17,520 --> 00:40:19,396
>> BY THE WAY, WHAT'S YOUR NAME?
1322
00:40:19,396 --> 00:40:20,229
>> ELIZABETH.
1323
00:40:20,229 --> 00:40:21,479
>> THAT'S A NICE NAME.
1324
00:40:25,606 --> 00:40:25,647
>> SPINELLI, HIS NAME WAS SAM,
1325
00:40:27,354 --> 00:40:27,814
HE WAS THE BACKBONE
1326
00:40:27,814 --> 00:40:28,479
HE WAS MORE THAN, UH,
1327
00:40:31,564 --> 00:40:32,606
A TALENTED DIRECTOR.
1328
00:40:32,606 --> 00:40:35,646
HE WAS MAKING THE BEST MOVIES.
1329
00:40:35,646 --> 00:40:37,814
AND HE BECAME A FRIEND
1330
00:40:37,814 --> 00:40:38,814
AND A MENTOR.
1331
00:40:38,814 --> 00:40:40,397
>> ANTHONY SPINELLI...
1332
00:40:40,397 --> 00:40:41,314
>> WHO IS...
1333
00:40:41,314 --> 00:40:42,731
>> HE WAS MY-- HE'S A DIRECTOR.
1334
00:40:42,731 --> 00:40:44,439
HE'S MY DAD.
1335
00:40:44,439 --> 00:40:45,480
IT WAS A GREAT TEAM.
1336
00:40:46,814 --> 00:40:47,857
HE WOULD USUALLY SAY,
1337
00:40:47,857 --> 00:40:48,898
"I HAVE AN IDEA."
1338
00:40:48,898 --> 00:40:49,981
AND I'D GO, AND I'D WRITE THE
1339
00:40:49,981 --> 00:40:51,523
ROUGH DRAFT, AND WE, UH,
1340
00:40:51,523 --> 00:40:52,815
SHOWED IT TO HIM, AND WE--
1341
00:40:52,815 --> 00:40:53,815
GREAT COLLABORATION,
1342
00:40:53,815 --> 00:40:54,773
>> THE PLOT OF "NOTHING TO HIDE"
1343
00:40:56,399 --> 00:40:58,106
REALLY REMINDED ME OF
1344
00:40:58,106 --> 00:40:59,399
"OF MICE AND MEN."
1345
00:40:59,399 --> 00:41:01,481
AND I THINK THAT THAT'S
1346
00:41:01,481 --> 00:41:01,816
REALLY DIFFERENT
1347
00:41:01,816 --> 00:41:04,608
FOR A PORN MOVIE.
1348
00:41:04,608 --> 00:41:05,482
HOW TO BE A MAN.
1349
00:41:06,524 --> 00:41:09,190
AND "LOVE'S FOR SUCKERS,"
1350
00:41:09,190 --> 00:41:10,149
HE'S TEACHING ME.
1351
00:41:10,149 --> 00:41:11,692
AND I FALL IN LOVE,
1352
00:41:11,692 --> 00:41:12,817
AND I WANNA MARRY.
1353
00:41:12,817 --> 00:41:15,275
>> HAVE YOU EVER LOVED SOMEBODY?
1354
00:41:15,275 --> 00:41:19,025
>> NO.
1355
00:41:19,025 --> 00:41:19,983
>> HAVE YOU EVER WANTED
1356
00:41:19,983 --> 00:41:20,651
TO LOVE SOMEBODY?
1357
00:41:20,651 --> 00:41:22,443
>> NO.
1358
00:41:22,443 --> 00:41:23,901
>> I THINK THAT THERE IS PARTS
1359
00:41:23,901 --> 00:41:24,611
OF THIS MOVIE THAT YOU CAN
1360
00:41:24,611 --> 00:41:25,526
JERK-OFF TO.
1361
00:41:25,526 --> 00:41:27,985
>> SLOW AND DEEP.
1362
00:41:27,985 --> 00:41:28,651
>> AS LONG AS YOU'RE INTO
1363
00:41:28,651 --> 00:41:28,943
JOHN LESLIE.
1364
00:41:28,943 --> 00:41:32,026
ONE OF THE SCENES IN THERE
1365
00:41:32,026 --> 00:41:34,776
HAS SOMETHING FOR MOST PEOPLE TO
1366
00:41:34,776 --> 00:41:35,569
JERK OFF TO.
1367
00:41:35,569 --> 00:41:38,152
>> OH, JACK!
1368
00:41:38,152 --> 00:41:40,402
>> I'M NOT SURE YOU CAN JERK OFF
1369
00:41:40,402 --> 00:41:43,444
TO THE RICHARD PACHECO SCENE.
1370
00:41:43,444 --> 00:41:44,027
>> NONE OF THE WOMEN THAT HAD
1371
00:41:44,027 --> 00:41:47,820
COME BY FIT WHAT SAM WANTED TO
1372
00:41:47,820 --> 00:41:49,069
COME OUT OF THAT CHARACTER.
1373
00:41:49,069 --> 00:41:51,361
>> AH!
1374
00:41:52,737 --> 00:41:53,903
WHY DON'T YOU WATCH WHERE
1375
00:41:53,903 --> 00:41:54,778
YOU'RE GOING?!
1376
00:41:54,778 --> 00:41:56,404
>> SHE WAS PERFECT.
1377
00:41:56,404 --> 00:41:58,278
>> THE SEX SCENE BETWEEN RICHARD
1378
00:41:58,278 --> 00:42:00,987
AND CHELSEA WAS MY FAVORITE.
1379
00:42:00,987 --> 00:42:04,904
IT WAS SO REAL.
1380
00:42:04,904 --> 00:42:07,195
>> I SORT OF GOT MY--
1381
00:42:07,195 --> 00:42:09,154
SOME SPITTLE ON MY FINGER AND
1382
00:42:09,154 --> 00:42:10,404
PLAYED WITH HER NIPPLE AND...
1383
00:42:10,404 --> 00:42:12,155
"NO, NO, NO,
1384
00:42:12,155 --> 00:42:13,155
WHAT ARE YOU DOING?
1385
00:42:13,155 --> 00:42:14,780
LENNY WOULD NEVER DO THAT!"
1386
00:42:14,780 --> 00:42:16,488
>> SEE?
1387
00:42:16,488 --> 00:42:16,988
>> OH, IS THAT A RUBBER?
1388
00:42:16,988 --> 00:42:19,071
>> HOW'D YOU KNOW?
1389
00:42:19,071 --> 00:42:20,238
>> I SAW ONE IN
1390
00:42:20,238 --> 00:42:20,698
MY BROTHER'S DRAWER.
1391
00:42:20,698 --> 00:42:23,323
>> I'VE NEVER SEEN THAT IN
1392
00:42:23,323 --> 00:42:23,906
A PORN MOVIE BEFORE WHERE THEY
1393
00:42:23,906 --> 00:42:26,822
ACTUALLY STOP THE SEX TO PUT ON
1394
00:42:26,822 --> 00:42:28,114
A CONDOM, AND THEY TALK ABOUT
1395
00:42:28,114 --> 00:42:28,739
PUTTING ON THE CONDOM AND HOW
1396
00:42:28,739 --> 00:42:31,238
SHE'S NEVER DONE THAT BEFORE,
1397
00:42:31,238 --> 00:42:32,405
AND IT JUST-- IT WAS SO,
1398
00:42:32,405 --> 00:42:34,699
SO REAL. I LOVED IT.
1399
00:42:34,699 --> 00:42:35,698
>> THERE'S A GREAT AWKWARDNESS
1400
00:42:35,698 --> 00:42:38,282
AND PLAYFULNESS ABOUT WINNING
1401
00:42:38,282 --> 00:42:39,490
THIS, ABOUT PUTTING ON THE
1402
00:42:39,490 --> 00:42:40,616
CONDOM 'CAUSE IT'S PLAYED,
1403
00:42:40,616 --> 00:42:41,782
PLAYED REALISTICALLY.
1404
00:42:41,782 --> 00:42:43,657
SPINELLI PLAYED THE OWNER
1405
00:42:43,657 --> 00:42:45,907
OF A HOT DOG STAND.
1406
00:42:45,907 --> 00:42:47,949
>> YOU DON'T FOOL ME.
1407
00:42:49,699 --> 00:42:50,699
YOU DON'T WANNA STOP BEING
1408
00:42:50,699 --> 00:42:52,949
A MOTHER AND A FATHER, RIGHT?
1409
00:42:52,949 --> 00:42:54,867
>> HE AND JOHN HAVE A LONG SCENE
1410
00:42:54,867 --> 00:42:56,576
WHERE THEY TALK ABOUT, YOU KNOW,
1411
00:42:56,576 --> 00:42:56,991
"YOU'RE JUST JEALOUS
1412
00:42:56,991 --> 00:42:58,241
IS WHAT IT IS."
1413
00:42:58,241 --> 00:42:59,242
YOU'RE GONNA LOSE THE KID.
1414
00:42:59,242 --> 00:43:01,284
WHEN AVN DID THEIR FIRST AWARDS,
1415
00:43:01,284 --> 00:43:03,909
THEY GAVE ME BEST ACTOR FOR
1416
00:43:03,909 --> 00:43:05,784
"IRRESISTIBLE", AND THEY ALSO
1417
00:43:05,784 --> 00:43:08,409
GAVE ME BEST SUPPORTING ACTOR
1418
00:43:08,409 --> 00:43:08,869
FOR "NOTHING TO HIDE."
1419
00:43:08,869 --> 00:43:11,993
THAT PROBABLY WAS THE
1420
00:43:11,993 --> 00:43:13,535
>> FOR SEVERAL MONTHS, I'VE BEEN
1421
00:43:15,076 --> 00:43:16,993
WRITING STORIES, NOT FOR
1422
00:43:16,993 --> 00:43:19,035
PUBLICATION BUT FOR A VERY
1423
00:43:19,035 --> 00:43:19,745
CURIOUS MAN,
1424
00:43:19,745 --> 00:43:22,327
A PRIVATE CLITEROTICA.
1425
00:43:22,327 --> 00:43:23,951
>> JANINE AND I BECAME BEST
1426
00:43:23,951 --> 00:43:25,285
FRIENDS WHEN WE WERE
1427
00:43:25,285 --> 00:43:26,827
18 AND 19 YEARS OLD.
1428
00:43:26,827 --> 00:43:28,035
AND I DON'T THINK EITHER OF US
1429
00:43:28,035 --> 00:43:29,160
REALLY KNEW WHAT TO BE
1430
00:43:29,160 --> 00:43:29,661
TOTALLY PREPARED FOR.
1431
00:43:29,661 --> 00:43:30,745
I THINK SHE'D DONE SOME...
1432
00:43:30,745 --> 00:43:32,828
SHE'D BEEN A "PENTHOUSE" PET SO
1433
00:43:32,828 --> 00:43:33,870
SHE'D DONE SOME "PENTHOUSE"
1434
00:43:33,870 --> 00:43:35,494
VIDEOS, BUT NOT EXACTLY THE
1435
00:43:35,494 --> 00:43:36,911
HARDCORE WE WERE ABOUT READY
1436
00:43:36,911 --> 00:43:37,828
TO GET INVOLVED IN.
1437
00:43:37,828 --> 00:43:39,077
>> WORKING WITH ANDREW BLAKE,
1438
00:43:39,077 --> 00:43:42,953
HE'S, UM... HE'S VERY
1439
00:43:42,953 --> 00:43:45,037
UNDERSTATED, YOU KNOW, QUIET
1440
00:43:45,037 --> 00:43:46,787
GUY, BUT HIS WHEELS ARE ALWAYS
1441
00:43:46,787 --> 00:43:47,038
>> ANDREW BLAKE IS THE
1442
00:43:48,413 --> 00:43:50,330
QUINTESSENTIAL ARTIST.
1443
00:43:50,330 --> 00:43:52,079
I MEAN, HE'S QUIRKY.
1444
00:43:52,079 --> 00:43:54,121
HE'S INTERESTING.
1445
00:43:54,121 --> 00:43:55,913
SOMEWHAT INTROVERTED.
1446
00:43:55,913 --> 00:43:58,455
BIT OF A RECLUSE, UH, EXCEPT FOR
1447
00:43:58,455 --> 00:43:59,414
WHEN HE'S FILMING, AND I THINK
1448
00:43:59,414 --> 00:44:00,331
THAT'S KIND OF WHEN IT ALL
1449
00:44:00,331 --> 00:44:01,497
>> I HIRED THIS GUY TO MAKE
1450
00:44:03,204 --> 00:44:04,873
THESE-- HE MADE, LIKE,
1451
00:44:04,873 --> 00:44:08,205
>> AND BOY, AT THE BEGINNING,
1452
00:44:09,956 --> 00:44:11,873
THERE'S SOME MIGHTY HEFTY ONES.
1453
00:44:11,873 --> 00:44:14,415
THEY WERE QUITE BIG.
1454
00:44:14,415 --> 00:44:16,914
>> AND WHEN HE ARRIVED ON THE
1455
00:44:16,914 --> 00:44:20,664
SET, HE WAS BLOODY, AND HE HAD
1456
00:44:20,664 --> 00:44:22,790
CUT HIMSELF, AND HE NEEDED TO GO
1457
00:44:22,790 --> 00:44:25,332
TO THE HOSPITAL.
1458
00:44:25,332 --> 00:44:27,832
AND HE DROPPED OFF THE DILDOS,
1459
00:44:27,832 --> 00:44:29,373
AND, YOU KNOW, I NEVER HEARD
1460
00:44:29,373 --> 00:44:30,498
FROM HIM AGAIN.
1461
00:44:31,166 --> 00:44:32,124
>> AND, OF COURSE, BY THE TIME
1462
00:44:32,124 --> 00:44:32,999
WE WERE DONE,
1463
00:44:32,999 --> 00:44:35,791
WE WERE COMPLETELY NUMB.
1464
00:44:35,791 --> 00:44:37,041
>> I DIDN'T KNOW ANYTHING ABOUT
1465
00:44:37,041 --> 00:44:37,708
THE ADULT INDUSTRY.
1466
00:44:37,708 --> 00:44:39,751
AT THAT TIME OF MAKING "HIDDEN
1467
00:44:39,751 --> 00:44:40,958
OBSESSIONS," I HAD NEVER
1468
00:44:40,958 --> 00:44:41,751
HEARD OF VIVID.
1469
00:44:41,751 --> 00:44:44,626
I KNEW NOTHING ABOUT THE
1470
00:44:44,626 --> 00:44:46,876
BIG-BUDGET CONTRACT GIRLS
1471
00:44:46,876 --> 00:44:47,792
AND WHAT HAVE YOU.
1472
00:44:47,792 --> 00:44:50,125
>> I MEAN, BASICALLY, I'M ONE TO
1473
00:44:50,125 --> 00:44:51,334
FLY UNDER THE RADAR.
1474
00:44:51,334 --> 00:44:53,959
THAT WAS THE WRONG FIRST SCENE
1475
00:44:53,959 --> 00:44:56,335
TO EVER DO.
1476
00:44:56,335 --> 00:44:57,793
>> I'M THE LAST MAN STANDING,
1477
00:44:57,793 --> 00:45:01,336
UH, STILL SHOOTING FILM.
1478
00:45:01,336 --> 00:45:03,335
WHEN I'M 80, AND I'M STILL
1479
00:45:03,335 --> 00:45:06,586
SHOOTING SOME 19-YEAR-OLD GIRL,
1480
00:45:06,586 --> 00:45:08,753
AND I WANNA KEEL OVER, AND MY
1481
00:45:08,753 --> 00:45:12,127
BOLEX GOES INTO HER PUSSY.
1482
00:45:12,127 --> 00:45:13,209
THAT'S WHAT I ENVISION FOR
1483
00:45:13,209 --> 00:45:14,044
>> WELL, I GUESS THESE ARE FOR
1484
00:45:16,586 --> 00:45:18,127
IF YOU'RE LONELY AT NIGHT AND,
1485
00:45:18,127 --> 00:45:20,711
UH, NEED SOMEONE TO TALK TO.
1486
00:45:20,711 --> 00:45:22,462
>> YEAH.
1487
00:45:22,462 --> 00:45:24,961
>> I TOOK THE IDEA OF "JUSTINE"
1488
00:45:24,961 --> 00:45:27,796
FROM A FRENCH FILM BY, UM,
1489
00:45:27,796 --> 00:45:30,712
A DIRECTOR NAMED LOUIS MALLE.
1490
00:45:30,712 --> 00:45:34,296
IT'S ABOUT A FATHER WHO
1491
00:45:34,296 --> 00:45:38,589
FALLS FOR HIS SON'S GIRLFRIEND.
1492
00:45:38,589 --> 00:45:39,546
>> I SAID, I'VE SEEN IT.
1493
00:45:39,546 --> 00:45:40,588
AND HE SAID, "WHAT'D YOU THINK?"
1494
00:45:40,588 --> 00:45:42,464
AND I SAID, "I HATED IT."
1495
00:45:42,464 --> 00:45:43,962
HE SAID, "YOU HATED IT, WHY?"
1496
00:45:43,962 --> 00:45:44,797
I SAID, "BECAUSE OF THE MORALITY
1497
00:45:44,797 --> 00:45:47,213
THAT THIS MAN WOULD DESTROY HIS
1498
00:45:49,757 --> 00:45:52,672
SON AND HIS WIFE FOR THE SAKE OF
1499
00:45:52,672 --> 00:45:54,423
>> IT WAS AN EVENT OF MY...
1500
00:45:56,757 --> 00:45:58,798
SORT OF... HAVING A SON WHO'S IN
1501
00:45:58,798 --> 00:46:01,007
SOME WAYS MORE GROWN-UP THAN ME.
1502
00:46:01,007 --> 00:46:01,883
HE'S TELLING ME, YOU KNOW,
1503
00:46:01,883 --> 00:46:03,965
>> WHY DON'T YOU TELL ME WHAT
1504
00:46:05,549 --> 00:46:07,924
YOU'RE THINKING.
1505
00:46:07,924 --> 00:46:10,466
>> I'M THINKING ABOUT MY FATHER.
1506
00:46:10,466 --> 00:46:12,214
>> YOUR FATHER?
1507
00:46:12,214 --> 00:46:15,466
>> IN "DAMAGE", UH, JEREMY IRONS
1508
00:46:15,466 --> 00:46:16,341
IS THE FATHER.
1509
00:46:16,341 --> 00:46:19,175
HE KNEW THAT THIS WAS HIS SON'S
1510
00:46:19,175 --> 00:46:20,216
GIRLFRIEND.
1511
00:46:20,216 --> 00:46:21,759
HE DIDN'T CARE.
1512
00:46:21,759 --> 00:46:24,300
>> BUT IN OUR MOVIE,
1513
00:46:24,300 --> 00:46:26,175
THE FATHER WOULD NOT DESTROY
1514
00:46:26,175 --> 00:46:27,258
HIS SON.
1515
00:46:27,258 --> 00:46:28,800
HE WOULD GIVE UP THE GIRL
1516
00:46:28,800 --> 00:46:30,800
BECAUSE HIS SON IS HIS SON.
1517
00:46:30,800 --> 00:46:32,760
>> MMM.
1518
00:46:34,843 --> 00:46:37,134
WOULD YOU LIKE A TASTE?
1519
00:46:37,134 --> 00:46:39,217
>> I LIKE OUR VERSION BETTER.
1520
00:46:39,217 --> 00:46:41,052
>> ROXANNE BLAZE HAD A SERIES OF
1521
00:46:41,052 --> 00:46:44,010
ENDLESS ORGASMS FROM A WATER
1522
00:46:44,010 --> 00:46:45,344
HOSE I WAS SPRAYING HER WITH.
1523
00:46:45,344 --> 00:46:46,552
AND THAT WAS VERY REAL,
1524
00:46:46,552 --> 00:46:49,510
IT WAS VERY INTERESTING.
1525
00:46:49,510 --> 00:46:51,303
>> SHE'S ONE OF HIS GIRLS,
1526
00:46:51,303 --> 00:46:52,844
HE WOULD LOOK AND-- AND SAY,
1527
00:46:52,844 --> 00:46:55,303
"WHAT'S A NICE GIRL LIKE YOU
1528
00:46:55,303 --> 00:46:57,011
DOING IN A PLACE LIKE THIS?"
1529
00:46:57,011 --> 00:47:00,011
WHY'D YOU COME BACK, HMM?
1530
00:47:00,011 --> 00:47:03,512
>> BECAUSE I SHOULDN'T HAVE.
1531
00:47:03,512 --> 00:47:04,845
BECAUSE YOU'RE DANGEROUS FOR ME.
1532
00:47:04,845 --> 00:47:06,345
>> WE REALLY FELT
1533
00:47:06,345 --> 00:47:08,053
WHAT WE WERE DOING--
1534
00:47:08,053 --> 00:47:09,053
YOU KNOW, WE KNEW IT WAS
1535
00:47:09,053 --> 00:47:09,928
ONLY PORN.
1536
00:47:09,928 --> 00:47:12,386
BUT WE WANTED TO MAKE IT THE
1537
00:47:12,386 --> 00:47:13,553
BEST PORN WE COULD POSSIBLY
1538
00:47:13,553 --> 00:47:14,137
MAKE IT.
1539
00:47:14,137 --> 00:47:14,970
>> "JUSTINE" DOES QUALIFY AS ONE
1540
00:47:14,970 --> 00:47:18,054
OF THE BETTER MOVIES MADE, UH,
1541
00:47:18,054 --> 00:47:20,012
UH, BOTH IN THE HISTORY OF PORN,
1542
00:47:20,012 --> 00:47:21,971
BUT IN MY PERSONAL HISTORY
1543
00:47:21,971 --> 00:47:22,847
WORKING.
1544
00:47:22,847 --> 00:47:24,638
IT WOULD BE IN MY TOP TEN
1545
00:47:24,638 --> 00:47:25,263
>> MY CRIME WAS TO SHARE THESE
1546
00:47:27,138 --> 00:47:28,889
VISIONS WITH YOU.
1547
00:47:28,889 --> 00:47:31,305
THE TRUTH.
1548
00:47:31,305 --> 00:47:33,180
AND FOR THIS, I HAVE BEEN
1549
00:47:33,180 --> 00:47:34,931
>> "LATEX" WAS VERY INEXPENSIVE
1550
00:47:37,973 --> 00:47:38,264
BUT THEN THERE WAS ABOUT
1551
00:47:39,890 --> 00:47:42,766
12 MONTHS OF POST MAKING ALL OF
1552
00:47:42,766 --> 00:47:44,599
THIS STUFF, SO THAT MIGHT'VE
1553
00:47:44,599 --> 00:47:45,766
THIS IS A WHOLE MOVIE FULL OF
1554
00:47:47,515 --> 00:47:49,016
COMPUTER-GENERATED EFFECTS.
1555
00:47:49,016 --> 00:47:49,933
THIS WAS SO FAR BEFORE ANYBODY
1556
00:47:49,933 --> 00:47:51,973
EVER THOUGHT TO DO ANYTHING LIKE
1557
00:47:51,973 --> 00:47:53,933
THAT FOR PORNO, YOU KNOW?
1558
00:47:53,933 --> 00:47:55,016
EVERYBODY WHO WORKED ON
1559
00:47:55,016 --> 00:47:56,725
A MICHAEL NINN FEATURE KNEW THEY
1560
00:47:56,725 --> 00:47:57,141
WERE IN FOR A RIDE.
1561
00:47:57,141 --> 00:47:58,934
THIS IS SOMETHING THAT YOU'RE
1562
00:47:58,934 --> 00:48:00,933
NOT GONNA WALK IN AND BE OUT OF
1563
00:48:00,933 --> 00:48:02,141
THERE IN AN HOUR.
1564
00:48:02,141 --> 00:48:03,057
UH, MORE OFTEN THAN NOT, IT
1565
00:48:03,057 --> 00:48:04,933
MIGHT TAKE YOU A COUPLE OF HOURS
1566
00:48:04,933 --> 00:48:07,183
JUST TO GET YOUR MAKEUP ON.
1567
00:48:07,183 --> 00:48:08,684
HE SAYS THAT YOU CLAIMED TO BE
1568
00:48:08,684 --> 00:48:11,266
ABLE TO "SEE INSIDE OF PEOPLE."
1569
00:48:11,266 --> 00:48:12,434
DID YOU SAY THAT?
1570
00:48:12,434 --> 00:48:15,768
>> YES.
1571
00:48:15,768 --> 00:48:16,809
>> I'D CALL THAT E.S.P.,
1572
00:48:16,809 --> 00:48:17,142
WOULDN'T YOU?
1573
00:48:17,142 --> 00:48:19,225
>> I WOULD CALL IT SEEING
1574
00:48:19,225 --> 00:48:20,059
>> JON DOUGH REALLY TOOK HOLD OF
1575
00:48:22,476 --> 00:48:24,226
THAT ROLE AND CREATED THAT ROLE
1576
00:48:24,226 --> 00:48:24,976
ALMOST ON HIS OWN.
1577
00:48:24,976 --> 00:48:28,060
UM, MICHAEL NINN MADE IT INTO
1578
00:48:28,060 --> 00:48:29,644
VISUALLY POWERFUL MOVIE AND
1579
00:48:31,268 --> 00:48:32,728
TECHNICALLY FAR SUPERIOR THAN
1580
00:48:32,728 --> 00:48:33,895
MOST EVERYTHING ELSE THAT HAD
1581
00:48:33,895 --> 00:48:34,977
BEEN MADE BEFORE THAT.
1582
00:48:34,977 --> 00:48:36,019
>> YOU'RE ASKING ME TO EXPLAIN
1583
00:48:36,019 --> 00:48:38,519
SOMETHING THAT I DON'T REALLY
1584
00:48:38,519 --> 00:48:38,936
UNDERSTAND MYSELF.
1585
00:48:38,936 --> 00:48:43,062
>> HE WAS SO DEEPLY DEDICATED TO
1586
00:48:43,062 --> 00:48:44,436
WHAT WAS GOING IN THERE, MORE
1587
00:48:44,436 --> 00:48:45,520
THAN I EVER SAW HIM
1588
00:48:45,520 --> 00:48:46,896
IN ANY MOVIE.
1589
00:48:46,896 --> 00:48:47,354
>> THERE WAS ONE SET,
1590
00:48:47,354 --> 00:48:50,062
THE KITCHEN SET WITH ZACK
1591
00:48:50,062 --> 00:48:51,688
AND SUNSET THOMAS.
1592
00:48:51,688 --> 00:48:53,688
THAT'S THE ONLY SET WE SHOT ON.
1593
00:48:53,688 --> 00:48:54,688
EVERYTHING ELSE WAS SHOT
1594
00:48:54,688 --> 00:48:55,229
AGAINST GREEN SCREEN, WHICH
1595
00:48:55,229 --> 00:48:57,520
MEANS EVERYTHING ELSE IN THE
1596
00:48:57,520 --> 00:48:58,938
MOVIE HAD TO BE MANUFACTURED
1597
00:48:58,938 --> 00:49:00,146
>> I'M IN THE KITCHEN, YOU KNOW,
1598
00:49:01,563 --> 00:49:02,062
LATEX GLOVES ON.
1599
00:49:02,062 --> 00:49:04,563
AND THERE'S THESE BIG, WHITE
1600
00:49:04,563 --> 00:49:06,021
AND I WAS IN THE DRESSING ROOM.
1601
00:49:07,521 --> 00:49:08,521
I WAS JUST ALL UPSET BECAUSE
1602
00:49:08,521 --> 00:49:09,647
I WAS SO USED WEARING THESE
1603
00:49:09,647 --> 00:49:11,105
LITTLE SKIMPY UNDERWEAR.
1604
00:49:11,105 --> 00:49:12,647
I SAID, "MIKE, I CANNOT WEAR
1605
00:49:12,647 --> 00:49:14,773
THESE GRANNY UNDERWEAR."
1606
00:49:17,230 --> 00:49:18,898
>> MICHAEL NINN SEEMS TO DEAL
1607
00:49:18,898 --> 00:49:21,190
MORE WITH, UM, BROAD SYMBOLISM,
1608
00:49:21,190 --> 00:49:21,981
LIKE, SYMBOLIC STORIES.
1609
00:49:21,981 --> 00:49:24,565
THEY WERE HUGE STORIES THAT
1610
00:49:24,565 --> 00:49:26,065
TALKED ABOUT BASICALLY
1611
00:49:26,065 --> 00:49:26,398
GOOD AND EVIL.
1612
00:49:26,398 --> 00:49:29,273
THERE'S ALWAYS THE INNOCENCE
1613
00:49:29,273 --> 00:49:30,482
THAT GETS CORRUPTED.
1614
00:49:30,482 --> 00:49:33,565
THERE'S THE, THE SOCIETY THAT
1615
00:49:33,565 --> 00:49:35,024
CHURNS UP THE INNOCENTS IN ITS
1616
00:49:35,024 --> 00:49:37,858
GEARS, IT'S-- IT'S VERY SYMBOLIC
1617
00:49:37,858 --> 00:49:39,691
AND BROAD IN ITS SCOPE, AND
1618
00:49:39,691 --> 00:49:40,859
I THINK ANDREW BLAKE WAS MORE
1619
00:49:40,859 --> 00:49:41,232
ABOUT INSTANCES.
1620
00:49:41,232 --> 00:49:43,150
>> HOME VIDEO BECAME SUCH
1621
00:49:43,150 --> 00:49:44,983
A POPULAR FORMAT FOR PORN THAT,
1622
00:49:44,983 --> 00:49:46,817
BY THE MID-90'S, ADULT THEATERS
1623
00:49:46,817 --> 00:49:47,692
WERE ESSENTIALLY A THING
1624
00:49:47,692 --> 00:49:48,692
OF THE PAST.
1625
00:49:48,692 --> 00:49:50,192
PRODUCERS TRADED NEW YORK AND
1626
00:49:50,192 --> 00:49:51,108
SAN FRANCISCO FOR SUNNY L.A.,
1627
00:49:51,108 --> 00:49:53,524
AND THE SAN FERNANDO VALLEY
1628
00:49:53,524 --> 00:49:55,233
BECAME THE UNDISPUTED CAPITAL
1629
00:49:55,233 --> 00:49:57,233
OF THE ADULT BUSINESS.
1630
00:49:57,233 --> 00:49:58,233
VHS AND THE INDUSTRY SEEMED LIKE
1631
00:49:58,233 --> 00:50:00,067
A MARRIAGE THAT WOULD LAST
1632
00:50:00,067 --> 00:50:01,192
FOREVER.
1633
00:50:01,192 --> 00:50:02,067
BUT PROGRESS NEVER STANDS STILL.
1634
00:50:02,067 --> 00:50:04,652
AND A POWERFUL NEW FORMAT WAS
1635
00:50:04,652 --> 00:50:06,318
ABOUT TO BRING NEW OPTIONS AND
1636
00:50:06,318 --> 00:50:08,109
>> WHY ARE YOU GOING THROUGH
1637
00:50:08,735 --> 00:50:10,777
MY PURSE?
1638
00:50:10,777 --> 00:50:12,653
>> TO FIND YOUR BADGE.
1639
00:50:12,653 --> 00:50:13,234
YOUR FIREMAN I.D.
1640
00:50:13,234 --> 00:50:14,068
>> YOU'RE THE KIND OF GIRL WHO
1641
00:50:14,068 --> 00:50:16,610
TAKES OUT PERSONAL ADS.
1642
00:50:16,610 --> 00:50:18,904
"OH, HOT-BLOODED BLONDE
1643
00:50:18,904 --> 00:50:20,694
>> IT WAS SHORTLY AFTER
1644
00:50:21,819 --> 00:50:22,445
"BACKDRAFT," THAT BIG FIREMAN
1645
00:50:22,445 --> 00:50:24,277
AND WHEN IT CAME TO
1646
00:50:25,904 --> 00:50:26,986
"FLASHPOINT," WHAT WE WERE
1647
00:50:26,986 --> 00:50:29,654
TRYING TO DO IS WE HAD KIND OF
1648
00:50:29,654 --> 00:50:30,278
STARTED TO ELEVATE OUR ADULT
1649
00:50:30,278 --> 00:50:32,737
MOVIES INTO WHAT WE THOUGHT
1650
00:50:32,737 --> 00:50:33,363
SEX OUT OF THEM, BECOME KIND OF
1651
00:50:36,529 --> 00:50:38,029
LIKE THAT "B" MOVIE VIBE.
1652
00:50:38,029 --> 00:50:39,863
>> I JUST WISH I HAD
1653
00:50:39,863 --> 00:50:43,197
IT HAD A STORYLINE.
1654
00:50:44,780 --> 00:50:46,572
AND IT HAD REAL ACTING.
1655
00:50:46,572 --> 00:50:49,946
>> FOR ITS TIME, IT WAS A HUGE
1656
00:50:51,656 --> 00:50:54,197
MOVIE, AND, UH, AS LUCK WOULD
1657
00:50:54,197 --> 00:50:56,739
HAVE IT, I JUST HAPPENED TO MEET
1658
00:50:56,739 --> 00:50:58,447
A BIG PYROTECHNICS GUY WHO
1659
00:50:58,447 --> 00:50:59,656
WORKED IN THE MAINSTREAM.
1660
00:50:59,656 --> 00:51:00,906
>> THEY ACTUALLY WORKED ON
1661
00:51:00,906 --> 00:51:01,280
"BACKDRAFT."
1662
00:51:01,280 --> 00:51:03,280
>> WHEN WORKING WITH FIRE,
1663
00:51:03,280 --> 00:51:04,239
OF COURSE, THERE'S ALWAYS A HUGE
1664
00:51:04,239 --> 00:51:07,114
AMOUNT OF SAFETY PRECAUTIONS
1665
00:51:07,114 --> 00:51:08,615
ESPECIALLY WITH THE MAINSTREAM
1666
00:51:08,615 --> 00:51:10,073
GUY DOING IT ALL, YOU KNOW,
1667
00:51:10,073 --> 00:51:10,782
WE HAD SAFETY MEETINGS
1668
00:51:10,782 --> 00:51:11,574
ALL THE TIME.
1669
00:51:11,574 --> 00:51:12,949
>> AT THE TIME, I DIDN'T REALLY
1670
00:51:12,949 --> 00:51:14,783
THINK ABOUT HOW HARD IT IS
1671
00:51:14,783 --> 00:51:16,157
TO BE A FIREFIGHTER.
1672
00:51:16,157 --> 00:51:18,658
SO THEY HAD ME CARRYING
1673
00:51:18,658 --> 00:51:20,990
DUMMIES UPSTAIRS.
1674
00:51:20,990 --> 00:51:22,032
>> I THINK A COUPLE OF PEOPLE
1675
00:51:22,032 --> 00:51:22,659
STARTED THINKING THEY WERE GONNA
1676
00:51:22,659 --> 00:51:23,324
PASS OUT RUNNING UP AND DOWN
1677
00:51:23,324 --> 00:51:25,784
STAIRS WITH ALL THE GEAR ON.
1678
00:51:25,784 --> 00:51:27,241
>> STEVENS, WHAT DO YOU THINK
1679
00:51:27,241 --> 00:51:28,158
YOU'RE DOING?
1680
00:51:28,158 --> 00:51:30,283
>> SHH!
1681
00:51:30,283 --> 00:51:31,533
>> IF THE CAPTAIN CATCHES YOU,
1682
00:51:31,533 --> 00:51:32,742
YOUR ASS IS HISTORY.
1683
00:51:32,742 --> 00:51:34,409
>> I DIDN'T REALLY REALIZE HOW
1684
00:51:34,409 --> 00:51:36,284
INCREDIBLY REAL
1685
00:51:36,284 --> 00:51:38,618
THIS WAS GOING TO BE.
1686
00:51:38,618 --> 00:51:41,451
WHEN YOU'RE HAVING SEX BEHIND
1687
00:51:41,451 --> 00:51:45,868
FIRE, YOU DON'T REALLY REALIZE
1688
00:51:45,868 --> 00:51:47,284
THE FEAR THAT YOU'RE
1689
00:51:47,284 --> 00:51:48,534
GONNA BE FEELING.
1690
00:51:48,534 --> 00:51:50,451
>> WE REALLY ONLY HAD ONE HUGE
1691
00:51:50,451 --> 00:51:53,992
FIRE DAY, AND HE HAD A HUGE CREW
1692
00:51:53,992 --> 00:51:55,285
IN THERE TO MAKE SURE EVERYBODY
1693
00:51:55,285 --> 00:51:56,619
KNEW WHAT THEY WERE DOING.
1694
00:51:56,619 --> 00:51:59,952
AND REALLY HAD A GRASP OF WHAT
1695
00:51:59,952 --> 00:52:01,535
THE ISSUES WERE WHEN IT CAME TO
1696
00:52:01,535 --> 00:52:04,161
SAFETY AND ANY, UH-- AND KEEPING
1697
00:52:04,161 --> 00:52:05,161
THE ACTORS OUT OF DANGER.
1698
00:52:05,161 --> 00:52:08,578
>> I REALLY THINK THAT WE--
1699
00:52:08,578 --> 00:52:09,328
WE ACCOMPLISHED SOMETHING
1700
00:52:09,328 --> 00:52:12,411
REALLY BEAUTIFUL AND SOMETHING
1701
00:52:12,411 --> 00:52:13,788
>> TO BE HONEST WITH YOU,
1702
00:52:15,954 --> 00:52:17,079
I DIDN'T EXACTLY INHERIT
1703
00:52:17,079 --> 00:52:19,412
MY FATHER'S SIN...
1704
00:52:19,412 --> 00:52:24,080
>> IT WAS NOT
1705
00:52:24,412 --> 00:52:25,246
A HIGH-BUDGET MOVIE.
1706
00:52:25,246 --> 00:52:28,038
OVER FIVE DAYS FOR 70 GRAND.
1707
00:52:30,955 --> 00:52:34,330
SO 2-1/2 DAYS, $35,000...
1708
00:52:34,330 --> 00:52:35,997
IT'S NOTHING FOR FILM.
1709
00:52:35,997 --> 00:52:36,580
>> TO ME, IT WAS A BIG DEAL
1710
00:52:36,580 --> 00:52:37,414
BECAUSE THIS WAS ANOTHER ONE--
1711
00:52:37,414 --> 00:52:39,581
YOU KNOW, THE FILMS WERE HERE
1712
00:52:39,581 --> 00:52:40,914
AND THERE, JUST FEW AND FAR
1713
00:52:40,914 --> 00:52:41,413
>> DIDN'T YOU APPLY AT
1714
00:52:43,038 --> 00:52:43,996
THE SHERIFF'S OFFICE IN COUNCIL
1715
00:52:43,996 --> 00:52:45,163
BLUFFS OR SOMETHING?
1716
00:52:45,163 --> 00:52:46,164
>> YEAH, I GOT ACCEPTED, TOO,
1717
00:52:46,164 --> 00:52:46,915
BUT I'M NOT READY TO LEAVE YET.
1718
00:52:46,915 --> 00:52:48,164
>> THE ACTORS THAT CAME ON
1719
00:52:48,164 --> 00:52:49,581
REALLY TOOK IT SERIOUSLY AND
1720
00:52:49,581 --> 00:52:50,289
REALLY, YOU KNOW, I GOT GOOD
1721
00:52:50,289 --> 00:52:52,539
PEOPLE WITH ACTING CHOPS.
1722
00:52:52,539 --> 00:52:53,290
SHANNA McCULLOUGH WHO,
1723
00:52:53,290 --> 00:52:55,331
YOU KNOW, LATER WON AN AWARD
1724
00:52:55,331 --> 00:52:57,082
FOR IT FOR BEST ACTRESS.
1725
00:52:57,082 --> 00:52:58,165
>> THIS WAS A FILM NOIR
1726
00:52:58,165 --> 00:52:59,415
AND IT WAS A DETECTIVE STORY
1727
00:52:59,415 --> 00:53:01,457
AND HE WANTED ME TO STAR IN IT.
1728
00:53:01,457 --> 00:53:04,208
IT'S A STORY OF TWO DETECTIVES
1729
00:53:04,208 --> 00:53:06,123
AND THIS WOMAN
1730
00:53:06,123 --> 00:53:07,750
WHO'S A FEMME FATALE KILLER.
1731
00:53:07,750 --> 00:53:09,875
AND SHE'S, YOU KNOW, SEDUCING
1732
00:53:09,875 --> 00:53:11,124
MEN AND THEN KILLING THEM.
1733
00:53:11,124 --> 00:53:11,625
AND SHE'S BEEN STALKING
1734
00:53:11,625 --> 00:53:13,917
MY PARTNER.
1735
00:53:13,917 --> 00:53:14,459
APPARENTLY, HIS FATHER DEALT
1736
00:53:14,459 --> 00:53:17,083
WITH THIS ALSO FEMME FATALE
1737
00:53:17,083 --> 00:53:19,125
IN HIS CAREER AS A POLICEMAN.
1738
00:53:19,125 --> 00:53:21,125
AND HE THINKS IT'S THE SAME
1739
00:53:21,125 --> 00:53:22,501
WOMAN AND SHE'S STILL AROUND
1740
00:53:22,501 --> 00:53:23,668
AFTER 50 YEARS.
1741
00:53:23,668 --> 00:53:24,417
AND I SAID, "NO, IT MUST
1742
00:53:24,417 --> 00:53:24,793
BE HER DAUGHTER."
1743
00:53:24,793 --> 00:53:26,543
>> THE LOOK OF "LOOKER" IS VERY
1744
00:53:26,543 --> 00:53:28,460
GRITTY AND NOIR INSPIRED
1745
00:53:28,460 --> 00:53:30,168
AND THIS IS NO ACCIDENT.
1746
00:53:30,168 --> 00:53:31,670
I WANTED TO DO A MOVIE THAT
1747
00:53:31,670 --> 00:53:34,710
COULD'VE BEEN SHOT IN THE 30s.
1748
00:53:34,710 --> 00:53:36,044
>> HE WAS A REAL SLAVE DRIVER.
1749
00:53:36,044 --> 00:53:37,085
HE LITERALLY WOULD WORK
1750
00:53:37,085 --> 00:53:38,585
A 24-HOUR DAY IF THAT WAS WHAT
1751
00:53:38,585 --> 00:53:40,168
WAS NECESSARY BECAUSE HE WAS
1752
00:53:40,168 --> 00:53:41,293
A PERFECTIONIST AND HE WANTED
1753
00:53:41,293 --> 00:53:41,752
EVERYBODY ELSE TO BE.
1754
00:53:41,752 --> 00:53:43,544
>> WHEN WE SHOT THAT MOVIE, WE
1755
00:53:43,544 --> 00:53:45,335
KNEW WE HAD SOMETHING SPECIAL.
1756
00:53:45,335 --> 00:53:46,585
>> WE PUT A LOT OF HEART INTO IT
1757
00:53:46,585 --> 00:53:47,586
AND NIC PUT A LOT OF HEART INTO
1758
00:53:47,586 --> 00:53:49,753
IT, AND WE DIDN'T GET
1759
00:53:49,753 --> 00:53:50,961
AN OPPORTUNITY TO DO THAT MUCH
1760
00:53:50,961 --> 00:53:53,378
ANYMORE SO IT REALLY FELT GOOD
1761
00:53:53,378 --> 00:53:54,921
THAT IT WAS RECOGNIZED FOR WHAT
1762
00:53:54,921 --> 00:53:57,253
WE REALLY WANTED IT TO BE.
1763
00:53:57,253 --> 00:53:57,753
>> EARLY ON IN THE SHOW,
1764
00:53:57,753 --> 00:54:00,170
SHANNA WON FOR BEST ACTRESS.
1765
00:54:00,170 --> 00:54:00,712
AND WE WERE LOOKING AT EACH
1766
00:54:00,712 --> 00:54:03,796
OTHER LIKE, "COULD THIS BE?"
1767
00:54:03,796 --> 00:54:04,463
AND THEN JUST THE FLOODGATES
1768
00:54:04,463 --> 00:54:07,046
JUST OPENED UP AND WE WON BEST
1769
00:54:07,046 --> 00:54:09,296
FILM DIRECTOR FOR ME, BEST FILM,
1770
00:54:09,296 --> 00:54:12,713
ART DIRECTION, SCRIPT, EDITING.
1771
00:54:12,713 --> 00:54:14,922
I MEAN, TRIFECTA, SWEEP.
1772
00:54:14,922 --> 00:54:16,673
SO IT WAS ONE OF THE BETTER
1773
00:54:16,673 --> 00:54:17,673
>> DOGS LICK.
1774
00:54:19,464 --> 00:54:21,882
MEN FUCKING EAT PUSSY.
1775
00:54:21,882 --> 00:54:23,339
EAT MY PUSSY.
1776
00:54:25,298 --> 00:54:26,298
>> "SEVEN DEADLY SINS" WAS
1777
00:54:26,298 --> 00:54:27,924
THE OBVIOUS CANDIDATE FOR
1778
00:54:27,924 --> 00:54:28,548
THE VIGNETTE STYLE OF SHOOTING.
1779
00:54:28,548 --> 00:54:29,340
I WANTED TO BE ABLE TO HAVE
1780
00:54:29,340 --> 00:54:32,381
EVERYTHING DISTINCTLY,
1781
00:54:32,381 --> 00:54:33,339
UH, REPRESENTED
1782
00:54:33,339 --> 00:54:35,590
BY THE SIN ITSELF.
1783
00:54:35,590 --> 00:54:37,465
>> WHERE AM I?
1784
00:54:39,090 --> 00:54:39,131
>> YOU STUPID BITCH.
1785
00:54:42,423 --> 00:54:44,049
>> THE BASIC STORY IS A CRISIS
1786
00:54:44,049 --> 00:54:45,799
OF THIS WOMAN WHO'S IN LOVE
1787
00:54:45,799 --> 00:54:47,091
WITH THE REAL JANINE.
1788
00:54:47,091 --> 00:54:49,716
AND SHE'S BEEN TOLD THAT SHE
1789
00:54:49,716 --> 00:54:50,508
ACTUALLY KIND OF LOOKS LIKE
1790
00:54:50,508 --> 00:54:51,841
JANINE, BUT OF COURSE, WE HAVE
1791
00:54:51,841 --> 00:54:53,801
A REALLY DOWDY VERSION OF HER.
1792
00:54:53,801 --> 00:54:54,424
SO THE CHALLENGE WAS HOW DO WE
1793
00:54:54,424 --> 00:54:57,925
>> IT WAS A STRETCH, YOU KNOW,
1794
00:54:58,550 --> 00:55:03,008
IT WAS, UH...
1795
00:55:03,008 --> 00:55:03,510
I WAS JUST KIND OF... IT'S HARD
1796
00:55:06,134 --> 00:55:08,426
NOT TO JUST EMBRACE HER.
1797
00:55:08,426 --> 00:55:11,718
SO, UH, TO TAKE MYSELF OUT OF
1798
00:55:11,718 --> 00:55:13,968
THAT SITUATION AND BE LIKE,
1799
00:55:13,968 --> 00:55:16,301
"YEAH, IT'S ME AND IT'S ME,"
1800
00:55:16,301 --> 00:55:19,094
>> YOU KNOW, THERE WERE CERTAIN
1801
00:55:19,928 --> 00:55:20,970
THINGS THAT WE HAD TO HIDE.
1802
00:55:20,970 --> 00:55:22,552
WHEN YOU'RE TRYING TO SHOOT AND
1803
00:55:22,552 --> 00:55:23,636
BE SOMEBODY, AND YOU CAN'T SHOW
1804
00:55:23,636 --> 00:55:24,803
YOUR FACE OR YOU'RE TRYING TO
1805
00:55:24,803 --> 00:55:26,720
IT WASN'T EASY.
1806
00:55:27,637 --> 00:55:29,427
THAT I CAN TELL YOU.
1807
00:55:29,427 --> 00:55:32,386
>> YOUR A WHINY, DRIED-UP
1808
00:55:32,386 --> 00:55:33,761
OLD MAID.
1809
00:55:33,761 --> 00:55:34,803
>> SHUT UP!
1810
00:55:34,803 --> 00:55:35,969
>> THAT NOBODY WANTS.
1811
00:55:35,969 --> 00:55:36,762
>> SHUT UP.
1812
00:55:36,762 --> 00:55:37,553
>> THERE WAS A LOT OF FOOD.
1813
00:55:39,261 --> 00:55:40,595
THERE WAS AN ABUNDANCE OF--
1814
00:55:46,136 --> 00:55:47,680
IT'S A PERFECT SCENE IF YOU'RE
1815
00:55:47,680 --> 00:55:51,137
A FOOD FETISH KIND OF GUY.
1816
00:55:51,137 --> 00:55:53,596
>> WE HAD TO BUILD SUPPORTS
1817
00:55:53,596 --> 00:55:56,263
FOR THESE-- I THINK THEY WERE
1818
00:55:56,263 --> 00:55:56,639
TEN-FEET TALL--
1819
00:55:56,639 --> 00:55:58,806
AND WE DID AN ARC AROUND THAT.
1820
00:55:58,806 --> 00:55:59,931
AND THEN SET THAT IN
1821
00:55:59,931 --> 00:56:00,681
A STAGE THAT, AT THE TIME,
1822
00:56:00,681 --> 00:56:02,097
I THINK WAS BLACK.
1823
00:56:02,097 --> 00:56:03,555
SO WE COULD, YOU KNOW--
1824
00:56:03,555 --> 00:56:04,514
AND THEN WE ACTUALLY GOT A
1825
00:56:04,514 --> 00:56:06,806
TURNTABLE FOR THEM TO HAVE SEX
1826
00:56:06,806 --> 00:56:09,264
ON SO THAT COULD REVOLVE, SO THE
1827
00:56:09,264 --> 00:56:10,765
IMAGE BEHIND IN ALL THE MIRRORS
1828
00:56:10,765 --> 00:56:12,306
WAS REVOLVING AT THE SAME TIME.
1829
00:56:12,306 --> 00:56:14,014
IT HAD A VERY, YOU KNOW, KIND OF
1830
00:56:14,014 --> 00:56:14,556
A SURREAL DEPARTMENT STORE
1831
00:56:14,556 --> 00:56:16,974
>> HEY, WATCH THE TEETH,
1832
00:56:19,557 --> 00:56:20,641
SWEETIE.
1833
00:56:20,641 --> 00:56:24,766
>> SORRY, FORCE OF HABIT.
1834
00:56:24,766 --> 00:56:25,683
>> "DARK ANGELS" CAME OUT--
1835
00:56:25,683 --> 00:56:28,265
SCOTT TAYLOR, THE OWNER
1836
00:56:28,265 --> 00:56:29,474
OF NEW SENSATIONS.
1837
00:56:29,474 --> 00:56:30,641
HE GOES, "I'VE ALWAYS REALLY
1838
00:56:30,641 --> 00:56:31,641
KIND OF LIKED HORROR MOVIES AND
1839
00:56:31,641 --> 00:56:35,349
STUFF AND VAMPIRE-TYPE STUFF."
1840
00:56:35,349 --> 00:56:36,934
AND I SAID, "WELL, WE CAN DO
1841
00:56:36,934 --> 00:56:37,767
>> YOU LOOKING FOR SOMETHING
1842
00:56:38,683 --> 00:56:39,766
SPECIAL TONIGHT?
1843
00:56:39,766 --> 00:56:41,642
>> IT DEPENDS, YOU A COP?
1844
00:56:43,558 --> 00:56:45,559
>> YOU SEE A BADGE, SWEETHEART?
1845
00:56:45,559 --> 00:56:47,643
>> WHEN I CONCEIVED THE WHOLE
1846
00:56:47,643 --> 00:56:49,600
STORY AND WAS WRITING THE SCRIPT
1847
00:56:49,600 --> 00:56:52,226
AND EVERYTHING, MIKE HORNER WAS
1848
00:56:52,226 --> 00:56:54,434
ALREADY CAST IN MY HEAD.
1849
00:56:54,434 --> 00:56:55,017
>> WE HAD TO SPEND MORE TIME
1850
00:56:55,017 --> 00:56:57,644
PREPPING AND SETTING UP FOR THE
1851
00:56:57,644 --> 00:56:59,686
BLEEDING SCENE THAN WE DID ON
1852
00:56:59,686 --> 00:57:00,518
THE ENTIRE SEX SCENE, BECAUSE IT
1853
00:57:00,518 --> 00:57:02,769
TOOK SEVERAL HOURS FOR THEM TO
1854
00:57:02,769 --> 00:57:03,143
THEY HAD TO CLEAN THE CAR ONE
1855
00:57:04,978 --> 00:57:06,603
TIME FROM ALL THIS BLOOD--
1856
00:57:06,603 --> 00:57:08,311
ALL OVER THE WINDOWS.
1857
00:57:08,311 --> 00:57:09,310
IT JUST DIDN'T WORK FOR
1858
00:57:09,310 --> 00:57:10,394
>> I WAS JUST GETTING TO THAT.
1859
00:57:19,019 --> 00:57:20,311
>> WE DIDN'T GET STARTED DOING
1860
00:57:20,311 --> 00:57:22,562
THAT SCENE UNTIL ABOUT MIDNIGHT.
1861
00:57:22,562 --> 00:57:23,813
AND WE WENT TILL LIKE
1862
00:57:23,813 --> 00:57:24,520
4:00 IN THE MORNING,
1863
00:57:24,520 --> 00:57:25,520
5:00 IN THE MORNING.
1864
00:57:25,520 --> 00:57:28,062
WE GOT OUT OF THERE JUST IN TIME
1865
00:57:28,062 --> 00:57:29,104
FOR THE SUNRISE.
1866
00:57:29,104 --> 00:57:29,729
>> WHEN I APPROACHED SYDNEE TO
1867
00:57:29,729 --> 00:57:32,312
DO THE MOVIE, I SAID,
1868
00:57:32,312 --> 00:57:34,312
"ALL RIGHT, I DON'T KNOW IF
1869
00:57:34,312 --> 00:57:35,229
YOU'VE DONE SOMETHING LIKE THIS
1870
00:57:35,229 --> 00:57:35,814
BEFORE, WE'RE GONNA DO, LIKE,
1871
00:57:35,814 --> 00:57:37,688
YOU KNOW, FULL-BODY CAST
1872
00:57:37,688 --> 00:57:38,896
OF YOU, PROSTHETICS."
1873
00:57:38,896 --> 00:57:39,647
'CAUSE THAT'S HER IN THE MONSTER
1874
00:57:39,647 --> 00:57:41,021
SUIT AT THE END.
1875
00:57:41,021 --> 00:57:42,480
AND, YOU KNOW, AND YOU'RE GONNA
1876
00:57:42,480 --> 00:57:43,188
BE WEARING CONTACTS
1877
00:57:43,188 --> 00:57:43,939
AND ALL THIS.
1878
00:57:43,939 --> 00:57:45,397
AND, YOU KNOW,
1879
00:57:45,397 --> 00:57:46,981
WOULD YOU COMMIT TO THIS?
1880
00:57:46,981 --> 00:57:47,690
>> AND I'M LOOKING AROUND THE
1881
00:57:49,147 --> 00:57:50,231
WAREHOUSE AND THINKING, "MAN,
1882
00:57:50,231 --> 00:57:51,856
YOU KNOW, I'M WORKING IN THIS
1883
00:57:51,856 --> 00:57:53,356
WAREHOUSE AND, YOU KNOW, I'M A
1884
00:57:53,356 --> 00:57:55,106
NEVER TOOK THE TIME TO TAKE CARE
1885
00:57:56,440 --> 00:57:57,481
OF ALL THESE PALLETS THAT LAY
1886
00:57:57,481 --> 00:57:58,941
HERE ALL OVER, BROKEN."
1887
00:58:00,690 --> 00:58:03,482
"AH, I'LL NEVER FALL ON THAT."
1888
00:58:03,482 --> 00:58:04,524
IN THE DUMPSTER,
1889
00:58:04,524 --> 00:58:05,857
WOULDN'T YOU KNOW IT?
1890
00:58:05,857 --> 00:58:07,858
PALLET, RIGHT, RIGHT?
1891
00:58:07,858 --> 00:58:09,650
A PALLET AND BROKEN GLASS.
1892
00:58:09,650 --> 00:58:11,566
>> JEWEL DE'NYLE WAS THE
1893
00:58:11,566 --> 00:58:14,109
CONTRACT GIRL, AND SHE ACTUALLY
1894
00:58:14,109 --> 00:58:16,691
QUIT, UH, FIVE DAYS BEFORE
1895
00:58:16,691 --> 00:58:17,817
WE FINISHED SHOOTING.
1896
00:58:17,817 --> 00:58:19,190
SHE STORMED OFF THE SET.
1897
00:58:19,190 --> 00:58:20,357
IT'S ACTUALLY ON THE
1898
00:58:20,357 --> 00:58:20,775
BEHIND-THE-SCENES.
1899
00:58:20,775 --> 00:58:21,608
FORTUNATELY, I HAD SHOT THE END
1900
00:58:21,608 --> 00:58:23,358
ALREADY.
1901
00:58:23,358 --> 00:58:25,400
IT BROKE A LOT OF RULES
1902
00:58:25,400 --> 00:58:27,526
WHEN IT CAME OUT.
1903
00:58:27,526 --> 00:58:28,818
IT UPSET SOME PEOPLE,
1904
00:58:28,818 --> 00:58:30,401
IT EXCITED A LOT OF PEOPLE, IT
1905
00:58:30,401 --> 00:58:31,734
MADE A LOT OF MONEY, YOU KNOW?
1906
00:58:31,734 --> 00:58:33,109
IT WAS-- IT WAS ONE OF
1907
00:58:33,109 --> 00:58:34,567
THOSE GREAT EXPERIENCES THAT
1908
00:58:34,567 --> 00:58:36,901
I WAS NEVER ABLE TO DUPLICATE,
1909
00:58:36,901 --> 00:58:38,485
EVEN WITH BIGGER BUDGETS, BIGGER
1910
00:58:38,485 --> 00:58:40,192
CREWS, NEWER EQUIPMENT,
1911
00:58:40,192 --> 00:58:40,777
EVERYTHING.
1912
00:58:40,777 --> 00:58:41,694
I WAS NEVER ABLE TO CAPTURE
1913
00:58:41,694 --> 00:58:44,527
THE MAGIC THAT WENT INTO
1914
00:58:44,527 --> 00:58:45,568
>> YOU TRIED TO GET MY
1915
00:58:46,235 --> 00:58:47,236
ATTENTION.
1916
00:58:47,236 --> 00:58:47,735
>> YES.
1917
00:58:47,735 --> 00:58:50,069
>> WELL, YOU DID.
1918
00:58:50,069 --> 00:58:51,444
I WAS VERY IMPRESSED
1919
00:58:51,444 --> 00:58:52,653
BY YOUR DVD.
1920
00:58:52,653 --> 00:58:54,152
ANYTHING ELSE IMPRESS YOU
1921
00:58:55,027 --> 00:58:56,654
>> I THOUGHT I HAD A GOOD MOVIE
1922
00:58:57,319 --> 00:59:00,487
BECAUSE, UH, THE SCRIPT WAS THE
1923
00:59:00,487 --> 00:59:02,195
BEST SCRIPT THAT I THOUGHT I HAD
1924
00:59:02,195 --> 00:59:03,696
EVER COME UP WITH IN TERMS OF
1925
00:59:03,696 --> 00:59:04,654
INTERESTING IDEAS.
1926
00:59:04,654 --> 00:59:05,946
IT TOOK A LONG TIME TO WRITE IT.
1927
00:59:13,320 --> 00:59:14,987
>> TO BE DIRECTED BY JOHN,
1928
00:59:14,987 --> 00:59:16,530
ESPECIALLY FOR THIS MOVIE,
1929
00:59:16,530 --> 00:59:17,947
WAS SO SPECIAL FOR ME
1930
00:59:17,947 --> 00:59:20,196
I WAS A BIG FAN OF ALL
1931
00:59:20,822 --> 00:59:21,947
THE "BUTTMAN" SERIES.
1932
00:59:21,947 --> 00:59:24,530
I WAS A BIG FAN OF JOHN, SO IT
1933
00:59:24,530 --> 00:59:27,071
WAS LIKE BEING IN A DREAM.
1934
00:59:27,071 --> 00:59:27,739
>> I HAD A GOOD MEETING WITH MY
1935
00:59:27,739 --> 00:59:29,989
CINEMATOGRAPHER WHO SAID,
1936
00:59:29,989 --> 00:59:31,155
"WELL, WHAT'S THE RELATIONSHIP
1937
00:59:31,155 --> 00:59:32,406
BETWEEN THOSE TWO GIRLS?"
1938
00:59:32,406 --> 00:59:33,781
AND I SAID, "OH.
1939
00:59:33,781 --> 00:59:35,531
THEY COULD HAVE A RELATIONSHIP."
1940
00:59:35,531 --> 00:59:37,114
THAT'S MORE THAN JUST THE GIRL
1941
00:59:37,114 --> 00:59:38,030
IN THE BACK ROOM TRYING TO
1942
00:59:38,030 --> 00:59:38,824
SEDUCE ROCCO.
1943
00:59:38,824 --> 00:59:40,490
>> MY ENGLISH AT THAT TIME
1944
00:59:40,490 --> 00:59:42,031
WAS HORRIBLE, LIKE,
1945
00:59:42,031 --> 00:59:44,365
BARELY ANY ENGLISH.
1946
00:59:44,365 --> 00:59:46,365
ROCCO SPEAKS FRENCH VERY WELL
1947
00:59:46,365 --> 00:59:46,949
SO HE WOULD TRANSLATE SOME OF
1948
00:59:46,949 --> 00:59:48,741
THE THINGS, BUT THE FUNNIEST
1949
00:59:48,741 --> 00:59:50,741
PART WAS-- WAS THE DIALOGUE
1950
00:59:50,741 --> 00:59:53,366
I HAD, I WAS BASICALLY DOING
1951
00:59:53,366 --> 00:59:55,116
IT-- DOING IT-- PHONETICALLY.
1952
00:59:55,116 --> 00:59:56,574
>> I TOLD YOU THEY ARE STILL
1953
00:59:56,574 --> 00:59:57,783
IN THE DARK AGES.
1954
00:59:57,783 --> 01:00:00,200
I'M ALREADY NOT A GREAT ACTOR
1955
01:00:00,200 --> 01:00:01,492
TO START WITH,
1956
01:00:01,492 --> 01:00:02,992
BUT HERE, IT WAS LIKE--
1957
01:00:02,992 --> 01:00:10,784
LIKE ROBOTIC ACTING.
1958
01:00:10,784 --> 01:00:11,909
>> I'LL DO THIS THING ABOUT
1959
01:00:11,909 --> 01:00:13,951
THIS LITTLE FASHION COMPANY
1960
01:00:13,951 --> 01:00:15,033
'CAUSE I WANNA DO STUFF WITH
1961
01:00:15,033 --> 01:00:16,576
FASHION 'CAUSE I LIKE CLOTHES
1962
01:00:16,576 --> 01:00:18,118
AND SEXY CLOTHES ON GIRLS.
1963
01:00:18,118 --> 01:00:19,575
IT GIVES ME AN EXCUSE, AND I'LL
1964
01:00:19,575 --> 01:00:20,535
HAVE THIS LITTLE MOUSEY GIRL
1965
01:00:20,535 --> 01:00:21,326
SITTING IN THE CORNER AND
1966
01:00:21,326 --> 01:00:21,909
SHE'LL JUST-- SHE'LL REALLY BE
1967
01:00:21,909 --> 01:00:24,034
THE BRAINS BEHIND THE OPERATION.
1968
01:00:24,034 --> 01:00:24,743
AND WE'LL DO THIS LIKE NORMAL,
1969
01:00:24,743 --> 01:00:28,159
LIKE TV SHOW KIND OF THING.
1970
01:00:28,159 --> 01:00:31,827
BUT THAT MORPHED INTO A FETISH
1971
01:00:31,827 --> 01:00:34,120
FASHION COMPANY AND THE GIRL
1972
01:00:34,120 --> 01:00:35,119
SITTING IN THE CORNER WAS
1973
01:00:35,119 --> 01:00:37,537
BELLADONNA WHO SENDS THE GUY
1974
01:00:37,537 --> 01:00:38,787
SHE'S TRYING TO SEDUCE AN
1975
01:00:38,787 --> 01:00:41,954
EXTREME S&M DVD WHERE HE FINDS
1976
01:00:41,954 --> 01:00:43,745
THIS STUFF WITH EASTER EGGS
1977
01:00:43,745 --> 01:00:44,036
ON THE DVD.
1978
01:00:44,036 --> 01:00:46,121
IT MORPHED INTO SOMETHING THAT
1979
01:00:46,121 --> 01:00:47,287
WAS REALLY LIKE A PRIMER
1980
01:00:47,287 --> 01:00:48,663
FOR S&M SEX.
1981
01:00:48,663 --> 01:00:49,955
WHEREAS, IT WAS SUPPOSED TO BE
1982
01:00:49,955 --> 01:00:51,121
THIS MIDDLE-OF-THE-ROAD THING,
1983
01:00:51,121 --> 01:00:52,620
BECAUSE I CAN'T THINK
1984
01:00:52,620 --> 01:00:53,871
MIDDLE-OF-THE-ROAD SOMEHOW.
1985
01:00:53,871 --> 01:00:56,746
305 ROLLS OF FILM AS I RECALL.
1986
01:00:56,746 --> 01:00:58,788
AND MOST OF THOSE WERE THE FOUR
1987
01:00:58,788 --> 01:01:00,914
MINUTES, ALTHOUGH, WE DID HAVE
1988
01:01:00,914 --> 01:01:02,330
ON TWO DIFFERENT DAYS, WE HAD
1989
01:01:02,330 --> 01:01:03,579
THE BIG CAMERA WHICH COULD SHOOT
1990
01:01:03,579 --> 01:01:03,996
11 MINUTES AT A TIME
1991
01:01:03,996 --> 01:01:06,246
WHICH WAS SO GREAT, 11 MINUTES.
1992
01:01:06,246 --> 01:01:07,996
I DON'T THINK I'VE DONE MY BEST
1993
01:01:07,996 --> 01:01:09,414
MOVIE YET, THAT'S FOR SURE.
1994
01:01:09,414 --> 01:01:10,037
I HOPE TO BE DOING MY NEXT MOVIE
1995
01:01:10,037 --> 01:01:10,956
IS GONNA BE MY BEST MOVIE,
1996
01:01:10,956 --> 01:01:12,622
>> WHAT CAN I DO FOR YOU TODAY?
1997
01:01:14,247 --> 01:01:15,873
>> I'D LIKE A MASSAGE.
1998
01:01:15,873 --> 01:01:17,163
>> WELL, YOU'VE CERTAINLY COME
1999
01:01:17,163 --> 01:01:19,456
TO THE RIGHT PLACE.
2000
01:01:19,456 --> 01:01:21,665
>> I MADE THE ORIGINAL
2001
01:01:21,665 --> 01:01:22,915
"MASSEUSE" IN ABOUT 1990
2002
01:01:22,915 --> 01:01:23,957
OR SOMETHING LIKE THAT.
2003
01:01:23,957 --> 01:01:27,456
AND IT WAS REALLY A DEPARTURE
2004
01:01:27,456 --> 01:01:33,164
>> HELLO, THIS IS JIM.
2005
01:01:35,207 --> 01:01:37,583
>> I THINK IT IS THE BEST
2006
01:01:37,583 --> 01:01:38,667
I FELT SO INCREDIBLY
2007
01:01:42,125 --> 01:01:43,917
COMFORTABLE WITH THE SCRIPT,
2008
01:01:43,917 --> 01:01:46,501
>> THE DIRECTNESS, THE
2009
01:01:46,959 --> 01:01:49,542
SIMPLICITY, THE TRUTHFULNESS
2010
01:01:49,542 --> 01:01:50,417
OF IT.
2011
01:01:50,417 --> 01:01:51,876
THERE'S NO BELLS AND WHISTLES.
2012
01:01:51,876 --> 01:01:52,960
IT'S JUST A MASSEUSE
2013
01:01:52,960 --> 01:01:55,918
AND HER CLIENT TALKING.
2014
01:01:55,918 --> 01:01:57,669
YOU KNOW, WHAT DID I CALL IT--
2015
01:01:57,669 --> 01:01:58,209
"MY DINNER WITH ANDRE"
2016
01:01:58,209 --> 01:02:00,084
OF X-RATED MOVIES.
2017
01:02:00,084 --> 01:02:01,583
>> IF YOU WATCH THE MOVIE
2018
01:02:01,583 --> 01:02:04,376
CLOSELY, YOU CAN ALMOST SEE ME,
2019
01:02:04,376 --> 01:02:06,501
THE REAL ME,
2020
01:02:06,501 --> 01:02:08,544
DISCOVERING MYSELF.
2021
01:02:08,544 --> 01:02:11,085
SO THAT'S WHY I LIKE IT SO MUCH.
2022
01:02:11,085 --> 01:02:13,252
HOW OLD ARE YOU?
2023
01:02:13,252 --> 01:02:14,795
>> 28.
2024
01:02:14,795 --> 01:02:19,545
>> GIRLFRIEND?
2025
01:02:19,545 --> 01:02:21,335
>> CAN I TELL YOU A SECRET?
2026
01:02:21,335 --> 01:02:23,795
>> SURE, I LOVE SECRETS.
2027
01:02:27,963 --> 01:02:30,129
>> I'M A VIRGIN.
2028
01:02:30,129 --> 01:02:33,462
>> I LIKE TO STAB
2029
01:02:33,462 --> 01:02:34,963
AND SEE HOW FAR I CAN GO.
2030
01:02:34,963 --> 01:02:37,295
PAUL THOMAS HAS A WAY ABOUT HIM,
2031
01:02:37,295 --> 01:02:40,130
AND I THINK I GAINED
2032
01:02:40,130 --> 01:02:41,880
A LITTLE BIT OF HIS RESPECT.
2033
01:02:41,880 --> 01:02:43,630
HE'S USED TO BEING ABLE TO TELL
2034
01:02:43,630 --> 01:02:46,171
PEOPLE POP, POP, POP, POP, POP.
2035
01:02:46,171 --> 01:02:47,923
AND I WOULD BE LIKE, "LISTEN,
2036
01:02:47,923 --> 01:02:48,965
NO, THIS IS THE WAY THIS SHOULD
2037
01:02:48,965 --> 01:02:51,047
BE, AND THIS IS THE WAY
2038
01:02:51,047 --> 01:02:52,214
THIS SHOULD BE.
2039
01:02:52,214 --> 01:02:53,046
WHAT DO YOU THINK ABOUT THAT?"
2040
01:02:53,046 --> 01:02:53,923
>> SHE BROUGHT A LOT TO
2041
01:02:53,923 --> 01:02:56,296
THE TABLE, SHE LISTENED TO ME,
2042
01:02:56,296 --> 01:02:57,880
ALWAYS ON TIME-- I'M THE ONE
2043
01:02:57,880 --> 01:02:59,798
WHO HAD TO STEP UP MY GAME.
2044
01:02:59,798 --> 01:03:01,172
YOU KNOW, WITH JENNA,
2045
01:03:01,172 --> 01:03:03,506
NO PARTYING, YOU KNOW?
2046
01:03:03,506 --> 01:03:05,631
>> I'LL SEE YOU LATER,
2047
01:03:06,923 --> 01:03:14,924
>> I PLAYED JUSTINE JONES,
2048
01:03:17,173 --> 01:03:19,215
JONES," AND JENNA JAMESON
2049
01:03:20,758 --> 01:03:22,049
PLAYED THE DEVIL, WHICH WAS
2050
01:03:22,049 --> 01:03:23,049
QUITE INTERESTING BECAUSE I GOT
2051
01:03:23,049 --> 01:03:26,216
THE SCRIPT AND THEN HEARD THAT
2052
01:03:26,216 --> 01:03:27,925
AND MY-- MY FIRST THOUGHT WAS
2053
01:03:30,426 --> 01:03:31,718
NOT ONLY DO YOU HAVE TO REMAKE
2054
01:03:31,718 --> 01:03:33,718
THIS AMAZING CLASSIC FILM,
2055
01:03:33,718 --> 01:03:35,009
"THE DEVIL AND MISS JONES," BUT
2056
01:03:35,009 --> 01:03:37,968
ALSO NOW NEXT TO JENNA JAMESON
2057
01:03:37,968 --> 01:03:39,468
>> AT FIRST IT FEELS LIKE
2058
01:03:40,552 --> 01:03:43,468
A NO
2059
01:03:43,468 --> 01:03:43,927
WHAT AM I GONNA MAKE
2060
01:03:43,927 --> 01:03:46,385
ONCE IN A WHILE, YOU GET
2061
01:03:48,468 --> 01:03:50,094
"GODFATHER TWO," BUT MOST OF THE
2062
01:03:50,094 --> 01:03:52,050
TIME, THE SEQUEL'S JUST AREN'T
2063
01:03:52,050 --> 01:03:53,300
SO GOOD IF THE ORIGINAL'S
2064
01:03:53,300 --> 01:03:54,051
>> I HAD BEEN OUT OF
2065
01:03:54,468 --> 01:03:56,510
THE BUSINESS FOR A LONG TIME.
2066
01:03:56,510 --> 01:03:57,135
AND PAUL THOMAS CALLED ME ONE
2067
01:03:57,135 --> 01:03:59,427
NIGHT AND SAID, "WE'RE GONNA DO
2068
01:03:59,427 --> 01:04:00,635
A REMAKE OF 'THE DEVIL
2069
01:04:00,635 --> 01:04:01,261
AND I SAID, "WELL, VERY GOOD,
2070
01:04:02,428 --> 01:04:03,135
PAUL, CONGRATULATIONS,
2071
01:04:03,135 --> 01:04:05,469
GOOD LUCK," AND SO FORTH.
2072
01:04:05,469 --> 01:04:06,344
AND HE SAYS, "YOU'RE GONNA
2073
01:04:06,344 --> 01:04:07,136
BE IN IT," AND I SAID,
2074
01:04:07,136 --> 01:04:08,553
"OH, NO, I'M NOT."
2075
01:04:08,553 --> 01:04:09,177
AND HE SAID, "OH, YES, YOU ARE."
2076
01:04:09,177 --> 01:04:10,053
HE SAYS, "YOU'RE JUST GONNA DO
2077
01:04:10,053 --> 01:04:12,803
A CAMEO, THREE LINES."
2078
01:04:12,803 --> 01:04:13,679
I SAID, "I DON'T EVEN WANNA
2079
01:04:13,679 --> 01:04:14,637
LEARN THREE LINES."
2080
01:04:14,637 --> 01:04:15,345
HE SAYS, "I'LL GIVE YOU
2081
01:04:15,345 --> 01:04:18,262
$10,000," I SAID, "OKAY."
2082
01:04:18,262 --> 01:04:19,387
>> WHEN SHE COMES OUT AT THE END
2083
01:04:19,387 --> 01:04:21,054
OF THAT MOVIE, YOU GET CHILLS.
2084
01:04:21,054 --> 01:04:21,972
ESPECIALLY IF YOU KNOW
2085
01:04:21,972 --> 01:04:23,096
WHO SHE IS.
2086
01:04:23,096 --> 01:04:26,555
IT REALLY WORKS, AND, UH...
2087
01:04:26,555 --> 01:04:27,013
SHE'S JUST DELIGHTFUL.
2088
01:04:27,013 --> 01:04:30,054
>> DO YOU READ, MISS JONES?
2089
01:04:30,054 --> 01:04:31,388
>> ONLY ROMANCE NOVELS,
2090
01:04:31,388 --> 01:04:33,805
IT'S MY JOB.
2091
01:04:33,805 --> 01:04:36,180
>> YOU ARE SO PRIVILEGED.
2092
01:04:36,180 --> 01:04:37,806
AND YOU FEEL SO SORRY
2093
01:04:37,806 --> 01:04:39,097
FOR YOURSELF.
2094
01:04:39,097 --> 01:04:41,765
IS ONE OF THE MOST
2095
01:04:45,181 --> 01:04:48,472
GROUNDBREAKING WOMEN EVER.
2096
01:04:48,472 --> 01:04:51,640
OWNING HER SEXUALITY AND NOT
2097
01:04:54,932 --> 01:04:57,432
BACKING DOWN AT THE TIME WHEN
2098
01:04:57,432 --> 01:04:59,765
SHE WAS FAME-- UBER FAMOUS.
2099
01:04:59,765 --> 01:05:02,975
I HAVE ULTIMATE RESPECT FOR HER,
2100
01:05:02,975 --> 01:05:05,641
AND I MADE SURE I TOLD HER THAT.
2101
01:05:05,641 --> 01:05:07,809
AND HER ACTING WAS FANTASTIC,
2102
01:05:07,809 --> 01:05:09,017
TOO.
2103
01:05:09,017 --> 01:05:10,183
>> IT WAS REALLY COOL TO DO THAT
2104
01:05:10,183 --> 01:05:13,475
BECAUSE, YOU KNOW, AT THE TIME,
2105
01:05:14,100 --> 01:05:16,809
WE WERE THREE OF THE BIGGEST
2106
01:05:16,809 --> 01:05:17,267
NAMES IN THE BUSINESS,
2107
01:05:17,267 --> 01:05:19,308
AND IT WAS LIKE, "WOW, THIS
2108
01:05:19,308 --> 01:05:20,809
>> WHILE I'M GETTING DP'D,
2109
01:05:22,059 --> 01:05:24,685
I SAY THIS MONOLOGUE FROM--
2110
01:05:24,685 --> 01:05:25,267
THAT GEORGINA SPELVIN SAID IN
2111
01:05:25,267 --> 01:05:26,184
THE ORIGINAL "MISS JONES."
2112
01:05:26,184 --> 01:05:28,143
>> IF YOU TOUCH ME, I'LL COME,
2113
01:05:28,143 --> 01:05:29,143
I KNOW I WILL.
2114
01:05:29,143 --> 01:05:30,102
TOUCH ME, TOUCH ME, TOUCH ME.
2115
01:05:30,102 --> 01:05:32,436
I'LL MAKE YOU COME, TOO.
2116
01:05:32,436 --> 01:05:33,769
SO WHEN I DID HOWARD STERN,
2117
01:05:33,769 --> 01:05:34,769
HE SAID, "WELL, DID YOU FUCK
2118
01:05:34,769 --> 01:05:35,519
A SNAKE," BECAUSE THAT'S WHAT
2119
01:05:35,519 --> 01:05:36,394
PEOPLE THINK OF THE ORIGINAL
2120
01:05:36,394 --> 01:05:36,686
MISS JONES.
2121
01:05:36,686 --> 01:05:38,227
THEY DON'T REMEMBER MUCH, BUT
2122
01:05:38,227 --> 01:05:39,812
THEY REMEMBER THE SNAKE SCENE.
2123
01:05:39,812 --> 01:05:41,352
AND WHAT THEY ACTUALLY REMEMBER
2124
01:05:41,352 --> 01:05:42,812
ABOUT IT, BUT THEY THINK MOSTLY
2125
01:05:42,812 --> 01:05:43,352
THAT THERE WAS A SEX SCENE
2126
01:05:43,352 --> 01:05:44,102
WITH A SNAKE.
2127
01:05:44,102 --> 01:05:46,644
SO I WENT TO VIVID AND I SAID,
2128
01:05:46,644 --> 01:05:47,519
"LOOK, WE HAVE TO DO
2129
01:05:47,519 --> 01:05:48,437
A SNAKE SCENE."
2130
01:05:48,437 --> 01:05:49,645
>> IT WAS A GOOD TIME
2131
01:05:49,645 --> 01:05:50,729
IN EVERYONE'S LIVES.
2132
01:05:50,729 --> 01:05:51,770
THEY WERE TIGHT.
2133
01:05:51,770 --> 01:05:53,812
VIVID WAS TIGHT.
2134
01:05:53,812 --> 01:05:54,937
WE WERE ALL TIGHT AND WORKING--
2135
01:05:54,937 --> 01:05:56,979
REALLY WORKING BOTH FOR
2136
01:05:56,979 --> 01:05:58,312
"THE DEVIL IN MISS JONES" AND
2137
01:05:58,312 --> 01:05:59,103
FOR "MASSEUSE", WORKING AT THE
2138
01:05:59,103 --> 01:06:02,437
TOP OF OUR PROFESSIONAL LEVELS
2139
01:06:02,437 --> 01:06:03,062
AND OUR PERSONAL LIVES.
2140
01:06:03,062 --> 01:06:06,021
WE'RE ALL PRETTY DAMN TOGETHER.
2141
01:06:06,021 --> 01:06:07,938
SO IT WAS NOTHING BUT--
2142
01:06:07,938 --> 01:06:09,479
NOTHING BUT POSITIVE.
2143
01:06:09,479 --> 01:06:10,272
>> THE 2000s WERE THE DECADE
2144
01:06:10,272 --> 01:06:12,522
WHEN PORN GREW UP.
2145
01:06:12,522 --> 01:06:13,312
FLUSH WITH MONEY FROM THE DVD
2146
01:06:13,312 --> 01:06:15,647
BOOM, PRODUCERS BEGAN SHOOTING
2147
01:06:15,647 --> 01:06:16,939
BIGGER MOVIES WITH MAJOR
2148
01:06:16,939 --> 01:06:18,814
BUDGETS, GIGANTIC CASTS,
2149
01:06:18,814 --> 01:06:20,189
AND ELABORATE SCRIPTS.
2150
01:06:20,189 --> 01:06:21,273
THESE ADULT BLOCKBUSTERS NEEDED
2151
01:06:21,273 --> 01:06:23,356
A BETTER FORMAT THAN SIMPLE
2152
01:06:23,356 --> 01:06:24,773
VIDEO, AND FILM WAS BECOMING
2153
01:06:24,773 --> 01:06:26,815
TOO COSTLY TO JUSTIFY.
2154
01:06:26,815 --> 01:06:27,314
COMING WITH ITS OWN SET OF
2155
01:06:27,314 --> 01:06:29,440
TECHNICAL ISSUES AND CONCERNS,
2156
01:06:29,440 --> 01:06:31,441
THE FAST-GROWING HD FORMAT
2157
01:06:31,441 --> 01:06:33,148
>> THE FEATURES OF THAT TIME,
2158
01:06:34,357 --> 01:06:34,899
WERE PEOPLE SPENDING A LOT
2159
01:06:34,899 --> 01:06:35,941
OF MONEY ON THEM...
2160
01:06:35,941 --> 01:06:36,649
>> YEAH.
2161
01:06:36,649 --> 01:06:37,399
>> WHEN IT WAS NEW, WERE THEY--
2162
01:06:37,399 --> 01:06:38,274
>> YEAH, I MEAN, LIKE,
2163
01:06:38,274 --> 01:06:40,314
FIRST FEATURE LEADS WAS FOR
2164
01:06:42,232 --> 01:06:43,274
"WICKED."
2165
01:06:43,274 --> 01:06:45,441
IT WAS THIS REALLY BIG,
2166
01:06:45,441 --> 01:06:47,483
LIKE, MICHAEL RAVEN MOVIE.
2167
01:06:47,483 --> 01:06:49,065
I REMEMBER IT HAD, LIKE, THESE
2168
01:06:49,065 --> 01:06:51,191
OOZING, LIKE, TENTACLE DILDOS
2169
01:06:51,191 --> 01:06:54,483
AND FOG MACHINE, AND, LIKE,
2170
01:06:54,483 --> 01:06:55,358
THESE BIG SETS AND IT WAS THE
2171
01:06:55,358 --> 01:06:57,483
FIRST TIME, YOU KNOW, WE SHOT
2172
01:06:57,483 --> 01:06:58,900
OUT IN THE DESERT AND IT WAS,
2173
01:06:58,900 --> 01:07:00,568
LIKE, A WIND STORM AND IT WAS
2174
01:07:00,568 --> 01:07:03,026
JUST-- IT WAS AWESOME. IT WAS,
2175
01:07:03,026 --> 01:07:04,526
LIKE, REALLY FUN TO GO FROM,
2176
01:07:04,526 --> 01:07:06,026
LIKE, JUST GETTING, LIKE,
2177
01:07:06,026 --> 01:07:07,067
YOU KNOW...
2178
01:07:07,067 --> 01:07:08,026
>> NAILED.
2179
01:07:08,026 --> 01:07:11,192
>> FUCK-NAILED ON A GONZO SET,
2180
01:07:11,192 --> 01:07:12,736
JUST POUNDED, LIKE, "YEAH,
2181
01:07:12,736 --> 01:07:13,986
MOTHERFUCKER, COME ON, I CAN
2182
01:07:13,986 --> 01:07:14,777
TAKE IT," YOU KNOW,
2183
01:07:14,777 --> 01:07:17,152
TO, LIKE, CATERING.
2184
01:07:18,069 --> 01:07:19,736
YOU KNOW, LIKE, "WOULD YOU LIKE
2185
01:07:19,736 --> 01:07:20,361
A SNACK?"
2186
01:07:20,361 --> 01:07:21,277
"YES, I WOULD."
2187
01:07:21,277 --> 01:07:22,277
>> THERE'S BREAKFAST ON SET?
2188
01:07:22,277 --> 01:07:24,111
>> SO HOW HAS INTERNET AFFECTED
2189
01:07:25,987 --> 01:07:27,570
THE INDUSTRY TODAY?
2190
01:07:27,570 --> 01:07:30,320
>> I THINK IT MAKES THE FANS
2191
01:07:30,320 --> 01:07:32,904
ACCESS YOUR FAVORITE STARS AND
2192
01:07:34,654 --> 01:07:36,653
HAVE CONVERSATIONS AND GIVE THEM
2193
01:07:36,653 --> 01:07:37,361
GIFTS AND, YOU KNOW, JUST TO
2194
01:07:37,361 --> 01:07:40,737
TALK TO WHOEVER YOU'RE A FAN OF.
2195
01:07:40,737 --> 01:07:42,404
SO THE INTERNET, LITERALLY, THEY
2196
01:07:42,404 --> 01:07:45,154
CAN SEE WHO'S SHOOTING WHEN,
2197
01:07:45,154 --> 01:07:46,486
THAT DAY, THEY KNOW WHEN IT'S
2198
01:07:46,486 --> 01:07:47,195
GONNA COME OUT.
2199
01:07:47,195 --> 01:07:48,612
IT'S JUST, LIKE, RIGHT NOW,
2200
01:07:48,612 --> 01:07:50,071
>> I'M LOOKING FOR A PIRATE.
2201
01:07:52,488 --> 01:07:55,947
>> WE KNOW MANY, MANY PIRATES.
2202
01:07:55,947 --> 01:07:57,905
>> BY FAR, THE BIGGEST
2203
01:07:57,905 --> 01:07:58,780
PRODUCTION THAT I'VE EVER BEEN
2204
01:07:58,780 --> 01:08:00,071
INVOLVED IN HAD TO BE
2205
01:08:00,071 --> 01:08:00,655
THE "PIRATES."
2206
01:08:00,655 --> 01:08:02,613
SHOT STUFF IN L.A., THEN TOOK
2207
01:08:02,613 --> 01:08:03,281
THE WHOLE TROOP, CREW, EVERYBODY
2208
01:08:03,281 --> 01:08:05,114
THAT WAS INVOLVED IN IT
2209
01:08:05,114 --> 01:08:05,614
ALL THE WAY TO FLORIDA.
2210
01:08:05,614 --> 01:08:07,323
WE SHOT ON THE U.S.S. BOUNTY.
2211
01:08:07,323 --> 01:08:08,322
IT TOOK THREE WEEKS TO SHOOT
2212
01:08:08,322 --> 01:08:08,614
>> HELMSMAN, PREPARE
2213
01:08:10,114 --> 01:08:10,406
TO SET SAIL.
2214
01:08:10,406 --> 01:08:12,073
>> ARE YOU REALLY GONNA
2215
01:08:12,073 --> 01:08:13,740
LET HER GO UNSCATHED, SIR?
2216
01:08:13,740 --> 01:08:15,490
>> OF COURSE NOT.
2217
01:08:15,490 --> 01:08:22,407
>> WORKING WITH JOONE,
2218
01:08:23,365 --> 01:08:26,199
HE HAS A VISION,
2219
01:08:26,199 --> 01:08:26,575
HE'S AN ARTIST.
2220
01:08:26,575 --> 01:08:28,491
HE HAS THIS GREAT VISION
2221
01:08:28,491 --> 01:08:29,409
OF SOMETHING BIGGER
2222
01:08:29,409 --> 01:08:30,451
>> THERE'S SOME DIRECTORS THAT
2223
01:08:32,323 --> 01:08:34,449
ACTUALLY GET INVOLVED IN THEIR
2224
01:08:34,449 --> 01:08:35,533
STUFF, THEY HAVE THE VISION IN
2225
01:08:35,533 --> 01:08:36,408
THEIR HEAD, AND JOONE IS ONE
2226
01:08:36,408 --> 01:08:37,241
OF THOSE DIRECTORS.
2227
01:08:37,241 --> 01:08:38,450
HE ALREADY HAD THE SET IN HIS
2228
01:08:38,450 --> 01:08:39,825
HEAD AND THEY BUILT IT AND
2229
01:08:39,825 --> 01:08:41,158
THEY TOOK THEIR TIME TO DO IT
2230
01:08:41,158 --> 01:08:41,825
AND HE KNEW EXACTLY
2231
01:08:41,825 --> 01:08:42,409
WHAT HE WANTED.
2232
01:08:42,409 --> 01:08:43,241
ALREADY HAD THE SHOTS
2233
01:08:43,241 --> 01:08:43,534
IN HIS HEAD.
2234
01:08:43,534 --> 01:08:45,616
>> IT'S A BIT SLOW TONIGHT,
2235
01:08:45,616 --> 01:08:46,534
IT'S AWKWARD.
2236
01:08:46,534 --> 01:08:48,075
>> LINE UP THE CREW ON THE BOW.
2237
01:08:48,075 --> 01:08:49,076
BRING ME THE PASSENGERS
2238
01:08:49,076 --> 01:08:50,160
FROM THE DECK BELOW.
2239
01:08:50,160 --> 01:08:50,451
AND, SERENA,
2240
01:08:50,451 --> 01:08:52,368
AS MUCH AS I LOVE YOUR METHODS,
2241
01:08:52,368 --> 01:08:54,452
DON'T EVEN CONSIDER KILLING
2242
01:08:54,452 --> 01:08:54,869
>> I DON'T THINK I WAS EVER
2243
01:08:56,827 --> 01:08:58,493
A CRUEL PIRATE.
2244
01:08:58,493 --> 01:08:59,285
I'M GONNA HAVE TO WATCH THAT
2245
01:08:59,285 --> 01:09:00,326
AGAIN... UH, WAS I A CRUEL--
2246
01:09:00,326 --> 01:09:03,994
SHE WAS A HORNY PIRATE.
2247
01:09:05,578 --> 01:09:07,202
I DON'T KNOW IF SHE WAS CRUEL.
2248
01:09:07,202 --> 01:09:08,536
>> WELL, THERE'S THE VICIOUS
2249
01:09:08,536 --> 01:09:10,202
LADY I REMEMBER.
2250
01:09:10,202 --> 01:09:12,162
>> DON'T EVER SECOND-GUESS ME.
2251
01:09:12,162 --> 01:09:13,328
>> HE BUILT THE TENSION.
2252
01:09:13,328 --> 01:09:14,370
SO WE WERE, OF COURSE,
2253
01:09:14,370 --> 01:09:16,412
THE LAST SCENE OF "PIRATES."
2254
01:09:16,412 --> 01:09:18,245
HE JUST WAITED, AND THEY WOULD
2255
01:09:18,245 --> 01:09:19,537
SAY LITTLE THINGS TO US TO LIKE
2256
01:09:19,537 --> 01:09:21,120
GET US READY AND TURNED-ON
2257
01:09:21,120 --> 01:09:22,038
AND READY TO GO.
2258
01:09:22,038 --> 01:09:23,079
>> THEY KEPT JESSE JANE
2259
01:09:23,079 --> 01:09:25,329
AND I SEPARATE, UH, SEPARATED
2260
01:09:25,329 --> 01:09:29,120
JUST SO THE TENSION AND
2261
01:09:29,120 --> 01:09:30,830
THE, YOU KNOW, THE ANTICIPATION
2262
01:09:30,830 --> 01:09:32,537
WOULD BUILD UP AND...
2263
01:09:32,537 --> 01:09:33,955
>> AND HE'S COME TEASE ME.
2264
01:09:33,955 --> 01:09:35,038
"I WONDER WHO'S GONNA WIN?
2265
01:09:35,038 --> 01:09:36,538
I GUESS SHE'S GONNA SHOW YOU."
2266
01:09:36,538 --> 01:09:38,621
>> SHE'S ABOUT HALF MY SIZE
2267
01:09:38,621 --> 01:09:39,580
AND THIS LITTLE-- THIS LITTLE
2268
01:09:39,580 --> 01:09:41,371
CUPCAKE THOUGHT SHE WAS GONNA...
2269
01:09:41,371 --> 01:09:43,706
DOMINATE ME?
2270
01:09:43,706 --> 01:09:45,621
I HAD TO-- I HAD TO PUT HER IN
2271
01:09:45,621 --> 01:09:47,247
HER PLACE, BUT I LET HER PRETEND
2272
01:09:47,247 --> 01:09:48,289
TO THINK THAT FOR A LITTLE BIT.
2273
01:09:48,289 --> 01:09:50,164
>> OKAY, SO CARMEN GETS PUT--
2274
01:09:50,164 --> 01:09:50,581
CHOKED OFF THE BOAT
2275
01:09:50,581 --> 01:09:52,415
BY TOMMY GUNN.
2276
01:09:52,415 --> 01:09:53,707
>> AND THEY WANTED TO DO THIS
2277
01:09:53,707 --> 01:09:57,081
STUNT WHERE, UH, STUNT GIRL GOES
2278
01:09:57,081 --> 01:09:57,707
OFF IN THE WATER, NO BIG DEAL.
2279
01:09:57,707 --> 01:09:59,623
>> AND SHE GOES, "NO."
2280
01:09:59,623 --> 01:10:00,331
>> WELL, JESSE WOULDN'T HAVE
2281
01:10:00,331 --> 01:10:02,458
NOTHING TO DO WITH THAT.
2282
01:10:02,458 --> 01:10:02,999
SHE WANTED TO DO THE STUNT
2283
01:10:02,999 --> 01:10:03,916
HERSELF.
2284
01:10:03,916 --> 01:10:04,708
>> AND OF COURSE, I'M A
2285
01:10:04,708 --> 01:10:05,331
DAREDEVIL, SO I'M LIKE,
2286
01:10:05,331 --> 01:10:07,207
"I'LL DO IT."
2287
01:10:07,207 --> 01:10:07,707
>> AND I KNOW WHAT'S GONNA
2288
01:10:07,707 --> 01:10:09,541
HAPPEN BEFORE IT EVEN HAPPENS.
2289
01:10:09,541 --> 01:10:10,458
SO I ALREADY GOT MY STUFF OFF,
2290
01:10:10,458 --> 01:10:10,916
GOT MY BOOTS OFF, AND
2291
01:10:10,916 --> 01:10:12,082
I'M JUST STANDING HERE AND JUST
2292
01:10:12,082 --> 01:10:12,916
WAITING FOR HER TO JUMP IN.
2293
01:10:12,916 --> 01:10:14,124
AS SOON AS SHE JUMP IN
2294
01:10:14,124 --> 01:10:14,917
AND THEY GOT THE SHOT AND THE
2295
01:10:14,917 --> 01:10:16,125
SPLASH, I'M IN THE WATER
2296
01:10:16,125 --> 01:10:16,751
AFTER HER.
2297
01:10:16,751 --> 01:10:17,959
THEY'RE NOT EVEN THINKING THAT
2298
01:10:17,959 --> 01:10:19,459
THIS BIG, BALLOONING DRESS IS
2299
01:10:19,459 --> 01:10:20,709
JUST GONNA SUCK UP RIGHT TO HER,
2300
01:10:20,709 --> 01:10:21,417
AND SHE'S NOT GONNA BE ABLE TO
2301
01:10:21,417 --> 01:10:22,002
KICK, SHE'S NOT GONNA BE ABLE
2302
01:10:22,002 --> 01:10:23,125
TO DO ANYTHING.
2303
01:10:23,125 --> 01:10:24,751
>> WELL, MY DRESS, HER DRESS,
2304
01:10:24,751 --> 01:10:26,166
GETS CAUGHT ON A NAIL
2305
01:10:26,166 --> 01:10:26,584
UNDERNEATH THE BOAT
2306
01:10:26,584 --> 01:10:28,584
AND I START SINKING
2307
01:10:28,584 --> 01:10:29,710
AND I CAN'T COME UP.
2308
01:10:29,710 --> 01:10:30,417
>> BUT SHE WENT IN
2309
01:10:30,417 --> 01:10:33,168
AND SHE ALMOST DROWNED.
2310
01:10:33,168 --> 01:10:33,959
>> I THINK SOME OF THAT WAS
2311
01:10:33,959 --> 01:10:35,251
BEHIND-THE-SCENES, NOT ALL OF IT
2312
01:10:35,251 --> 01:10:36,001
WHERE I WAS DROWNING,
2313
01:10:36,001 --> 01:10:37,084
'CAUSE THAT WAS PROBABLY
2314
01:10:37,084 --> 01:10:37,877
NOT GOOD.
2315
01:10:37,877 --> 01:10:39,251
I DEFINITELY DIDN'T KNOW
2316
01:10:39,251 --> 01:10:40,418
IT WOULD BE AS BIG AS IT WAS
2317
01:10:40,418 --> 01:10:43,376
AND THE NUMBER ONE MOVIE EVER.
2318
01:10:43,376 --> 01:10:45,169
AND PEOPLE WHO EVER WATCHED PORN
2319
01:10:45,169 --> 01:10:46,002
HEARD OF THE MOVIE AND WENT
2320
01:10:46,002 --> 01:10:46,794
TO WATCH IT.
2321
01:10:46,794 --> 01:10:49,336
IT WAS THE FIRST MOVIE TO BE CUT
2322
01:10:49,336 --> 01:10:49,878
INTO A RATED R VERSION AND
2323
01:10:49,878 --> 01:10:51,377
RENTED IN BLOCKBUSTER.
2324
01:10:51,377 --> 01:10:53,795
IT WAS A BLOCKBUSTER HIT.
2325
01:10:55,920 --> 01:11:00,421
>> YOU MUST THINK ME A MONSTER.
2326
01:11:00,421 --> 01:11:01,629
>> "CORRUPTION" WAS PROBABLY
2327
01:11:04,005 --> 01:11:05,755
THE FIRST BIG-BUDGET MOVIE
2328
01:11:05,755 --> 01:11:07,588
I WAS THAT INVOLVED IN.
2329
01:11:09,047 --> 01:11:10,629
I'D, YOU KNOW, BEEN IN OTHER
2330
01:11:10,629 --> 01:11:12,547
BIG-BUDGET MOVIES AS TALENT,
2331
01:11:12,547 --> 01:11:13,547
BUT YOU'RE NOT AS INVOLVED
2332
01:11:13,547 --> 01:11:15,172
YOU SHOW UP AND, YOU KNOW,
2333
01:11:15,714 --> 01:11:18,047
YOU PRETTY MUCH DO YOUR THING
2334
01:11:18,047 --> 01:11:19,254
>> IT WAS SOMETHING BEING DONE
2335
01:11:21,213 --> 01:11:23,464
AND BEING DONE WELL AND WITH,
2336
01:11:23,464 --> 01:11:24,630
LIKE, HEART.
2337
01:11:24,630 --> 01:11:27,464
THAT, LIKE, ATTRACTS ME.
2338
01:11:28,881 --> 01:11:30,714
YEAH, I GOT YOU
2339
01:11:30,714 --> 01:11:35,297
RIGHT WHERE YOU WANT ME.
2340
01:11:35,297 --> 01:11:36,965
>> I ALSO HAD A PRETTY
2341
01:11:36,965 --> 01:11:38,589
DECENT ACTING ROLE.
2342
01:11:38,589 --> 01:11:40,214
AND THAT WAS PLAYING THE PART
2343
01:11:40,214 --> 01:11:41,715
OF CAROLYN HELMS,
2344
01:11:41,715 --> 01:11:45,507
WHO WAS THE SENATOR'S WIFE.
2345
01:11:45,507 --> 01:11:47,758
AND SHE'S KIND OF THE CENTRAL
2346
01:11:47,758 --> 01:11:48,632
PART OF THE MOVIE.
2347
01:11:48,632 --> 01:11:51,132
HERE'S CAROLYN IN THE MIDDLE,
2348
01:11:51,132 --> 01:11:52,257
AND SHE'S KIND OF STARTS
2349
01:11:52,257 --> 01:11:53,799
MANIPULATING EVERYBODY
2350
01:11:53,799 --> 01:11:56,090
>> I'M A UNION LEADER,
2351
01:11:56,633 --> 01:11:58,467
A TEAMSTER.
2352
01:11:58,467 --> 01:12:00,925
AND I'M A-- I'M TRYING TO WORK,
2353
01:12:00,925 --> 01:12:04,342
TO GAIN AN ADVANTAGE.
2354
01:12:05,633 --> 01:12:07,593
WORD IS YOU'RE PLANNING A RUN
2355
01:12:07,593 --> 01:12:09,259
AT THE BIG TICKET IN TWO YEARS.
2356
01:12:09,259 --> 01:12:11,426
IF THAT'S TRUE, YOU'RE GONNA
2357
01:12:11,426 --> 01:12:14,011
NEED MONEY, US, AND GOD
2358
01:12:14,011 --> 01:12:16,551
ON YOUR SIDE... IN THAT ORDER.
2359
01:12:16,551 --> 01:12:17,843
I'M BEING BLACKMAILED IN THIS
2360
01:12:17,843 --> 01:12:19,760
SCENE, SO I'M-- SO I'M DOING--
2361
01:12:19,760 --> 01:12:21,593
I'M PERFORMING A SEXUAL ACT
2362
01:12:21,593 --> 01:12:22,968
THAT IF I GET CAUGHT,
2363
01:12:22,968 --> 01:12:24,635
MY OWN CAREER WOULD BE DONE.
2364
01:12:24,635 --> 01:12:26,093
SO I WAS-- IT WAS ANOTHER SCENE
2365
01:12:26,093 --> 01:12:27,427
OF HUMILIATION FOR ME, WHICH I'M
2366
01:12:27,427 --> 01:12:29,218
COMFORTABLE WITH IN MY OWN LIFE
2367
01:12:29,218 --> 01:12:31,178
WITH TWO MARRIAGES BEHIND ME.
2368
01:12:31,178 --> 01:12:32,052
>> HOW MANY TIMES DID THEY PUSH
2369
01:12:32,052 --> 01:12:32,886
ME OUT OF THE CAR?
2370
01:12:32,886 --> 01:12:33,470
HOW MANY TIMES DID THEY ALMOST
2371
01:12:33,470 --> 01:12:34,636
HIT ME WITH THE CAR?
2372
01:12:34,636 --> 01:12:35,595
>> I THINK THEY WERE JUST HAVING
2373
01:12:35,595 --> 01:12:37,303
FUN THROWING JAMES OUT OF A CAR.
2374
01:12:37,303 --> 01:12:38,344
>> I HAD TO BE LIKE LIMP AND GET
2375
01:12:38,344 --> 01:12:39,720
THROWN OF THIS CAR, UM,
2376
01:12:39,720 --> 01:12:41,013
ONTO A PILE OF GARBAGE.
2377
01:12:41,013 --> 01:12:41,803
>> I THINK THEY MUST'VE SHOT
2378
01:12:41,803 --> 01:12:43,136
THAT SCENE. FOR WHATEVER REASON,
2379
01:12:43,136 --> 01:12:43,554
LIKE 15 TIMES.
2380
01:12:43,554 --> 01:12:44,554
>> IT FELT LIKE FOREVER 'CAUSE
2381
01:12:44,554 --> 01:12:45,721
I'D BEEN PUSHED OUT OF THE CAR
2382
01:12:45,721 --> 01:12:47,553
IN TO GARBAGE.
2383
01:12:47,553 --> 01:12:48,636
AND THEN THERE WAS THIS ONE TIME
2384
01:12:48,636 --> 01:12:50,429
WHERE, UH, MY LEGS FELT A LITTLE
2385
01:12:50,429 --> 01:12:51,846
WEIRD AND, LIKE, EVERYONE
2386
01:12:51,846 --> 01:12:53,180
STARTED SCREAMING 'CAUSE THE CAR
2387
01:12:53,180 --> 01:12:54,763
ALMOST ROLLED OVER MY ANKLE.
2388
01:12:54,763 --> 01:12:55,680
>> IT WAS FUN, IT WAS FANTASTIC
2389
01:12:55,680 --> 01:12:57,847
BECAUSE WE'D ALL WORKED SO HARD
2390
01:12:57,847 --> 01:12:59,555
ON IT AND, YOU KNOW, WE HAD THIS
2391
01:12:59,555 --> 01:13:01,055
SENSE OF FAMILY AND HARD WORK,
2392
01:13:01,055 --> 01:13:02,305
AND THE MOVIE JUST LOOKED
2393
01:13:02,305 --> 01:13:03,056
INCREDIBLE.
2394
01:13:03,056 --> 01:13:04,264
AND THEN WE WON.
2395
01:13:04,264 --> 01:13:04,805
AND I REMEMBER JUMPING UP
2396
01:13:04,805 --> 01:13:06,765
WHEN WE WON AT THE AVN AWARDS
2397
01:13:06,765 --> 01:13:08,723
AND I HAD A CORSET ON AND I WAS
2398
01:13:08,723 --> 01:13:09,765
SO EXCITED AND I ACTUALLY PEED
2399
01:13:09,765 --> 01:13:10,056
>> WOW.
2400
01:13:14,222 --> 01:13:15,847
THAT WAS THE CLOSEST THING
2401
01:13:15,847 --> 01:13:17,806
TO GOD I'VE EVER FELT.
2402
01:13:17,806 --> 01:13:20,097
>> I DON'T KNOW, BUT IT'S...
2403
01:13:22,431 --> 01:13:23,639
IT'S A LOT BIGGER AND A LOT
2404
01:13:23,639 --> 01:13:25,431
IT WAS MY FIRST LEAD,
2405
01:13:27,390 --> 01:13:28,932
BIG FEATURE FILM LIKE THAT.
2406
01:13:28,932 --> 01:13:29,766
I HAD DONE THE SMALLER ONES
2407
01:13:29,766 --> 01:13:30,599
WHERE I WAS LIKE SUPPORTING
2408
01:13:30,599 --> 01:13:32,390
ACTRESS.
2409
01:13:32,390 --> 01:13:33,558
BUT THIS WAS LIKE-- IT REALLY
2410
01:13:33,558 --> 01:13:34,057
PUT ME ON THE MAP AS FAR
2411
01:13:34,057 --> 01:13:34,725
MY PARTNER DIES,
2412
01:13:36,724 --> 01:13:38,308
LIKE, IN THE LINE OF DUTY.
2413
01:13:38,308 --> 01:13:39,099
I'M DEVASTATED.
2414
01:13:39,099 --> 01:13:40,349
BUT I'M KIND OF LIKE A HARD-ASS,
2415
01:13:40,349 --> 01:13:41,600
TOO, AND I DON'T LET ANYBODY
2416
01:13:41,600 --> 01:13:43,183
KIND OF SEE MY EMOTIONS.
2417
01:13:43,183 --> 01:13:43,768
AND WE DISCOVER THIS HACKER
2418
01:13:43,768 --> 01:13:46,475
GIRL, WHICH WAS PLAYED
2419
01:13:46,475 --> 01:13:47,976
BY HILLARY SCOTT.
2420
01:13:47,976 --> 01:13:49,350
AT THAT POINT, SEXY PICTURES
2421
01:13:49,350 --> 01:13:50,267
HAD JUST SIGNED HILLARY
2422
01:13:50,267 --> 01:13:51,350
TO UNDER CONTRACT.
2423
01:13:51,350 --> 01:13:52,809
AND THEY TOLD US
2424
01:13:52,809 --> 01:13:54,643
WE HAD TO USE HER.
2425
01:13:54,643 --> 01:13:54,934
IN THE END,
2426
01:13:54,934 --> 01:13:56,727
HILLARY DID AN AMAZING JOB.
2427
01:13:56,727 --> 01:13:58,727
SHE ACTUALLY, YOU KNOW...
2428
01:13:58,727 --> 01:14:01,643
SHE WAS PREPARED AND SHE CAME
2429
01:14:01,643 --> 01:14:03,769
AND WHO AM I KIDDING?
2430
01:14:05,519 --> 01:14:07,184
SHE DID NOT WORK HARD AT ALL.
2431
01:14:07,184 --> 01:14:09,101
SHE DIDN'T, I'M LYING TO TRY
2432
01:14:09,101 --> 01:14:10,393
THROUGH THE MIRACLE OF EDITING
2433
01:14:12,935 --> 01:14:15,519
AND GOOD ACTING COACHING,
2434
01:14:15,519 --> 01:14:17,436
I THINK THAT SHE FILLED
2435
01:14:17,436 --> 01:14:21,061
THE ROLE FINE.
2436
01:14:21,061 --> 01:14:22,020
>> DAVID, I KNOW YOU CAN
2437
01:14:22,020 --> 01:14:22,896
HEAR ME.
2438
01:14:22,896 --> 01:14:24,312
>> SHOWED UP ON SET AND I WAS
2439
01:14:24,312 --> 01:14:25,728
LIKE, "OH, THIS IS A BIG MOVIE,
2440
01:14:25,728 --> 01:14:26,604
AND THEY'RE LIKE, "YEAH, YOU'RE
2441
01:14:27,312 --> 01:14:28,102
LIKE THE STAR OF IT."
2442
01:14:28,102 --> 01:14:29,062
I'M LIKE, "BUT I'M ONLY HERE
2443
01:14:29,062 --> 01:14:29,812
FOR A DAY."
2444
01:14:29,812 --> 01:14:30,353
AND THEY'RE LIKE, "WELL, ALL
2445
01:14:30,353 --> 01:14:31,312
RIGHT, YOU'RE NOT THE STAR OF
2446
01:14:31,312 --> 01:14:31,854
IT, YOU'RE JUST-- THE WHOLE
2447
01:14:31,854 --> 01:14:33,855
>> YOU SEE A LOT OF MOVIES IN
2448
01:14:35,063 --> 01:14:35,687
PORN WHERE THEY SAY, "WE SPEND
2449
01:14:35,687 --> 01:14:37,854
A MILLION DOLLARS, WE SPEND $2
2450
01:14:37,854 --> 01:14:39,646
MILLION," WHATEVER THE CASE IS.
2451
01:14:39,646 --> 01:14:41,813
AND I'M GOING TO TELL YOU THAT
2452
01:14:41,813 --> 01:14:46,105
FOR THE MOST PART, THEY LIE.
2453
01:14:46,105 --> 01:14:47,730
PEOPLE WILL SAY, "WE SPEND ALL
2454
01:14:47,730 --> 01:14:49,189
THIS MONEY," AND THEY USUALLY
2455
01:14:49,189 --> 01:14:50,272
DOUBLE THE AMOUNT.
2456
01:14:50,272 --> 01:14:51,230
NOW LET ME TELL YOU,
2457
01:14:51,230 --> 01:14:54,565
"UPLOAD" COST $350,000.
2458
01:14:54,565 --> 01:14:55,147
THAT'S AN UNHEARD OF AMOUNT
2459
01:14:55,147 --> 01:14:57,482
OF MONEY IN PORN.
2460
01:15:03,856 --> 01:15:07,106
WE SHOT FOR 20 DAYS.
2461
01:15:07,106 --> 01:15:07,857
I DON'T THINK I'VE EVER KNOWN
2462
01:15:07,857 --> 01:15:10,356
A PORN MOVIE THAT SHOT
2463
01:15:10,356 --> 01:15:11,857
FOR 20 DAYS.
2464
01:15:11,857 --> 01:15:13,857
>> WHEN "UPLOAD" WON
2465
01:15:13,857 --> 01:15:16,190
ALL THE AWARDS, PICKED UP PRETTY
2466
01:15:16,190 --> 01:15:17,107
MUCH ALMOST EVERYTHING UNDER
2467
01:15:17,107 --> 01:15:19,357
THE SUN AT AVN'S, I FELT LIKE
2468
01:15:19,357 --> 01:15:22,066
SUCH A STRONG FEELING
2469
01:15:22,066 --> 01:15:23,816
OF ACCOMPLISHMENT.
2470
01:15:28,192 --> 01:15:29,275
>> ONE OF THE THINGS THAT
2471
01:15:29,275 --> 01:15:31,692
I LEARNED FROM ELI CROSS IS HE
2472
01:15:31,692 --> 01:15:33,567
SAID, "THERE'S TWO THINGS YOU
2473
01:15:33,567 --> 01:15:35,193
NEED, YOU NEED MONEY AND TIME.
2474
01:15:35,193 --> 01:15:37,485
AND THOSE TWO THINGS WILL ALWAYS
2475
01:15:37,485 --> 01:15:39,151
HELP YOU WITH A BETTER MOVIE."
2476
01:15:39,151 --> 01:15:41,652
WE WERE ABLE TO TAKE THE MONEY
2477
01:15:41,652 --> 01:15:42,736
THAT WE HAD AND TURN IT
2478
01:15:42,736 --> 01:15:43,944
INTO TIME, AND THAT MADE
2479
01:15:43,944 --> 01:15:45,735
FOR A BETTER MOVIE.
2480
01:15:47,319 --> 01:15:47,360
>> WHATEVER YOU ASK...
2481
01:15:50,819 --> 01:15:52,819
I AM YOUR SERVANT.
2482
01:15:53,779 --> 01:15:55,444
"FALLEN" TO THIS DAY IS
2483
01:15:55,444 --> 01:15:56,903
IN "FALLEN" I AM A GUARDIAN
2484
01:15:58,736 --> 01:16:00,360
ANGEL AND MY CHARGE
2485
01:16:00,360 --> 01:16:00,903
IS JENNA HAZE.
2486
01:16:10,570 --> 01:16:12,612
>> NO!
2487
01:16:12,612 --> 01:16:14,029
I THEN LOSE MY WINGS,
2488
01:16:14,029 --> 01:16:15,738
AND I'M SORT OF ROAMING
2489
01:16:15,738 --> 01:16:18,737
THE EARTH IN LIMBO IF YOU WILL.
2490
01:16:18,737 --> 01:16:20,362
AND I PRETTY MUCH HAVE SEX
2491
01:16:20,362 --> 01:16:22,237
WITH EVERYONE IN MY PATH.
2492
01:16:22,237 --> 01:16:23,363
>> THAT'S ONE OF THE THINGS.
2493
01:16:23,363 --> 01:16:24,363
WHEN YOU'RE IN THAT FANTASY
2494
01:16:24,363 --> 01:16:25,614
REALM, ESPECIALLY WHEN YOU'RE
2495
01:16:25,614 --> 01:16:27,864
AND A LOVE STORY AT THAT WITH
2496
01:16:30,322 --> 01:16:31,614
ALL THIS FANTASY STUFF WITH
2497
01:16:31,614 --> 01:16:32,864
ANGELS AND FLYING AROUND ON
2498
01:16:32,864 --> 01:16:34,614
ROOFTOPS, IS CAN YOU ACTUALLY
2499
01:16:34,614 --> 01:16:36,989
>> OH! OH!
2500
01:16:40,364 --> 01:16:42,198
>> A LOT HAS CHANGED.
2501
01:16:42,198 --> 01:16:44,740
I'M NO LONGER AN ANGEL.
2502
01:16:44,740 --> 01:16:46,823
"FALLEN", I THINK WE SHOT IT
2503
01:16:46,823 --> 01:16:48,323
OVER TWO WEEKS, BUT IT WASN'T
2504
01:16:48,323 --> 01:16:49,908
EVERY DAY OF THOSE TWO WEEKS.
2505
01:16:49,908 --> 01:16:51,449
WE HAD PREP DAYS AND THEN WE HAD
2506
01:16:51,449 --> 01:16:53,491
DOWN DAYS, SO-- SO PEOPLE COULD
2507
01:16:53,491 --> 01:16:55,448
REST THEIR PARTS, YOU KNOW?
2508
01:16:55,448 --> 01:16:55,948
WE HAD A LOT OF REALLY
2509
01:16:55,948 --> 01:16:58,156
AMAZING PEOPLE IN IT.
2510
01:16:58,156 --> 01:17:00,115
IT HAD ACTING, IT HAD A REALLY
2511
01:17:00,115 --> 01:17:01,282
GREAT STORYLINE.
2512
01:17:01,282 --> 01:17:02,449
IT HAD A LOT OF SEX.
2513
01:17:02,449 --> 01:17:04,824
IT HAD A LOT OF HARDER SEX, TOO.
2514
01:17:04,824 --> 01:17:06,616
>> A LOT OF "FALLEN" TAKES PLACE
2515
01:17:06,616 --> 01:17:07,158
ON ROOFTOPS, AND THOSE ARE
2516
01:17:07,158 --> 01:17:09,199
ACTUALLY IN CAMERA.
2517
01:17:09,199 --> 01:17:10,992
I'M-- I'M SCARED OF
2518
01:17:10,992 --> 01:17:12,909
GREEN SCREEN MYSELF.
2519
01:17:12,909 --> 01:17:15,785
I THINK "FALLEN" STANDS
2520
01:17:15,785 --> 01:17:17,367
ON ITS OWN MERITS.
2521
01:17:17,367 --> 01:17:19,451
IT'S A GREAT STORY.
2522
01:17:19,451 --> 01:17:21,367
IT KIND OF PROPELLED JESSICA
2523
01:17:21,367 --> 01:17:23,910
INTO THAT SUPERSTAR STATUS.
2524
01:17:23,910 --> 01:17:25,911
AND, UH, DIDN'T DO BAD FOR ME
2525
01:17:25,911 --> 01:17:28,160
AS A DIRECTOR, AS WELL.
2526
01:17:28,160 --> 01:17:30,368
THE REAL REASON TO DO "FALLEN"
2527
01:17:30,368 --> 01:17:32,077
WAS TO KIND OF HAVE JESSICA
2528
01:17:32,077 --> 01:17:33,243
HIT THAT OTHER LEVEL.
2529
01:17:33,243 --> 01:17:34,702
AND IT'S GREAT IF YOU CAN PUT
2530
01:17:34,702 --> 01:17:36,494
HER IN THIS GREAT MOVIE.
2531
01:17:36,494 --> 01:17:38,410
BUT IF THE SEX FALTERS,
2532
01:17:38,410 --> 01:17:39,995
THEN IT'S JUST A GREAT MOVIE
2533
01:17:39,995 --> 01:17:41,037
AND, YOU KNOW, YOU HAVEN'T DONE
2534
01:17:41,037 --> 01:17:43,495
WHAT YOU'RE TRYING TO DO WITH
2535
01:17:43,495 --> 01:17:45,787
YOUR STARLET BY TAKING HER
2536
01:17:45,787 --> 01:17:47,286
>> WHAT HAPPENED?
2537
01:17:51,703 --> 01:17:52,995
>> NO ONE KNOWS FOR SURE.
2538
01:17:52,995 --> 01:17:55,828
THEY CALL IT THE BIG BURN.
2539
01:17:59,038 --> 01:17:59,079
AND ON THE EIGHTH DAY,
2540
01:18:00,829 --> 01:18:02,914
>> WHEN I THINK OF
2541
01:18:04,871 --> 01:18:06,079
A POST-APOCALYPTIC WORLD,
2542
01:18:06,079 --> 01:18:09,079
UH, IT'S MORE THAN
2543
01:18:09,079 --> 01:18:10,454
JUST BROKEN DOWN BUILDINGS.
2544
01:18:10,454 --> 01:18:11,997
THERE'S A PRIMAL ELEMENT TO IT
2545
01:18:11,997 --> 01:18:14,288
WHERE PEOPLE ARE STEALING FROM
2546
01:18:14,288 --> 01:18:16,580
EACH OTHER IN MORE WAYS THAN
2547
01:18:17,164 --> 01:18:19,915
ONE, AND LIFE BECOMES CHEAPER
2548
01:18:19,915 --> 01:18:21,539
BECAUSE YOU DON'T HAVE ENOUGH
2549
01:18:21,539 --> 01:18:22,289
>> MY CHARACTER WAS BASICALLY
2550
01:18:23,873 --> 01:18:24,916
BEING SEX TRAFFICKED
2551
01:18:24,916 --> 01:18:25,999
IN POST-APOCALYPTIC, UH--
2552
01:18:25,999 --> 01:18:27,998
I DON'T THINK IT WAS ACTUALLY
2553
01:18:27,998 --> 01:18:29,081
I MEAN, JUST POST-APOCALYPTIC
2554
01:18:31,373 --> 01:18:31,957
EARTH.
2555
01:18:31,957 --> 01:18:33,916
>> YOU A BUTCHER NOW, TOO?
2556
01:18:33,916 --> 01:18:35,332
>> SPECIAL COMMISSION
2557
01:18:35,332 --> 01:18:36,749
FOR THE PRINCE.
2558
01:18:36,749 --> 01:18:37,874
HE GETS FIRST LOOK
2559
01:18:37,874 --> 01:18:38,916
AT ALL MY TRADE.
2560
01:18:38,916 --> 01:18:41,249
>> "THE 8TH DAY" WAS CONCEIVED
2561
01:18:41,249 --> 01:18:44,374
BY ME WITH AMBER RAYNE IN MIND
2562
01:18:44,374 --> 01:18:45,793
AS THE LEAD CHARACTER.
2563
01:18:45,793 --> 01:18:46,958
SHE IS THE SCRUFFY TANK GIRL
2564
01:18:46,958 --> 01:18:48,832
IN THE WHOLE MOVIE.
2565
01:18:48,832 --> 01:18:50,583
BUT IT WAS PERCEIVED BY EVERYONE
2566
01:18:50,583 --> 01:18:51,208
THAT KAYDEN, BEING ADAM & EVE'S
2567
01:18:51,208 --> 01:18:52,958
CONTRACT GIRL, WAS THE STAR
2568
01:18:52,958 --> 01:18:54,334
OF THE SHOW.
2569
01:18:54,334 --> 01:18:55,291
AND SHE CERTAINLY WAS
2570
01:18:55,291 --> 01:18:56,834
THE BOX COVER, BUT SHE IS
2571
01:18:56,834 --> 01:18:58,167
THE SUPPORTING ACTRESS.
2572
01:18:58,167 --> 01:18:59,084
AND, UM, WHEN AWARDS TIME CAME
2573
01:18:59,084 --> 01:19:00,666
OUT, IT WAS THE OTHER WAY
2574
01:19:00,666 --> 01:19:01,751
AROUND.
2575
01:19:01,751 --> 01:19:02,793
AMBER GOT SUPPORTING ACTRESS
2576
01:19:02,793 --> 01:19:03,292
NOMINEE AND KAYDEN GET,
2577
01:19:03,292 --> 01:19:05,418
YOU KNOW, ACTRESS NOMINEE.
2578
01:19:05,418 --> 01:19:06,125
>> "THE 8TH DAY" WAS PROBABLY
2579
01:19:08,043 --> 01:19:09,002
THE HARDEST MOVIE I'VE EVER
2580
01:19:09,002 --> 01:19:10,835
WORKED ON.
2581
01:19:10,835 --> 01:19:12,335
THERE WERE SOME DAYS WHERE WE
2582
01:19:12,335 --> 01:19:14,210
HAD STARTED THE DAY BEFORE.
2583
01:19:15,794 --> 01:19:17,251
THERE WERE EXAMPLES IN THE MOVIE
2584
01:19:17,251 --> 01:19:20,418
OF, UM, LIKE A MARKETPLACE, LIKE
2585
01:19:20,418 --> 01:19:21,169
A BAZAAR THAT WE HAD TO BUILD
2586
01:19:21,169 --> 01:19:23,336
WHERE PEOPLE WERE HAWKING JUNK
2587
01:19:23,336 --> 01:19:23,962
OR THEY WERE HAWKING FOOD
2588
01:19:23,962 --> 01:19:26,586
OR CLOTHES, THINGS THAT
2589
01:19:26,586 --> 01:19:27,669
THEY'D SCAVENGED.
2590
01:19:27,669 --> 01:19:29,629
>> THAT WAS A HUGE UNDERTAKING
2591
01:19:29,629 --> 01:19:30,712
AS FAR AS ART DIRECTION
2592
01:19:30,712 --> 01:19:31,461
WAS CONCERNED.
2593
01:19:31,461 --> 01:19:32,420
THE ART DIRECTOR, KYLIE IRELAND,
2594
01:19:32,420 --> 01:19:35,587
SPENT WEEKS RUNNING AROUND L.A.
2595
01:19:35,587 --> 01:19:38,087
FINDING STUFF TO DO THERE.
2596
01:19:38,087 --> 01:19:39,797
MY FAVORITE KAYDEN MOMENT, UM,
2597
01:19:39,797 --> 01:19:42,047
IN THE WHOLE SHOW WAS WHEN
2598
01:19:42,047 --> 01:19:42,962
SHE'S SUPPOSED TO BREAK DOWN
2599
01:19:42,962 --> 01:19:44,170
AND CRY ABOUT HER DAD.
2600
01:19:44,170 --> 01:19:45,963
>> IT WAS BEFORE I LEARNED
2601
01:19:45,963 --> 01:19:47,296
HOW TO CRY BY MYSELF.
2602
01:19:47,296 --> 01:19:49,129
>> AND CAN'T GET ANY TEARS
2603
01:19:49,129 --> 01:19:50,046
TO FLOW AT ALL.
2604
01:19:50,046 --> 01:19:51,170
WE WAITED A GOOD LONG TIME,
2605
01:19:51,170 --> 01:19:53,838
AT LEAST A HALF AN HOUR.
2606
01:19:53,838 --> 01:19:55,296
I WALK BACK IN AND I SAID,
2607
01:19:55,296 --> 01:19:56,296
"YOU GOT NOTHING?"
2608
01:19:56,296 --> 01:19:57,171
SHE GOES, "NO, NOTHING BAD'S
2609
01:19:57,171 --> 01:19:58,089
EVER HAPPENED TO ME."
2610
01:19:58,089 --> 01:20:00,880
>> I THINK THEY SQUIRTED CITRUS
2611
01:20:00,880 --> 01:20:02,464
JUICE OR SOME SORT OF CITRUSY
2612
01:20:02,464 --> 01:20:04,255
FRUIT IN MY EYES TO MAKE IT GO.
2613
01:20:04,255 --> 01:20:05,339
>> SHE SAID, "HOLY SHIT, LET'S
2614
01:20:05,339 --> 01:20:06,757
SHOOT RIGHT NOW 'CAUSE GOD DAMN
2615
01:20:06,757 --> 01:20:07,422
IT, THIS BURNS."
2616
01:20:07,422 --> 01:20:08,214
AND I SAID, "PERFECT."
2617
01:20:08,214 --> 01:20:10,090
>> MY DAD DID THIS.
2618
01:20:12,757 --> 01:20:16,090
ALL OF THIS.
2619
01:20:16,090 --> 01:20:16,716
>> AND SHE GOES, "WHY DID YOU DO
2620
01:20:16,716 --> 01:20:17,674
THAT TO ME?"
2621
01:20:17,674 --> 01:20:18,256
I SAID, "FUCK YOU, YOUR LIFE'S
2622
01:20:18,256 --> 01:20:18,548
PERFECT."
2623
01:20:18,548 --> 01:20:20,216
NO WONDER YOU CAN'T CRY.
2624
01:20:20,216 --> 01:20:22,382
>> IT WAS ONE OF THOSE THINGS
2625
01:20:22,382 --> 01:20:23,132
AFTER THE BLOOD, SWEAT, AND
2626
01:20:23,132 --> 01:20:25,008
TEARS THAT WENT INTO IT,
2627
01:20:25,008 --> 01:20:26,883
IT WAS REALLY A NICE PAYOFF.
2628
01:20:26,883 --> 01:20:27,509
IT WAS NICE TO BE ABLE TO SAY
2629
01:20:27,509 --> 01:20:29,341
SOMEONE ACKNOWLEDGED THIS.
2630
01:20:29,341 --> 01:20:30,842
IT WASN'T JUST US, YOU KNOW,
2631
01:20:30,842 --> 01:20:31,967
FUCKING AROUND IN THE DESERT.
2632
01:20:31,967 --> 01:20:33,217
'CAUSE THERE WERE TIMES WHEN IT
2633
01:20:33,217 --> 01:20:34,300
>> HOW DID MY FATHER DIE?
2634
01:20:36,176 --> 01:20:37,175
>> A YOUNG JEDI NAMED DARTH
2635
01:20:37,175 --> 01:20:40,299
VADER, WHO WAS A PUPIL OF MINE,
2636
01:20:40,299 --> 01:20:42,425
OFF AND LEFT HIM BURNING
2637
01:20:43,425 --> 01:20:46,759
IN A RIVER OF LAVA.
2638
01:20:46,759 --> 01:20:48,842
>> "STAR WARS" IS PROBABLY THE
2639
01:20:48,842 --> 01:20:50,802
AND THERE'S SO MUCH TO PARODY
2640
01:20:53,384 --> 01:20:55,802
IN IT, SO, UM...
2641
01:20:55,802 --> 01:20:57,260
WE REALLY DID-- WE REALLY DID,
2642
01:20:57,260 --> 01:21:00,511
THAT COULD BE HAD, EVERYTHING
2643
01:21:01,803 --> 01:21:03,636
SINGLE REFERENCE THAT WE COULD
2644
01:21:03,636 --> 01:21:05,594
HAVE, AND RECREATING A LOT
2645
01:21:05,594 --> 01:21:06,302
OF THE SCENES.
2646
01:21:06,302 --> 01:21:07,385
IT WAS REALLY A LOT OF FUN.
2647
01:21:07,385 --> 01:21:08,261
IT'S A LOT OF WORK,
2648
01:21:08,261 --> 01:21:10,011
BUT WE HAD A LOT OF FUN.
2649
01:21:14,095 --> 01:21:16,553
>> SHOOT FIRST, SHOOT OFTEN.
2650
01:21:18,137 --> 01:21:20,387
SORRY FOR THE MESS.
2651
01:21:20,387 --> 01:21:21,846
HAD TO KNOW "STAR WARS" TO ONE,
2652
01:21:23,930 --> 01:21:24,262
GET THE HUMOR.
2653
01:21:24,262 --> 01:21:28,554
TRYING TO GO WITH IT AND WHAT
2654
01:21:29,222 --> 01:21:31,721
WAS HAPPENING WITH STILL KIND OF
2655
01:21:31,721 --> 01:21:32,889
TRYING TO STICK TO THE ORIGINAL
2656
01:21:32,889 --> 01:21:33,514
SCRIPT.
2657
01:21:33,514 --> 01:21:34,513
>> THE THING THAT ALL THE FANS
2658
01:21:34,513 --> 01:21:35,805
WOULD ASK ME IN THE BEGINNING
2659
01:21:35,805 --> 01:21:36,472
WHEN I ANNOUNCE THE MOVIES,
2660
01:21:36,472 --> 01:21:37,555
LIKE, OKAY, THERE'S ONLY ONE
2661
01:21:37,555 --> 01:21:39,262
GIRL IN "STAR WARS."
2662
01:21:39,262 --> 01:21:40,806
YOU'RE GONNA HAVE A PORN MOVIE--
2663
01:21:40,806 --> 01:21:42,180
TO THIS DAY, PEOPLE WRITE ON
2664
01:21:42,180 --> 01:21:43,972
YOUTUBE, THEY WATCH, YOU KNOW,
2665
01:21:43,972 --> 01:21:45,098
THEY READ ABOUT IT LIKE THERE'S
2666
01:21:45,098 --> 01:21:46,680
GONNA BE ONLY ONE GIRL?
2667
01:21:46,680 --> 01:21:48,097
IT'S NOT TRUE, WE FOUND OTHER
2668
01:21:48,097 --> 01:21:49,681
GIRLS THAT ARE PART OF
2669
01:21:49,681 --> 01:21:50,640
THE "STAR WARS" UNIVERSE.
2670
01:21:50,640 --> 01:21:51,723
THE GIRLS IN THE CANTEEN,
2671
01:21:51,723 --> 01:21:52,639
I MEAN, THERE'S-- THERE'S
2672
01:21:52,639 --> 01:21:53,806
A TON OF PEOPLE THAT WE
2673
01:21:53,806 --> 01:21:55,306
WERE ABLE TO PUT TOGETHER,
2674
01:21:55,306 --> 01:21:55,890
IT'S WAS REALLY INTERESTING.
2675
01:21:55,890 --> 01:21:57,681
>> YOU CAN FIND SEX IN ANYTHING.
2676
01:21:57,681 --> 01:22:00,015
I DON'T NECESSARILY THINK THAT,
2677
01:22:00,015 --> 01:22:01,682
YOU KNOW, THE MOVIE OR THE THEME
2678
01:22:01,682 --> 01:22:03,808
HAS TO BE SEXY TO MAKE IT SEXY.
2679
01:22:03,808 --> 01:22:04,724
THAT'S OUR JOB,
2680
01:22:04,724 --> 01:22:05,474
THAT'S WHY WE'RE HERE.
2681
01:22:05,474 --> 01:22:05,975
WE'RE SUPPOSED TO MAKE THE
2682
01:22:05,975 --> 01:22:07,724
THINGS THAT AREN'T SEXY SEXY.
2683
01:22:07,724 --> 01:22:09,725
>> DON'T ACT SO SURPRISED,
2684
01:22:09,725 --> 01:22:10,265
YOUR HIGHNESS.
2685
01:22:10,265 --> 01:22:13,558
>> I'M NOT SURPRISED.
2686
01:22:13,558 --> 01:22:15,683
I'M DISGUSTED.
2687
01:22:15,683 --> 01:22:16,851
WE SAT IN A ROOM AND HE TALKED
2688
01:22:16,851 --> 01:22:17,600
INTO A POT.
2689
01:22:17,600 --> 01:22:19,017
WE RECORDED ALL HIS SOUND IN A
2690
01:22:19,017 --> 01:22:21,434
GIANT POT, LIKE A SPAGHETTI POT.
2691
01:22:21,434 --> 01:22:23,142
IT WAS HILARIOUS.
2692
01:22:23,142 --> 01:22:23,643
>> EVERY ONCE IN A WHILE
2693
01:22:23,643 --> 01:22:25,309
I HAVE A GOOD IDEA.
2694
01:22:25,309 --> 01:22:27,476
AND IN "STAR WARS" IT WAS LIKE
2695
01:22:27,476 --> 01:22:28,810
CHI CHI LARUE.
2696
01:22:28,810 --> 01:22:30,476
>> I'M SAVED!
2697
01:22:30,476 --> 01:22:31,559
OVER HERE.
2698
01:22:31,559 --> 01:22:33,643
HEY, SAILOR!
2699
01:22:33,643 --> 01:22:34,226
>> C-3PO HAS ALWAYS BEEN VERY
2700
01:22:34,226 --> 01:22:36,685
METROSEXUAL, AND I FIGURE WE
2701
01:22:36,685 --> 01:22:37,769
TAKE IT, YOU KNOW, TO PARODY
2702
01:22:37,769 --> 01:22:39,102
THAT, TO EXPLORE THAT.
2703
01:22:39,102 --> 01:22:39,684
>> "STAR WARS" WON A TOTAL OF
2704
01:22:39,684 --> 01:22:42,102
EIGHT AWARDS AT AVN WHICH IS THE
2705
01:22:42,102 --> 01:22:43,602
MOST THAT ANY PARODY HAS EVER
2706
01:22:43,602 --> 01:22:45,727
WON, AND I THINK THAT'S AMAZING.
2707
01:22:45,727 --> 01:22:47,393
IT'S CRAZY, UM,
2708
01:22:47,393 --> 01:22:49,853
AND WHAT'S EVEN MORE AMAZING
2709
01:22:49,853 --> 01:22:51,520
ABOUT THAT IS MOST OF ALL THAT--
2710
01:22:51,520 --> 01:22:52,728
ALL THE WORK FOR THE MOVIE WAS
2711
01:22:52,728 --> 01:22:54,394
DONE BEHIND-THE-SCENES, WITHOUT
2712
01:22:54,394 --> 01:22:56,728
THE SETS, WITHOUT THE COSTUMES,
2713
01:22:56,728 --> 01:22:57,395
WITHOUT THE TIME AND DEDICATION
2714
01:22:57,395 --> 01:22:59,687
FOR THE SCRIPT.
2715
01:22:59,687 --> 01:23:00,228
THE SHOOTING, THE ANGLES,
2716
01:23:00,228 --> 01:23:01,896
THE GREEN SCREEN,
2717
01:23:01,896 --> 01:23:02,312
THE POST PRODUCTION.
2718
01:23:02,312 --> 01:23:05,395
THE MOVIE WOULD'VE BEEN NOTHING.
2719
01:23:05,395 --> 01:23:06,395
AND I THINK, UM, YOU KNOW, THAT
2720
01:23:06,395 --> 01:23:08,270
REALLY SHOWS AND, YOU KNOW,
2721
01:23:08,270 --> 01:23:09,814
BY WINNING EIGHT AVN AWARDS,
2722
01:23:09,814 --> 01:23:11,855
IT DEFINITELY SHOWS THAT OTHER
2723
01:23:11,855 --> 01:23:13,022
PEOPLE APPRECIATE ALL THE HARD
2724
01:23:13,022 --> 01:23:14,064
>> MOST KNOW ME AS DEATH.
2725
01:23:17,231 --> 01:23:20,271
>> WHAT DO YOU WANT FROM ME?
2726
01:23:20,271 --> 01:23:23,856
>> I'VE COME FOR YOU.
2727
01:23:23,856 --> 01:23:26,438
>> THE BASIS BEHIND
2728
01:23:26,438 --> 01:23:27,188
"UNDERWORLD--" I PLAY
2729
01:23:27,188 --> 01:23:28,314
A CHARACTER NAMED TANYA,
2730
01:23:28,314 --> 01:23:31,397
AND I HAVE BEEN WITH MY FIANCÉ
2731
01:23:31,397 --> 01:23:34,522
AND WE HAVE MADE THE SWEET LOVE,
2732
01:23:34,522 --> 01:23:35,481
TO DRIVE ME HOME,
2733
01:23:37,439 --> 01:23:38,856
WE'RE IN HIS PARKING GARAGE,
2734
01:23:38,856 --> 01:23:40,273
AND ALL OF A SUDDEN, WE'RE
2735
01:23:40,273 --> 01:23:42,690
VICTIMS OF A VIOLENT MUGGING.
2736
01:23:42,690 --> 01:23:43,272
>> SAY GOOD-BYE TO YOUR
2737
01:23:43,272 --> 01:23:43,524
BOYFRIEND.
2738
01:23:43,524 --> 01:23:45,315
>> NO, PLEASE!
2739
01:23:45,315 --> 01:23:47,733
>> THE OPENING IS, UH,
2740
01:23:47,775 --> 01:23:50,025
A BIT DRASTIC
2741
01:23:50,067 --> 01:23:52,066
AND A BIT BLOODY
2742
01:23:52,108 --> 01:23:53,775
AND VIOLENT, UH,
2743
01:23:55,566 --> 01:23:56,983
BUT WE ACTUALLY
2744
01:23:56,983 --> 01:23:58,025
WENT BACK AND FORTH ON
2745
01:23:58,025 --> 01:23:58,525
HOW VIOLENT TO MAKE IT.
2746
01:23:58,525 --> 01:24:00,068
>> AND THEY'RE TRYING TO SAVE MY
2747
01:24:00,068 --> 01:24:02,234
LIFE, I'M PUT UNDER ANESTHESIA.
2748
01:24:02,234 --> 01:24:05,109
AND WHEN I GO UNDER ANESTHESIA,
2749
01:24:05,109 --> 01:24:08,150
THE REST OF THE MOVIE IS THAT,
2750
01:24:08,150 --> 01:24:09,819
GOING BACK AND FORTH BETWEEN
2751
01:24:09,819 --> 01:24:11,651
ME FIGHTING FOR MY LIFE IN THE
2752
01:24:11,651 --> 01:24:13,485
OPERATING ROOM AND THE THINGS
2753
01:24:13,485 --> 01:24:14,527
THAT ARE HAPPENING TO ME
2754
01:24:14,527 --> 01:24:15,860
IN THE UNDERWORLD.
2755
01:24:15,860 --> 01:24:16,401
>> IF YOU REALLY WATCH THE
2756
01:24:16,401 --> 01:24:19,569
MOVIE, EVERYTHING PRETTY MUCH
2757
01:24:19,569 --> 01:24:21,360
IS-- HAS A MIRROR IMAGE WITH THE
2758
01:24:21,360 --> 01:24:24,276
PEOPLE IN THE OPERATING ROOM
2759
01:24:24,276 --> 01:24:25,777
AND THE UNDERWORLD BELOW.
2760
01:24:25,777 --> 01:24:27,110
EVERYTHING'S KIND OF TIED IN
2761
01:24:27,110 --> 01:24:29,276
AND EVERYTHING'S, UH, GOT
2762
01:24:29,276 --> 01:24:31,193
A YING AND A YANG SORT OF THING.
2763
01:24:31,193 --> 01:24:33,319
>> XANDER CORVUS PLAYS SLICE
2764
01:24:33,319 --> 01:24:35,111
AND HE WAS SORT OF, UH,
2765
01:24:35,111 --> 01:24:37,528
HE HAD SCALPEL FINGERS
2766
01:24:37,528 --> 01:24:39,736
AND HE WAS UP ON STILTS AND
2767
01:24:39,736 --> 01:24:40,278
SO HE WAS THE SCALPEL THAT
2768
01:24:40,278 --> 01:24:42,277
WAS STARTING THE SURGERY.
2769
01:24:42,277 --> 01:24:44,112
>> THIS JOURNEY THAT YOU'VE
2770
01:24:44,112 --> 01:24:45,237
EMBARKED UPON IS YOUR
2771
01:24:45,237 --> 01:24:46,612
SUBCONSCIOUS SELF REACTING
2772
01:24:46,612 --> 01:24:49,030
TO THE WORLD AROUND IT.
2773
01:24:49,030 --> 01:24:50,238
>> THE NURSE WAS PASSING
2774
01:24:50,238 --> 01:24:51,696
THE GAUZE TO THE DOCTOR.
2775
01:24:51,696 --> 01:24:53,488
DURING MY OPERATION IT FELL.
2776
01:24:53,488 --> 01:24:56,321
AND AS IT DROPPED, YOU SEE
2777
01:24:56,321 --> 01:24:59,031
AN AERIALIST FALL OUT OF THE SKY
2778
01:24:59,031 --> 01:25:00,322
>> SO ME AND JESSICA DRAKE GOT
2779
01:25:01,489 --> 01:25:03,113
TO HAVE SEX ON WATER, OR IT
2780
01:25:03,113 --> 01:25:03,739
LOOKED AS THOUGH IT WAS DIRECTLY
2781
01:25:03,739 --> 01:25:04,447
ON THE WATER, BUT IT WAS
2782
01:25:04,447 --> 01:25:06,573
WAS BUILT AND, UH, THERE WAS
2783
01:25:08,322 --> 01:25:08,865
MAYBE LIKE AN INCH OF WATER
2784
01:25:08,865 --> 01:25:10,281
ON TOP OF IT.
2785
01:25:10,281 --> 01:25:11,365
>> AND I'M BLOODY IN A SHALLOW
2786
01:25:11,365 --> 01:25:14,490
POOL OF WATER FOR LIKE
2787
01:25:14,490 --> 01:25:16,990
EIGHT HOURS THAT DAY.
2788
01:25:16,990 --> 01:25:18,155
>> WHEN THE INTIMIDATION MELTED
2789
01:25:18,155 --> 01:25:19,489
AWAY WAS WHEN SHE STUMBLED ON
2790
01:25:19,489 --> 01:25:20,405
A FEW OF HER LINES AND LAUGHED
2791
01:25:20,405 --> 01:25:20,697
AT HERSELF.
2792
01:25:20,697 --> 01:25:23,032
AND THEN YOU REALIZE, LIKE,
2793
01:25:23,032 --> 01:25:24,115
SOMEONE'S A HUMAN BEING,
2794
01:25:24,115 --> 01:25:25,698
AND THEY'RE A NORMAL PERSON
2795
01:25:25,698 --> 01:25:29,198
AND... THAT'S OKAY.
2796
01:25:29,198 --> 01:25:31,448
>> OH, I LOVE HAVING SEX
2797
01:25:31,448 --> 01:25:32,782
WITH ASA AKIRA.
2798
01:25:32,782 --> 01:25:33,908
RIGHT BEFORE THE SCENE, WE'RE
2799
01:25:33,908 --> 01:25:35,199
TAKING PRETTY GIRLS AND I'M
2800
01:25:35,199 --> 01:25:36,533
LIKE, "OH, THIS IS GONNA BE
2801
01:25:36,533 --> 01:25:37,991
REALLY FUN."
2802
01:25:37,991 --> 01:25:39,492
WE JUST SORT OF GOT ON EACH
2803
01:25:39,492 --> 01:25:40,867
OTHER AND ROLLED OFF THE SET.
2804
01:25:40,867 --> 01:25:41,951
WE DID IT EVERYWHERE.
2805
01:25:41,951 --> 01:25:43,784
LIKE, WE WERE JUST HAVING SEX,
2806
01:25:43,784 --> 01:25:45,575
SO, AS MUCH AS POSSIBLE, YEAH,
2807
01:25:45,575 --> 01:25:47,826
I WOULD LIKE TO, UH,
2808
01:25:47,826 --> 01:25:49,409
>> IS THERE ANYTHING ELSE
2809
01:25:50,368 --> 01:25:53,159
YOU WANT?
2810
01:25:53,159 --> 01:25:56,911
>> I MEAN, WHAT ELSE IS THERE
2811
01:25:58,952 --> 01:26:00,536
APART FROM LUXURY?
2812
01:26:02,410 --> 01:26:04,119
>> THAT CAN'T BE
2813
01:26:04,119 --> 01:26:05,369
A SERIOUS QUESTION.
2814
01:26:05,369 --> 01:26:07,410
>> AN INDIE PORNO,
2815
01:26:07,410 --> 01:26:08,954
THAT'S WHAT WE CALL IT.
2816
01:26:08,954 --> 01:26:10,079
IT'S-- IT'S LIKE A REAL MOVIE
2817
01:26:11,702 --> 01:26:14,577
WITH EMOTION AND ACTING
2818
01:26:14,577 --> 01:26:16,536
IT'S PORN WITH A REAL STORYLINE.
2819
01:26:19,954 --> 01:26:23,036
>> WHY DID YOU COME?
2820
01:26:23,036 --> 01:26:26,245
>> I CAN'T DO THIS AGAIN.
2821
01:26:26,245 --> 01:26:26,662
>> WHY DID YOU COME
2822
01:26:26,662 --> 01:26:29,411
AFTER FIVE FUCKING YEARS?
2823
01:26:29,411 --> 01:26:31,745
MY CHARACTER, HER NAME'S JACKY.
2824
01:26:31,745 --> 01:26:33,287
SHE'S THE BADASS.
2825
01:26:33,287 --> 01:26:34,121
SHE'S DEFINITELY THE BADASS
2826
01:26:34,121 --> 01:26:36,996
OF THE MOVIE AND SHE, UH,
2827
01:26:36,996 --> 01:26:39,454
IS TRYING TO OPEN
2828
01:26:39,454 --> 01:26:41,914
THE OTHER LILY UP TO THIS WORLD
2829
01:26:41,914 --> 01:26:43,621
>> MY ROLE IN "WASTELAND"
2830
01:26:46,205 --> 01:26:48,288
WAS VERY SIMPLE.
2831
01:26:48,288 --> 01:26:49,623
THERE'S TWO GIRLS AT THE BAR.
2832
01:26:49,623 --> 01:26:50,623
I SAY SOMETHING IN THEIR EARS
2833
01:26:52,455 --> 01:26:54,623
WHICH IS EASY FOR ME.
2834
01:26:55,790 --> 01:26:57,456
TAKE HER UP TO THE BATHROOM
2835
01:26:57,456 --> 01:27:00,373
AND HAVE SEX WITH LILY LABEAU
2836
01:27:00,373 --> 01:27:01,707
IN THE BATHROOM.
2837
01:27:01,707 --> 01:27:03,456
IT'S A VERY, VERY CLOSED
2838
01:27:03,456 --> 01:27:04,498
ENVIRONMENT, IT'S LITERALLY
2839
01:27:04,498 --> 01:27:07,749
REAL TOILET SO THERE WAS NO ROOM
2840
01:27:07,749 --> 01:27:09,541
TO OPEN THE DOOR, SHOOT, LIKE,
2841
01:27:09,541 --> 01:27:10,665
THROUGH THE OPEN DOOR.
2842
01:27:10,665 --> 01:27:13,833
THEY SHOT IT ALL FROM ABOVE.
2843
01:27:13,833 --> 01:27:15,374
I THINK HE KNEW THAT THE BEST
2844
01:27:15,374 --> 01:27:17,332
WAY TO USE ME IS NOT TO HAVE ME
2845
01:27:17,332 --> 01:27:19,415
SPEAK BUT LET ME JUST FUCK.
2846
01:27:19,415 --> 01:27:20,166
>> I THINK THAT'S ONE OF THE
2847
01:27:20,166 --> 01:27:21,458
BIGGEST THINGS THAT SEPARATES
2848
01:27:21,458 --> 01:27:23,792
"WASTELAND" FROM A LOT OF
2849
01:27:23,792 --> 01:27:25,583
THE OTHER PORN IS THAT THE SHOTS
2850
01:27:25,583 --> 01:27:28,125
ARE SO BEAUTIFUL
2851
01:27:28,125 --> 01:27:30,251
AND THEY ARE THOUGHT OUT.
2852
01:27:30,251 --> 01:27:32,917
EVERY SINGLE SHOT IS THOUGHT OUT
2853
01:27:32,917 --> 01:27:34,125
AND PLANNED TO JUST--
2854
01:27:34,125 --> 01:27:35,167
>> IT WAS REALLY, REALLY DARK,
2855
01:27:36,751 --> 01:27:40,086
UM, WHERE WE SHOT THAT SCENE,
2856
01:27:40,086 --> 01:27:41,709
FOR ME BECAUSE I'VE NEVER SHOT
2857
01:27:44,794 --> 01:27:48,044
ANYTHING IN SUCH DARK LIGHTING.
2858
01:27:48,044 --> 01:27:48,586
IT WAS JUST COMPLETELY DARK.
2859
01:27:48,586 --> 01:27:51,335
I WAS LIKE, "REALLY, LIKE, CAN
2860
01:27:51,335 --> 01:27:52,627
YOU GUYS REALLY SEE
2861
01:27:52,627 --> 01:27:53,669
WHAT WE'RE SHOOTING?"
2862
01:27:53,669 --> 01:27:54,002
THEY'RE LIKE,
2863
01:27:54,002 --> 01:27:54,670
"YEAH, YEAH, IT LOOKS COOL."
2864
01:27:54,670 --> 01:27:57,169
>> IT'S THIS WHOLE STORY
2865
01:27:57,169 --> 01:27:58,670
COMBINING TO MAKE THIS BEAUTIFUL
2866
01:27:58,670 --> 01:28:01,378
JUDGMENT HAD REARED
2867
01:28:02,711 --> 01:28:03,670
ITS UGLY HEAD.
2868
01:28:03,670 --> 01:28:05,504
AND RIGHT WHEN MY GUARD
2869
01:28:05,504 --> 01:28:06,670
WAS FULLY DOWN,
2870
01:28:06,670 --> 01:28:11,921
IT SUDDENLY HAD POPPED BACK UP.
2871
01:28:11,921 --> 01:28:12,628
>> EMMA GOES INTO INTERVIEW
2872
01:28:12,628 --> 01:28:14,379
A MAN BY THE NAME OF
2873
01:28:14,379 --> 01:28:15,671
WILLIAM FITZGERALD WHO IS THIS
2874
01:28:15,671 --> 01:28:18,212
VERY PROMINENT BUSINESSMAN WHO
2875
01:28:18,212 --> 01:28:19,587
EMPLOYS PREDOMINANTLY FEMALES.
2876
01:28:19,587 --> 01:28:21,212
THERE'S AN UNSPOKEN ATTRACTION
2877
01:28:21,212 --> 01:28:23,047
PROPOSITIONS HER FOR
2878
01:28:25,130 --> 01:28:26,672
THE ROLE OF BEING HIS SUB.
2879
01:28:26,672 --> 01:28:29,214
SHE'S NOT A VERY SEXUAL PERSON.
2880
01:28:29,214 --> 01:28:30,880
SHE DEFINITELY DOESN'T CONFORM
2881
01:28:30,880 --> 01:28:32,673
TO NORMAL SOCIETY'S VIEWS
2882
01:28:32,673 --> 01:28:33,673
>> I DIDN'T READ THE "50 SHADES
2883
01:28:36,090 --> 01:28:37,214
OF GREY" BOOK OR ANYTHING LIKE
2884
01:28:37,214 --> 01:28:37,798
THAT BECAUSE I REMEMBER JACKY
2885
01:28:37,798 --> 01:28:40,091
WE WANNA DO PRETTY MUCH
2886
01:28:41,840 --> 01:28:42,881
THE OPPOSITE OF THAT.
2887
01:28:42,881 --> 01:28:44,339
>> I READ "50 SHADES OF GREY"
2888
01:28:44,339 --> 01:28:45,841
AND I HATED HOW THE FEMALE
2889
01:28:45,841 --> 01:28:47,298
PROTAGONIST WAS PORTRAYED.
2890
01:28:47,298 --> 01:28:49,799
SHE WAS INCREDIBLY WEAK AND HER
2891
01:28:49,799 --> 01:28:50,549
ENTIRE MOTIVATION WAS TO PLEASE
2892
01:28:50,549 --> 01:28:52,924
A MAN AND TO MAKE A MAN HAPPY.
2893
01:28:52,924 --> 01:28:54,550
I WANTED TO SET ABOUT WRITING
2894
01:28:54,550 --> 01:28:55,758
A BDSM STORY THAT REALLY
2895
01:28:55,758 --> 01:28:58,925
EXPLORED A STRONG WOMAN'S
2896
01:28:58,925 --> 01:29:01,674
SUB ROLE AND HOW THAT CAN BE
2897
01:29:01,674 --> 01:29:03,341
SO EMPOWERING FOR HER.
2898
01:29:03,341 --> 01:29:06,299
>> SHE WAS, UM, LIVING, LIKE,
2899
01:29:06,299 --> 01:29:08,967
A KIND OF RESERVED LIFE
2900
01:29:08,967 --> 01:29:10,676
AND NOT REALLY BEING HERSELF,
2901
01:29:10,676 --> 01:29:11,926
AND THAT'S SOMETHING THAT I CAN
2902
01:29:11,926 --> 01:29:13,550
VERY MUCH RELATE TO BECAUSE
2903
01:29:13,550 --> 01:29:16,676
I ALWAYS WANTED TO JUST, LIKE,
2904
01:29:16,676 --> 01:29:18,676
BE THE PERSON THAT EVERYONE
2905
01:29:18,676 --> 01:29:20,217
WANTED ME TO BE.
2906
01:29:20,217 --> 01:29:21,969
>> BDSM IS NOT JUST BEATING
2907
01:29:21,969 --> 01:29:23,384
SOMEBODY AND HARMING SOMEBODY
2908
01:29:23,384 --> 01:29:23,969
AND PHYSICALLY HURTING THEM.
2909
01:29:23,969 --> 01:29:27,009
IT'S SO MUCH ABOUT THE MENTAL
2910
01:29:27,009 --> 01:29:28,802
ASPECT OF THOSE RELATIONSHIPS.
2911
01:29:28,802 --> 01:29:30,844
SO FOR ME, I WANTED TO TELL
2912
01:29:30,844 --> 01:29:32,845
A STORY ABOUT THAT.
2913
01:29:32,845 --> 01:29:33,761
>> I DID FEEL LIKE, UH, I HAD
2914
01:29:33,761 --> 01:29:36,095
A LITTLE BIT OF AN ADVANTAGE
2915
01:29:36,095 --> 01:29:36,719
JOINING THE MOVIE BECAUSE I HAD
2916
01:29:36,719 --> 01:29:39,719
SOME BDSM EXPERIENCE WORKING
2917
01:29:39,719 --> 01:29:41,470
WITH DIFFERENT BONDAGE COMPANIES
2918
01:29:41,470 --> 01:29:42,512
IN THE INDUSTRY.
2919
01:29:42,512 --> 01:29:43,595
SO IT WAS NICE TO BE ABLE TO
2920
01:29:43,595 --> 01:29:45,137
BRING IN A LITTLE BIT OF
2921
01:29:45,137 --> 01:29:46,804
MY KNOWLEDGE AND EXPERIENCE
2922
01:29:46,804 --> 01:29:49,055
WITH THAT FOR A MOVIE THAT
2923
01:29:49,055 --> 01:29:50,637
SO MUCH, LIKE, REVOLVES AROUND
2924
01:29:50,637 --> 01:29:52,429
THE BDSM COMMUNITY.
2925
01:29:52,429 --> 01:29:52,929
>> SO "THE SUBMISSION OF
2926
01:29:52,929 --> 01:29:54,763
EMMA MARX" WON BEST BDSM MOVIE
2927
01:29:54,763 --> 01:29:55,763
AT AVN.
2928
01:29:55,763 --> 01:29:58,178
AND I WAS COMPLETELY FLOORED
2929
01:29:58,178 --> 01:29:58,804
BECAUSE WE'RE UP AGAINST
2930
01:29:58,804 --> 01:30:02,138
BDSM COMPANIES.
2931
01:30:02,138 --> 01:30:03,763
AND NEW SENSATIONS MAINLY IS
2932
01:30:03,763 --> 01:30:05,680
A FEATURE GONZO STUDIO
2933
01:30:05,680 --> 01:30:06,930
THAT DOESN'T REALLY FOCUS ON
2934
01:30:06,930 --> 01:30:08,847
ANYTHING PARTICULARLY HARDCORE.
2935
01:30:08,847 --> 01:30:10,346
>> I WAS REALLY FLATTERED THAT
2936
01:30:10,346 --> 01:30:12,180
THEY WOULD RECOGNIZE THAT FILM,
2937
01:30:12,180 --> 01:30:14,764
ESPECIALLY GIVEN THAT IT WASN'T
2938
01:30:14,764 --> 01:30:16,221
REALLY THE PHYSICALITY
2939
01:30:16,221 --> 01:30:16,889
THAT WAS EXPLORED.
2940
01:30:16,889 --> 01:30:19,014
IT WAS THE MENTAL ASPECT.
2941
01:30:19,014 --> 01:30:20,098
>> WHEN I FIRST STARTED,
2942
01:30:20,098 --> 01:30:20,722
WE WERE DOING FILM,
2943
01:30:20,722 --> 01:30:21,681
IT WAS A THRILL.
2944
01:30:21,681 --> 01:30:22,264
IT WAS GREAT, YOU KNOW, WE'RE
2945
01:30:22,264 --> 01:30:23,681
LUGGING THESE BIG ASS CAMERAS
2946
01:30:23,681 --> 01:30:24,681
AROUND SAN FRANCISCO
2947
01:30:24,681 --> 01:30:25,890
AND HAVING A FIELD DAY.
2948
01:30:25,890 --> 01:30:27,515
NOBODY BOTHERED US, NOBODY
2949
01:30:27,515 --> 01:30:29,223
CARED, YOU JUST DID THE MOVIES.
2950
01:30:29,223 --> 01:30:31,015
AND THE DRUGS WERE GREAT.
2951
01:30:31,015 --> 01:30:33,306
AND VIDEO CAME OUT AND IT WAS--
2952
01:30:33,306 --> 01:30:34,765
IT WAS A SMALLER PARTY.
2953
01:30:34,765 --> 01:30:35,683
YOU DIDN'T NEED THE CREW
2954
01:30:35,683 --> 01:30:38,975
YOU HAD FOR 35 MILLIMETER.
2955
01:30:38,975 --> 01:30:40,724
YOU HAD WAY SMALLER CREW, AND
2956
01:30:40,724 --> 01:30:42,725
YOU WOULD JUST SORT OF LOAD IT
2957
01:30:42,725 --> 01:30:44,851
IN A VAN, SHOW UP AT A LOCATION,
2958
01:30:44,851 --> 01:30:47,350
SHOT YOUR FOUR OR FIVE SCENES
2959
01:30:47,350 --> 01:30:48,600
AND RAN OUT THE DOOR,
2960
01:30:48,600 --> 01:30:48,934
YOU WERE DONE.
2961
01:30:48,934 --> 01:30:51,350
AND THE DRUGS WERE OKAY.
2962
01:30:51,350 --> 01:30:52,726
AND-- AND TOWARD THE END,
2963
01:30:52,726 --> 01:30:54,684
IT REALLY JUST GOT, "HOW FAST
2964
01:30:54,684 --> 01:30:56,808
CAN YOU CRANK IT OUT AND GET IT
2965
01:30:56,808 --> 01:30:58,225
BACK TO ME AND I GOTTA PEDAL
2966
01:30:58,225 --> 01:31:00,184
IT..." AND THE DRUGS SUCKED.
2967
01:31:00,184 --> 01:31:01,476
>> IT'S HARD TO SAY WHERE THE
2968
01:31:01,476 --> 01:31:03,392
PORN INDUSTRY WILL GO FROM HERE.
2969
01:31:03,392 --> 01:31:05,517
THE INTERNET ERA SEEMS TO DEMAND
2970
01:31:05,517 --> 01:31:06,060
A RETURN TO THE LOOPS AND
2971
01:31:06,060 --> 01:31:08,184
VIGNETTES THAT GAVE BIRTH TO THE
2972
01:31:08,184 --> 01:31:10,103
EROTIC FILM IN THE FIRST PLACE.
2973
01:31:10,103 --> 01:31:10,935
IT'S A SHAME TO THINK THAT THIS
2974
01:31:10,935 --> 01:31:13,310
LIST OF THE GREATEST ADULT
2975
01:31:13,310 --> 01:31:14,351
MOVIES MAYBE THE LAST
2976
01:31:14,351 --> 01:31:15,561
OF ITS KIND.
2977
01:31:15,561 --> 01:31:18,310
BUT THE FUTURE IS HARD TO SEE.
2978
01:31:18,310 --> 01:31:20,727
AND MAYBE THE ADULT FEATURE WILL
2979
01:31:20,727 --> 01:31:21,811
SURPRISE US WITH ITS LONGEVITY.
2980
01:31:21,811 --> 01:31:25,478
I'M CHANEL PRESTON, GOOD NIGHT.
2981
01:31:25,478 --> 01:31:28,937
♪♪
2982
01:31:28,937 --> 01:31:30,520
>> IF THE BRILLIANT SWEDISH
2983
01:31:30,520 --> 01:31:33,979
FILMMAKER INGMAR BERGMAN EVER
2984
01:31:33,979 --> 01:31:35,979
MADE AN X-RATED MOTION PICTURE,
2985
01:31:35,979 --> 01:31:38,688
IT WOULD LOOK EXACTLY LIKE THIS.
2986
01:31:41,563 --> 01:31:42,187
>> "PRISONER OF PARADISE" STARS
2987
01:31:42,187 --> 01:31:45,230
SUCH FILM GREATS AS SEKA.
2988
01:31:47,856 --> 01:31:50,354
>> FIBBER.
2989
01:31:50,354 --> 01:31:53,022
>> AMERICAN, I SAID OVER HERE!
2990
01:31:53,022 --> 01:31:54,646
FUCK ME!
2991
01:31:54,646 --> 01:31:56,272
>> AMERICAN GIRLS ARE LOVELY
2992
01:31:56,272 --> 01:31:57,397
CREATURES.
2993
01:31:59,064 --> 01:31:59,106
>> ILSA, TIE HER UP!
2994
01:32:01,730 --> 01:32:02,815
>> DON'T YOU COME IN ME,
2995
01:32:02,815 --> 01:32:06,273
YOU AMERICAN SWINE.
2996
01:32:06,273 --> 01:32:06,982
>> YOU'D NEVER GUESS WHAT THESE
2997
01:32:06,982 --> 01:32:08,940
SEXY YOUNG LADIES IN THE
2998
01:32:08,940 --> 01:32:11,731
FUNNY-LOOKING UNIFORMS
2999
01:32:11,731 --> 01:32:13,231
DO FOR A LIVING.
3000
01:32:13,231 --> 01:32:14,481
>> GARAGE GIRLS, GOOD MORNING.
3001
01:32:14,481 --> 01:32:16,690
>> WATCH AS THESE GORGEOUS
3002
01:32:16,690 --> 01:32:18,649
GARAGE GIRLS MIX BUSINESS
3003
01:32:18,649 --> 01:32:21,816
AND PLEASURE AS THEY CLIMB
3004
01:32:21,816 --> 01:32:23,899
THEIR WAY TO THE TOP.
3005
01:32:23,899 --> 01:32:24,942
>> HERE SHE COMES,
3006
01:32:24,942 --> 01:32:25,942
THE INCREDIBLE, VOLUPTUOUS
3007
01:32:25,942 --> 01:32:28,900
LESLIE BOVEE IN HER MOST
3008
01:32:28,900 --> 01:32:29,984
ELECTRIFYING ROLE AS
3009
01:32:29,984 --> 01:32:31,984
"THE SENATOR'S DAUGHTER."
3010
01:32:31,984 --> 01:32:33,984
CO-STARRING THE FABULOUS
3011
01:32:33,984 --> 01:32:35,901
JOHN HOLMES.
3012
01:32:35,901 --> 01:32:37,818
>> YOU ARE AN EROTIC
3013
01:32:37,818 --> 01:32:40,609
FILM STAR NOW LACKING
3014
01:32:40,609 --> 01:32:42,152
AN ESSENTIAL MEMBER,
3015
01:32:42,152 --> 01:32:44,443
BUT WE CAN REBUILD IT.
3016
01:32:44,443 --> 01:32:46,109
>> "THE SENATOR'S DAUGHTER"
3017
01:32:46,109 --> 01:32:48,943
COMING TO THIS THEATER SOON.
3018
01:33:00,318 --> 01:33:00,944
>> I'M STILL SORE HERE FROM WHAT
3019
01:33:00,944 --> 01:33:03,443
THE DEVIL DID TO ME.
3020
01:33:03,443 --> 01:33:05,194
HE EVEN MADE IT TALK.
3021
01:33:05,194 --> 01:33:07,153
>> IN THIS CASE, CURIOSITY
3022
01:33:07,153 --> 01:33:08,611
DIDN'T KILL THE CAT.
3023
01:33:08,611 --> 01:33:09,653
>> DO YOU WANT TO FIND OUT
3024
01:33:09,653 --> 01:33:11,361
WHAT LOVE IS ALL ABOUT?
3025
01:33:11,361 --> 01:33:12,987
>> HONEY, I'M ALMOST READY.
3026
01:33:12,987 --> 01:33:15,320
>> I'M GETTING READY.
3027
01:33:15,320 --> 01:33:17,821
>> DON'T MISS
3028
01:33:17,821 --> 01:33:20,487
"HERE COMES THE BRIDE."
3029
01:33:20,487 --> 01:33:22,195
>> COMING SOON TO THIS THEATER,
3030
01:33:22,195 --> 01:33:23,071
"THE PLEASURE PALACE."
3031
01:33:23,071 --> 01:33:25,654
THE NEWEST X-RATED FILM
3032
01:33:25,654 --> 01:33:27,030
FROM CARTER STEVENS.
3033
01:33:27,030 --> 01:33:29,280
THE MAN WHO GAVE YOU SUCH FILMS
3034
01:33:29,280 --> 01:33:31,114
AS "LICKITY-SPLIT", "THE LOVE
3035
01:33:31,114 --> 01:33:33,072
COUCH," AND "TEENAGE TWINS."
3036
01:33:33,072 --> 01:33:36,115
>> SUZIE SUPERSTAR.
3037
01:33:36,115 --> 01:33:37,738
>> ♪ BABY TAKE OFF ♪
3038
01:33:37,738 --> 01:33:40,447
♪ YOUR CLOTHES ♪
3039
01:33:40,447 --> 01:33:43,780
♪ MAKE LOVE TO ME ♪♪
3040
01:33:43,780 --> 01:33:45,280
>> GOD DAMN IT, YOU KNOW HOW
3041
01:33:45,280 --> 01:33:45,990
HORNY I GET WHEN I SING.
3042
01:33:45,990 --> 01:33:48,156
>> FIND OUT WHAT HAPPENS WHEN
3043
01:33:48,156 --> 01:33:50,322
TWO SEXY 16-YEAR-OLD GIRLS
3044
01:33:50,322 --> 01:33:50,865
TAKE THEIR PARENTS CAR
3045
01:33:50,865 --> 01:33:53,614
AND GO AWAY FOR THE WEEKEND.
3046
01:33:53,614 --> 01:33:54,698
>> THIS IS EXCITING.
3047
01:33:54,698 --> 01:33:55,239
I'VE NEVER BEEN TO AN ORGY
3048
01:33:55,239 --> 01:33:56,949
BEFORE.
3049
01:33:56,949 --> 01:33:57,991
>> NEITHER HAVE I.
3050
01:33:57,991 --> 01:33:59,448
WHAT'S AN ORGY?
3051
01:33:59,448 --> 01:34:00,866
>> "NAKED AFTERNOON" IS MORE
3052
01:34:00,866 --> 01:34:02,074
THAN EXPLICIT DRAMA.
3053
01:34:02,074 --> 01:34:04,657
IT IS THE REAL STORY OF
3054
01:34:04,657 --> 01:34:06,491
A GENUINE HONEST-TO-GOD
3055
01:34:06,491 --> 01:34:07,074
WOMAN-CHILD.
3056
01:34:07,074 --> 01:34:09,448
>> HOLLYWOOD IN THE 30s
3057
01:34:09,448 --> 01:34:10,908
IN A BIG, BRIGHT, AND BUBBLING
3058
01:34:10,908 --> 01:34:12,783
BLOCKBUSTER OF A MOVIE.
3059
01:34:12,783 --> 01:34:15,908
YOU'VE NEVER SEEN ANYTHING LIKE
3060
01:34:15,908 --> 01:34:18,659
"PINK CHAMPAGNE."
3061
01:34:22,200 --> 01:34:25,285
YOU GOTTA SEE IT TO BELIEVE IT.
200122
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