1
00:00:08,500 --> 00:00:09,333
>> MIND IF I SMOKE

2
00:00:09,333 --> 00:00:18,667
WHILE YOU'RE EATING?

3
00:00:18,667 --> 00:00:19,875
>> KISSING WITH THEIR TONGUE.

4
00:00:19,875 --> 00:00:21,208
>> AND THAT'S FIRST CLASS?

5
00:00:21,208 --> 00:00:21,500
>> CORRECT.

6
00:00:21,500 --> 00:00:23,291
>> WHICH PART OF FIRST CLASS?

7
00:00:23,291 --> 00:00:24,333
SEX OR NONSEX?

8
00:00:24,333 --> 00:00:26,834
>> IT'LL BE LIKE I NEVER

9
00:00:26,834 --> 00:00:29,542
EVEN EXISTED.

10
00:00:39,542 --> 00:00:40,375
>> I'M LUKE SKYWALKER.

11
00:00:40,375 --> 00:00:42,000
I'M HERE TO SAVE YOU.

12
00:00:42,000 --> 00:00:43,083
>> I'M BEING RESCUED BY

13
00:00:43,083 --> 00:00:43,458
A TRANSVESTITE?

14
00:00:43,458 --> 00:00:46,208
>> MY GOD, HE'S A PERVERT, TOO.

15
00:00:53,709 --> 00:00:54,458
>> WHAT WE DID WAS

16
00:00:54,458 --> 00:00:56,458
TERRIBLY WRONG.

17
00:00:56,458 --> 00:00:58,500
>> IS THIS SEXUAL HARASSMENT?

18
00:00:58,500 --> 00:01:00,709
>> YEAH...

19
00:01:00,709 --> 00:01:01,333
>> DO YOU THINK YOU'RE

20
00:01:01,333 --> 00:01:01,583
LIBERATED?

21
00:01:05,500 --> 00:01:07,250
>>

22
00:01:07,250 --> 00:01:09,875
>>YOU'RE A FUCKING ASSHOLE!

23
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>> I DESPISE YOU!

24
00:01:11,417 --> 00:01:13,542
>> FUCK THAT SHIT. RUN.

25
00:01:15,500 --> 00:01:17,333
>> AND THANK YOU FOR FLYING

26
00:01:17,333 --> 00:01:19,166
STAR TOURS.

27
00:01:27,125 --> 00:01:30,709
♪♪

28
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>> MOVIES HAVE BEEN MAKING US

29
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LAUGH AND CRY, GASP AND SCREAM

30
00:01:43,917 --> 00:01:45,458
FOR OVER 100 YEARS.

31
00:01:45,458 --> 00:01:46,792
AND SINCE THE EARLIEST DAYS

32
00:01:46,792 --> 00:01:47,375
OF CINEMA, ADULT FILMS HAVE

33
00:01:47,375 --> 00:01:49,250
BEEN A PART OF THE MOTION

34
00:01:49,250 --> 00:01:50,250
PICTURE LANDSCAPE, MAKING US

35
00:01:50,250 --> 00:01:53,000
GASP FOR ENTIRELY DIFFERENT

36
00:01:53,000 --> 00:01:54,000
REASONS.

37
00:01:54,000 --> 00:01:55,625
AS FAR BACK AS THE 1880's,

38
00:01:55,625 --> 00:01:57,500
FILMMAKERS SAW THE GOLDMINE

39
00:01:57,500 --> 00:01:59,000
POTENTIAL OF EROTIC FILM--

40
00:01:59,000 --> 00:02:01,667
LOOPS, STAG FILMS,

41
00:02:01,667 --> 00:02:02,208
PEEP SHOW BOOTHS.

42
00:02:02,208 --> 00:02:05,166
FOR THE NEXT 90 YEARS,

43
00:02:05,166 --> 00:02:06,500
SOCIETY WATCHED SEX IN

44
00:02:06,500 --> 00:02:08,000
A VARIETY OF WAYS.

45
00:02:08,000 --> 00:02:09,542
THEN IN THE 1970's,

46
00:02:09,542 --> 00:02:10,834
EVERYTHING CHANGED.

47
00:02:10,834 --> 00:02:12,458
TAKING ADVANTAGE OF A MORE

48
00:02:12,458 --> 00:02:13,667
SOCIALLY PERMISSIVE ATMOSPHERE,

49
00:02:13,667 --> 00:02:15,542
DIRECTORS BEGAN TELLING STORIES

50
00:02:15,542 --> 00:02:17,500
SURROUNDING THE HARDCORE SEX.

51
00:02:17,500 --> 00:02:19,125
FOR THE FIRST TIME EVER,

52
00:02:19,125 --> 00:02:19,625
FULL-LENGTH MOVIES WITH

53
00:02:19,625 --> 00:02:21,709
EXPLICIT SEX WERE BEING SHOWN

54
00:02:21,709 --> 00:02:23,709
IN THEATERS FOR A MASS AUDIENCE.

55
00:02:23,709 --> 00:02:25,417
IT'S IMPOSSIBLE TO OVERSTATE THE

56
00:02:25,417 --> 00:02:26,375
IMPORTANCE OF GERARD DAMIANO'S

57
00:02:26,375 --> 00:02:28,917
FILM, "DEEP THROAT."

58
00:02:28,917 --> 00:02:29,500
THIS MOVIE OPENED THE DOOR FOR

59
00:02:29,500 --> 00:02:31,458
VIRTUALLY EVERY ADULT FEATURE

60
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THAT CAME AFTER.

61
00:02:32,959 --> 00:02:34,834
WHILE THE EXAGGERATED CLOSE-UPS,

62
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CAMPY PERFORMANCES, AND

63
00:02:36,333 --> 00:02:37,834
FIREWORKS GOING OFF DURING

64
00:02:37,834 --> 00:02:38,417
ORGASMS MIGHT SEEM A LITTLE

65
00:02:38,417 --> 00:02:40,583
COMICAL TO A MODERN AUDIENCE,

66
00:02:40,583 --> 00:02:43,917
IN 1972, AUDIENCES HAD NEVER

67
00:02:43,917 --> 00:02:45,458
SEEN ANYTHING LIKE IT.

68
00:02:45,458 --> 00:02:46,625
WHETHER DISCUSSING ADULT OR

69
00:02:46,625 --> 00:02:47,917
MAINSTREAM, "DEEP THROAT"

70
00:02:47,917 --> 00:02:49,041
REMAINS ONE OF THE MOST

71
00:02:49,041 --> 00:02:51,166
>> YOU SAY THAT YOU WANT MORE

72
00:02:51,792 --> 00:02:52,417
OUT OF SEX THAN JUST A LOT OF

73
00:02:52,417 --> 00:02:54,291
LITTLE TINGLES?

74
00:02:54,291 --> 00:02:56,125
>> YES, I WANNA HEAR BELLS

75
00:02:56,125 --> 00:02:57,250
AND BOMBS--

76
00:02:57,250 --> 00:02:58,041
>> YES, WE JUST WENT THROUGH

77
00:02:58,041 --> 00:02:59,083
THAT, MISS LOVELACE. LET'S NOT

78
00:02:59,083 --> 00:02:59,500
DO THAT PART AGAIN.

79
00:02:59,500 --> 00:03:01,917
>> I DON'T THINK PEOPLE UNDER

80
00:03:01,917 --> 00:03:04,166
A CERTAIN AGE UNDERSTAND JUST

81
00:03:04,166 --> 00:03:08,000
HOW EDGY AND HOW RADICAL IT WAS

82
00:03:08,000 --> 00:03:10,417
TO PUT ACTUAL SEX IN A BIG MOVIE

83
00:03:10,417 --> 00:03:10,667
THEATER.

84
00:03:10,667 --> 00:03:12,709
>> "DEEP THROAT," IN PARTICULAR,

85
00:03:12,709 --> 00:03:14,041
OPEN A LOT OF DOORS.

86
00:03:14,041 --> 00:03:16,333
IT MADE IT-- SEEING SOMETHING

87
00:03:16,333 --> 00:03:17,625
LIKE THAT MORE ACCESSIBLE,

88
00:03:17,625 --> 00:03:20,083
AND THEN THAT HELPED IN MAKING

89
00:03:20,083 --> 00:03:21,709
>> "DEEP THROAT" AND...

90
00:03:23,291 --> 00:03:24,458
"THE DEVIL IN MISS JONES"

91
00:03:24,458 --> 00:03:25,000
PLAYED THE DOUBLE BILL FOR,

92
00:03:25,000 --> 00:03:26,083
>> WHEN "DEEP THROAT" CAME OUT

93
00:03:27,166 --> 00:03:28,875
IN NEW YORK THEATERS, LINES

94
00:03:28,875 --> 00:03:30,417
AROUND THE BLOCK-- JACKIE O.

95
00:03:30,417 --> 00:03:31,458
>> JACKIE KENNEDY WENT TO SEE--

96
00:03:34,166 --> 00:03:36,125
>> DEEP THROAT IS THIS GIRL

97
00:03:37,375 --> 00:03:39,458
SHE'S-- SHE'S TIRED OF-- OF SEX.

98
00:03:42,709 --> 00:03:44,333
SHE THINKS THAT IT SHOULD BE

99
00:03:44,333 --> 00:03:46,250
MORE THAN JUST LITTLE TINGLES.

100
00:03:46,250 --> 00:03:47,834
>> IT MAKES ME FEEL SORT OF

101
00:03:47,834 --> 00:03:50,333
TINGLY ALL OVER, AND THEN--

102
00:03:50,333 --> 00:03:51,417
>> AND THEN WHAT?

103
00:03:51,417 --> 00:03:53,375
>> NOTHING. I MEAN THERE SHOULD

104
00:03:53,375 --> 00:03:54,625
BE MORE TO SEX THAN A LOT OF

105
00:03:54,625 --> 00:03:55,458
LITTLE TINGLES.

106
00:03:55,458 --> 00:03:56,500
THERE SHOULD BE BELLS RINGING,

107
00:03:56,500 --> 00:03:58,500
SEAMS BURSTING, BOMBS GOING

108
00:03:58,500 --> 00:04:00,625
OFF-- SOMETHING.

109
00:04:00,625 --> 00:04:01,667
>> DO YOU WANNA GET OFF, OR DO

110
00:04:01,667 --> 00:04:02,750
YOU WANNA WRECK A CITY?

111
00:04:02,750 --> 00:04:03,542
>> SHE CAN'T UNDERSTAND WHY SHE

112
00:04:03,542 --> 00:04:06,417
CAN'T HAVE AN ORGASM, BECAUSE

113
00:04:06,417 --> 00:04:07,583
SHE HAS ALL THIS SEX, AND

114
00:04:07,583 --> 00:04:08,500
NOTHING-- I MEAN IT'S NICE, BUT

115
00:04:08,500 --> 00:04:10,333
NOTHING HAPPENS.

116
00:04:10,333 --> 00:04:13,291
SO, UM, SHE GOES TO SEE A SEX

117
00:04:13,291 --> 00:04:16,000
THERAPIST, MR. HARRY REIMS,

118
00:04:16,000 --> 00:04:18,917
WHO, UM, EXAMINES HER AND

119
00:04:18,917 --> 00:04:21,291
DISCOVERS THAT HER CLITORIS

120
00:04:21,291 --> 00:04:22,834
IS ACTUALLY ALL THE WAY IN

121
00:04:22,834 --> 00:04:24,208
THE BACK OF HER THROAT.

122
00:04:24,208 --> 00:04:25,083
>> WELL, THERE IT IS.

123
00:04:25,083 --> 00:04:26,125
YOU LITTLE BUGGER!

124
00:04:26,125 --> 00:04:27,083
THERE IT IS!

125
00:04:27,083 --> 00:04:28,291
>> WHAT?

126
00:04:28,291 --> 00:04:29,542
>> WELL, YOUR CLITORIS, IT'S

127
00:04:29,542 --> 00:04:30,667
DEEP DOWN IN THE BOTTOM OF YOUR

128
00:04:30,667 --> 00:04:31,667
THROAT.

129
00:04:31,667 --> 00:04:33,125
>>

130
00:04:33,125 --> 00:04:34,709
>> NOW, NOW, MISS LOVELACE,

131
00:04:34,709 --> 00:04:36,959
LISTEN, HAVING A CLITORIS DEEP

132
00:04:36,959 --> 00:04:37,875
DOWN IN THE BOTTOM OF YOUR

133
00:04:37,875 --> 00:04:39,041
THROAT IS BETTER THAN HAVING

134
00:04:39,041 --> 00:04:40,417
NO CLITORIS AT ALL.

135
00:04:40,417 --> 00:04:44,166
>> THERE'S A THEME SONG--

136
00:04:44,166 --> 00:04:44,583
I FORGOT.

137
00:04:44,583 --> 00:04:47,166
UM, THERE'S A THEME SONG

138
00:04:47,166 --> 00:04:48,959
WHEN SHE DISCOVERS THIS--

139
00:04:48,959 --> 00:04:50,458
THIS, UH, SKILL.

140
00:04:50,458 --> 00:04:53,625
>> ♪ DEEP THROAT ♪

141
00:04:53,625 --> 00:04:59,583
♪ DEEPER THAN DEEP YOUR THROAT ♪

142
00:04:59,583 --> 00:05:02,125
♪ DEEP THROAT ♪

143
00:05:02,125 --> 00:05:03,542
♪ ROW ROW YOUR BOAT ♪

144
00:05:03,542 --> 00:05:06,041
>> SHE FINALLY HAS AN ORGASM.

145
00:05:06,041 --> 00:05:09,542
THERE'S A MONTAGE OF FIREWORKS

146
00:05:09,542 --> 00:05:12,083
AND BELLS RINGING AND A ROCKET

147
00:05:12,083 --> 00:05:13,750
SHIP GOING UP WHILE IT'S

148
00:05:13,750 --> 00:05:15,542
FLASHING BETWEEN HER FACE COMING

149
00:05:15,542 --> 00:05:19,083
AND... SO FUNNY.

150
00:05:19,083 --> 00:05:19,625
SO HE HIRES HER AS A NURSE,

151
00:05:19,625 --> 00:05:23,417
AND SHE GOES OUT ON CALL

152
00:05:23,417 --> 00:05:25,458
AND FUCKS ALL THESE GUYS.

153
00:05:25,458 --> 00:05:27,542
>> TELL ME, MR. MOORE,

154
00:05:27,542 --> 00:05:29,208
HOW DO YOU FEEL NOW?

155
00:05:29,208 --> 00:05:31,875
>> AND, EVENTUALLY, SHE FINDS

156
00:05:31,875 --> 00:05:33,792
THE PERFECT PENIS

157
00:05:33,792 --> 00:05:35,083
FOR HER THROAT.

158
00:05:35,083 --> 00:05:38,333
AND THEY HAVE ANOTHER MONTAGE.

159
00:05:38,333 --> 00:05:40,583
IN MOST '70s PORNO, EVERYONE

160
00:05:40,583 --> 00:05:44,375
HAS A LOT OF HAIR, BUT IN

161
00:05:44,375 --> 00:05:46,834
"DEEP THROAT," LINDA IS

162
00:05:46,834 --> 00:05:48,583
COMPLETELY CLEAN-SHAVEN.

163
00:05:48,583 --> 00:05:51,542
I WONDERED IF MAYBE SHE STARTED

164
00:05:51,542 --> 00:05:53,500
THAT TREND PERHAPS?

165
00:05:53,500 --> 00:05:55,291
OR MADE IT POPULAR AT LEAST?

166
00:05:55,291 --> 00:05:56,750
I DON'T KNOW, BECAUSE SO MANY

167
00:05:56,750 --> 00:05:58,208
PEOPLE SAW IT,

168
00:05:58,208 --> 00:05:59,834
>> NIXON, ALONG WITH KEATING,

169
00:06:01,458 --> 00:06:03,583
AND THAT ADMINISTRATION WAS OUT

170
00:06:03,583 --> 00:06:06,792
TO STOP THE NEGATIVE PRESS OF

171
00:06:06,792 --> 00:06:09,625
WATERGATE AND, UH, VIETNAM.

172
00:06:09,625 --> 00:06:10,500
>> I THINK REVISITING THIS STORY

173
00:06:10,500 --> 00:06:12,542
AND REVISITING, YOU KNOW, THE

174
00:06:12,542 --> 00:06:16,041
TACTICS THAT CAME INTO PLAY

175
00:06:16,041 --> 00:06:17,333
THAT, UH, THEY HAD A PROBLEM

176
00:06:18,542 --> 00:06:21,500
MORALLY WITH SUBJECT MATTER,

177
00:06:21,500 --> 00:06:22,667
AS IN "DEEP THROAT," THE FILM,

178
00:06:22,667 --> 00:06:25,417
UM, IS IMPORTANT.

179
00:06:25,417 --> 00:06:26,709
>> AND THE EASIEST TARGET WAS

180
00:06:26,709 --> 00:06:28,250
THE ADULT FILM INDUSTRY.

181
00:06:28,250 --> 00:06:29,625
NIXON RIGGED THE COURTROOM AND

182
00:06:29,625 --> 00:06:32,542
RIGGED THE JUDGE AND GOT HIS,

183
00:06:32,542 --> 00:06:35,875
UH, CONVICTIONS AGAINST THE CAST

184
00:06:35,875 --> 00:06:37,542
MEMBERS OF "DEEP THROAT."

185
00:06:37,542 --> 00:06:40,208
>> I DEFINITELY THINK SHE'S--

186
00:06:40,208 --> 00:06:42,125
SHE'S BETTER AT, UM,

187
00:06:42,125 --> 00:06:43,583
DEEP-THROATING THICKER COCKS

188
00:06:43,583 --> 00:06:45,333
THAN I AM, BUT I DEFINITELY

189
00:06:45,333 --> 00:06:47,500
DROOL A LOT MORE THAN SHE DOES.

190
00:06:50,375 --> 00:06:52,500
>> LADIES AND GENTLEMEN, YOU ARE

191
00:06:52,500 --> 00:06:54,792
ABOUT TO WITNESS THE RAVISHMENT

192
00:06:54,792 --> 00:06:56,208
OF A WOMAN WHO HAS BEEN

193
00:06:56,208 --> 00:06:56,583
ABDUCTED.

194
00:06:56,583 --> 00:06:58,542
>> I ANSWERED AN AD IN THE

195
00:06:58,542 --> 00:06:59,875
"SAN FRANCISCO CHRONICLE"

196
00:06:59,875 --> 00:07:01,375
THAT SAID "NOW CASTING FOR A

197
00:07:01,375 --> 00:07:03,291
MAJOR MOTION PICTURE."

198
00:07:03,291 --> 00:07:04,542
SO I WALKED UP THE STAIRS, AND I

199
00:07:04,542 --> 00:07:05,583
SAT IN THEIR OFFICE, AND HERE'S

200
00:07:05,583 --> 00:07:07,125
THESE TWO BROTHERS WHO ARE

201
00:07:07,125 --> 00:07:09,750
ABSOLUTELY CHARMING, FABULOUS

202
00:07:09,750 --> 00:07:13,000
NOT THE LEAST BIT OF A QUESTION

203
00:07:15,500 --> 00:07:16,333
IN MY MIND THAT THEY WERE

204
00:07:16,333 --> 00:07:17,500
TOTALLY HONEST GUYS.

205
00:07:19,750 --> 00:07:21,834
THEY EXPLAINED TO ME THE STORY

206
00:07:21,834 --> 00:07:22,917
OF "BEHIND THE GREEN DOOR,"

207
00:07:22,917 --> 00:07:24,333
WHICH I THOUGHT WAS VERY COOL,

208
00:07:24,333 --> 00:07:25,250
BECAUSE THAT WAS THE TIME OF

209
00:07:25,250 --> 00:07:25,792
DRUGS, SEX, AND ROCK-N-ROLL.

210
00:07:25,792 --> 00:07:27,500
IT WAS JUST, YOU KNOW,

211
00:07:27,500 --> 00:07:28,333
ANYTHING WENT.

212
00:07:28,333 --> 00:07:29,458
BEFORE I LEFT, I SAID, "IF YOU

213
00:07:29,458 --> 00:07:30,500
DO WANT ME TO DO THIS, BY THE

214
00:07:30,500 --> 00:07:31,500
WAY, I WANT THIS AMOUNT OF

215
00:07:31,500 --> 00:07:32,458
MONEY AND THIS PERCENTAGE OF

216
00:07:32,458 --> 00:07:33,875
WHATEVER FOR SO MANY YEARS."

217
00:07:33,875 --> 00:07:34,625
AND THEY SAID, YOU KNOW, "DON'T

218
00:07:34,625 --> 00:07:37,125
CALL US, WE'LL CALL YOU."

219
00:07:37,125 --> 00:07:38,750
SO ABOUT AN HOUR LATER, I'M

220
00:07:38,750 --> 00:07:39,375
SITTING AT MY HOUSE, AND THEY

221
00:07:39,375 --> 00:07:40,291
CALLED AND SAID, "WE WANNA

222
00:07:40,291 --> 00:07:41,166
DO IT."

223
00:07:41,166 --> 00:07:42,208
SO THEY CAME OVER FOR ME TO

224
00:07:42,208 --> 00:07:43,125
SIGN THE CONTRACT, AND THAT WAS,

225
00:07:43,125 --> 00:07:46,125
UH, THAT WAS THE END OF THAT.

226
00:07:46,125 --> 00:07:48,041
>> ALTHOUGH, AT FIRST,

227
00:07:48,041 --> 00:07:49,875
HER REACTIONS MAY LEAD YOU TO

228
00:07:49,875 --> 00:07:51,041
BELIEVE THAT SHE IS BEING

229
00:07:51,041 --> 00:07:52,625
TORTURED, QUITE THE CONTRARY

230
00:07:52,625 --> 00:07:56,375
IS TRUE, FOR NO HARM WILL COME

231
00:07:56,375 --> 00:07:58,917
TO THOSE BEING RAVISHED.

232
00:07:58,917 --> 00:08:00,792
IN THE MORNING, SHE WILL BE

233
00:08:00,792 --> 00:08:02,583
SET FREE, UNAWARE OF ANYTHING

234
00:08:02,583 --> 00:08:05,583
EXCEPT THAT SHE HAS BEEN LOVED

235
00:08:05,583 --> 00:08:07,250
AS NEVER BEFORE.

236
00:08:07,250 --> 00:08:08,041
>> THE WHOLE THING ABOUT THE

237
00:08:08,041 --> 00:08:09,333
MOVIE WAS-- AND I SAID TO THEM,

238
00:08:09,333 --> 00:08:10,500
"I'M AN ACTRESS, AND I SAY

239
00:08:10,500 --> 00:08:12,333
NOT ONE WORD."

240
00:08:12,333 --> 00:08:13,959
HE SAID, "OH, NO, THAT'S EVEN

241
00:08:13,959 --> 00:08:15,458
MORE DIFFICULT," WHICH IT IS.

242
00:08:15,458 --> 00:08:16,250
BECAUSE YOU REALLY HAVE TO

243
00:08:16,250 --> 00:08:16,834
CONVEY YOUR FEELINGS, WHATEVER

244
00:08:16,834 --> 00:08:18,959
THEY MAY BE, THROUGH YOUR EYES

245
00:08:18,959 --> 00:08:19,875
AND YOUR ACTIONS.

246
00:08:19,875 --> 00:08:20,750
AND I SAID, "I DON'T REALLY

247
00:08:20,750 --> 00:08:21,750
WANNA KNOW WHAT'S GONNA HAPPEN.

248
00:08:21,750 --> 00:08:24,000
I KNOW IT'S GONNA BE WILD AND

249
00:08:24,000 --> 00:08:25,792
SEXY, AND IT'S GONNA BE SCARY,

250
00:08:25,792 --> 00:08:27,250
PROBABLY, FOR ME AT CERTAIN

251
00:08:27,250 --> 00:08:28,125
TIMES, BUT I DON'T

252
00:08:28,125 --> 00:08:33,166
WANT TO KNOW."

253
00:08:33,166 --> 00:08:33,792
JOHNNIE KEYES, HE WAS THE BLACK

254
00:08:33,792 --> 00:08:36,417
GUY WITH THE SHARK TEETH

255
00:08:36,417 --> 00:08:37,709
AROUND HIS NECK AND, UM,

256
00:08:37,709 --> 00:08:39,625
VERY ETHNIC LOOKING.

257
00:08:39,625 --> 00:08:41,750
AND WHEN WE STARTED TO HAVE SEX,

258
00:08:41,750 --> 00:08:44,000
IT WAS THE KIND OF THING WHERE

259
00:08:44,000 --> 00:08:45,291
I WAS, LIKE, TOTALLY FREAKED

260
00:08:45,291 --> 00:08:45,917
OUT, I DIDN'T THINK I WAS GONNA

261
00:08:45,917 --> 00:08:46,750
>> I FUCKED HER FOR A LONG TIME.

262
00:08:47,709 --> 00:08:48,834
I FUCKED HER FOR 43 MINUTES

263
00:08:48,834 --> 00:08:50,542
WITHOUT STOPPING. NOBODY DOES

264
00:08:50,542 --> 00:08:52,583
THAT. THAT WAS A MARATHON FUCK.

265
00:08:52,583 --> 00:08:53,250
WHERE IT TURNED FROM TERROR

266
00:08:56,333 --> 00:08:57,792
TO PLEASURE, AND I REALLY

267
00:08:57,792 --> 00:08:58,625
BELIEVE YOU CAN SEE THAT.

268
00:08:58,625 --> 00:08:59,250
AND I KNOW THAT THERE WAS A TIME

269
00:08:59,250 --> 00:09:01,750
THAT I FELT MYSELF SLIP ON TO

270
00:09:01,750 --> 00:09:02,125
THE OTHER SIDE,

271
00:09:02,125 --> 00:09:02,792
IF YOU KNOW WHAT I MEAN.

272
00:09:02,792 --> 00:09:05,083
>> UH, MARILYN, SHE PASSED OUT,

273
00:09:05,083 --> 00:09:07,542
SHE FAINTED. AND I-- IN MY MIND,

274
00:09:07,542 --> 00:09:08,125
I SAID, "SHIT, I'M GOING TO

275
00:09:08,125 --> 00:09:08,750
JAIL. I DONE KILLED THIS WHITE

276
00:09:08,750 --> 00:09:09,792
WOMAN WITH MY DICK."

277
00:09:09,792 --> 00:09:11,667
>> WELL, THE TRAPEZES

278
00:09:11,667 --> 00:09:12,625
WERE A BIT MUCH.

279
00:09:12,625 --> 00:09:13,500
IT'S A GOOD THING I WAS IN

280
00:09:13,500 --> 00:09:15,000
PRETTY GOOD SHAPE, BECAUSE THERE

281
00:09:15,000 --> 00:09:15,750
WAS A LOT OF STANDING AROUND,

282
00:09:15,750 --> 00:09:18,709
LITERALLY, ON TOP OF PEOPLE,

283
00:09:18,709 --> 00:09:19,834
AND THERE WAS TRAPEZES

284
00:09:19,834 --> 00:09:20,792
AND WHATNOT. YOU HAD TO BE

285
00:09:20,792 --> 00:09:23,208
A GYMNAST, DEFINITELY.

286
00:09:23,208 --> 00:09:24,542
THE WAY THAT THE STORY OF--

287
00:09:24,542 --> 00:09:25,667
WHEN "BEHIND THE GREEN DOOR"

288
00:09:25,667 --> 00:09:27,542
AND "IVORY SOAP BOX" CAME OUT,

289
00:09:27,542 --> 00:09:28,542
I TOLD THE MITCHELL BROTHERS

290
00:09:28,542 --> 00:09:30,041
THAT, "OH, BY THE WAY, I DID

291
00:09:30,041 --> 00:09:31,333
THIS COMMERCIAL FOR PROCTER &

292
00:09:31,333 --> 00:09:33,125
GAMBLE, UH, IVORY SOAP BOX."

293
00:09:33,125 --> 00:09:34,917
AND THEY'RE SAYING, "WHAT?"

294
00:09:34,917 --> 00:09:36,417
WE WALKED DOWN THE SOAP AISLES,

295
00:09:36,417 --> 00:09:38,375
WE LOOK, AND THERE IS MY MUG

296
00:09:38,375 --> 00:09:40,667
ON ALL THESE BOXES, STARING DOWN

297
00:09:40,667 --> 00:09:42,166
AT US, AND IT JUST HAPPENED TO

298
00:09:42,166 --> 00:09:43,125
BE THE VERY SAME WEEK THAT

299
00:09:43,125 --> 00:09:44,083
"BEHIND THE GREEN DOOR" OPENED

300
00:09:44,083 --> 00:09:44,750
IN THE THEATERS.

301
00:09:44,750 --> 00:09:46,375
I'M NOT GONNA SAY THAT I CREATED

302
00:09:46,375 --> 00:09:46,959
PORNO CHIC, BUT I KNOW THAT I

303
00:09:46,959 --> 00:09:48,542
WAS PART OF IT.

304
00:09:48,542 --> 00:09:50,375
AND THAT WAS A VERY IMPORTANT

305
00:09:50,375 --> 00:09:51,583
TIME IN OUR HISTORY WHERE PEOPLE

306
00:09:51,583 --> 00:09:52,208
LIKE JOHNNY CARSON WERE WAITING

307
00:09:52,208 --> 00:09:54,291
IN LINE TO SEE "DEEP THROAT."

308
00:09:54,291 --> 00:09:55,834
IT WAS COUPLES, AND IT WAS

309
00:09:55,834 --> 00:09:57,542
ALL DIFFERENT PEOPLE FROM

310
00:09:57,542 --> 00:09:58,125
DIFFERENT WALKS OF LIFE GOING

311
00:09:58,125 --> 00:10:00,417
TO SEE ADULT FILMS AND GETTING

312
00:10:00,417 --> 00:10:01,041
>> YOU'RE TELLING ME THAT

313
00:10:02,083 --> 00:10:05,667
I'M DEAD, AND YOU'RE TRYING TO

314
00:10:05,667 --> 00:10:06,792
DECIDE WHETHER TO SEND ME UP TO

315
00:10:06,792 --> 00:10:10,333
HEAVEN OR DOWN TO HELL.

316
00:10:10,333 --> 00:10:12,917
>> I REALLY HONESTLY THOUGHT

317
00:10:12,917 --> 00:10:16,250
NOBODY I KNEW-- MUCH LESS

318
00:10:16,250 --> 00:10:17,834
ANYBODY I WAS RELATED TO--

319
00:10:17,834 --> 00:10:20,959
WOULD EVER KNOW ABOUT IT.

320
00:10:20,959 --> 00:10:22,792
I CERTAINLY DID NOT EXPECT

321
00:10:22,792 --> 00:10:25,417
IT TO BECOME A HOUSEHOLD WORD.

322
00:10:25,417 --> 00:10:26,250
>> "THE DEVIL IN MISS JONES"

323
00:10:26,250 --> 00:10:29,333
WAS DEFINITELY AN ART MOVIE,

324
00:10:29,333 --> 00:10:31,542
AND I'M STILL NOT REALLY 100%

325
00:10:32,750 --> 00:10:37,125
SURE EXACTLY WHAT THE STORY WAS.

326
00:10:37,125 --> 00:10:39,250
BUT I STILL THINK IT WORKED.

327
00:10:39,250 --> 00:10:43,166
>> CAN YOU HELP ME?

328
00:10:43,166 --> 00:10:44,792
I-- I SEEMED TO HAVE LOST

329
00:10:44,792 --> 00:10:46,417
MY WAY.

330
00:10:46,417 --> 00:10:47,750
>> I'LL HELP YOU ALL I CAN,

331
00:10:47,750 --> 00:10:48,959
BUT YOU'RE NOT LOST.

332
00:10:48,959 --> 00:10:50,875
>> THEN WHERE AM I?

333
00:10:50,875 --> 00:10:51,959
>> YOU'RE HERE.

334
00:10:51,959 --> 00:10:54,375
>> JERRY DAMIANO WAS

335
00:10:54,375 --> 00:10:57,959
THE SWEETEST GUY I EVER MET.

336
00:10:57,959 --> 00:10:59,000
HE LOOKED BACK OVER AT ME,

337
00:10:59,000 --> 00:11:00,125
AND HE SAYS, "CAN YOU COOK?"

338
00:11:00,125 --> 00:11:00,834
I SAID, "YEAH."

339
00:11:00,834 --> 00:11:02,583
HE SAID, "OKAY, YOU WANNA

340
00:11:02,583 --> 00:11:03,667
COOK ON THE FILM?"

341
00:11:03,667 --> 00:11:04,417
I SAID, "SURE."

342
00:11:04,417 --> 00:11:06,000
HE SAID, "I GOT SOMEBODY COMING

343
00:11:06,000 --> 00:11:06,750
IN TO READ THE PART OF THE DEVIL

344
00:11:06,750 --> 00:11:09,333
IN THIS FILM I'M DOING.

345
00:11:09,333 --> 00:11:10,709
WOULD YOU MIND READING

346
00:11:10,709 --> 00:11:11,000
WITH HIM?"

347
00:11:11,000 --> 00:11:13,583
AND I SAID, "SURE,

348
00:11:13,583 --> 00:11:14,583
I'D BE GLAD TO."

349
00:11:14,583 --> 00:11:16,291
I'VE DONE EVERYTHING THAT

350
00:11:16,291 --> 00:11:18,208
I'VE BEEN TAUGHT.

351
00:11:18,208 --> 00:11:20,000
DOESN'T THAT COUNT FOR ANYTHING?

352
00:11:20,000 --> 00:11:20,834
AND HE LOOKS OVER AT ME,

353
00:11:20,834 --> 00:11:21,875
HE SAID, "WOULD YOU LIKE TO PLAY

354
00:11:21,875 --> 00:11:23,792
MISS JONES?"

355
00:11:23,792 --> 00:11:27,750
AND I SAID, "AND COOK?"

356
00:11:27,750 --> 00:11:29,959
HOW ABOUT LUST?

357
00:11:29,959 --> 00:11:30,792
>> LUST?

358
00:11:30,792 --> 00:11:32,875
>> YES, LUST.

359
00:11:32,875 --> 00:11:34,417
IT IS ONE OF THE SEVEN DEADLY

360
00:11:34,417 --> 00:11:36,000
SINS, ISN'T IT?

361
00:11:36,000 --> 00:11:37,542
>> HE OFFERED ME $100 A DAY TO

362
00:11:37,542 --> 00:11:38,709
DO MISS JONES.

363
00:11:38,709 --> 00:11:39,875
AND I SAID, "THAT SOUNDS GOOD."

364
00:11:39,875 --> 00:11:42,709
SO I WAS MAKING 125 A DAY,

365
00:11:42,709 --> 00:11:43,166
INSTEAD OF JUST 100.

366
00:11:43,166 --> 00:11:45,917
>> GEORGINA WAS AMAZING.

367
00:11:45,917 --> 00:11:47,875
HER ACTING WAS FANTASTIC,

368
00:11:47,875 --> 00:11:52,709
AND THE WAY THAT SHE FUCKED

369
00:11:52,709 --> 00:11:53,834
WAS SO PASSIONATE.

370
00:11:53,834 --> 00:11:56,208
LIKE, SHE-- SHE BROUGHT ENERGY

371
00:11:56,208 --> 00:11:57,500
TO ALL OF THE SCENES, AND IT

372
00:11:57,500 --> 00:11:58,792
REALLY, REALLY SHOWED.

373
00:11:58,792 --> 00:12:00,291
>> FOR THAT DAY, IT WAS A BIG

374
00:12:00,291 --> 00:12:01,500
BUDGET FILM.

375
00:12:01,500 --> 00:12:02,417
I THINK THEY WERE SPENDING

376
00:12:02,417 --> 00:12:04,000
SOMETHING LIKE $25,000.

377
00:12:04,000 --> 00:12:04,875
IT DIDN'T PUT MY KIDS THROUGH

378
00:12:04,875 --> 00:12:07,417
COLLEGE, BUT IT CERTAINLY DID

379
00:12:07,417 --> 00:12:08,041
OPEN UP AN INTERESTING CAN OF

380
00:12:08,041 --> 00:12:10,458
WORMS FOR MY LIFE.

381
00:12:10,458 --> 00:12:13,959
THAT SUICIDE SCENE-- EVERY ACTOR

382
00:12:13,959 --> 00:12:16,959
AND ACTRESS IN THE WORLD,

383
00:12:16,959 --> 00:12:19,291
FROM THE BEGINNING OF TIME,

384
00:12:19,291 --> 00:12:21,583
WANTS TO PLAY A DEATH SCENE.

385
00:12:21,583 --> 00:12:22,959
>> A SUICIDE AT THE BEGINNING

386
00:12:22,959 --> 00:12:24,208
OF A PORN MOVIE REALLY SETS

387
00:12:24,208 --> 00:12:25,208
THE TONE.

388
00:12:25,208 --> 00:12:26,917
AND I THINK IT'S ALSO VERY

389
00:12:26,917 --> 00:12:29,041
BRAVE TO START A MOVIE THAT'S

390
00:12:29,041 --> 00:12:32,083
SUPPOSED TO BE ABOUT SEX

391
00:12:32,083 --> 00:12:33,125
WITH DEATH.

392
00:12:33,125 --> 00:12:35,667
>> AH, HERMAN, HERMAN, THAT

393
00:12:35,667 --> 00:12:39,834
BEAUTIFUL, SWEET, AFFECTIONATE

394
00:12:39,834 --> 00:12:42,709
BOA, WHO COULD TURN AND LOOK AS

395
00:12:42,709 --> 00:12:44,083
FIERCE AS YOU WANTED HIM TO.

396
00:12:44,083 --> 00:12:45,333
WHAT AN ACTOR.

397
00:12:45,333 --> 00:12:46,750
IT WASN'T PLANNED FOR HIM

398
00:12:46,750 --> 00:12:47,709
TO BE IN THE FILM.

399
00:12:47,709 --> 00:12:49,291
AND I'M TALKING TO THE SNAKE

400
00:12:49,291 --> 00:12:50,959
ON THE BED, AND JERRY WALKS BY

401
00:12:50,959 --> 00:12:53,750
AND SKIDS TO A HALT AND SAID,

402
00:12:53,750 --> 00:12:55,000
"YOU'RE A SNAKE WRANGLER."

403
00:12:55,000 --> 00:12:56,875
HE SAID, "WOULD YOU DO

404
00:12:56,875 --> 00:12:58,000
A SCENE WITH IT?"

405
00:12:58,000 --> 00:12:59,667
MARKS SAYS, "$100 A DAY,

406
00:12:59,667 --> 00:13:00,792
SAME AS I GET."

407
00:13:00,792 --> 00:13:02,959
SO HERMAN WAS IN THE FILM.

408
00:13:02,959 --> 00:13:04,250
THE ANAL SCENE, WHICH EVERYONE,

409
00:13:04,250 --> 00:13:05,041
OF COURSE, ALWAYS ASKS ABOUT--

410
00:13:05,041 --> 00:13:06,750
I DON'T KNOW-- IT'S-- IT'S A

411
00:13:06,750 --> 00:13:08,041
HUGE FANTASY IN EVERYONE'S MIND,

412
00:13:08,041 --> 00:13:10,333
I THINK, TO-- TO GIVE IT A TRY.

413
00:13:10,333 --> 00:13:12,917
AND WHEN IT GETS ALL BIG AND FAT

414
00:13:12,917 --> 00:13:16,000
AND HARD AND SLIPPERY, AND YOU

415
00:13:16,000 --> 00:13:18,500
COULD STICK IT IN MY ASS.

416
00:13:18,500 --> 00:13:19,041
GETTING FUCKED IN THE ASS

417
00:13:19,041 --> 00:13:21,333
IS JUST A COUPLE OF MINUTES OF--

418
00:13:21,333 --> 00:13:23,583
YOU GET USED TO IT.

419
00:13:23,583 --> 00:13:25,166
>> ONE OF MY FAVORITE THINGS

420
00:13:25,166 --> 00:13:26,750
ABOUT THE SEX SCENES WAS

421
00:13:26,750 --> 00:13:28,083
GEORGINA'S DIRTY TALK.

422
00:13:28,083 --> 00:13:29,000
>> CAN YOU FEEL HIS PRICK?

423
00:13:29,000 --> 00:13:30,667
CAN HE FEEL YOU?

424
00:13:30,667 --> 00:13:31,125
CAN YOU FEEL HIM?

425
00:13:31,125 --> 00:13:33,500
CAN YOU FEEL YOUR COCKS

426
00:13:33,500 --> 00:13:34,333
TOGETHER?

427
00:13:34,333 --> 00:13:36,875
CAN YOU, RUBBING AGAINST MY...

428
00:13:36,875 --> 00:13:41,667
>> IT SO ADDED TO THE SEX SCENE.

429
00:13:41,667 --> 00:13:42,208
THE DIRTY-- THE DIRTY TALK

430
00:13:42,208 --> 00:13:44,166
WAS ONE OF THE HOTTEST THINGS

431
00:13:44,166 --> 00:13:45,458
OF THE MOVIE FOR ME.

432
00:13:45,458 --> 00:13:47,834
>> WHEN JERRY CALLED ME ABOUT

433
00:13:47,834 --> 00:13:50,333
A YEAR AFTER WE DID THE FILM

434
00:13:50,333 --> 00:13:51,583
AND SAID, "I WANT YOU TO GO TO

435
00:13:51,583 --> 00:13:52,917
TORONTO FOR THIS GRAND

436
00:13:52,917 --> 00:13:54,125
OPENING--"

437
00:13:54,125 --> 00:13:57,959
IT WAS LAVISH, IT WAS ELEGANT,

438
00:13:57,959 --> 00:14:00,500
IT WAS COVERED BY A MILLION

439
00:14:00,500 --> 00:14:03,041
CAMERAS ALL OVER THE ROOM, AND

440
00:14:03,041 --> 00:14:05,583
SPLASHED ALL OVER THE PLACE.

441
00:14:05,583 --> 00:14:08,333
AND...

442
00:14:08,333 --> 00:14:09,583
I SAID, "WELL, SO MUCH FOR

443
00:14:09,583 --> 00:14:11,792
ANIM-- ANONYMITY NOW.

444
00:14:11,792 --> 00:14:12,291
I GUESS I-- I GUESS I'LL

445
00:14:12,291 --> 00:14:14,166
HAVE TO TELL MY PARENTS WHAT

446
00:14:14,166 --> 00:14:15,583
>> WHAT'S YOUR NAME?

447
00:14:16,333 --> 00:14:17,750
>> MISTY BEETHOVEN.

448
00:14:17,750 --> 00:14:18,667
>> IS THAT YOUR REAL NAME?

449
00:14:18,667 --> 00:14:19,792
>> NO, IT'S NOT.

450
00:14:19,792 --> 00:14:20,792
I THOUGHT IT WOULD SOUND

451
00:14:20,792 --> 00:14:21,166
MORE IMPORTANT.

452
00:14:21,166 --> 00:14:22,083
>> WHAT WAS IT BEFORE?

453
00:14:22,083 --> 00:14:25,333
I WAS CAST IN "MISTY BEETHOVEN"

454
00:14:26,041 --> 00:14:29,041
AND I FLEW TO NEW YORK,

455
00:14:30,208 --> 00:14:32,500
AND I MET HIM, AND HE TALKED TO

456
00:14:32,500 --> 00:14:33,458
ME AND EVERYTHING AND TOLD ME

457
00:14:33,458 --> 00:14:35,750
TO GO BACK HOME AND TO GET

458
00:14:35,750 --> 00:14:36,375
EVERY BIT OF CLOTHING,

459
00:14:38,417 --> 00:14:39,750
EVERY PHOTOGRAPH THAT HAD EVER

460
00:14:39,750 --> 00:14:40,375
BEEN TAKEN OF ME IN MY ENTIRE

461
00:14:40,375 --> 00:14:42,583
LIFE, AND BRING IT ALL BACK

462
00:14:42,583 --> 00:14:43,208
TO NEW YORK.

463
00:14:43,208 --> 00:14:45,083
>> AS HYMAN MANDEL ONCE SAID,

464
00:14:48,375 --> 00:14:50,834
"NEVER LET THE FACT THAT THEY

465
00:14:50,834 --> 00:14:52,792
ARE DOING IT WRONG STOP YOU

466
00:14:52,792 --> 00:14:53,250
FROM DOING IT RIGHT."

467
00:14:53,250 --> 00:14:56,208
>> WHO WAS HYMAN MANDEL?

468
00:14:56,208 --> 00:14:57,458
>> I DON'T KNOW.

469
00:14:57,458 --> 00:14:59,041
I READ THAT ON THE MEN'S ROOM

470
00:14:59,041 --> 00:14:59,500
WALL AT THE NEW YORK

471
00:14:59,500 --> 00:15:00,166
>> IT'S A TAKE ON GEORGE BERNARD

472
00:15:02,333 --> 00:15:04,917
SHAW'S "PYGMALION" OR MODERN-DAY

473
00:15:04,917 --> 00:15:06,291
"MY FAIR LADY" OR EVEN "SHE'S

474
00:15:06,291 --> 00:15:07,375
ALL THAT," IF YOU'RE IN THE

475
00:15:07,375 --> 00:15:10,041
BUT IT'S TAKING THIS WOMAN,

476
00:15:11,959 --> 00:15:12,500
WHO IS, LIKE, A DIME-STORE

477
00:15:12,500 --> 00:15:14,208
HOOKER, BASICALLY, GIVING

478
00:15:14,208 --> 00:15:15,709
HAND JOBS IN MOVIE THEATERS.

479
00:15:15,709 --> 00:15:16,041
>> EXCUSE ME,

480
00:15:16,041 --> 00:15:17,625
MY GUM WAS IN FRONT OF YOU.

481
00:15:17,625 --> 00:15:18,333
>> HOW'D YOU KNOW

482
00:15:18,333 --> 00:15:18,709
THAT WAS YOURS?

483
00:15:18,709 --> 00:15:19,083
>> FIVE SEATS IN.

484
00:15:19,083 --> 00:15:20,750
FIVE'S MY LUCKY NUMBER.

485
00:15:20,750 --> 00:15:21,333
YOU AMERICAN?

486
00:15:21,333 --> 00:15:21,750
>> MOST OF THE TIME.

487
00:15:21,750 --> 00:15:23,291
>> FIVE BUCKS FOR A HAND JOB.

488
00:15:23,291 --> 00:15:24,959
I'LL MEET YOU OUTSIDE IN

489
00:15:24,959 --> 00:15:25,750
TEN MINUTES.

490
00:15:25,750 --> 00:15:26,667
>> TEN MINUTES?

491
00:15:26,667 --> 00:15:27,709
>> MM-HMM. TEN MINUTES.

492
00:15:27,709 --> 00:15:28,834
I HAVE TO MEET NAPOLEON.

493
00:15:28,834 --> 00:15:29,875
>> NAPOLEON?

494
00:15:29,875 --> 00:15:31,792
>> NAPOLEON.

495
00:15:31,792 --> 00:15:34,000
HI. YOU'RE RIGHT ON TIME.

496
00:15:34,000 --> 00:15:35,333
>> JAMIE GILLIS WAS A

497
00:15:35,333 --> 00:15:36,875
SEXOLOGIST, AND HE WAS GOING

498
00:15:36,875 --> 00:15:38,834
TO TRAIN ME TO BECOME THE

499
00:15:38,834 --> 00:15:39,834
>> HE TAKES HER ON AS A PROJECT

500
00:15:41,208 --> 00:15:44,333
WHERE HE FEELS HE CAN TURN THIS

501
00:15:44,333 --> 00:15:47,959
LOWLY STREET GIRL INTO A

502
00:15:47,959 --> 00:15:50,166
>> MY DEAR, YOU ARE THE ABSOLUTE

503
00:15:51,583 --> 00:15:53,875
NADIR OF PASSION, THE MOST

504
00:15:53,875 --> 00:15:55,375
UNEXCITING THING GOD HAS EVER

505
00:15:55,375 --> 00:15:57,208
CREATED, A SEXUAL CIVIL

506
00:15:57,208 --> 00:15:58,166
SERVICE WORKER.

507
00:15:58,166 --> 00:16:00,500
NOBODY NEEDS TO READ MY LAST

508
00:16:00,500 --> 00:16:01,291
BOOK MORE OR DESERVES TO BE IN

509
00:16:01,291 --> 00:16:03,834
MY NEXT BOOK LESS THAN YOU.

510
00:16:03,834 --> 00:16:04,792
>> IT'S FASCINATING, BECAUSE

511
00:16:04,792 --> 00:16:05,792
YOU'RE WATCHING THIS VERY

512
00:16:05,792 --> 00:16:07,291
INSECURE CONSTANCE MONEY

513
00:16:07,291 --> 00:16:09,125
GO FROM THIS VERY UNATTRACTIVE

514
00:16:09,125 --> 00:16:12,083
WIG AND MAKEUP TO THE END, WHERE

515
00:16:12,083 --> 00:16:14,792
SHE'S BASICALLY TAKING ONE OF

516
00:16:14,792 --> 00:16:16,375
THE MOST PRESTIGIOUS MEN IN TOWN

517
00:16:16,375 --> 00:16:19,000
AND PUTTING A STRAP ON

518
00:16:19,000 --> 00:16:20,000
AND FUCKING HIM WITH IT.

519
00:16:20,000 --> 00:16:21,166
>> I WENT UP TO SEE A FELLOW

520
00:16:21,166 --> 00:16:22,625
BY THE NAME OF RADLEY METZGER,

521
00:16:22,625 --> 00:16:24,875
WHO, UH, HIS NOM DE PORN

522
00:16:24,875 --> 00:16:26,875
BECAME HENRY PARIS.

523
00:16:26,875 --> 00:16:29,291
AND, UM, UH, INSTEAD OF BEING,

524
00:16:29,291 --> 00:16:32,208
UH, ON THE FILM, HE'S A BIT OF A

525
00:16:32,208 --> 00:16:33,959
SVENGALI, AND I WOUND UP BEING

526
00:16:33,959 --> 00:16:35,208
IN THE FILM.

527
00:16:35,208 --> 00:16:36,083
YOU DON'T THINK I'M GONNA LET

528
00:16:36,083 --> 00:16:38,208
HIM MAKE THAT PERILOUS JOURNEY

529
00:16:38,208 --> 00:16:40,166
ALONE?

530
00:16:40,166 --> 00:16:41,834
IT WAS QUITE AN EXPERIENCE,

531
00:16:41,834 --> 00:16:43,208
BECAUSE I WAS UNFAMILIAR WITH

532
00:16:43,208 --> 00:16:45,625
WHAT BEHAVIOR AND PROTOCOL WAS

533
00:16:45,625 --> 00:16:47,959
SUPPOSED TO BE LIKE, UH, ON AN

534
00:16:47,959 --> 00:16:49,291
ADULT SET, SO IT WAS REALLY

535
00:16:49,291 --> 00:16:51,250
BREAKING INTO SOMETHING THAT

536
00:16:51,250 --> 00:16:53,208
BROKE ALL THE RULES.

537
00:16:53,208 --> 00:16:56,166
>> ♪ WISH I HAD HER BESIDE ME ♪

538
00:16:56,166 --> 00:16:57,417
>> IT'S FUNNY-- I WASN'T EVEN

539
00:16:57,417 --> 00:16:58,834
AWARE-- IT WAS-- I WAS WATCHING

540
00:16:58,834 --> 00:17:00,041
THE FILM, BUT I WAS ROOTING FOR

541
00:17:00,041 --> 00:17:00,625
BOTH OF THEM TO BE TOGETHER

542
00:17:00,625 --> 00:17:02,917
UNTIL THE ACT-- END MOMENT WHERE

543
00:17:02,917 --> 00:17:04,542
SHE'S GIVING HIM A BLOW JOB,

544
00:17:04,542 --> 00:17:06,625
AND HE'S DEGRADING HER AS IF

545
00:17:06,625 --> 00:17:08,291
SHE'S NOT IN THE ROOM, UH,

546
00:17:08,291 --> 00:17:09,959
PRETENDING THAT SHE'S NOT THERE,

547
00:17:09,959 --> 00:17:10,542
AND THEN THEY HAVE THIS MOMENT

548
00:17:10,542 --> 00:17:12,625
WHERE THEY-- THEY COME TOGETHER.

549
00:17:12,625 --> 00:17:14,291
IT'S JUST-- IT'S BEAUTIFUL.

550
00:17:14,291 --> 00:17:15,291
>> YOU KNOW WHY MOST PEOPLE

551
00:17:15,291 --> 00:17:17,417
HAVE SEXUAL PROBLEMS?

552
00:17:17,417 --> 00:17:19,333
THEY TALK TOO GODDAMN MUCH!

553
00:17:23,000 --> 00:17:25,709
>> JAMIE IS A VERY SWEET PERSON

554
00:17:25,709 --> 00:17:26,291
ON ONE HAND, AND ON THE OTHER

555
00:17:26,291 --> 00:17:28,417
HAND, IS A VERY DISTURBED

556
00:17:28,417 --> 00:17:29,291
INDIVIDUAL.

557
00:17:29,291 --> 00:17:30,917
JAMIE HAD HIS DEMONS.

558
00:17:30,917 --> 00:17:33,000
>> YOU INSTANTLY JUST ARE SO

559
00:17:33,000 --> 00:17:33,959
ENGAGED BY HIM.

560
00:17:33,959 --> 00:17:34,583
IN FACT, WHEN I STARTED WATCHING

561
00:17:34,583 --> 00:17:36,125
THE-- THE OPENING IN "MISTY

562
00:17:36,125 --> 00:17:37,166
BEETHOVEN," I WASN'T EVEN AWARE

563
00:17:37,166 --> 00:17:38,875
THAT JAMIE GILLIS WAS A PORN

564
00:17:38,875 --> 00:17:39,792
PERFORMER.

565
00:17:39,792 --> 00:17:40,375
I THOUGHT HE WAS GOING TO NOT

566
00:17:40,375 --> 00:17:42,959
HAVE ANY SEX IN THE MOVIE,

567
00:17:42,959 --> 00:17:44,583
BECAUSE HE WAS SO GOOD.

568
00:17:44,583 --> 00:17:45,834
YOU THINK TO YOURSELF, "HOW

569
00:17:45,834 --> 00:17:47,875
COULD THIS GUY BE A PORN ACTOR?"

570
00:17:47,875 --> 00:17:49,125
>> WORKING FOR RADLEY METZGER

571
00:17:49,125 --> 00:17:52,333
WAS, UM-- I DON'T REALLY KNOW.

572
00:17:52,333 --> 00:17:55,542
I-- I DON'T KNOW HOW TO REALLY

573
00:17:55,542 --> 00:17:58,834
SAY IT-- IT COMES BACK TO THAT

574
00:17:58,834 --> 00:18:00,041
THING, "IF YOU CAN'T SAY

575
00:18:00,041 --> 00:18:00,417
ANYTHING NICE..."

576
00:18:00,417 --> 00:18:03,041
>> OKAY, LET'S GET YOU

577
00:18:03,041 --> 00:18:04,625
UNDRESSED.

578
00:18:04,625 --> 00:18:06,291
NO, NO, NO, YOU DON'T DO IT

579
00:18:06,291 --> 00:18:07,625
YOURSELF.

580
00:18:07,625 --> 00:18:08,417
YOU DON'T KNOW HOW,

581
00:18:08,417 --> 00:18:09,208
FOR ONE THING.

582
00:18:09,208 --> 00:18:10,667
>> HE TOLD ME HE DIDN'T THINK

583
00:18:10,667 --> 00:18:12,500
I COULD ACT, AND THAT'S WHY HE

584
00:18:12,500 --> 00:18:13,750
PUT ME THROUGH EVERYTHING.

585
00:18:13,750 --> 00:18:14,375
THAT WAS HIS JUSTIFICATION.

586
00:18:14,375 --> 00:18:18,625
>> I THINK MEN STINK.

587
00:18:18,625 --> 00:18:20,583
>> WELL, THEY THINK YOU STINK.

588
00:18:20,583 --> 00:18:21,250
IN FACT, IT'S ONE OF THE MOST

589
00:18:21,250 --> 00:18:23,208
PERFECTLY BALANCED EQUATIONS

590
00:18:23,208 --> 00:18:23,458
IN NATURE.

591
00:18:23,458 --> 00:18:25,041
>> I'D LIKE TO SAY THAT MOVIE

592
00:18:25,041 --> 00:18:26,041
WAS MADE MORE WITH BLOOD AND

593
00:18:26,041 --> 00:18:27,166
SWEAT THAN MONEY.

594
00:18:27,166 --> 00:18:27,500
HE REALLY DID

595
00:18:27,500 --> 00:18:29,709
MAKE A MASTERPIECE.

596
00:18:29,709 --> 00:18:31,542
I'VE HEARD SO MANY PEOPLE QUOTE

597
00:18:31,542 --> 00:18:33,041
LINES FROM IT THAT HE MUST HAVE

598
00:18:33,041 --> 00:18:33,583
BEEN DOING SOMETHING RIGHT.

599
00:18:33,583 --> 00:18:35,709
>> IT HAS AN EXTREMELY STRONG

600
00:18:35,709 --> 00:18:37,667
STORY WITH BEAUTIFUL IMAGERY.

601
00:18:37,667 --> 00:18:38,291
>> AND, ALSO, I MEAN, LOOKING AT

602
00:18:38,291 --> 00:18:40,250
IT ALL THESE YEARS LATER, IT WAS

603
00:18:40,250 --> 00:18:41,333
ALSO-- I MEAN I LOOKED

604
00:18:41,333 --> 00:18:42,542
PRETTY GOOD, TOO.

605
00:18:42,542 --> 00:18:43,625
I THINK IT WAS ALSO THE FACT

606
00:18:43,625 --> 00:18:44,250
THAT IT WAS MORE REALITY

607
00:18:44,250 --> 00:18:46,500
THAN FANTASY.

608
00:18:46,500 --> 00:18:48,875
>> THERE IS SO MUCH GOING ON

609
00:18:48,875 --> 00:18:51,000
WITHIN THAT MOVIE THAT REALLY

610
00:18:51,000 --> 00:18:53,166
SAYS, "THIS IS AN ARTISTIC

611
00:18:53,166 --> 00:18:54,083
>> EXCUSE ME. UH, PARDON ME.

612
00:18:56,417 --> 00:18:57,667
DO YOU MIND IF I BLOW

613
00:18:57,667 --> 00:18:58,667
YOUR WAITER?

614
00:18:58,667 --> 00:19:01,667
>> NOT AT ALL.

615
00:19:01,667 --> 00:19:02,917
>> I DON'T KNOW WHAT ON EARTH

616
00:19:02,917 --> 00:19:04,000
HAPPENED TO MINE.

617
00:19:04,000 --> 00:19:06,083
>> BARBARA BROADCAST WAS A MOVIE

618
00:19:06,083 --> 00:19:07,667
ABOUT A WOMAN WHO IS A SEX

619
00:19:07,667 --> 00:19:08,500
WORKER WHO WROTE A BOOK.

620
00:19:08,500 --> 00:19:09,625
IT'S TAKING PLACE AT A

621
00:19:09,625 --> 00:19:10,417
RESTAURANT, AND PEOPLE ARE

622
00:19:10,417 --> 00:19:11,667
GIVING BLOW JOBS AS IF

623
00:19:11,667 --> 00:19:12,583
IT'S NO BIG DEAL.

624
00:19:12,583 --> 00:19:13,458
NOBODY'S BATTING AN EYE,

625
00:19:13,458 --> 00:19:14,917
NOBODY'S LOOKING AT IT

626
00:19:14,917 --> 00:19:15,875
PEOPLE ARE HAVING SEX ON TABLES.

627
00:19:17,542 --> 00:19:20,291
AND IT WAS WHAT I FEEL A TRUE

628
00:19:20,291 --> 00:19:21,375
ADULT SHOULD-- FILM SHOULD BE,

629
00:19:21,375 --> 00:19:22,750
WHERE THERE'S ABSOLUTELY ZERO

630
00:19:22,750 --> 00:19:24,166
JUDGMENT ABOUT EVERYTHING THAT'S

631
00:19:24,166 --> 00:19:25,834
GOING ON AROUND THEM.

632
00:19:25,834 --> 00:19:26,417
>> YES, WE'LL HAVE YOUR

633
00:19:26,417 --> 00:19:27,333
RESERVATION IN ABOUT FIVE

634
00:19:27,333 --> 00:19:27,583
MINUTES.

635
00:19:27,583 --> 00:19:29,250
>> THANK YOU VERY MUCH.

636
00:19:29,250 --> 00:19:38,125
>> YOU'RE QUITE WELCOME.

637
00:19:38,125 --> 00:19:39,542
>> THERE'S A LOT OF JOKES IN

638
00:19:39,542 --> 00:19:40,750
"BARBARA BROADCAST."

639
00:19:40,750 --> 00:19:41,709
ONE OF THEM IS WHEN THE

640
00:19:41,709 --> 00:19:42,959
MAITRE 'D, UM, HE RECEIVES A

641
00:19:42,959 --> 00:19:44,500
BLOW JOB EVERY TIME SOMEBODY

642
00:19:44,500 --> 00:19:46,542
DROPS A PLATE OR MESSES UP.

643
00:19:46,542 --> 00:19:48,333
AND IT'S JUST SO CAVALIER IN

644
00:19:48,333 --> 00:19:49,291
THAT HE JUST UNBUTTONS

645
00:19:49,291 --> 00:19:51,083
HIS PANTS, AND THEY GET

646
00:19:51,083 --> 00:19:52,333
DOWN ON THEIR KNEES.

647
00:19:57,041 --> 00:19:57,083
>> WELL, BOBBY ASTER I REMEMBER

648
00:19:58,458 --> 00:20:00,125
VERY WELL, BECAUSE HE'S THE VERY

649
00:20:00,125 --> 00:20:01,500
FIRST PERSON THAT I EVER WORKED

650
00:20:01,500 --> 00:20:03,583
>> ANNETTE HAVEN'S A BEAUTIFUL

651
00:20:04,750 --> 00:20:06,500
WOMAN, AND IT LENDS ITSELF TO

652
00:20:06,500 --> 00:20:08,709
THIS IDEA THAT YOU CAN BE

653
00:20:08,709 --> 00:20:09,500
A BEAUTIFUL WOMAN

654
00:20:09,500 --> 00:20:11,250
AND BE A SEXUAL WOMAN.

655
00:20:11,250 --> 00:20:12,458
>> MY BROTHER'S KIND OF SHY,

656
00:20:12,458 --> 00:20:14,667
AND, WELL, HE'S A BIG, BIG FAN

657
00:20:14,667 --> 00:20:16,041
OF YOURS.

658
00:20:16,041 --> 00:20:16,917
WELL, WOULD YOU MIND GIVING HIM

659
00:20:16,917 --> 00:20:18,917
AN AUTOGRAPH AND A LITTLE HEAD?

660
00:20:18,917 --> 00:20:21,667
>> ANNETTE, UM, WAS JUST, UH,

661
00:20:21,667 --> 00:20:24,792
JUST ONE OF THE MOST FLAWLESSLY

662
00:20:24,792 --> 00:20:26,250
BEAUTIFUL WOMAN I HAD EVER SEEN,

663
00:20:26,250 --> 00:20:26,875
LET ALONE I THINK IT WAS THE--

664
00:20:26,875 --> 00:20:28,875
THE FIRST RED BUSH

665
00:20:28,875 --> 00:20:30,291
THAT I HAD EVER SEEN.

666
00:20:30,291 --> 00:20:31,625
SERIOUS AS A HEART ATTACK AND A

667
00:20:31,625 --> 00:20:33,000
GREAT BUSINESSWOMAN,

668
00:20:33,000 --> 00:20:34,458
AND, UH, NUTTIER THAN A

669
00:20:34,458 --> 00:20:35,667
FRUITCAKE AS WELL.

670
00:20:35,667 --> 00:20:36,959
>> IN "BARBARA BROADCAST,"

671
00:20:36,959 --> 00:20:38,709
METZGER'S USING THESE VERY WIDE

672
00:20:38,709 --> 00:20:40,333
SHOTS WHERE YOU'RE SEEING SEXUAL

673
00:20:40,333 --> 00:20:42,750
ACTIVITY HAPPENING WHILE THERE

674
00:20:42,750 --> 00:20:44,875
IS DIALOGUE HAPPENING BETWEEN

675
00:20:44,875 --> 00:20:46,000
THE MAIN CHARACTERS.

676
00:20:46,000 --> 00:20:46,583
THERE ALSO WAS ANOTHER JOKE IN

677
00:20:46,583 --> 00:20:47,458
"BARBARA BROADCAST" THAT I LOVED

678
00:20:47,458 --> 00:20:49,834
WHERE I BELIEVE IT WAS THEY

679
00:20:49,834 --> 00:20:51,625
ORDERED UP A NUMBER 17, WHICH,

680
00:20:51,625 --> 00:20:53,333
BASICALLY, WAS A MAN CAME ON

681
00:20:53,333 --> 00:20:54,208
A SALAD.

682
00:20:54,208 --> 00:20:55,333
>> HE DOES A WONDERFUL

683
00:20:55,333 --> 00:20:56,375
CAFE AU LAIT.

684
00:20:56,375 --> 00:20:57,709
>> IT'S CINEMATICALLY BEAUTIFUL,

685
00:20:57,709 --> 00:20:59,625
THE LOCATIONS, I MEAN, SHOOTING

686
00:20:59,625 --> 00:21:01,709
AT, UH, A RESTAURANT.

687
00:21:01,709 --> 00:21:02,875
I MEAN, THE KITCHEN SCENE WITH

688
00:21:02,875 --> 00:21:04,250
C.J. LAING WITH ALL THE STEAM

689
00:21:04,250 --> 00:21:05,458
AND THE POTS AND THE PANS AND

690
00:21:05,458 --> 00:21:07,000
THE THIS AND THE THAT AND...

691
00:21:07,000 --> 00:21:08,000
>> THEY TOOK A SCENE FROM "MISTY

692
00:21:08,000 --> 00:21:09,625
BEETHOVEN," I UNDERSTAND, AS A

693
00:21:09,625 --> 00:21:11,291
FILLER FOR THE GIGANTIC CLIM--

694
00:21:11,291 --> 00:21:12,667
CLIMAX OF THE FILM.

695
00:21:12,667 --> 00:21:13,875
>> SO WE HAVE THIS LITTLE PET

696
00:21:13,875 --> 00:21:15,375
WORKING FOR US, AND TO SET HER

697
00:21:15,375 --> 00:21:17,625
STRAIGHT, WE LET CURLY AT HER,

698
00:21:17,625 --> 00:21:19,458
TO ACT OUT ONE OF HIS FANTASIES.

699
00:21:19,458 --> 00:21:21,166
JIMMY WASN'T VERY NICE TO ME

700
00:21:21,166 --> 00:21:21,959
WHEN HE FIRST MET ME.

701
00:21:21,959 --> 00:21:22,583
THE MAKEUP LADY,

702
00:21:24,417 --> 00:21:25,625
SHE KEPT PUTTING MORE HAIRPIECES

703
00:21:25,625 --> 00:21:26,625
IN MY HAIR, MORE AND MORE

704
00:21:26,625 --> 00:21:28,041
HAIRPIECES. SHE SAID, "WELL,

705
00:21:28,041 --> 00:21:29,500
I DON'T WANT HER BRAINS TO SPILL

706
00:21:29,500 --> 00:21:30,417
AND JAMIE SAID, "WELL, IF IT'S

707
00:21:31,458 --> 00:21:33,375
GONNA BE REALISTIC-- IF THEY'RE

708
00:21:33,375 --> 00:21:34,291
GONNA COME OUT, THEY'RE GONNA

709
00:21:34,291 --> 00:21:34,875
COME OUT.

710
00:21:34,875 --> 00:21:35,667
STOP PUTTING THOSE HAIRPIECES

711
00:21:35,667 --> 00:21:36,000
IN HER HAIR."

712
00:21:36,000 --> 00:21:37,417
I DIDN'T EVEN KNOW WHAT WAS

713
00:21:37,417 --> 00:21:43,125
GOING ON.

714
00:21:43,125 --> 00:21:43,750
>> JAMIE WOULD CALL ME WHENEVER

715
00:21:43,750 --> 00:21:45,625
HE WAS IN KIND OF ONE BIND OR

716
00:21:45,625 --> 00:21:45,834
ANOTHER.

717
00:21:45,834 --> 00:21:47,166
HE SAYS, "MITCH, YOU'VE

718
00:21:47,166 --> 00:21:48,000
GOTTA COME HERE RIGHT AWAY.

719
00:21:48,000 --> 00:21:48,875
YOU'VE GOTTA COME RIGHT-- RIGHT

720
00:21:48,875 --> 00:21:50,500
AWAY," AND I HEAR THIS, LIKE,

721
00:21:50,500 --> 00:21:51,500
WATER SOUND, LIKE,

722
00:21:51,500 --> 00:21:53,208
THIS FLUSHING SOUND.

723
00:21:53,208 --> 00:21:54,125
HE'S LIKE, "HURRY, HURRY."

724
00:21:54,125 --> 00:21:55,166
SO I THREW SOMETHING ON,

725
00:21:55,166 --> 00:21:56,250
AND I JUMPED IN A CAB.

726
00:21:56,250 --> 00:22:00,000
I GET THERE, AND JAMIE WAS

727
00:22:00,000 --> 00:22:02,417
FUCKING C.J. FROM BEHIND,

728
00:22:02,417 --> 00:22:03,875
BUT HAD HER HEAD IMMERSED

729
00:22:03,875 --> 00:22:05,208
IN THE TOILET BOWL, AND SHE HAD

730
00:22:05,208 --> 00:22:06,542
A NECKLACE ON, AND THE CATCH GOT

731
00:22:06,542 --> 00:22:08,333
CAUGHT, AND SO HE HAD TO KEEP

732
00:22:08,333 --> 00:22:10,166
FLUSHING THE TOILET IN ORDER FOR

733
00:22:10,166 --> 00:22:11,250
HER TO GET AIR.

734
00:22:11,250 --> 00:22:12,458
AND I GOT THE CATCH FROM

735
00:22:12,458 --> 00:22:14,083
UNDERNEATH HER NECK, AND, UH,

736
00:22:14,083 --> 00:22:15,333
SHE COMES UP FOR AIR AND SAYS,

737
00:22:15,333 --> 00:22:16,083
>> I'LL GIVE YOU $10 IF YOU LET

738
00:22:17,417 --> 00:22:18,291
ME LOOK AT YOUR TITS.

739
00:22:18,291 --> 00:22:18,667
>> MR. GREENFIELD!

740
00:22:18,667 --> 00:22:21,250
>> PLEASE, PLEASE, I JUST WANNA

741
00:22:21,250 --> 00:22:21,875
LOOK AT YOUR PRETTY LITTLE TITS.

742
00:22:21,875 --> 00:22:23,834
>> YOU KNOW WE'RE ALL

743
00:22:23,834 --> 00:22:25,041
GOOD GIRLS.

744
00:22:25,041 --> 00:22:26,250
>> THE DIRECTOR AT THE TIME--

745
00:22:26,250 --> 00:22:27,250
I'D WORKED FOR HIM QUITE A FEW

746
00:22:27,250 --> 00:22:28,834
TIMES-- I HELPED CAST

747
00:22:28,834 --> 00:22:30,166
SOME PEOPLE IN THAT FILM.

748
00:22:30,166 --> 00:22:32,500
I ALSO, UM, FOUND A WAY TO GET

749
00:22:32,500 --> 00:22:35,250
ACCESS TO BROOKLYN COLLEGE.

750
00:22:35,250 --> 00:22:37,166
AND WE KINDA KNEW WHEN THE

751
00:22:37,709 --> 00:22:39,709
FACILITIES WERE OPEN.

752
00:22:39,709 --> 00:22:40,625
WE-- IT WAS LIKE "DO WHAT YOU

753
00:22:40,625 --> 00:22:42,667
CAN WHEN YOU CAN."

754
00:22:42,667 --> 00:22:43,125
WE JUST LUCKED OUT.

755
00:22:43,125 --> 00:22:43,667
WE DIDN'T GET CAUGHT DOING

756
00:22:43,667 --> 00:22:46,291
ANYTHING.

757
00:22:48,625 --> 00:22:50,500
>> I DON'T THINK I WAS EVER

758
00:22:50,500 --> 00:22:51,709
ON SET WHEN BAMBI WOODS WAS

759
00:22:51,709 --> 00:22:52,458
ON SET.

760
00:22:52,458 --> 00:22:53,500
MAYBE I MET HER ONE TIME.

761
00:22:53,500 --> 00:22:55,417
SHE WAS, FOR THAT TIME,

762
00:22:55,417 --> 00:22:56,667
INCREDIBLY HOT-LOOKING.

763
00:22:56,667 --> 00:22:57,667
>> DEBBIE, WHAT ARE YOU

764
00:22:57,667 --> 00:22:57,917
GONNA DO?

765
00:22:57,917 --> 00:22:59,709
>> RAISE THE MONEY FAST.

766
00:22:59,709 --> 00:23:00,166
>> WHEN DO YOU HAVE TO

767
00:23:00,166 --> 00:23:01,125
LEAVE, DEBBIE?

768
00:23:01,125 --> 00:23:02,000
>> IN TWO WEEKS.

769
00:23:02,000 --> 00:23:03,166
>> BUT THAT'S NOT ENOUGH TIME

770
00:23:03,166 --> 00:23:05,208
TO RAISE THE FARE.

771
00:23:07,500 --> 00:23:08,667
>> THE WORST THING ABOUT

772
00:23:08,667 --> 00:23:11,125
"DEBBIE DOES DALLAS" IS

773
00:23:11,125 --> 00:23:11,709
R. BOLLA'S THE ONLY GUY THAT

774
00:23:11,709 --> 00:23:13,750
GETS TO FUCK HER.

775
00:23:13,750 --> 00:23:15,375
YOU WANNA FUCK THAT GIRL.

776
00:23:15,375 --> 00:23:15,959
I MEAN, IT'S A COMPLETE TEASE.

777
00:23:15,959 --> 00:23:17,709
IT'S A-- IT'S A COCK-TEASING

778
00:23:17,709 --> 00:23:19,041
FILM, AND IT WORKED

779
00:23:19,041 --> 00:23:21,000
ON THAT LEVEL.

780
00:23:26,291 --> 00:23:28,500
>> SIX, SEVEN, EIGHT...

781
00:23:28,500 --> 00:23:33,333
>> OH!

782
00:23:33,333 --> 00:23:33,709
>>

783
00:23:33,709 --> 00:23:36,000
>> THE DALLAS COWBOYS STARTED

784
00:23:36,000 --> 00:23:36,542
THE WHOLE CHEERLEADER CRAZE,

785
00:23:36,542 --> 00:23:38,792
AND IT REALLY WENT VIRAL.

786
00:23:38,792 --> 00:23:40,250
IF YOU COULD USE THAT WORD

787
00:23:40,250 --> 00:23:42,083
BACK THEN. AND SOMEBODY WAS

788
00:23:42,083 --> 00:23:43,458
SMART ENOUGH TO CAPITALIZE ON

789
00:23:43,458 --> 00:23:44,542
THAT. THEY DIDN'T HAVE ANY IDEA

790
00:23:44,542 --> 00:23:47,291
IT WOULD BLOW UP LIKE IT DID.

791
00:23:47,291 --> 00:23:49,417
>> NO, MOM. YOU KNOW

792
00:23:51,875 --> 00:23:52,834
I'M GONNA STAY WITH YOU.

793
00:23:52,834 --> 00:23:58,542
>> OH, DARLING, I'M SO GLAD.

794
00:23:58,542 --> 00:23:59,583
KIRDY STEVENS.

795
00:23:59,583 --> 00:24:01,500
WE MET-- WE MET AT A RESTAURANT

796
00:24:03,709 --> 00:24:07,875
IN, UM, WEST L.A., AND HE TOLD

797
00:24:07,875 --> 00:24:09,500
ME IT WAS ABOUT INCEST, AND I

798
00:24:09,500 --> 00:24:10,959
SAID, "NO, ABSOLUTELY NOT."

799
00:24:10,959 --> 00:24:12,917
>> I LOVED "TABOO" AS A MOVIE.

800
00:24:12,917 --> 00:24:14,792
IN FACT, THE ENDING WAS SO

801
00:24:14,792 --> 00:24:16,375
DISTURBING AND BOTHERSOME TO ME

802
00:24:16,375 --> 00:24:17,250
THAT SHE DIDN'T END UP WITH HER

803
00:24:17,250 --> 00:24:18,750
SON, IT MADE ME QUESTION MY OWN

804
00:24:18,750 --> 00:24:20,875
>> HE PERSISTED, AND THEN, UM,

805
00:24:24,625 --> 00:24:27,250
AGAIN, I-- I CAN ONLY DESCRIBE

806
00:24:27,250 --> 00:24:28,834
THIS AS MY HIGHER SELF JUMPED IN

807
00:24:28,834 --> 00:24:30,792
AND SAID, "DO IT."

808
00:24:30,792 --> 00:24:31,959
BECAUSE SOMEBODY'S GOING TO

809
00:24:31,959 --> 00:24:33,208
DO IT.

810
00:24:33,208 --> 00:24:34,750
YOU-- IF YOU DO IT, YOU CAN

811
00:24:34,750 --> 00:24:37,166
BRING CONSCIOUSNESS AND QUALITY

812
00:24:37,166 --> 00:24:38,417
TO IT, SO DO IT.

813
00:24:38,417 --> 00:24:39,625
>> WE ARE CENSORING OURSELVES

814
00:24:39,625 --> 00:24:41,458
FROM DOING THINGS THAT ARE AS

815
00:24:41,458 --> 00:24:42,583
FREE AND AS OPEN AS THEY WERE

816
00:24:42,583 --> 00:24:44,917
35 YEARS AGO.

817
00:24:44,917 --> 00:24:46,291
I MEAN THEY WERE MORE FREE

818
00:24:46,291 --> 00:24:46,625
35 YEARS AGO.

819
00:24:46,625 --> 00:24:47,792
>> I HATED THE SCRIPT THE FIRST

820
00:24:47,792 --> 00:24:50,333
TIME I READ IT.

821
00:24:50,333 --> 00:24:51,542
IT WAS-- IT WAS REALLY

822
00:24:51,542 --> 00:24:54,709
DIFFICULT TO, UM-- TO READ ABOUT

823
00:24:54,709 --> 00:24:56,667
INCEST IN SUCH A SORT OF

824
00:24:56,667 --> 00:24:59,875
FLIPPANT, UM, MANNER.

825
00:24:59,875 --> 00:25:01,333
BUT IT WAS SO WRONG.

826
00:25:01,333 --> 00:25:03,125
>> LOOK, MA, I DON'T THINK ANY

827
00:25:03,125 --> 00:25:05,125
LESS OF EITHER ONE OF US.

828
00:25:05,125 --> 00:25:07,834
IT HAPPENED,

829
00:25:07,834 --> 00:25:10,000
AND I GOTTA TELL YA,

830
00:25:10,000 --> 00:25:12,500
I WANT IT TO HAPPEN AGAIN.

831
00:25:12,500 --> 00:25:14,959
>> DON'T-- DON'T... NO, PAUL,

832
00:25:14,959 --> 00:25:18,417
DON'T. THE WORLD HAS

833
00:25:18,417 --> 00:25:19,875
A DIRTY WORD FOR THIS.

834
00:25:19,875 --> 00:25:20,667
>> THERE'S THESE-- THESE MOMENTS

835
00:25:20,667 --> 00:25:22,667
THAT KIND OF MAKE YOU SAY,

836
00:25:22,667 --> 00:25:24,542
"WHOA!" THESE JARRING MOMENTS,

837
00:25:24,542 --> 00:25:25,542
LIKE, FOR EXAMPLE, WHEN KAY

838
00:25:25,542 --> 00:25:26,583
PARKER IS IN THE KITCHEN, AND

839
00:25:26,583 --> 00:25:27,625
HER BREAST IS HANGING OUT OF HER

840
00:25:27,625 --> 00:25:28,875
SHIRT, AND SHE'S STANDING THERE

841
00:25:28,875 --> 00:25:29,834
WITH HER SON, AND IT'S ALMOST AS

842
00:25:29,834 --> 00:25:32,375
IF THERE'S NO COVERING UP,

843
00:25:32,375 --> 00:25:33,750
AND IT-- IT'S JUST, AGAIN,

844
00:25:33,750 --> 00:25:35,000
SEX IS OUT THERE.

845
00:25:35,000 --> 00:25:36,417
>> I MEAN I'M NOT EXACTLY

846
00:25:36,417 --> 00:25:39,750
OVER-THE-HILL, YOU KNOW.

847
00:25:39,750 --> 00:25:42,291
>> YOU'RE TELLING ME.

848
00:25:42,291 --> 00:25:43,417
>> YOU SEE IT A LOT WITH KAY

849
00:25:43,417 --> 00:25:44,583
PARKER'S FRIEND IN THE MOVIE,

850
00:25:44,583 --> 00:25:46,417
WHO IS HAVING ORGIES AND-- AND

851
00:25:46,417 --> 00:25:47,834
DOESN'T HAVE ANY ISSUES WITH--

852
00:25:47,834 --> 00:25:49,333
SHE THINKS IT'S HOT IMAGINING

853
00:25:49,333 --> 00:25:49,792
THAT HER SON WOULD BE

854
00:25:49,792 --> 00:25:51,667
HAVING SEX WITH HER.

855
00:25:51,667 --> 00:25:53,542
SHE REFERENCES THAT KAY PARKER

856
00:25:53,542 --> 00:25:55,166
IS, YOU KNOW, HAS BEEN KIND OF

857
00:25:55,166 --> 00:25:57,250
ASSAULTED BY HER BOSS.

858
00:25:57,250 --> 00:25:58,291
AND SHE'S ON THE PHONE WITH HER

859
00:25:58,291 --> 00:25:58,875
FRIEND, AND THE FRIEND SAYS...

860
00:25:58,875 --> 00:26:02,917
>> WHAT'S GOING ON OVER THERE?

861
00:26:02,917 --> 00:26:04,333
IS JERRY RAPING YOU?

862
00:26:04,333 --> 00:26:05,291
>> CUT THAT OUT,

863
00:26:05,291 --> 00:26:05,750
YOU SON-OF- A-BITCH!

864
00:26:05,750 --> 00:26:08,750
>> WHAT'S HE DOING?

865
00:26:08,750 --> 00:26:10,500
DOES HE HAVE HIS COCK OUT?

866
00:26:10,500 --> 00:26:12,333
>> BUT IT-- IT-- IT LENDS ITSELF

867
00:26:12,333 --> 00:26:14,625
TO THIS IDEA THAT THERE'S LOTS

868
00:26:14,625 --> 00:26:15,834
OF DIFFERENT THINGS THAT PEOPLE

869
00:26:15,834 --> 00:26:18,208
FIND SEXUALLY AROUSING, EVEN IF

870
00:26:18,208 --> 00:26:18,875
IT IS NEC-- EVEN IF IT IS

871
00:26:18,875 --> 00:26:20,792
FORBIDDEN.

872
00:26:20,792 --> 00:26:21,709
>> WHENEVER I THINK ABOUT THE--

873
00:26:21,709 --> 00:26:23,959
THE SCENE, THE SEDUCTION SCENE

874
00:26:23,959 --> 00:26:25,625
WITH MIKE RANGER IN "TABOO,"

875
00:26:25,625 --> 00:26:26,917
I-- I GET GOOSEFLESH--

876
00:26:26,917 --> 00:26:28,500
I'M GETTING RIGHT NOW, AS I--

877
00:26:28,500 --> 00:26:29,750
AS I GET READY TO TALK ABOUT IT,

878
00:26:29,750 --> 00:26:32,583
BECAUSE I DO REFER TO IT AS A

879
00:26:32,583 --> 00:26:35,834
VERY, UM, SPIRITUAL EXPERIENCE.

880
00:26:35,834 --> 00:26:37,500
>> SHE'S JUST LEFT THIS ORGY

881
00:26:37,500 --> 00:26:39,667
PARTY THAT SHE FELT EXTREMELY

882
00:26:39,667 --> 00:26:40,250
UNCOMFORTABLE AND DID NOT

883
00:26:40,250 --> 00:26:43,083
PARTICIPATE IN, AND SHE JUST

884
00:26:43,083 --> 00:26:45,041
FINDS IT WITHIN HERSELF THAT

885
00:26:45,041 --> 00:26:46,458
SHE MUST HAVE SEX,

886
00:26:46,458 --> 00:26:48,375
AND HE'S SAFE FOR HER.

887
00:26:48,375 --> 00:26:49,208
HE IS SAFE.

888
00:26:49,208 --> 00:26:50,875
>>

889
00:26:55,125 --> 00:26:57,500
>> I LOST MYSELF IN THAT SCENE.

890
00:26:57,500 --> 00:26:58,875
I WAS NOT THERE.

891
00:26:58,875 --> 00:27:02,333
I SURRENDERED, IF YOU WILL, TO

892
00:27:02,333 --> 00:27:03,792
THE PART, AND THE PART, OR THE

893
00:27:03,792 --> 00:27:07,834
ROLE, THE MOTHER, JUST TOOK ME,

894
00:27:07,834 --> 00:27:10,291
UM, ON THIS TRIP.

895
00:27:10,291 --> 00:27:11,917
>> IT WAS ALMOST LIKE, YES, THIS

896
00:27:11,917 --> 00:27:13,417
IS THE NATURAL THING THAT SHOULD

897
00:27:13,417 --> 00:27:16,250
HAPPEN BETWEEN MY MOTHER AND I.

898
00:27:16,250 --> 00:27:17,000
THAT'S--

899
00:27:17,000 --> 00:27:17,625
>>  I'M APPALLED.

900
00:27:17,625 --> 00:27:19,417
>> THERE'S NOTHING WRONGER

901
00:27:19,417 --> 00:27:20,959
>> WHAT'LL IT BE, GENTS?

902
00:27:22,625 --> 00:27:24,083
>> OH, THE MASTER WILL HAVE

903
00:27:24,083 --> 00:27:26,709
A BEER, ANYTHING IMPORTED.

904
00:27:26,709 --> 00:27:27,875
>> BOTTLE OF BUFFALO PISS,

905
00:27:27,875 --> 00:27:29,291
PLEASE.

906
00:27:29,291 --> 00:27:31,333
>> THE AMERO BROTHERS MADE A BIG

907
00:27:31,333 --> 00:27:33,667
BUDGET COMEDY. WE JUST HAD A LOT

908
00:27:33,667 --> 00:27:35,875
OF FUN. I SWEAR, THE BURNING OF

909
00:27:35,875 --> 00:27:36,792
ATLANTA SCENE OR WHATEVER WAS

910
00:27:36,792 --> 00:27:38,875
THE FUNNIEST THING I'VE EVER

911
00:27:38,875 --> 00:27:40,750
>> NOW, REMEMBER, PAY NO

912
00:27:42,166 --> 00:27:43,250
ATTENTION TO ME WHEN I'M TALKING

913
00:27:43,250 --> 00:27:44,792
TO YOU, JUST DO WHAT I SAY.

914
00:27:44,792 --> 00:27:46,166
THIS IS A VERY SIMPLE LITTLE

915
00:27:46,166 --> 00:27:47,709
SCENE I'D LIKE TO GET DONE

916
00:27:47,709 --> 00:27:49,667
QUICKLY, BECAUSE WE ARE SHOOTING

917
00:27:49,667 --> 00:27:50,125
THE BOMBING OF ATLANTA

918
00:27:50,125 --> 00:27:51,542
THIS AFTERNOON.

919
00:27:51,542 --> 00:27:53,583
>>

920
00:27:55,959 --> 00:27:58,000
>> IT WAS FUNNY AND QUIRKY.

921
00:28:02,667 --> 00:28:06,375
IT WAS-- IT WAS VERY HORNY,

922
00:28:06,375 --> 00:28:07,250
IT HAD SO MANY SEX SCENES.

923
00:28:08,792 --> 00:28:10,500
I WAS REALLY IMPRESSED.

924
00:28:10,500 --> 00:28:13,375
>> I DID IT IN A BOAT ONCE,

925
00:28:13,375 --> 00:28:15,000
AND I HAD TO DO ALL THE ROWING.

926
00:28:15,000 --> 00:28:17,834
>> R. BOLLA AND I ARE IN

927
00:28:17,834 --> 00:28:19,959
WYOMING, WHERE WE MEET

928
00:28:19,959 --> 00:28:22,750
THE CANE SISTERS.

929
00:28:27,750 --> 00:28:29,750
I DECIDE TO TAKE THEM TO

930
00:28:29,750 --> 00:28:32,041
NEW YORK WITH US, AND-- AND SHE

931
00:28:32,041 --> 00:28:33,667
SAYS SOMETHING LIKE, "WHAT,

932
00:28:33,667 --> 00:28:34,875
YOU GOT AN AIRPLANE?"

933
00:28:34,875 --> 00:28:36,208
>> ANYWAY, I'M TO BE QUEEN

934
00:28:36,208 --> 00:28:37,291
OF THE FAIRIES, AND I'VE GOT

935
00:28:37,291 --> 00:28:39,250
THIS TERRIFIC GOWN RIGGED UP.

936
00:28:39,250 --> 00:28:40,667
>> A GOWN?

937
00:28:40,667 --> 00:28:41,500
ARE YOU ONE OF THOSE

938
00:28:41,500 --> 00:28:42,583
TRANSYLVANIANS?

939
00:28:42,583 --> 00:28:44,000
>> SUSIE MANDELL WAS THE-- MY

940
00:28:44,000 --> 00:28:47,500
FAVORITE OF THE TWO CHARACTERS.

941
00:28:47,500 --> 00:28:49,834
>> CANDY, WHAT'S A FILM LOOP?

942
00:28:49,834 --> 00:28:50,875
>> YOU'VE GOT ME.

943
00:28:50,875 --> 00:28:54,583
>> THEY'RE LOOKING FOR 46 GIRLS

944
00:28:54,583 --> 00:28:55,792
AND A MONKEY.

945
00:28:55,792 --> 00:28:57,208
>> IT WAS REALLY A TRIBUTE TO

946
00:28:57,208 --> 00:29:00,542
THE, UH, MGM MOVIES,

947
00:29:00,542 --> 00:29:03,375
ONLY WITH HARDCORE SEX.

948
00:29:03,375 --> 00:29:04,792
>> FUCK.

949
00:29:04,792 --> 00:29:06,458
>> THE RAPE SCENE WHERE THE

950
00:29:06,458 --> 00:29:08,417
YANKEES CAME IN AND, LIKE,

951
00:29:08,417 --> 00:29:10,333
BANGED ALL THE CHICKS.

952
00:29:13,667 --> 00:29:15,625
>> I WANT A CUM SHOT, OR NONE OF

953
00:29:15,625 --> 00:29:17,291
YOU FAGGOTS GET PAID!

954
00:29:17,291 --> 00:29:19,959
>> "BLONDE AMBITION" WAS PLAYING

955
00:29:19,959 --> 00:29:22,083
IN NEW YORK-- THE R-RATED

956
00:29:22,083 --> 00:29:22,959
VERSION AT ONE THEATER,

957
00:29:22,959 --> 00:29:25,750
AND THE X-RATED VERSION AT

958
00:29:25,750 --> 00:29:27,000
>> IT'S SANDY, AM I RIGHT?

959
00:29:30,083 --> 00:29:32,417
OH, BUT THERE IS AN AMAZING

960
00:29:32,417 --> 00:29:33,875
RESEMBLANCE.

961
00:29:33,875 --> 00:29:35,333
BUT NOW THAT I LOOK AT YOU,

962
00:29:35,333 --> 00:29:36,583
>> WELL, IS MY SISTER HERE

963
00:29:37,709 --> 00:29:39,250
OR NOT?

964
00:29:39,250 --> 00:29:41,875
>> "NEON NIGHTS" HAD A VERY

965
00:29:41,875 --> 00:29:43,542
VERONICA HART PLAYED A MADAME,

966
00:29:46,375 --> 00:29:49,417
AND I WAS KIND OF HER BOY-TOY,

967
00:29:49,417 --> 00:29:50,709
>> I'M GONNA MAKE YOU SWEAT,

968
00:29:51,834 --> 00:29:53,041
BABY.

969
00:29:53,041 --> 00:29:54,208
YOU'RE MY PRIVATE FUCKING

970
00:29:54,208 --> 00:29:56,125
>> THE FILM WAS ACTUALLY

971
00:29:57,291 --> 00:29:59,000
KIND OF FUCKED UP.

972
00:29:59,000 --> 00:30:01,625
UM, THE DAUGHTER IS LISTENING TO

973
00:30:01,625 --> 00:30:03,709
HER MOM AND HER MOM'S BOYFRIEND

974
00:30:03,709 --> 00:30:05,208
AND THEN SHE STARTS

975
00:30:05,625 --> 00:30:08,375
MASTURBATING WITH A HAIRBRUSH.

976
00:30:08,375 --> 00:30:10,709
AND THEN SHE'S IN THE BATHROOM,

977
00:30:10,709 --> 00:30:11,083
AND HE COMES IN,

978
00:30:11,083 --> 00:30:13,250
AND HE'S TELLING HER TO SHUSH

979
00:30:13,250 --> 00:30:14,792
AND TURN AROUND, AND HE'S

980
00:30:14,792 --> 00:30:15,542
GRABBING ON HER

981
00:30:15,542 --> 00:30:16,500
AND TOUCHING HER.

982
00:30:16,500 --> 00:30:18,250
>> NO.

983
00:30:18,250 --> 00:30:21,208
>> TURN AROUND, COME ON.

984
00:30:21,208 --> 00:30:24,250
TURN AROUND, BABY.

985
00:30:24,250 --> 00:30:26,792
THAT'S A GIRL.

986
00:30:26,792 --> 00:30:28,000
THAT'S A GOOD GIRL.

987
00:30:28,000 --> 00:30:29,375
>> WHEN JAKE TEAGUE MAKES

988
00:30:29,375 --> 00:30:31,000
LYSA THATCHER ELEVATE, THEY DID

989
00:30:31,000 --> 00:30:32,458
IT VERY WELL, LIKE, HE WAS

990
00:30:32,458 --> 00:30:33,709
PUTTING HIS ARMS UNDERNEATH HER

991
00:30:33,709 --> 00:30:35,792
BUTT AND OVER HER BOOBS AND

992
00:30:35,792 --> 00:30:37,458
OVER HER VAGINA AND, LIKE, DOING

993
00:30:37,458 --> 00:30:39,000
THE WHOLE CREEPY THING, AND THEN

994
00:30:39,000 --> 00:30:41,458
I LOVE HOW HE GOT IN HER MIND.

995
00:30:41,458 --> 00:30:43,208
HE WAS HAVING SEX WITH ANOTHER

996
00:30:43,208 --> 00:30:45,250
WOMAN WHILE HE WAS INSIDE OF HER

997
00:30:45,250 --> 00:30:46,083
MIND, AND SHE WAS FEELING

998
00:30:46,083 --> 00:30:47,000
EVERYTHING THAT HIM AND THE

999
00:30:47,000 --> 00:30:48,125
OTHER WOMAN WERE DOING.

1000
00:30:48,125 --> 00:30:50,208
I THOUGHT THAT WAS PRETTY

1001
00:30:50,208 --> 00:30:51,542
INTERESTING.

1002
00:30:51,542 --> 00:30:54,417
>> SO VERONICA, BACK HOME,

1003
00:30:54,417 --> 00:30:58,750
IS TAKING A SHOWER, AND A LA

1004
00:30:58,750 --> 00:31:03,625
HITCHCOCK IN "PSYCHO," UH, I

1005
00:31:03,625 --> 00:31:05,750
ENTER-- BUT I HAD SOME FLOWERS--

1006
00:31:05,750 --> 00:31:07,333
AND I PULL BACK THE CURTAIN,

1007
00:31:07,333 --> 00:31:08,917
AND SHE SCREAMS.

1008
00:31:08,917 --> 00:31:11,000
>>

1009
00:31:11,000 --> 00:31:13,667
♪♪

1010
00:31:15,000 --> 00:31:17,250
>> GOTCHA!

1011
00:31:17,250 --> 00:31:18,959
OH, MAN, WERE YOU EVER GOIN'!

1012
00:31:18,959 --> 00:31:19,875
>> NO!

1013
00:31:19,875 --> 00:31:20,583
>> PEEING IN YOUR PANTS,

1014
00:31:20,583 --> 00:31:23,458
YOU WERE SO SCARED.

1015
00:31:23,458 --> 00:31:24,542
>> YOU FUCK!

1016
00:31:24,542 --> 00:31:26,291
>> SHE'S ALL PISSED OFF AT THAT,

1017
00:31:26,291 --> 00:31:27,000
AND THEN WE GO OFF IN THE

1018
00:31:27,000 --> 00:31:30,417
BEDROOM AND MAKE REALLY FRANTIC

1019
00:31:30,417 --> 00:31:31,625
AND HARD, HARD SEX.

1020
00:31:31,625 --> 00:31:33,083
>> I THOUGHT HE DID VERY WELL AT

1021
00:31:33,083 --> 00:31:34,458
KEEPING THE PLOT TOGETHER AND

1022
00:31:34,458 --> 00:31:35,166
MAKING IT AN INTERESTING MOVIE

1023
00:31:35,166 --> 00:31:38,208
THAT IS, NOT ONLY RISKY AND

1024
00:31:38,208 --> 00:31:40,583
DIFFERENT AND VERY INTERESTING

1025
00:31:40,583 --> 00:31:42,834
WITH THE MAGICIAN AND HER

1026
00:31:42,834 --> 00:31:44,208
HITCH-HIKING AND BEING IN LOVE

1027
00:31:44,208 --> 00:31:46,750
WITH HER MOTHER'S BOYFRIEND,

1028
00:31:46,750 --> 00:31:47,375
>> I WANNA GIVE IT A TRY.

1029
00:31:49,083 --> 00:31:51,291
I DON'T WANNA LOOK BACK

1030
00:31:51,291 --> 00:31:52,250
WITH REGRETS.

1031
00:31:52,250 --> 00:31:53,625
YOU KNOW, IF ONLY I'D GONE

1032
00:31:53,625 --> 00:31:54,667
TO NEW YORK, I COULD'VE BEEN

1033
00:31:54,667 --> 00:31:56,166
>> THE PLOT OF "ROOMMATES" IS

1034
00:31:58,375 --> 00:32:00,750
SHE HAPPENS TO BE A HOOKER,

1035
00:32:02,542 --> 00:32:04,166
AND SHE DECIDES TO GET OUT

1036
00:32:04,166 --> 00:32:04,542
OF THE BUSINESS.

1037
00:32:04,542 --> 00:32:06,041
AND HER APARTMENT'S TOO BIG

1038
00:32:06,041 --> 00:32:07,834
FOR HER, SO SHE CONSIGNS

1039
00:32:07,834 --> 00:32:08,291
TWO ROOMMATES TO COME

1040
00:32:08,291 --> 00:32:10,000
>> WELL, THERE YOU HAVE IT--

1041
00:32:10,583 --> 00:32:12,250
>> ONE WAS, UH, A BEAUTIFUL,

1042
00:32:14,667 --> 00:32:16,792
GORGEOUS MODEL, WHO,

1043
00:32:16,792 --> 00:32:18,333
UNFORTUNATELY, SEEMED TO HAVE

1044
00:32:18,333 --> 00:32:19,500
A DRUG PROBLEM AND GET IN

1045
00:32:19,500 --> 00:32:21,000
AND I PLAYED A COLLEGE STUDENT

1046
00:32:23,125 --> 00:32:24,542
WHO, ACTUALLY, I THINK,

1047
00:32:24,542 --> 00:32:25,542
RAN AWAY FROM COLLEGE.

1048
00:32:25,542 --> 00:32:27,583
I WAS HAVING AN AFFAIR WITH MY

1049
00:32:27,583 --> 00:32:28,792
COLLEGE PROFESSOR, AND IT

1050
00:32:28,792 --> 00:32:30,250
FINALLY DAWNED ON ME THAT

1051
00:32:30,250 --> 00:32:32,250
HE DIDN'T LOVE ME AT ALL.

1052
00:32:32,250 --> 00:32:33,250
>> MY CHARACTER HAD SOME BAD

1053
00:32:33,250 --> 00:32:36,417
PEOPLE IN HER LIFE, AND, UH,

1054
00:32:36,417 --> 00:32:38,959
STUFF HAPPENS BECAUSE I RUN

1055
00:32:38,959 --> 00:32:40,458
RAMPANT, AND I KIND OF

1056
00:32:40,458 --> 00:32:41,333
LEARN MY LESSON.

1057
00:32:41,333 --> 00:32:42,667
WHERE AM I?

1058
00:32:42,667 --> 00:32:43,750
>> YOU'RE IN QUEENS. WHERE THE

1059
00:32:43,750 --> 00:32:44,875
FUCK DO YOU THINK YOU ARE?

1060
00:32:44,875 --> 00:32:46,583
>> THE FAMOUS RAPE SCENE

1061
00:32:46,583 --> 00:32:48,291
FROM "ROOMMATES."

1062
00:32:48,291 --> 00:32:50,542
SO MUCH OF IT WAS INFERRED.

1063
00:32:50,542 --> 00:32:52,709
THE BACKS OF THE ACTORS WERE TO

1064
00:32:52,709 --> 00:32:53,667
THE CAMERA.

1065
00:32:53,667 --> 00:32:54,959
I WAS LAYING ON THE FLOOR.

1066
00:32:54,959 --> 00:32:56,458
>> RUB SOME ON HER FACE, SAL,

1067
00:32:56,458 --> 00:32:57,458
RUB IT IN.

1068
00:32:57,458 --> 00:32:58,125
MAKE HER EAT IT.

1069
00:32:58,125 --> 00:33:00,083
>> AGAIN, YOU HEAR THE SOUNDS,

1070
00:33:00,083 --> 00:33:02,291
YOU HEAR THEIR VOICES, YOU CAN

1071
00:33:02,291 --> 00:33:04,083
ONLY IMAGINE THE WORST POSSIBLE

1072
00:33:04,083 --> 00:33:06,792
THING IS HAPPENING TO ME.

1073
00:33:06,792 --> 00:33:08,875
JAMIE GILLIS COMES BURSTING IN,

1074
00:33:08,875 --> 00:33:10,458
STARTS KNOCKING THE GUYS ASIDE,

1075
00:33:10,458 --> 00:33:11,959
AND THEN JAMIE STARTS DOING

1076
00:33:11,959 --> 00:33:13,250
JAMIE GILLIS.

1077
00:33:13,250 --> 00:33:13,709
>> DID THEY HURT YOU?

1078
00:33:13,709 --> 00:33:14,834
>> NO.

1079
00:33:14,834 --> 00:33:16,500
>> LET ME SEE IF THEY HURT YOU.

1080
00:33:16,500 --> 00:33:18,417
THEY STUCK THE BOTTLE--

1081
00:33:18,417 --> 00:33:19,375
DID THEY HURT YOU WITH--

1082
00:33:19,375 --> 00:33:19,917
DID THEY HURT YOU WITH THE

1083
00:33:19,917 --> 00:33:21,667
BOTTLE WHEN THEY-- WHEN THEY

1084
00:33:21,667 --> 00:33:22,709
SHOVED IT IN?

1085
00:33:22,709 --> 00:33:23,834
>> HE'S NOT THERE TO HELP ME,

1086
00:33:23,834 --> 00:33:25,500
HE'S THERE TO JERK OFF ON ME,

1087
00:33:25,500 --> 00:33:26,208
YOU KNOW?

1088
00:33:26,208 --> 00:33:28,542
SICK, TWISTED JAMIE GILLIS.

1089
00:33:28,542 --> 00:33:29,959
>> HE WASN'T INTERESTED IN

1090
00:33:29,959 --> 00:33:31,458
DEGRADING ANYBODY, YOU KNOW?

1091
00:33:31,458 --> 00:33:32,625
CHUCK'S IDEA OF A GREAT TIME

1092
00:33:32,625 --> 00:33:34,834
WAS TO-- TO HAVE FUN.

1093
00:33:34,834 --> 00:33:36,500
>>

1094
00:33:36,500 --> 00:33:38,000
COME ON, YOU GUYS ARE ANIMALS.

1095
00:33:38,000 --> 00:33:39,875
TAKE A BREAK ALREADY.

1096
00:33:39,875 --> 00:33:41,125
IT DIDN'T FIT INTO ANY CATEGORY.

1097
00:33:41,125 --> 00:33:42,166
SO CHUCK REALLY WENT OUT

1098
00:33:42,166 --> 00:33:44,417
ON A LIMB TO MAKE THIS.

1099
00:33:44,417 --> 00:33:46,333
IT WAS ONE OF THE FIRST MOVIES

1100
00:33:46,333 --> 00:33:47,125
WHERE EVERYBODY WASN'T RUNNING

1101
00:33:47,125 --> 00:33:49,250
AROUND, GOING "FUCK ME, FUCK ME,

1102
00:33:49,250 --> 00:33:49,500
FUCK ME."

1103
00:33:49,500 --> 00:33:51,583
>> IN THE END OF THE 1970s,

1104
00:33:51,583 --> 00:33:52,750
THEATRICAL PORN FILMS

1105
00:33:52,750 --> 00:33:54,333
BEGIN TO STRUGGLE.

1106
00:33:54,333 --> 00:33:55,125
OBSCENITY PROSECUTIONS ROSE,

1107
00:33:55,125 --> 00:33:57,792
ZONING LAWS HAD FORCED ADULT

1108
00:33:57,792 --> 00:33:58,917
THEATERS INTO THE WORST

1109
00:33:58,917 --> 00:34:00,917
NEIGHBORHOODS, AND THE PORN CHIC

1110
00:34:00,917 --> 00:34:02,000
THAT FUELED TICKET SALES

1111
00:34:02,000 --> 00:34:02,250
DIED OUT.

1112
00:34:02,250 --> 00:34:05,041
BUT THERE WAS A NEW FRONTIER

1113
00:34:05,041 --> 00:34:05,542
OPENING FOR ADULT MOVIE

1114
00:34:05,542 --> 00:34:08,875
PRODUCERS-- THE VCR WAS ABOUT

1115
00:34:08,875 --> 00:34:10,375
TO REDEFINE THE PORN INDUSTRY

1116
00:34:10,375 --> 00:34:11,291
>> WHEN DID PEOPLE START

1117
00:34:12,583 --> 00:34:15,041
TO BUY VHS's?

1118
00:34:15,041 --> 00:34:16,083
WHEN WAS THAT STARTING TO BE

1119
00:34:16,083 --> 00:34:17,333
THE NORM VERSUS, UH,

1120
00:34:17,333 --> 00:34:18,625
GOING TO THE THEATER?

1121
00:34:18,625 --> 00:34:19,333
>> IN THE MID-'70s, THE MACHINES

1122
00:34:19,333 --> 00:34:21,375
CAME OUT, AND PEOPLE THOUGHT

1123
00:34:21,375 --> 00:34:23,208
THIS WAS THE GREATEST INVENTION

1124
00:34:23,208 --> 00:34:24,834
AND THEY HAD TO HAVE ONE--

1125
00:34:26,291 --> 00:34:26,709
YOU HAD TO GO OUT.

1126
00:34:26,709 --> 00:34:28,125
BUT, LIKE YOU SAID, THEY WERE

1127
00:34:28,125 --> 00:34:28,709
EXPENSIVE. THEY WERE

1128
00:34:28,709 --> 00:34:29,166
$1,000 A MACHINE.

1129
00:34:29,166 --> 00:34:31,834
AND THE MOVIES THEMSELVES

1130
00:34:31,834 --> 00:34:34,291
WERE $95.

1131
00:34:34,291 --> 00:34:36,166
THEY WOULD HAVE PARTIES, THOUGH.

1132
00:34:36,166 --> 00:34:37,125
THEY WOULD GO IN AND CHIP IN

1133
00:34:37,125 --> 00:34:37,667
>> THERE WAS MORE WORK THAN--

1134
00:34:39,875 --> 00:34:41,041
THAN GIRLS IN THE BUSINESS.

1135
00:34:41,041 --> 00:34:42,625
LIKE, THERE WERE, LIKE, 12 OF US

1136
00:34:42,625 --> 00:34:43,417
REALLY IN THE BUSINESS,

1137
00:34:43,417 --> 00:34:45,709
IT SEEMED, AND I THINK WE ALL

1138
00:34:45,709 --> 00:34:47,875
I MEAN, IT WAS JUST-- THE--

1139
00:34:49,291 --> 00:34:50,500
THE PRODUCERS COULDN'T GET

1140
00:34:50,500 --> 00:34:51,583
ENOUGH GIRLS.

1141
00:34:51,583 --> 00:34:52,709
>> SO WHAT WAS IT LIKE

1142
00:34:52,709 --> 00:34:54,166
SHOOTING-- WHAT WAS A DAY ONSET

1143
00:34:54,166 --> 00:34:55,375
LIKE BACK THEN?

1144
00:34:55,375 --> 00:34:56,375
>> UM, LET'S SEE, THERE WAS

1145
00:34:56,375 --> 00:34:58,917
USUALLY A SCRIPT, LIKE, A

1146
00:34:58,917 --> 00:35:00,291
20-PAGE SCRIPT, WHICH ALWAYS

1147
00:35:00,291 --> 00:35:01,792
IRRITATED ME, 'CAUSE I WAS NOT

1148
00:35:01,792 --> 00:35:03,208
GOOD AT MEMORIZING THINGS.

1149
00:35:03,208 --> 00:35:04,750
IT WAS ALWAYS SHOT AT, LIKE,

1150
00:35:04,750 --> 00:35:06,083
A REALLY NICE HOUSE,

1151
00:35:06,083 --> 00:35:07,917
THE LOCATION-- NOT ALWAYS, BUT

1152
00:35:07,917 --> 00:35:08,500
FOR THE MOST PART IT WAS, YOU

1153
00:35:08,500 --> 00:35:10,583
KNOW, SHOT IN REALLY NICE HOUSES

1154
00:35:10,583 --> 00:35:12,583
UP IN PORN VALLEY SOMEWHERE.

1155
00:35:12,583 --> 00:35:14,083
THEY ALWAYS HAD CATERING,

1156
00:35:14,083 --> 00:35:14,500
HAIR, AND MAKEUP.

1157
00:35:14,500 --> 00:35:17,792
I MEAN, IT WAS LIKE-- IN A WEIRD

1158
00:35:17,792 --> 00:35:19,458
WAY, IT WAS KINDA LIKE BEING ON

1159
00:35:19,458 --> 00:35:20,375
A REAL MOVIE SET, ONLY WE WERE

1160
00:35:20,375 --> 00:35:22,500
NAKED HAVING SEX.

1161
00:35:22,500 --> 00:35:23,083
>> YOU COULD ACTUALLY SEE THE

1162
00:35:23,083 --> 00:35:24,625
PLAYBACK AT-- ON THE SET.

1163
00:35:24,625 --> 00:35:26,709
IT WAS LIKE A WHOLE NEW WORLD.

1164
00:35:26,709 --> 00:35:28,208
BUT THE VIDEO QUALITY IN THOSE

1165
00:35:28,208 --> 00:35:30,625
DAYS WAS NOT THE BEST.

1166
00:35:30,625 --> 00:35:32,083
BUT EVERYBODY WANTED TO DO IT

1167
00:35:32,083 --> 00:35:33,208
BECAUSE IT WAS CHEAP,

1168
00:35:33,208 --> 00:35:34,709
IT WAS QUICK, IT WAS PAINLESS.

1169
00:35:34,709 --> 00:35:37,291
>> SO, AS A PERFORMER, WHAT...

1170
00:35:37,291 --> 00:35:38,583
DID THE CONSUMERS

1171
00:35:38,583 --> 00:35:39,583
SORT OF EXPECT FROM YOU?

1172
00:35:39,583 --> 00:35:40,417
LIKE, WERE YOU GUYS SHOOTING

1173
00:35:40,417 --> 00:35:42,000
A LOT OF CRAZY SEX ACTS?

1174
00:35:42,000 --> 00:35:42,333
>> NUDITY. NO.

1175
00:35:42,333 --> 00:35:43,417
>> OR DID THEY WANT YOU TO BE

1176
00:35:43,417 --> 00:35:45,834
A GOOD ACTRESS

1177
00:35:45,834 --> 00:35:46,792
DID THEY JUST WANNA SEE YOUR--

1178
00:35:46,792 --> 00:35:48,667
>> I THINK, IN 1984, THEY WERE

1179
00:35:48,667 --> 00:35:50,375
JUST HAPPY THAT THEY COULD WATCH

1180
00:35:50,375 --> 00:35:52,583
A FILM IN THEIR HOUSE OF A NAKED

1181
00:35:52,583 --> 00:35:54,125
GIRL SUCKING A GUY'S DICK.

1182
00:35:54,125 --> 00:35:56,000
LIKE, THERE WAS DEFINITELY NO

1183
00:35:56,000 --> 00:35:57,667
CRAZY SEX ACTS LIKE THERE ARE--

1184
00:35:57,667 --> 00:35:58,417
I MEAN, IT WAS KINDA LIKE, YOU

1185
00:35:58,417 --> 00:35:59,417
KNOW, THE TYPICAL THREE

1186
00:35:59,417 --> 00:36:03,083
POSITIONS, HEAD, HIM EATING ME

1187
00:36:03,083 --> 00:36:04,458
OUT, BUT IT WASN'T CRAZY SEX.

1188
00:36:04,458 --> 00:36:06,625
I REALLY THINK, BACK IN '84,

1189
00:36:06,625 --> 00:36:07,250
PEOPLE WERE JUST SO HAPPY THAT

1190
00:36:07,250 --> 00:36:08,417
THEY COULD WATCH PEOPLE HAVE SEX

1191
00:36:08,417 --> 00:36:11,166
>> GOOD EVENING, MUTANTS

1192
00:36:12,333 --> 00:36:16,333
AND MUTETTES, AND WELCOME TO

1193
00:36:16,333 --> 00:36:20,417
>> THE STORYLINE IS THERE'S BEEN

1194
00:36:22,959 --> 00:36:25,000
THING AND, IN THE WAKE OF THAT,

1195
00:36:28,750 --> 00:36:31,542
STILL STAND THE TOUCH OF ANOTHER

1196
00:36:33,291 --> 00:36:35,625
HUMAN BEING, AND THE REST OF

1197
00:36:35,625 --> 00:36:37,083
THEM CAN'T.

1198
00:36:37,083 --> 00:36:37,709
>> TRUST ME, FOLKS, I KNOW WHAT

1199
00:36:37,709 --> 00:36:39,291
YOU WANT, AND I KNOW WHAT IT

1200
00:36:39,291 --> 00:36:40,834
FEELS LIKE WHEN YOU DON'T

1201
00:36:40,834 --> 00:36:41,291
GET IT.

1202
00:36:41,291 --> 00:36:44,959
NEED IS MY FIX, LADIES AND

1203
00:36:44,959 --> 00:36:45,750
GENTLEMEN.

1204
00:36:45,750 --> 00:36:47,333
>> AND SO THE PEOPLE WHO CAN

1205
00:36:47,333 --> 00:36:48,917
TOUCH OTHER PEOPLE AND,

1206
00:36:48,917 --> 00:36:50,750
THEREFORE, HAVE SEX ARE FORCED

1207
00:36:50,750 --> 00:36:53,500
TO STAGE THESE LIVE SEX SHOWS

1208
00:36:53,500 --> 00:36:56,959
FOR THE PEOPLE WHO CAN'T HAVE

1209
00:36:56,959 --> 00:36:58,041
SEX LIKE THAT.

1210
00:36:58,041 --> 00:36:58,500
IT'S, LIKE, WEIRD AND

1211
00:36:58,500 --> 00:37:00,333
EXPERIMENTAL, BUT THEN IT'S GOT

1212
00:37:00,333 --> 00:37:03,458
THIS VERY OBVIOUS METAPHOR

1213
00:37:03,458 --> 00:37:06,333
ABOUT PORNOGRAPHY AND ITS PLACE

1214
00:37:06,333 --> 00:37:07,166
IN THE WORLD.

1215
00:37:07,166 --> 00:37:09,333
>> LEAVING SO SOON, FRIEND?

1216
00:37:09,333 --> 00:37:12,250
FEELING A LITTLE QUEASY?

1217
00:37:12,250 --> 00:37:13,500
>> LIVE THEATER, ON THE OTHER

1218
00:37:13,500 --> 00:37:15,542
HAND, AND THE HISTORY OF LIVE

1219
00:37:15,542 --> 00:37:17,041
THEATER, YOU CAN SEE A LOT OF

1220
00:37:17,041 --> 00:37:18,542
WHERE "CAFE FLESH'S" REFERENCES

1221
00:37:18,542 --> 00:37:20,125
PROBABLY CAME FROM.

1222
00:37:20,125 --> 00:37:21,917
>> "CAFE FLESH" STANDS THE TEST

1223
00:37:21,917 --> 00:37:23,417
OF TIME BECAUSE IT'S A PORNO

1224
00:37:23,417 --> 00:37:26,083
ABOUT PORNO.

1225
00:37:26,083 --> 00:37:29,291
IT, IT VERY MUCH IS WHAT IT IS,

1226
00:37:29,291 --> 00:37:31,792
AND THERE'S SOMETHING SO

1227
00:37:31,792 --> 00:37:34,291
WONDERFULLY HONEST ABOUT IT.

1228
00:37:34,291 --> 00:37:36,583
BUT THEN IT'S GOT ALL OF THE

1229
00:37:36,583 --> 00:37:38,500
OTHER LAYERS, SO IT REMAINS

1230
00:37:38,500 --> 00:37:39,917
INTERESTING.

1231
00:37:39,917 --> 00:37:41,750
I MEAN, YOU WATCH IT SIX OR

1232
00:37:41,750 --> 00:37:43,083
SEVEN TIMES, YOU'RE STILL GONNA

1233
00:37:43,083 --> 00:37:44,583
>> DOES IT EVER BOTHER YOU

1234
00:37:46,792 --> 00:37:47,709
FUCKING YOUR BEST FRIEND'S

1235
00:37:47,709 --> 00:37:49,250
WIFE?

1236
00:37:49,250 --> 00:37:51,875
>>  YOU'RE IN

1237
00:37:51,875 --> 00:37:52,417
>> "SCOUNDRELS" WAS THE FIRST

1238
00:37:54,625 --> 00:37:56,333
FILM TO WIN A BEST PICTURE AWARD

1239
00:37:56,333 --> 00:37:57,875
AND HOWARD SAID TO ME, CECIL

1240
00:37:59,166 --> 00:37:59,792
HOWARD, "YOU'RE NOT GONNA CRACK

1241
00:37:59,792 --> 00:38:00,417
ONE JOKE IN THIS.

1242
00:38:00,417 --> 00:38:02,750
YOU'RE NOT GONNA BE-- NO MUGGING

1243
00:38:02,750 --> 00:38:03,417
TO THE CAMERA.

1244
00:38:03,417 --> 00:38:04,667
YOU'RE NOT GONNA BE A HAM."

1245
00:38:04,667 --> 00:38:06,125
>> RON JEREMY SCARED ME AT THAT

1246
00:38:06,125 --> 00:38:07,291
TIME, UM...

1247
00:38:07,291 --> 00:38:07,834
IT WAS, IT WAS REALLY ODD

1248
00:38:07,834 --> 00:38:09,709
BECAUSE, BEFORE I HAD MET

1249
00:38:09,709 --> 00:38:11,166
RON JEREMY, I HADN'T HEARD

1250
00:38:11,166 --> 00:38:13,208
ANYTHING ABOUT HIM, UM, BUT HIS

1251
00:38:13,208 --> 00:38:14,208
HEADSHOT TO ME LOOKED LIKE

1252
00:38:14,208 --> 00:38:14,917
>> HOWARD WAS A TOUGH GUY.

1253
00:38:15,792 --> 00:38:16,959
CECIL HOWARD WAS TOUGH.

1254
00:38:16,959 --> 00:38:17,458
HE WANTED THINGS HIS WAY.

1255
00:38:17,458 --> 00:38:19,583
BUT I RESPECT THAT.

1256
00:38:19,583 --> 00:38:20,792
>> I REALLY ENJOYED WORKING WITH

1257
00:38:20,792 --> 00:38:23,041
CECIL HOWARD, AND HE WAS ONE OF

1258
00:38:23,041 --> 00:38:23,959
MY FAVORITE DIRECTORS,

1259
00:38:23,959 --> 00:38:25,458
AND I WORKED FOR HIM

1260
00:38:25,458 --> 00:38:26,625
>> EVERYTHING IN THE MOVIE IS

1261
00:38:27,542 --> 00:38:29,750
VERY DARK LIT AND VERY DARK

1262
00:38:29,750 --> 00:38:30,875
IN GENERAL.

1263
00:38:30,875 --> 00:38:32,583
THE DRAMA OF THE MOVIE, I THINK,

1264
00:38:32,583 --> 00:38:33,625
>> AH, I'M GONNA CHANGE.

1265
00:38:40,625 --> 00:38:42,917
>> THAT'LL BE THE DAY.

1266
00:38:42,917 --> 00:38:43,792
>> IT'S A FASCINATING

1267
00:38:43,792 --> 00:38:44,959
PSYCHODRAMA.

1268
00:38:44,959 --> 00:38:46,500
THROUGHOUT THE MOVIE,

1269
00:38:46,500 --> 00:38:48,083
I'M IN CLOWN WHITE

1270
00:38:48,083 --> 00:38:48,542
TALKING ABOUT MY LIFE.

1271
00:38:48,542 --> 00:38:50,500
>> I'VE BEEN GOOD.

1272
00:38:50,500 --> 00:38:51,917
I'VE BEEN REAL GOOD.

1273
00:38:51,917 --> 00:38:54,083
FUCK IT, NOBODY TELLS THE TRUTH

1274
00:38:54,083 --> 00:38:54,834
ALL THE TIME.

1275
00:38:54,834 --> 00:38:55,834
>> EVERYBODY'S FUCKING EVERYBODY

1276
00:38:55,834 --> 00:38:57,083
IN THIS MOVIE, BUT IT'S NOT A

1277
00:38:57,083 --> 00:38:58,291
HAPPY-GO-LUCKY THING, YOU KNOW.

1278
00:38:58,291 --> 00:39:00,417
THE DOCTOR IS CHEATING ON HIS,

1279
00:39:00,417 --> 00:39:01,542
UM, HIS WIFE WITH HIS SECRETARY.

1280
00:39:01,542 --> 00:39:03,583
AND, YOU KNOW, HIS SECRETARY'S

1281
00:39:03,583 --> 00:39:05,333
CHEATING ON HIM WITH HIS BEST

1282
00:39:05,333 --> 00:39:06,000
FRIEND WHO, I BELIEVE, HIS WIFE

1283
00:39:06,000 --> 00:39:07,458
IS ALSO SLEEPING WITH.

1284
00:39:09,500 --> 00:39:11,709
AND THEN THEY HAVE THIS TEENAGE

1285
00:39:11,709 --> 00:39:14,083
DAUGHTER WHO FEELS INVISIBLE.

1286
00:39:14,083 --> 00:39:15,500
>> MY PERFECT PARENTS.

1287
00:39:15,500 --> 00:39:16,875
THEY DON'T KNOW ANYTHING

1288
00:39:16,875 --> 00:39:17,500
ABOUT ME.

1289
00:39:17,500 --> 00:39:20,667
WHAT DO I LIKE?

1290
00:39:20,667 --> 00:39:22,375
I LIKE MAKING LOVE.

1291
00:39:22,375 --> 00:39:23,417
>> SO SHE'S TAKING IT OUT

1292
00:39:23,417 --> 00:39:24,542
BY BECOMING A WHORE

1293
00:39:24,542 --> 00:39:26,208
AND HAVING ALL THE SEX

1294
00:39:26,208 --> 00:39:27,166
IN THE WORLD THAT SHE CAN.

1295
00:39:27,166 --> 00:39:27,959
>> SHE'S THE GIRL AT THE CANDY

1296
00:39:27,959 --> 00:39:29,834
STORE ON THE CORNER.

1297
00:39:29,834 --> 00:39:30,750
THAT'S WHY I GET TO SEE HER

1298
00:39:30,750 --> 00:39:31,625
EVERY DAY, AND THEN FINALLY,

1299
00:39:31,625 --> 00:39:33,166
I JUST TELL HER TO HOP IN.

1300
00:39:33,166 --> 00:39:34,208
SHE GETS IN MY CAR, AND WE'RE

1301
00:39:34,208 --> 00:39:36,166
GONNA ESCAPE AND RUN AWAY.

1302
00:39:36,166 --> 00:39:37,583
>> MY MOM ALWAYS TOLD ME

1303
00:39:37,583 --> 00:39:38,583
I SHOULD MARRY A DOCTOR.

1304
00:39:46,667 --> 00:39:49,542
>> WE CRASH MY CAR AND DIE.

1305
00:39:49,542 --> 00:39:50,625
WHICH IS CERTAINLY A STATEMENT

1306
00:39:50,625 --> 00:39:51,542
AGAINST INFIDELITY, YOU KNOW?

1307
00:39:51,542 --> 00:39:54,333
>> EVERYBODY HAS A DARK SIDE,

1308
00:39:54,333 --> 00:39:55,625
AND IT'S REALLY HARD TO HIDE

1309
00:39:55,625 --> 00:39:56,041
NO MATTER HOW PRETTY

1310
00:39:56,041 --> 00:39:56,709
YOUR SURROUNDINGS ARE.

1311
00:39:56,709 --> 00:39:59,000
AND THIS MOVIE REALLY DIGS INTO

1312
00:39:59,000 --> 00:40:00,709
EVERYBODY'S SEXUALLY DEVIANT

1313
00:40:00,709 --> 00:40:01,542
DARK SIDE.

1314
00:40:01,542 --> 00:40:01,959
>> NO ONE FILMS LIKE

1315
00:40:01,959 --> 00:40:02,542
THAT ANYMORE.

1316
00:40:02,542 --> 00:40:04,500
CECIL HOWARD, CHUCK VINCENT,

1317
00:40:04,500 --> 00:40:05,500
RADLEY METZGER, HENRI PACHARD,

1318
00:40:05,500 --> 00:40:06,542
ANTHONY SPINELLI ON THE WEST

1319
00:40:06,542 --> 00:40:08,917
COAST, THESE GUYS MADE FILMS

1320
00:40:08,917 --> 00:40:09,542
WHICH HAD SEX IN IT.

1321
00:40:12,625 --> 00:40:14,500
>> BY THE WAY, WHAT'S YOUR NAME?

1322
00:40:14,500 --> 00:40:15,333
>> ELIZABETH.

1323
00:40:15,333 --> 00:40:16,583
>> THAT'S A NICE NAME.

1324
00:40:20,709 --> 00:40:20,750
>> SPINELLI, HIS NAME WAS SAM,

1325
00:40:22,458 --> 00:40:22,917
HE WAS THE BACKBONE

1326
00:40:22,917 --> 00:40:23,583
HE WAS MORE THAN, UH,

1327
00:40:26,667 --> 00:40:27,709
A TALENTED DIRECTOR.

1328
00:40:27,709 --> 00:40:30,750
HE WAS MAKING THE BEST MOVIES.

1329
00:40:30,750 --> 00:40:32,917
AND HE BECAME A FRIEND

1330
00:40:32,917 --> 00:40:33,917
AND A MENTOR.

1331
00:40:33,917 --> 00:40:35,500
>> ANTHONY SPINELLI...

1332
00:40:35,500 --> 00:40:36,417
>> WHO IS...

1333
00:40:36,417 --> 00:40:37,834
>> HE WAS MY-- HE'S A DIRECTOR.

1334
00:40:37,834 --> 00:40:39,542
HE'S MY DAD.

1335
00:40:39,542 --> 00:40:40,583
IT WAS A GREAT TEAM.

1336
00:40:41,917 --> 00:40:42,959
HE WOULD USUALLY SAY,

1337
00:40:42,959 --> 00:40:44,000
"I HAVE AN IDEA."

1338
00:40:44,000 --> 00:40:45,083
AND I'D GO, AND I'D WRITE THE

1339
00:40:45,083 --> 00:40:46,625
ROUGH DRAFT, AND WE, UH,

1340
00:40:46,625 --> 00:40:47,917
SHOWED IT TO HIM, AND WE--

1341
00:40:47,917 --> 00:40:48,917
GREAT COLLABORATION,

1342
00:40:48,917 --> 00:40:49,875
>> THE PLOT OF "NOTHING TO HIDE"

1343
00:40:51,500 --> 00:40:53,208
REALLY REMINDED ME OF

1344
00:40:53,208 --> 00:40:54,500
"OF MICE AND MEN."

1345
00:40:54,500 --> 00:40:56,583
AND I THINK THAT THAT'S

1346
00:40:56,583 --> 00:40:56,917
REALLY DIFFERENT

1347
00:40:56,917 --> 00:40:59,709
FOR A PORN MOVIE.

1348
00:40:59,709 --> 00:41:00,583
HOW TO BE A MAN.

1349
00:41:01,625 --> 00:41:04,291
AND "LOVE'S FOR SUCKERS,"

1350
00:41:04,291 --> 00:41:05,250
HE'S TEACHING ME.

1351
00:41:05,250 --> 00:41:06,792
AND I FALL IN LOVE,

1352
00:41:06,792 --> 00:41:07,917
AND I WANNA MARRY.

1353
00:41:07,917 --> 00:41:10,375
>> HAVE YOU EVER LOVED SOMEBODY?

1354
00:41:10,375 --> 00:41:14,125
>> NO.

1355
00:41:14,125 --> 00:41:15,083
>> HAVE YOU EVER WANTED

1356
00:41:15,083 --> 00:41:15,750
TO LOVE SOMEBODY?

1357
00:41:15,750 --> 00:41:17,542
>> NO.

1358
00:41:17,542 --> 00:41:19,000
>> I THINK THAT THERE IS PARTS

1359
00:41:19,000 --> 00:41:19,709
OF THIS MOVIE THAT YOU CAN

1360
00:41:19,709 --> 00:41:20,625
JERK-OFF TO.

1361
00:41:20,625 --> 00:41:23,083
>> SLOW AND DEEP.

1362
00:41:23,083 --> 00:41:23,750
>> AS LONG AS YOU'RE INTO

1363
00:41:23,750 --> 00:41:24,041
JOHN LESLIE.

1364
00:41:24,041 --> 00:41:27,125
ONE OF THE SCENES IN THERE

1365
00:41:27,125 --> 00:41:29,875
HAS SOMETHING FOR MOST PEOPLE TO

1366
00:41:29,875 --> 00:41:30,667
JERK OFF TO.

1367
00:41:30,667 --> 00:41:33,250
>> OH, JACK!

1368
00:41:33,250 --> 00:41:35,500
>> I'M NOT SURE YOU CAN JERK OFF

1369
00:41:35,500 --> 00:41:38,542
TO THE RICHARD PACHECO SCENE.

1370
00:41:38,542 --> 00:41:39,125
>> NONE OF THE WOMEN THAT HAD

1371
00:41:39,125 --> 00:41:42,917
COME BY FIT WHAT SAM WANTED TO

1372
00:41:42,917 --> 00:41:44,166
COME OUT OF THAT CHARACTER.

1373
00:41:44,166 --> 00:41:46,458
>> AH!

1374
00:41:47,834 --> 00:41:49,000
WHY DON'T YOU WATCH WHERE

1375
00:41:49,000 --> 00:41:49,875
YOU'RE GOING?!

1376
00:41:49,875 --> 00:41:51,500
>> SHE WAS PERFECT.

1377
00:41:51,500 --> 00:41:53,375
>> THE SEX SCENE BETWEEN RICHARD

1378
00:41:53,375 --> 00:41:56,083
AND CHELSEA WAS MY FAVORITE.

1379
00:41:56,083 --> 00:42:00,000
IT WAS SO REAL.

1380
00:42:00,000 --> 00:42:02,291
>> I SORT OF GOT MY--

1381
00:42:02,291 --> 00:42:04,250
SOME SPITTLE ON MY FINGER AND

1382
00:42:04,250 --> 00:42:05,500
PLAYED WITH HER NIPPLE AND...

1383
00:42:05,500 --> 00:42:07,250
"NO, NO, NO,

1384
00:42:07,250 --> 00:42:08,250
WHAT ARE YOU DOING?

1385
00:42:08,250 --> 00:42:09,875
LENNY WOULD NEVER DO THAT!"

1386
00:42:09,875 --> 00:42:11,583
>> SEE?

1387
00:42:11,583 --> 00:42:12,083
>> OH, IS THAT A RUBBER?

1388
00:42:12,083 --> 00:42:14,166
>> HOW'D YOU KNOW?

1389
00:42:14,166 --> 00:42:15,333
>> I SAW ONE IN

1390
00:42:15,333 --> 00:42:15,792
MY BROTHER'S DRAWER.

1391
00:42:15,792 --> 00:42:18,417
>> I'VE NEVER SEEN THAT IN

1392
00:42:18,417 --> 00:42:19,000
A PORN MOVIE BEFORE WHERE THEY

1393
00:42:19,000 --> 00:42:21,917
ACTUALLY STOP THE SEX TO PUT ON

1394
00:42:21,917 --> 00:42:23,208
A CONDOM, AND THEY TALK ABOUT

1395
00:42:23,208 --> 00:42:23,834
PUTTING ON THE CONDOM AND HOW

1396
00:42:23,834 --> 00:42:26,333
SHE'S NEVER DONE THAT BEFORE,

1397
00:42:26,333 --> 00:42:27,500
AND IT JUST-- IT WAS SO,

1398
00:42:27,500 --> 00:42:29,792
SO REAL. I LOVED IT.

1399
00:42:29,792 --> 00:42:30,792
>> THERE'S A GREAT AWKWARDNESS

1400
00:42:30,792 --> 00:42:33,375
AND PLAYFULNESS ABOUT WINNING

1401
00:42:33,375 --> 00:42:34,583
THIS, ABOUT PUTTING ON THE

1402
00:42:34,583 --> 00:42:35,709
CONDOM 'CAUSE IT'S PLAYED,

1403
00:42:35,709 --> 00:42:36,875
PLAYED REALISTICALLY.

1404
00:42:36,875 --> 00:42:38,750
SPINELLI PLAYED THE OWNER

1405
00:42:38,750 --> 00:42:41,000
OF A HOT DOG STAND.

1406
00:42:41,000 --> 00:42:43,041
>> YOU DON'T FOOL ME.

1407
00:42:44,792 --> 00:42:45,792
YOU DON'T WANNA STOP BEING

1408
00:42:45,792 --> 00:42:48,041
A MOTHER AND A FATHER, RIGHT?

1409
00:42:48,041 --> 00:42:49,959
>> HE AND JOHN HAVE A LONG SCENE

1410
00:42:49,959 --> 00:42:51,667
WHERE THEY TALK ABOUT, YOU KNOW,

1411
00:42:51,667 --> 00:42:52,083
"YOU'RE JUST JEALOUS

1412
00:42:52,083 --> 00:42:53,333
IS WHAT IT IS."

1413
00:42:53,333 --> 00:42:54,333
YOU'RE GONNA LOSE THE KID.

1414
00:42:54,333 --> 00:42:56,375
WHEN AVN DID THEIR FIRST AWARDS,

1415
00:42:56,375 --> 00:42:59,000
THEY GAVE ME BEST ACTOR FOR

1416
00:42:59,000 --> 00:43:00,875
"IRRESISTIBLE", AND THEY ALSO

1417
00:43:00,875 --> 00:43:03,500
GAVE ME BEST SUPPORTING ACTOR

1418
00:43:03,500 --> 00:43:03,959
FOR "NOTHING TO HIDE."

1419
00:43:03,959 --> 00:43:07,083
THAT PROBABLY WAS THE

1420
00:43:07,083 --> 00:43:08,625
>> FOR SEVERAL MONTHS, I'VE BEEN

1421
00:43:10,166 --> 00:43:12,083
WRITING STORIES, NOT FOR

1422
00:43:12,083 --> 00:43:14,125
PUBLICATION BUT FOR A VERY

1423
00:43:14,125 --> 00:43:14,834
CURIOUS MAN,

1424
00:43:14,834 --> 00:43:17,417
A PRIVATE CLITEROTICA.

1425
00:43:17,417 --> 00:43:19,041
>> JANINE AND I BECAME BEST

1426
00:43:19,041 --> 00:43:20,375
FRIENDS WHEN WE WERE

1427
00:43:20,375 --> 00:43:21,917
18 AND 19 YEARS OLD.

1428
00:43:21,917 --> 00:43:23,125
AND I DON'T THINK EITHER OF US

1429
00:43:23,125 --> 00:43:24,250
REALLY KNEW WHAT TO BE

1430
00:43:24,250 --> 00:43:24,750
TOTALLY PREPARED FOR.

1431
00:43:24,750 --> 00:43:25,834
I THINK SHE'D DONE SOME...

1432
00:43:25,834 --> 00:43:27,917
SHE'D BEEN A "PENTHOUSE" PET SO

1433
00:43:27,917 --> 00:43:28,959
SHE'D DONE SOME "PENTHOUSE"

1434
00:43:28,959 --> 00:43:30,583
VIDEOS, BUT NOT EXACTLY THE

1435
00:43:30,583 --> 00:43:32,000
HARDCORE WE WERE ABOUT READY

1436
00:43:32,000 --> 00:43:32,917
TO GET INVOLVED IN.

1437
00:43:32,917 --> 00:43:34,166
>> WORKING WITH ANDREW BLAKE,

1438
00:43:34,166 --> 00:43:38,041
HE'S, UM... HE'S VERY

1439
00:43:38,041 --> 00:43:40,125
UNDERSTATED, YOU KNOW, QUIET

1440
00:43:40,125 --> 00:43:41,875
GUY, BUT HIS WHEELS ARE ALWAYS

1441
00:43:41,875 --> 00:43:42,125
>> ANDREW BLAKE IS THE

1442
00:43:43,500 --> 00:43:45,417
QUINTESSENTIAL ARTIST.

1443
00:43:45,417 --> 00:43:47,166
I MEAN, HE'S QUIRKY.

1444
00:43:47,166 --> 00:43:49,208
HE'S INTERESTING.

1445
00:43:49,208 --> 00:43:51,000
SOMEWHAT INTROVERTED.

1446
00:43:51,000 --> 00:43:53,542
BIT OF A RECLUSE, UH, EXCEPT FOR

1447
00:43:53,542 --> 00:43:54,500
WHEN HE'S FILMING, AND I THINK

1448
00:43:54,500 --> 00:43:55,417
THAT'S KIND OF WHEN IT ALL

1449
00:43:55,417 --> 00:43:56,583
>> I HIRED THIS GUY TO MAKE

1450
00:43:58,291 --> 00:43:59,959
THESE-- HE MADE, LIKE,

1451
00:43:59,959 --> 00:44:03,291
>> AND BOY, AT THE BEGINNING,

1452
00:44:05,041 --> 00:44:06,959
THERE'S SOME MIGHTY HEFTY ONES.

1453
00:44:06,959 --> 00:44:09,500
THEY WERE QUITE BIG.

1454
00:44:09,500 --> 00:44:12,000
>> AND WHEN HE ARRIVED ON THE

1455
00:44:12,000 --> 00:44:15,750
SET, HE WAS BLOODY, AND HE HAD

1456
00:44:15,750 --> 00:44:17,875
CUT HIMSELF, AND HE NEEDED TO GO

1457
00:44:17,875 --> 00:44:20,417
TO THE HOSPITAL.

1458
00:44:20,417 --> 00:44:22,917
AND HE DROPPED OFF THE DILDOS,

1459
00:44:22,917 --> 00:44:24,458
AND, YOU KNOW, I NEVER HEARD

1460
00:44:24,458 --> 00:44:25,583
FROM HIM AGAIN.

1461
00:44:26,250 --> 00:44:27,208
>> AND, OF COURSE, BY THE TIME

1462
00:44:27,208 --> 00:44:28,083
WE WERE DONE,

1463
00:44:28,083 --> 00:44:30,875
WE WERE COMPLETELY NUMB.

1464
00:44:30,875 --> 00:44:32,125
>> I DIDN'T KNOW ANYTHING ABOUT

1465
00:44:32,125 --> 00:44:32,792
THE ADULT INDUSTRY.

1466
00:44:32,792 --> 00:44:34,834
AT THAT TIME OF MAKING "HIDDEN

1467
00:44:34,834 --> 00:44:36,041
OBSESSIONS," I HAD NEVER

1468
00:44:36,041 --> 00:44:36,834
HEARD OF VIVID.

1469
00:44:36,834 --> 00:44:39,709
I KNEW NOTHING ABOUT THE

1470
00:44:39,709 --> 00:44:41,959
BIG-BUDGET CONTRACT GIRLS

1471
00:44:41,959 --> 00:44:42,875
AND WHAT HAVE YOU.

1472
00:44:42,875 --> 00:44:45,208
>> I MEAN, BASICALLY, I'M ONE TO

1473
00:44:45,208 --> 00:44:46,417
FLY UNDER THE RADAR.

1474
00:44:46,417 --> 00:44:49,041
THAT WAS THE WRONG FIRST SCENE

1475
00:44:49,041 --> 00:44:51,417
TO EVER DO.

1476
00:44:51,417 --> 00:44:52,875
>> I'M THE LAST MAN STANDING,

1477
00:44:52,875 --> 00:44:56,417
UH, STILL SHOOTING FILM.

1478
00:44:56,417 --> 00:44:58,417
WHEN I'M 80, AND I'M STILL

1479
00:44:58,417 --> 00:45:01,667
SHOOTING SOME 19-YEAR-OLD GIRL,

1480
00:45:01,667 --> 00:45:03,834
AND I WANNA KEEL OVER, AND MY

1481
00:45:03,834 --> 00:45:07,208
BOLEX GOES INTO HER PUSSY.

1482
00:45:07,208 --> 00:45:08,291
THAT'S WHAT I ENVISION FOR

1483
00:45:08,291 --> 00:45:09,125
>> WELL, I GUESS THESE ARE FOR

1484
00:45:11,667 --> 00:45:13,208
IF YOU'RE LONELY AT NIGHT AND,

1485
00:45:13,208 --> 00:45:15,792
UH, NEED SOMEONE TO TALK TO.

1486
00:45:15,792 --> 00:45:17,542
>> YEAH.

1487
00:45:17,542 --> 00:45:20,041
>> I TOOK THE IDEA OF "JUSTINE"

1488
00:45:20,041 --> 00:45:22,875
FROM A FRENCH FILM BY, UM,

1489
00:45:22,875 --> 00:45:25,792
A DIRECTOR NAMED LOUIS MALLE.

1490
00:45:25,792 --> 00:45:29,375
IT'S ABOUT A FATHER WHO

1491
00:45:29,375 --> 00:45:33,667
FALLS FOR HIS SON'S GIRLFRIEND.

1492
00:45:33,667 --> 00:45:34,625
>> I SAID, I'VE SEEN IT.

1493
00:45:34,625 --> 00:45:35,667
AND HE SAID, "WHAT'D YOU THINK?"

1494
00:45:35,667 --> 00:45:37,542
AND I SAID, "I HATED IT."

1495
00:45:37,542 --> 00:45:39,041
HE SAID, "YOU HATED IT, WHY?"

1496
00:45:39,041 --> 00:45:39,875
I SAID, "BECAUSE OF THE MORALITY

1497
00:45:39,875 --> 00:45:42,291
THAT THIS MAN WOULD DESTROY HIS

1498
00:45:44,834 --> 00:45:47,750
SON AND HIS WIFE FOR THE SAKE OF

1499
00:45:47,750 --> 00:45:49,500
>> IT WAS AN EVENT OF MY...

1500
00:45:51,834 --> 00:45:53,875
SORT OF... HAVING A SON WHO'S IN

1501
00:45:53,875 --> 00:45:56,083
SOME WAYS MORE GROWN-UP THAN ME.

1502
00:45:56,083 --> 00:45:56,959
HE'S TELLING ME, YOU KNOW,

1503
00:45:56,959 --> 00:45:59,041
>> WHY DON'T YOU TELL ME WHAT

1504
00:46:00,625 --> 00:46:03,000
YOU'RE THINKING.

1505
00:46:03,000 --> 00:46:05,542
>> I'M THINKING ABOUT MY FATHER.

1506
00:46:05,542 --> 00:46:07,291
>> YOUR FATHER?

1507
00:46:07,291 --> 00:46:10,542
>> IN "DAMAGE", UH, JEREMY IRONS

1508
00:46:10,542 --> 00:46:11,417
IS THE FATHER.

1509
00:46:11,417 --> 00:46:14,250
HE KNEW THAT THIS WAS HIS SON'S

1510
00:46:14,250 --> 00:46:15,291
GIRLFRIEND.

1511
00:46:15,291 --> 00:46:16,834
HE DIDN'T CARE.

1512
00:46:16,834 --> 00:46:19,375
>> BUT IN OUR MOVIE,

1513
00:46:19,375 --> 00:46:21,250
THE FATHER WOULD NOT DESTROY

1514
00:46:21,250 --> 00:46:22,333
HIS SON.

1515
00:46:22,333 --> 00:46:23,875
HE WOULD GIVE UP THE GIRL

1516
00:46:23,875 --> 00:46:25,875
BECAUSE HIS SON IS HIS SON.

1517
00:46:25,875 --> 00:46:27,834
>> MMM.

1518
00:46:29,917 --> 00:46:32,208
WOULD YOU LIKE A TASTE?

1519
00:46:32,208 --> 00:46:34,291
>> I LIKE OUR VERSION BETTER.

1520
00:46:34,291 --> 00:46:36,125
>> ROXANNE BLAZE HAD A SERIES OF

1521
00:46:36,125 --> 00:46:39,083
ENDLESS ORGASMS FROM A WATER

1522
00:46:39,083 --> 00:46:40,417
HOSE I WAS SPRAYING HER WITH.

1523
00:46:40,417 --> 00:46:41,625
AND THAT WAS VERY REAL,

1524
00:46:41,625 --> 00:46:44,583
IT WAS VERY INTERESTING.

1525
00:46:44,583 --> 00:46:46,375
>> SHE'S ONE OF HIS GIRLS,

1526
00:46:46,375 --> 00:46:47,917
HE WOULD LOOK AND-- AND SAY,

1527
00:46:47,917 --> 00:46:50,375
"WHAT'S A NICE GIRL LIKE YOU

1528
00:46:50,375 --> 00:46:52,083
DOING IN A PLACE LIKE THIS?"

1529
00:46:52,083 --> 00:46:55,083
WHY'D YOU COME BACK, HMM?

1530
00:46:55,083 --> 00:46:58,583
>> BECAUSE I SHOULDN'T HAVE.

1531
00:46:58,583 --> 00:46:59,917
BECAUSE YOU'RE DANGEROUS FOR ME.

1532
00:46:59,917 --> 00:47:01,417
>> WE REALLY FELT

1533
00:47:01,417 --> 00:47:03,125
WHAT WE WERE DOING--

1534
00:47:03,125 --> 00:47:04,125
YOU KNOW, WE KNEW IT WAS

1535
00:47:04,125 --> 00:47:05,000
ONLY PORN.

1536
00:47:05,000 --> 00:47:07,458
BUT WE WANTED TO MAKE IT THE

1537
00:47:07,458 --> 00:47:08,625
BEST PORN WE COULD POSSIBLY

1538
00:47:08,625 --> 00:47:09,208
MAKE IT.

1539
00:47:09,208 --> 00:47:10,041
>> "JUSTINE" DOES QUALIFY AS ONE

1540
00:47:10,041 --> 00:47:13,125
OF THE BETTER MOVIES MADE, UH,

1541
00:47:13,125 --> 00:47:15,083
UH, BOTH IN THE HISTORY OF PORN,

1542
00:47:15,083 --> 00:47:17,041
BUT IN MY PERSONAL HISTORY

1543
00:47:17,041 --> 00:47:17,917
WORKING.

1544
00:47:17,917 --> 00:47:19,709
IT WOULD BE IN MY TOP TEN

1545
00:47:19,709 --> 00:47:20,333
>> MY CRIME WAS TO SHARE THESE

1546
00:47:22,208 --> 00:47:23,959
VISIONS WITH YOU.

1547
00:47:23,959 --> 00:47:26,375
THE TRUTH.

1548
00:47:26,375 --> 00:47:28,250
AND FOR THIS, I HAVE BEEN

1549
00:47:28,250 --> 00:47:30,000
>> "LATEX" WAS VERY INEXPENSIVE

1550
00:47:33,041 --> 00:47:33,333
BUT THEN THERE WAS ABOUT

1551
00:47:34,959 --> 00:47:37,834
12 MONTHS OF POST MAKING ALL OF

1552
00:47:37,834 --> 00:47:39,667
THIS STUFF, SO THAT MIGHT'VE

1553
00:47:39,667 --> 00:47:40,834
THIS IS A WHOLE MOVIE FULL OF

1554
00:47:42,583 --> 00:47:44,083
COMPUTER-GENERATED EFFECTS.

1555
00:47:44,083 --> 00:47:45,000
THIS WAS SO FAR BEFORE ANYBODY

1556
00:47:45,000 --> 00:47:47,041
EVER THOUGHT TO DO ANYTHING LIKE

1557
00:47:47,041 --> 00:47:49,000
THAT FOR PORNO, YOU KNOW?

1558
00:47:49,000 --> 00:47:50,083
EVERYBODY WHO WORKED ON

1559
00:47:50,083 --> 00:47:51,792
A MICHAEL NINN FEATURE KNEW THEY

1560
00:47:51,792 --> 00:47:52,208
WERE IN FOR A RIDE.

1561
00:47:52,208 --> 00:47:54,000
THIS IS SOMETHING THAT YOU'RE

1562
00:47:54,000 --> 00:47:56,000
NOT GONNA WALK IN AND BE OUT OF

1563
00:47:56,000 --> 00:47:57,208
THERE IN AN HOUR.

1564
00:47:57,208 --> 00:47:58,125
UH, MORE OFTEN THAN NOT, IT

1565
00:47:58,125 --> 00:48:00,000
MIGHT TAKE YOU A COUPLE OF HOURS

1566
00:48:00,000 --> 00:48:02,250
JUST TO GET YOUR MAKEUP ON.

1567
00:48:02,250 --> 00:48:03,750
HE SAYS THAT YOU CLAIMED TO BE

1568
00:48:03,750 --> 00:48:06,333
ABLE TO "SEE INSIDE OF PEOPLE."

1569
00:48:06,333 --> 00:48:07,500
DID YOU SAY THAT?

1570
00:48:07,500 --> 00:48:10,834
>> YES.

1571
00:48:10,834 --> 00:48:11,875
>> I'D CALL THAT E.S.P.,

1572
00:48:11,875 --> 00:48:12,208
WOULDN'T YOU?

1573
00:48:12,208 --> 00:48:14,291
>> I WOULD CALL IT SEEING

1574
00:48:14,291 --> 00:48:15,125
>> JON DOUGH REALLY TOOK HOLD OF

1575
00:48:17,542 --> 00:48:19,291
THAT ROLE AND CREATED THAT ROLE

1576
00:48:19,291 --> 00:48:20,041
ALMOST ON HIS OWN.

1577
00:48:20,041 --> 00:48:23,125
UM, MICHAEL NINN MADE IT INTO

1578
00:48:23,125 --> 00:48:24,709
VISUALLY POWERFUL MOVIE AND

1579
00:48:26,333 --> 00:48:27,792
TECHNICALLY FAR SUPERIOR THAN

1580
00:48:27,792 --> 00:48:28,959
MOST EVERYTHING ELSE THAT HAD

1581
00:48:28,959 --> 00:48:30,041
BEEN MADE BEFORE THAT.

1582
00:48:30,041 --> 00:48:31,083
>> YOU'RE ASKING ME TO EXPLAIN

1583
00:48:31,083 --> 00:48:33,583
SOMETHING THAT I DON'T REALLY

1584
00:48:33,583 --> 00:48:34,000
UNDERSTAND MYSELF.

1585
00:48:34,000 --> 00:48:38,125
>> HE WAS SO DEEPLY DEDICATED TO

1586
00:48:38,125 --> 00:48:39,500
WHAT WAS GOING IN THERE, MORE

1587
00:48:39,500 --> 00:48:40,583
THAN I EVER SAW HIM

1588
00:48:40,583 --> 00:48:41,959
IN ANY MOVIE.

1589
00:48:41,959 --> 00:48:42,417
>> THERE WAS ONE SET,

1590
00:48:42,417 --> 00:48:45,125
THE KITCHEN SET WITH ZACK

1591
00:48:45,125 --> 00:48:46,750
AND SUNSET THOMAS.

1592
00:48:46,750 --> 00:48:48,750
THAT'S THE ONLY SET WE SHOT ON.

1593
00:48:48,750 --> 00:48:49,750
EVERYTHING ELSE WAS SHOT

1594
00:48:49,750 --> 00:48:50,291
AGAINST GREEN SCREEN, WHICH

1595
00:48:50,291 --> 00:48:52,583
MEANS EVERYTHING ELSE IN THE

1596
00:48:52,583 --> 00:48:54,000
MOVIE HAD TO BE MANUFACTURED

1597
00:48:54,000 --> 00:48:55,208
>> I'M IN THE KITCHEN, YOU KNOW,

1598
00:48:56,625 --> 00:48:57,125
LATEX GLOVES ON.

1599
00:48:57,125 --> 00:48:59,625
AND THERE'S THESE BIG, WHITE

1600
00:48:59,625 --> 00:49:01,083
AND I WAS IN THE DRESSING ROOM.

1601
00:49:02,583 --> 00:49:03,583
I WAS JUST ALL UPSET BECAUSE

1602
00:49:03,583 --> 00:49:04,709
I WAS SO USED WEARING THESE

1603
00:49:04,709 --> 00:49:06,166
LITTLE SKIMPY UNDERWEAR.

1604
00:49:06,166 --> 00:49:07,709
I SAID, "MIKE, I CANNOT WEAR

1605
00:49:07,709 --> 00:49:09,834
THESE GRANNY UNDERWEAR."

1606
00:49:12,291 --> 00:49:13,959
>> MICHAEL NINN SEEMS TO DEAL

1607
00:49:13,959 --> 00:49:16,250
MORE WITH, UM, BROAD SYMBOLISM,

1608
00:49:16,250 --> 00:49:17,041
LIKE, SYMBOLIC STORIES.

1609
00:49:17,041 --> 00:49:19,625
THEY WERE HUGE STORIES THAT

1610
00:49:19,625 --> 00:49:21,125
TALKED ABOUT BASICALLY

1611
00:49:21,125 --> 00:49:21,458
GOOD AND EVIL.

1612
00:49:21,458 --> 00:49:24,333
THERE'S ALWAYS THE INNOCENCE

1613
00:49:24,333 --> 00:49:25,542
THAT GETS CORRUPTED.

1614
00:49:25,542 --> 00:49:28,625
THERE'S THE, THE SOCIETY THAT

1615
00:49:28,625 --> 00:49:30,083
CHURNS UP THE INNOCENTS IN ITS

1616
00:49:30,083 --> 00:49:32,917
GEARS, IT'S-- IT'S VERY SYMBOLIC

1617
00:49:32,917 --> 00:49:34,750
AND BROAD IN ITS SCOPE, AND

1618
00:49:34,750 --> 00:49:35,917
I THINK ANDREW BLAKE WAS MORE

1619
00:49:35,917 --> 00:49:36,291
ABOUT INSTANCES.

1620
00:49:36,291 --> 00:49:38,208
>> HOME VIDEO BECAME SUCH

1621
00:49:38,208 --> 00:49:40,041
A POPULAR FORMAT FOR PORN THAT,

1622
00:49:40,041 --> 00:49:41,875
BY THE MID-90'S, ADULT THEATERS

1623
00:49:41,875 --> 00:49:42,750
WERE ESSENTIALLY A THING

1624
00:49:42,750 --> 00:49:43,750
OF THE PAST.

1625
00:49:43,750 --> 00:49:45,250
PRODUCERS TRADED NEW YORK AND

1626
00:49:45,250 --> 00:49:46,166
SAN FRANCISCO FOR SUNNY L.A.,

1627
00:49:46,166 --> 00:49:48,583
AND THE SAN FERNANDO VALLEY

1628
00:49:48,583 --> 00:49:50,291
BECAME THE UNDISPUTED CAPITAL

1629
00:49:50,291 --> 00:49:52,291
OF THE ADULT BUSINESS.

1630
00:49:52,291 --> 00:49:53,291
VHS AND THE INDUSTRY SEEMED LIKE

1631
00:49:53,291 --> 00:49:55,125
A MARRIAGE THAT WOULD LAST

1632
00:49:55,125 --> 00:49:56,250
FOREVER.

1633
00:49:56,250 --> 00:49:57,125
BUT PROGRESS NEVER STANDS STILL.

1634
00:49:57,125 --> 00:49:59,709
AND A POWERFUL NEW FORMAT WAS

1635
00:49:59,709 --> 00:50:01,375
ABOUT TO BRING NEW OPTIONS AND

1636
00:50:01,375 --> 00:50:03,166
>> WHY ARE YOU GOING THROUGH

1637
00:50:03,792 --> 00:50:05,834
MY PURSE?

1638
00:50:05,834 --> 00:50:07,709
>> TO FIND YOUR BADGE.

1639
00:50:07,709 --> 00:50:08,291
YOUR FIREMAN I.D.

1640
00:50:08,291 --> 00:50:09,125
>> YOU'RE THE KIND OF GIRL WHO

1641
00:50:09,125 --> 00:50:11,667
TAKES OUT PERSONAL ADS.

1642
00:50:11,667 --> 00:50:13,959
"OH, HOT-BLOODED BLONDE

1643
00:50:13,959 --> 00:50:15,750
>> IT WAS SHORTLY AFTER

1644
00:50:16,875 --> 00:50:17,500
"BACKDRAFT," THAT BIG FIREMAN

1645
00:50:17,500 --> 00:50:19,333
AND WHEN IT CAME TO

1646
00:50:20,959 --> 00:50:22,041
"FLASHPOINT," WHAT WE WERE

1647
00:50:22,041 --> 00:50:24,709
TRYING TO DO IS WE HAD KIND OF

1648
00:50:24,709 --> 00:50:25,333
STARTED TO ELEVATE OUR ADULT

1649
00:50:25,333 --> 00:50:27,792
MOVIES INTO WHAT WE THOUGHT

1650
00:50:27,792 --> 00:50:28,417
SEX OUT OF THEM, BECOME KIND OF

1651
00:50:31,583 --> 00:50:33,083
LIKE THAT "B" MOVIE VIBE.

1652
00:50:33,083 --> 00:50:34,917
>> I JUST WISH I HAD

1653
00:50:34,917 --> 00:50:38,250
IT HAD A STORYLINE.

1654
00:50:39,834 --> 00:50:41,625
AND IT HAD REAL ACTING.

1655
00:50:41,625 --> 00:50:45,000
>> FOR ITS TIME, IT WAS A HUGE

1656
00:50:46,709 --> 00:50:49,250
MOVIE, AND, UH, AS LUCK WOULD

1657
00:50:49,250 --> 00:50:51,792
HAVE IT, I JUST HAPPENED TO MEET

1658
00:50:51,792 --> 00:50:53,500
A BIG PYROTECHNICS GUY WHO

1659
00:50:53,500 --> 00:50:54,709
WORKED IN THE MAINSTREAM.

1660
00:50:54,709 --> 00:50:55,959
>> THEY ACTUALLY WORKED ON

1661
00:50:55,959 --> 00:50:56,333
"BACKDRAFT."

1662
00:50:56,333 --> 00:50:58,333
>> WHEN WORKING WITH FIRE,

1663
00:50:58,333 --> 00:50:59,291
OF COURSE, THERE'S ALWAYS A HUGE

1664
00:50:59,291 --> 00:51:02,166
AMOUNT OF SAFETY PRECAUTIONS

1665
00:51:02,166 --> 00:51:03,667
ESPECIALLY WITH THE MAINSTREAM

1666
00:51:03,667 --> 00:51:05,125
GUY DOING IT ALL, YOU KNOW,

1667
00:51:05,125 --> 00:51:05,834
WE HAD SAFETY MEETINGS

1668
00:51:05,834 --> 00:51:06,625
ALL THE TIME.

1669
00:51:06,625 --> 00:51:08,000
>> AT THE TIME, I DIDN'T REALLY

1670
00:51:08,000 --> 00:51:09,834
THINK ABOUT HOW HARD IT IS

1671
00:51:09,834 --> 00:51:11,208
TO BE A FIREFIGHTER.

1672
00:51:11,208 --> 00:51:13,709
SO THEY HAD ME CARRYING

1673
00:51:13,709 --> 00:51:16,041
DUMMIES UPSTAIRS.

1674
00:51:16,041 --> 00:51:17,083
>> I THINK A COUPLE OF PEOPLE

1675
00:51:17,083 --> 00:51:17,709
STARTED THINKING THEY WERE GONNA

1676
00:51:17,709 --> 00:51:18,375
PASS OUT RUNNING UP AND DOWN

1677
00:51:18,375 --> 00:51:20,834
STAIRS WITH ALL THE GEAR ON.

1678
00:51:20,834 --> 00:51:22,291
>> STEVENS, WHAT DO YOU THINK

1679
00:51:22,291 --> 00:51:23,208
YOU'RE DOING?

1680
00:51:23,208 --> 00:51:25,333
>> SHH!

1681
00:51:25,333 --> 00:51:26,583
>> IF THE CAPTAIN CATCHES YOU,

1682
00:51:26,583 --> 00:51:27,792
YOUR ASS IS HISTORY.

1683
00:51:27,792 --> 00:51:29,458
>> I DIDN'T REALLY REALIZE HOW

1684
00:51:29,458 --> 00:51:31,333
INCREDIBLY REAL

1685
00:51:31,333 --> 00:51:33,667
THIS WAS GOING TO BE.

1686
00:51:33,667 --> 00:51:36,500
WHEN YOU'RE HAVING SEX BEHIND

1687
00:51:36,500 --> 00:51:40,917
FIRE, YOU DON'T REALLY REALIZE

1688
00:51:40,917 --> 00:51:42,333
THE FEAR THAT YOU'RE

1689
00:51:42,333 --> 00:51:43,583
GONNA BE FEELING.

1690
00:51:43,583 --> 00:51:45,500
>> WE REALLY ONLY HAD ONE HUGE

1691
00:51:45,500 --> 00:51:49,041
FIRE DAY, AND HE HAD A HUGE CREW

1692
00:51:49,041 --> 00:51:50,333
IN THERE TO MAKE SURE EVERYBODY

1693
00:51:50,333 --> 00:51:51,667
KNEW WHAT THEY WERE DOING.

1694
00:51:51,667 --> 00:51:55,000
AND REALLY HAD A GRASP OF WHAT

1695
00:51:55,000 --> 00:51:56,583
THE ISSUES WERE WHEN IT CAME TO

1696
00:51:56,583 --> 00:51:59,208
SAFETY AND ANY, UH-- AND KEEPING

1697
00:51:59,208 --> 00:52:00,208
THE ACTORS OUT OF DANGER.

1698
00:52:00,208 --> 00:52:03,625
>> I REALLY THINK THAT WE--

1699
00:52:03,625 --> 00:52:04,375
WE ACCOMPLISHED SOMETHING

1700
00:52:04,375 --> 00:52:07,458
REALLY BEAUTIFUL AND SOMETHING

1701
00:52:07,458 --> 00:52:08,834
>> TO BE HONEST WITH YOU,

1702
00:52:11,000 --> 00:52:12,125
I DIDN'T EXACTLY INHERIT

1703
00:52:12,125 --> 00:52:14,458
MY FATHER'S SIN...

1704
00:52:14,458 --> 00:52:19,125
>> IT WAS NOT

1705
00:52:19,458 --> 00:52:20,291
A HIGH-BUDGET MOVIE.

1706
00:52:20,291 --> 00:52:23,083
OVER FIVE DAYS FOR 70 GRAND.

1707
00:52:26,000 --> 00:52:29,375
SO 2-1/2 DAYS, $35,000...

1708
00:52:29,375 --> 00:52:31,041
IT'S NOTHING FOR FILM.

1709
00:52:31,041 --> 00:52:31,625
>> TO ME, IT WAS A BIG DEAL

1710
00:52:31,625 --> 00:52:32,458
BECAUSE THIS WAS ANOTHER ONE--

1711
00:52:32,458 --> 00:52:34,625
YOU KNOW, THE FILMS WERE HERE

1712
00:52:34,625 --> 00:52:35,959
AND THERE, JUST FEW AND FAR

1713
00:52:35,959 --> 00:52:36,458
>> DIDN'T YOU APPLY AT

1714
00:52:38,083 --> 00:52:39,041
THE SHERIFF'S OFFICE IN COUNCIL

1715
00:52:39,041 --> 00:52:40,208
BLUFFS OR SOMETHING?

1716
00:52:40,208 --> 00:52:41,208
>> YEAH, I GOT ACCEPTED, TOO,

1717
00:52:41,208 --> 00:52:41,959
BUT I'M NOT READY TO LEAVE YET.

1718
00:52:41,959 --> 00:52:43,208
>> THE ACTORS THAT CAME ON

1719
00:52:43,208 --> 00:52:44,625
REALLY TOOK IT SERIOUSLY AND

1720
00:52:44,625 --> 00:52:45,333
REALLY, YOU KNOW, I GOT GOOD

1721
00:52:45,333 --> 00:52:47,583
PEOPLE WITH ACTING CHOPS.

1722
00:52:47,583 --> 00:52:48,333
SHANNA McCULLOUGH WHO,

1723
00:52:48,333 --> 00:52:50,375
YOU KNOW, LATER WON AN AWARD

1724
00:52:50,375 --> 00:52:52,125
FOR IT FOR BEST ACTRESS.

1725
00:52:52,125 --> 00:52:53,208
>> THIS WAS A FILM NOIR

1726
00:52:53,208 --> 00:52:54,458
AND IT WAS A DETECTIVE STORY

1727
00:52:54,458 --> 00:52:56,500
AND HE WANTED ME TO STAR IN IT.

1728
00:52:56,500 --> 00:52:59,250
IT'S A STORY OF TWO DETECTIVES

1729
00:52:59,250 --> 00:53:01,166
AND THIS WOMAN

1730
00:53:01,166 --> 00:53:02,792
WHO'S A FEMME FATALE KILLER.

1731
00:53:02,792 --> 00:53:04,917
AND SHE'S, YOU KNOW, SEDUCING

1732
00:53:04,917 --> 00:53:06,166
MEN AND THEN KILLING THEM.

1733
00:53:06,166 --> 00:53:06,667
AND SHE'S BEEN STALKING

1734
00:53:06,667 --> 00:53:08,959
MY PARTNER.

1735
00:53:08,959 --> 00:53:09,500
APPARENTLY, HIS FATHER DEALT

1736
00:53:09,500 --> 00:53:12,125
WITH THIS ALSO FEMME FATALE

1737
00:53:12,125 --> 00:53:14,166
IN HIS CAREER AS A POLICEMAN.

1738
00:53:14,166 --> 00:53:16,166
AND HE THINKS IT'S THE SAME

1739
00:53:16,166 --> 00:53:17,542
WOMAN AND SHE'S STILL AROUND

1740
00:53:17,542 --> 00:53:18,709
AFTER 50 YEARS.

1741
00:53:18,709 --> 00:53:19,458
AND I SAID, "NO, IT MUST

1742
00:53:19,458 --> 00:53:19,834
BE HER DAUGHTER."

1743
00:53:19,834 --> 00:53:21,583
>> THE LOOK OF "LOOKER" IS VERY

1744
00:53:21,583 --> 00:53:23,500
GRITTY AND NOIR INSPIRED

1745
00:53:23,500 --> 00:53:25,208
AND THIS IS NO ACCIDENT.

1746
00:53:25,208 --> 00:53:26,709
I WANTED TO DO A MOVIE THAT

1747
00:53:26,709 --> 00:53:29,750
COULD'VE BEEN SHOT IN THE 30s.

1748
00:53:29,750 --> 00:53:31,083
>> HE WAS A REAL SLAVE DRIVER.

1749
00:53:31,083 --> 00:53:32,125
HE LITERALLY WOULD WORK

1750
00:53:32,125 --> 00:53:33,625
A 24-HOUR DAY IF THAT WAS WHAT

1751
00:53:33,625 --> 00:53:35,208
WAS NECESSARY BECAUSE HE WAS

1752
00:53:35,208 --> 00:53:36,333
A PERFECTIONIST AND HE WANTED

1753
00:53:36,333 --> 00:53:36,792
EVERYBODY ELSE TO BE.

1754
00:53:36,792 --> 00:53:38,583
>> WHEN WE SHOT THAT MOVIE, WE

1755
00:53:38,583 --> 00:53:40,375
KNEW WE HAD SOMETHING SPECIAL.

1756
00:53:40,375 --> 00:53:41,625
>> WE PUT A LOT OF HEART INTO IT

1757
00:53:41,625 --> 00:53:42,625
AND NIC PUT A LOT OF HEART INTO

1758
00:53:42,625 --> 00:53:44,792
IT, AND WE DIDN'T GET

1759
00:53:44,792 --> 00:53:46,000
AN OPPORTUNITY TO DO THAT MUCH

1760
00:53:46,000 --> 00:53:48,417
ANYMORE SO IT REALLY FELT GOOD

1761
00:53:48,417 --> 00:53:49,959
THAT IT WAS RECOGNIZED FOR WHAT

1762
00:53:49,959 --> 00:53:52,291
WE REALLY WANTED IT TO BE.

1763
00:53:52,291 --> 00:53:52,792
>> EARLY ON IN THE SHOW,

1764
00:53:52,792 --> 00:53:55,208
SHANNA WON FOR BEST ACTRESS.

1765
00:53:55,208 --> 00:53:55,750
AND WE WERE LOOKING AT EACH

1766
00:53:55,750 --> 00:53:58,834
OTHER LIKE, "COULD THIS BE?"

1767
00:53:58,834 --> 00:53:59,500
AND THEN JUST THE FLOODGATES

1768
00:53:59,500 --> 00:54:02,083
JUST OPENED UP AND WE WON BEST

1769
00:54:02,083 --> 00:54:04,333
FILM DIRECTOR FOR ME, BEST FILM,

1770
00:54:04,333 --> 00:54:07,750
ART DIRECTION, SCRIPT, EDITING.

1771
00:54:07,750 --> 00:54:09,959
I MEAN, TRIFECTA, SWEEP.

1772
00:54:09,959 --> 00:54:11,709
SO IT WAS ONE OF THE BETTER

1773
00:54:11,709 --> 00:54:12,709
>> DOGS LICK.

1774
00:54:14,500 --> 00:54:16,917
MEN FUCKING EAT PUSSY.

1775
00:54:16,917 --> 00:54:18,375
EAT MY PUSSY.

1776
00:54:20,333 --> 00:54:21,333
>> "SEVEN DEADLY SINS" WAS

1777
00:54:21,333 --> 00:54:22,959
THE OBVIOUS CANDIDATE FOR

1778
00:54:22,959 --> 00:54:23,583
THE VIGNETTE STYLE OF SHOOTING.

1779
00:54:23,583 --> 00:54:24,375
I WANTED TO BE ABLE TO HAVE

1780
00:54:24,375 --> 00:54:27,417
EVERYTHING DISTINCTLY,

1781
00:54:27,417 --> 00:54:28,375
UH, REPRESENTED

1782
00:54:28,375 --> 00:54:30,625
BY THE SIN ITSELF.

1783
00:54:30,625 --> 00:54:32,500
>> WHERE AM I?

1784
00:54:34,125 --> 00:54:34,166
>> YOU STUPID BITCH.

1785
00:54:37,458 --> 00:54:39,083
>> THE BASIC STORY IS A CRISIS

1786
00:54:39,083 --> 00:54:40,834
OF THIS WOMAN WHO'S IN LOVE

1787
00:54:40,834 --> 00:54:42,125
WITH THE REAL JANINE.

1788
00:54:42,125 --> 00:54:44,750
AND SHE'S BEEN TOLD THAT SHE

1789
00:54:44,750 --> 00:54:45,542
ACTUALLY KIND OF LOOKS LIKE

1790
00:54:45,542 --> 00:54:46,875
JANINE, BUT OF COURSE, WE HAVE

1791
00:54:46,875 --> 00:54:48,834
A REALLY DOWDY VERSION OF HER.

1792
00:54:48,834 --> 00:54:49,458
SO THE CHALLENGE WAS HOW DO WE

1793
00:54:49,458 --> 00:54:52,959
>> IT WAS A STRETCH, YOU KNOW,

1794
00:54:53,583 --> 00:54:58,041
IT WAS, UH...

1795
00:54:58,041 --> 00:54:58,542
I WAS JUST KIND OF... IT'S HARD

1796
00:55:01,166 --> 00:55:03,458
NOT TO JUST EMBRACE HER.

1797
00:55:03,458 --> 00:55:06,750
SO, UH, TO TAKE MYSELF OUT OF

1798
00:55:06,750 --> 00:55:09,000
THAT SITUATION AND BE LIKE,

1799
00:55:09,000 --> 00:55:11,333
"YEAH, IT'S ME AND IT'S ME,"

1800
00:55:11,333 --> 00:55:14,125
>> YOU KNOW, THERE WERE CERTAIN

1801
00:55:14,959 --> 00:55:16,000
THINGS THAT WE HAD TO HIDE.

1802
00:55:16,000 --> 00:55:17,583
WHEN YOU'RE TRYING TO SHOOT AND

1803
00:55:17,583 --> 00:55:18,667
BE SOMEBODY, AND YOU CAN'T SHOW

1804
00:55:18,667 --> 00:55:19,834
YOUR FACE OR YOU'RE TRYING TO

1805
00:55:19,834 --> 00:55:21,750
IT WASN'T EASY.

1806
00:55:22,667 --> 00:55:24,458
THAT I CAN TELL YOU.

1807
00:55:24,458 --> 00:55:27,417
>> YOUR A WHINY, DRIED-UP

1808
00:55:27,417 --> 00:55:28,792
OLD MAID.

1809
00:55:28,792 --> 00:55:29,834
>> SHUT UP!

1810
00:55:29,834 --> 00:55:31,000
>> THAT NOBODY WANTS.

1811
00:55:31,000 --> 00:55:31,792
>> SHUT UP.

1812
00:55:31,792 --> 00:55:32,583
>> THERE WAS A LOT OF FOOD.

1813
00:55:34,291 --> 00:55:35,625
THERE WAS AN ABUNDANCE OF--

1814
00:55:41,166 --> 00:55:42,709
IT'S A PERFECT SCENE IF YOU'RE

1815
00:55:42,709 --> 00:55:46,166
A FOOD FETISH KIND OF GUY.

1816
00:55:46,166 --> 00:55:48,625
>> WE HAD TO BUILD SUPPORTS

1817
00:55:48,625 --> 00:55:51,291
FOR THESE-- I THINK THEY WERE

1818
00:55:51,291 --> 00:55:51,667
TEN-FEET TALL--

1819
00:55:51,667 --> 00:55:53,834
AND WE DID AN ARC AROUND THAT.

1820
00:55:53,834 --> 00:55:54,959
AND THEN SET THAT IN

1821
00:55:54,959 --> 00:55:55,709
A STAGE THAT, AT THE TIME,

1822
00:55:55,709 --> 00:55:57,125
I THINK WAS BLACK.

1823
00:55:57,125 --> 00:55:58,583
SO WE COULD, YOU KNOW--

1824
00:55:58,583 --> 00:55:59,542
AND THEN WE ACTUALLY GOT A

1825
00:55:59,542 --> 00:56:01,834
TURNTABLE FOR THEM TO HAVE SEX

1826
00:56:01,834 --> 00:56:04,291
ON SO THAT COULD REVOLVE, SO THE

1827
00:56:04,291 --> 00:56:05,792
IMAGE BEHIND IN ALL THE MIRRORS

1828
00:56:05,792 --> 00:56:07,333
WAS REVOLVING AT THE SAME TIME.

1829
00:56:07,333 --> 00:56:09,041
IT HAD A VERY, YOU KNOW, KIND OF

1830
00:56:09,041 --> 00:56:09,583
A SURREAL DEPARTMENT STORE

1831
00:56:09,583 --> 00:56:12,000
>> HEY, WATCH THE TEETH,

1832
00:56:14,583 --> 00:56:15,667
SWEETIE.

1833
00:56:15,667 --> 00:56:19,792
>> SORRY, FORCE OF HABIT.

1834
00:56:19,792 --> 00:56:20,709
>> "DARK ANGELS" CAME OUT--

1835
00:56:20,709 --> 00:56:23,291
SCOTT TAYLOR, THE OWNER

1836
00:56:23,291 --> 00:56:24,500
OF NEW SENSATIONS.

1837
00:56:24,500 --> 00:56:25,667
HE GOES, "I'VE ALWAYS REALLY

1838
00:56:25,667 --> 00:56:26,667
KIND OF LIKED HORROR MOVIES AND

1839
00:56:26,667 --> 00:56:30,375
STUFF AND VAMPIRE-TYPE STUFF."

1840
00:56:30,375 --> 00:56:31,959
AND I SAID, "WELL, WE CAN DO

1841
00:56:31,959 --> 00:56:32,792
>> YOU LOOKING FOR SOMETHING

1842
00:56:33,709 --> 00:56:34,792
SPECIAL TONIGHT?

1843
00:56:34,792 --> 00:56:36,667
>> IT DEPENDS, YOU A COP?

1844
00:56:38,583 --> 00:56:40,583
>> YOU SEE A BADGE, SWEETHEART?

1845
00:56:40,583 --> 00:56:42,667
>> WHEN I CONCEIVED THE WHOLE

1846
00:56:42,667 --> 00:56:44,625
STORY AND WAS WRITING THE SCRIPT

1847
00:56:44,625 --> 00:56:47,250
AND EVERYTHING, MIKE HORNER WAS

1848
00:56:47,250 --> 00:56:49,458
ALREADY CAST IN MY HEAD.

1849
00:56:49,458 --> 00:56:50,041
>> WE HAD TO SPEND MORE TIME

1850
00:56:50,041 --> 00:56:52,667
PREPPING AND SETTING UP FOR THE

1851
00:56:52,667 --> 00:56:54,709
BLEEDING SCENE THAN WE DID ON

1852
00:56:54,709 --> 00:56:55,542
THE ENTIRE SEX SCENE, BECAUSE IT

1853
00:56:55,542 --> 00:56:57,792
TOOK SEVERAL HOURS FOR THEM TO

1854
00:56:57,792 --> 00:56:58,166
THEY HAD TO CLEAN THE CAR ONE

1855
00:57:00,000 --> 00:57:01,625
TIME FROM ALL THIS BLOOD--

1856
00:57:01,625 --> 00:57:03,333
ALL OVER THE WINDOWS.

1857
00:57:03,333 --> 00:57:04,333
IT JUST DIDN'T WORK FOR

1858
00:57:04,333 --> 00:57:05,417
>> I WAS JUST GETTING TO THAT.

1859
00:57:14,041 --> 00:57:15,333
>> WE DIDN'T GET STARTED DOING

1860
00:57:15,333 --> 00:57:17,583
THAT SCENE UNTIL ABOUT MIDNIGHT.

1861
00:57:17,583 --> 00:57:18,834
AND WE WENT TILL LIKE

1862
00:57:18,834 --> 00:57:19,542
4:00 IN THE MORNING,

1863
00:57:19,542 --> 00:57:20,542
5:00 IN THE MORNING.

1864
00:57:20,542 --> 00:57:23,083
WE GOT OUT OF THERE JUST IN TIME

1865
00:57:23,083 --> 00:57:24,125
FOR THE SUNRISE.

1866
00:57:24,125 --> 00:57:24,750
>> WHEN I APPROACHED SYDNEE TO

1867
00:57:24,750 --> 00:57:27,333
DO THE MOVIE, I SAID,

1868
00:57:27,333 --> 00:57:29,333
"ALL RIGHT, I DON'T KNOW IF

1869
00:57:29,333 --> 00:57:30,250
YOU'VE DONE SOMETHING LIKE THIS

1870
00:57:30,250 --> 00:57:30,834
BEFORE, WE'RE GONNA DO, LIKE,

1871
00:57:30,834 --> 00:57:32,709
YOU KNOW, FULL-BODY CAST

1872
00:57:32,709 --> 00:57:33,917
OF YOU, PROSTHETICS."

1873
00:57:33,917 --> 00:57:34,667
'CAUSE THAT'S HER IN THE MONSTER

1874
00:57:34,667 --> 00:57:36,041
SUIT AT THE END.

1875
00:57:36,041 --> 00:57:37,500
AND, YOU KNOW, AND YOU'RE GONNA

1876
00:57:37,500 --> 00:57:38,208
BE WEARING CONTACTS

1877
00:57:38,208 --> 00:57:38,959
AND ALL THIS.

1878
00:57:38,959 --> 00:57:40,417
AND, YOU KNOW,

1879
00:57:40,417 --> 00:57:42,000
WOULD YOU COMMIT TO THIS?

1880
00:57:42,000 --> 00:57:42,709
>> AND I'M LOOKING AROUND THE

1881
00:57:44,166 --> 00:57:45,250
WAREHOUSE AND THINKING, "MAN,

1882
00:57:45,250 --> 00:57:46,875
YOU KNOW, I'M WORKING IN THIS

1883
00:57:46,875 --> 00:57:48,375
WAREHOUSE AND, YOU KNOW, I'M A

1884
00:57:48,375 --> 00:57:50,125
NEVER TOOK THE TIME TO TAKE CARE

1885
00:57:51,458 --> 00:57:52,500
OF ALL THESE PALLETS THAT LAY

1886
00:57:52,500 --> 00:57:53,959
HERE ALL OVER, BROKEN."

1887
00:57:55,709 --> 00:57:58,500
"AH, I'LL NEVER FALL ON THAT."

1888
00:57:58,500 --> 00:57:59,542
IN THE DUMPSTER,

1889
00:57:59,542 --> 00:58:00,875
WOULDN'T YOU KNOW IT?

1890
00:58:00,875 --> 00:58:02,875
PALLET, RIGHT, RIGHT?

1891
00:58:02,875 --> 00:58:04,667
A PALLET AND BROKEN GLASS.

1892
00:58:04,667 --> 00:58:06,583
>> JEWEL DE'NYLE WAS THE

1893
00:58:06,583 --> 00:58:09,125
CONTRACT GIRL, AND SHE ACTUALLY

1894
00:58:09,125 --> 00:58:11,709
QUIT, UH, FIVE DAYS BEFORE

1895
00:58:11,709 --> 00:58:12,834
WE FINISHED SHOOTING.

1896
00:58:12,834 --> 00:58:14,208
SHE STORMED OFF THE SET.

1897
00:58:14,208 --> 00:58:15,375
IT'S ACTUALLY ON THE

1898
00:58:15,375 --> 00:58:15,792
BEHIND-THE-SCENES.

1899
00:58:15,792 --> 00:58:16,625
FORTUNATELY, I HAD SHOT THE END

1900
00:58:16,625 --> 00:58:18,375
ALREADY.

1901
00:58:18,375 --> 00:58:20,417
IT BROKE A LOT OF RULES

1902
00:58:20,417 --> 00:58:22,542
WHEN IT CAME OUT.

1903
00:58:22,542 --> 00:58:23,834
IT UPSET SOME PEOPLE,

1904
00:58:23,834 --> 00:58:25,417
IT EXCITED A LOT OF PEOPLE, IT

1905
00:58:25,417 --> 00:58:26,750
MADE A LOT OF MONEY, YOU KNOW?

1906
00:58:26,750 --> 00:58:28,125
IT WAS-- IT WAS ONE OF

1907
00:58:28,125 --> 00:58:29,583
THOSE GREAT EXPERIENCES THAT

1908
00:58:29,583 --> 00:58:31,917
I WAS NEVER ABLE TO DUPLICATE,

1909
00:58:31,917 --> 00:58:33,500
EVEN WITH BIGGER BUDGETS, BIGGER

1910
00:58:33,500 --> 00:58:35,208
CREWS, NEWER EQUIPMENT,

1911
00:58:35,208 --> 00:58:35,792
EVERYTHING.

1912
00:58:35,792 --> 00:58:36,709
I WAS NEVER ABLE TO CAPTURE

1913
00:58:36,709 --> 00:58:39,542
THE MAGIC THAT WENT INTO

1914
00:58:39,542 --> 00:58:40,583
>> YOU TRIED TO GET MY

1915
00:58:41,250 --> 00:58:42,250
ATTENTION.

1916
00:58:42,250 --> 00:58:42,750
>> YES.

1917
00:58:42,750 --> 00:58:45,083
>> WELL, YOU DID.

1918
00:58:45,083 --> 00:58:46,458
I WAS VERY IMPRESSED

1919
00:58:46,458 --> 00:58:47,667
BY YOUR DVD.

1920
00:58:47,667 --> 00:58:49,166
ANYTHING ELSE IMPRESS YOU

1921
00:58:50,041 --> 00:58:51,667
>> I THOUGHT I HAD A GOOD MOVIE

1922
00:58:52,333 --> 00:58:55,500
BECAUSE, UH, THE SCRIPT WAS THE

1923
00:58:55,500 --> 00:58:57,208
BEST SCRIPT THAT I THOUGHT I HAD

1924
00:58:57,208 --> 00:58:58,709
EVER COME UP WITH IN TERMS OF

1925
00:58:58,709 --> 00:58:59,667
INTERESTING IDEAS.

1926
00:58:59,667 --> 00:59:00,959
IT TOOK A LONG TIME TO WRITE IT.

1927
00:59:08,333 --> 00:59:10,000
>> TO BE DIRECTED BY JOHN,

1928
00:59:10,000 --> 00:59:11,542
ESPECIALLY FOR THIS MOVIE,

1929
00:59:11,542 --> 00:59:12,959
WAS SO SPECIAL FOR ME

1930
00:59:12,959 --> 00:59:15,208
I WAS A BIG FAN OF ALL

1931
00:59:15,834 --> 00:59:16,959
THE "BUTTMAN" SERIES.

1932
00:59:16,959 --> 00:59:19,542
I WAS A BIG FAN OF JOHN, SO IT

1933
00:59:19,542 --> 00:59:22,083
WAS LIKE BEING IN A DREAM.

1934
00:59:22,083 --> 00:59:22,750
>> I HAD A GOOD MEETING WITH MY

1935
00:59:22,750 --> 00:59:25,000
CINEMATOGRAPHER WHO SAID,

1936
00:59:25,000 --> 00:59:26,166
"WELL, WHAT'S THE RELATIONSHIP

1937
00:59:26,166 --> 00:59:27,417
BETWEEN THOSE TWO GIRLS?"

1938
00:59:27,417 --> 00:59:28,792
AND I SAID, "OH.

1939
00:59:28,792 --> 00:59:30,542
THEY COULD HAVE A RELATIONSHIP."

1940
00:59:30,542 --> 00:59:32,125
THAT'S MORE THAN JUST THE GIRL

1941
00:59:32,125 --> 00:59:33,041
IN THE BACK ROOM TRYING TO

1942
00:59:33,041 --> 00:59:33,834
SEDUCE ROCCO.

1943
00:59:33,834 --> 00:59:35,500
>> MY ENGLISH AT THAT TIME

1944
00:59:35,500 --> 00:59:37,041
WAS HORRIBLE, LIKE,

1945
00:59:37,041 --> 00:59:39,375
BARELY ANY ENGLISH.

1946
00:59:39,375 --> 00:59:41,375
ROCCO SPEAKS FRENCH VERY WELL

1947
00:59:41,375 --> 00:59:41,959
SO HE WOULD TRANSLATE SOME OF

1948
00:59:41,959 --> 00:59:43,750
THE THINGS, BUT THE FUNNIEST

1949
00:59:43,750 --> 00:59:45,750
PART WAS-- WAS THE DIALOGUE

1950
00:59:45,750 --> 00:59:48,375
I HAD, I WAS BASICALLY DOING

1951
00:59:48,375 --> 00:59:50,125
IT-- DOING IT-- PHONETICALLY.

1952
00:59:50,125 --> 00:59:51,583
>> I TOLD YOU THEY ARE STILL

1953
00:59:51,583 --> 00:59:52,792
IN THE DARK AGES.

1954
00:59:52,792 --> 00:59:55,208
I'M ALREADY NOT A GREAT ACTOR

1955
00:59:55,208 --> 00:59:56,500
TO START WITH,

1956
00:59:56,500 --> 00:59:58,000
BUT HERE, IT WAS LIKE--

1957
00:59:58,000 --> 01:00:05,792
LIKE ROBOTIC ACTING.

1958
01:00:05,792 --> 01:00:06,917
>> I'LL DO THIS THING ABOUT

1959
01:00:06,917 --> 01:00:08,959
THIS LITTLE FASHION COMPANY

1960
01:00:08,959 --> 01:00:10,041
'CAUSE I WANNA DO STUFF WITH

1961
01:00:10,041 --> 01:00:11,583
FASHION 'CAUSE I LIKE CLOTHES

1962
01:00:11,583 --> 01:00:13,125
AND SEXY CLOTHES ON GIRLS.

1963
01:00:13,125 --> 01:00:14,583
IT GIVES ME AN EXCUSE, AND I'LL

1964
01:00:14,583 --> 01:00:15,542
HAVE THIS LITTLE MOUSEY GIRL

1965
01:00:15,542 --> 01:00:16,333
SITTING IN THE CORNER AND

1966
01:00:16,333 --> 01:00:16,917
SHE'LL JUST-- SHE'LL REALLY BE

1967
01:00:16,917 --> 01:00:19,041
THE BRAINS BEHIND THE OPERATION.

1968
01:00:19,041 --> 01:00:19,750
AND WE'LL DO THIS LIKE NORMAL,

1969
01:00:19,750 --> 01:00:23,166
LIKE TV SHOW KIND OF THING.

1970
01:00:23,166 --> 01:00:26,834
BUT THAT MORPHED INTO A FETISH

1971
01:00:26,834 --> 01:00:29,125
FASHION COMPANY AND THE GIRL

1972
01:00:29,125 --> 01:00:30,125
SITTING IN THE CORNER WAS

1973
01:00:30,125 --> 01:00:32,542
BELLADONNA WHO SENDS THE GUY

1974
01:00:32,542 --> 01:00:33,792
SHE'S TRYING TO SEDUCE AN

1975
01:00:33,792 --> 01:00:36,959
EXTREME S&M DVD WHERE HE FINDS

1976
01:00:36,959 --> 01:00:38,750
THIS STUFF WITH EASTER EGGS

1977
01:00:38,750 --> 01:00:39,041
ON THE DVD.

1978
01:00:39,041 --> 01:00:41,125
IT MORPHED INTO SOMETHING THAT

1979
01:00:41,125 --> 01:00:42,291
WAS REALLY LIKE A PRIMER

1980
01:00:42,291 --> 01:00:43,667
FOR S&M SEX.

1981
01:00:43,667 --> 01:00:44,959
WHEREAS, IT WAS SUPPOSED TO BE

1982
01:00:44,959 --> 01:00:46,125
THIS MIDDLE-OF-THE-ROAD THING,

1983
01:00:46,125 --> 01:00:47,625
BECAUSE I CAN'T THINK

1984
01:00:47,625 --> 01:00:48,875
MIDDLE-OF-THE-ROAD SOMEHOW.

1985
01:00:48,875 --> 01:00:51,750
305 ROLLS OF FILM AS I RECALL.

1986
01:00:51,750 --> 01:00:53,792
AND MOST OF THOSE WERE THE FOUR

1987
01:00:53,792 --> 01:00:55,917
MINUTES, ALTHOUGH, WE DID HAVE

1988
01:00:55,917 --> 01:00:57,333
ON TWO DIFFERENT DAYS, WE HAD

1989
01:00:57,333 --> 01:00:58,583
THE BIG CAMERA WHICH COULD SHOOT

1990
01:00:58,583 --> 01:00:59,000
11 MINUTES AT A TIME

1991
01:00:59,000 --> 01:01:01,250
WHICH WAS SO GREAT, 11 MINUTES.

1992
01:01:01,250 --> 01:01:03,000
I DON'T THINK I'VE DONE MY BEST

1993
01:01:03,000 --> 01:01:04,417
MOVIE YET, THAT'S FOR SURE.

1994
01:01:04,417 --> 01:01:05,041
I HOPE TO BE DOING MY NEXT MOVIE

1995
01:01:05,041 --> 01:01:05,959
IS GONNA BE MY BEST MOVIE,

1996
01:01:05,959 --> 01:01:07,625
>> WHAT CAN I DO FOR YOU TODAY?

1997
01:01:09,250 --> 01:01:10,875
>> I'D LIKE A MASSAGE.

1998
01:01:10,875 --> 01:01:12,166
>> WELL, YOU'VE CERTAINLY COME

1999
01:01:12,166 --> 01:01:14,458
TO THE RIGHT PLACE.

2000
01:01:14,458 --> 01:01:16,667
>> I MADE THE ORIGINAL

2001
01:01:16,667 --> 01:01:17,917
"MASSEUSE" IN ABOUT 1990

2002
01:01:17,917 --> 01:01:18,959
OR SOMETHING LIKE THAT.

2003
01:01:18,959 --> 01:01:22,458
AND IT WAS REALLY A DEPARTURE

2004
01:01:22,458 --> 01:01:28,166
>> HELLO, THIS IS JIM.

2005
01:01:30,208 --> 01:01:32,583
>> I THINK IT IS THE BEST

2006
01:01:32,583 --> 01:01:33,667
I FELT SO INCREDIBLY

2007
01:01:37,125 --> 01:01:38,917
COMFORTABLE WITH THE SCRIPT,

2008
01:01:38,917 --> 01:01:41,500
>> THE DIRECTNESS, THE

2009
01:01:41,959 --> 01:01:44,542
SIMPLICITY, THE TRUTHFULNESS

2010
01:01:44,542 --> 01:01:45,417
OF IT.

2011
01:01:45,417 --> 01:01:46,875
THERE'S NO BELLS AND WHISTLES.

2012
01:01:46,875 --> 01:01:47,959
IT'S JUST A MASSEUSE

2013
01:01:47,959 --> 01:01:50,917
AND HER CLIENT TALKING.

2014
01:01:50,917 --> 01:01:52,667
YOU KNOW, WHAT DID I CALL IT--

2015
01:01:52,667 --> 01:01:53,208
"MY DINNER WITH ANDRE"

2016
01:01:53,208 --> 01:01:55,083
OF X-RATED MOVIES.

2017
01:01:55,083 --> 01:01:56,583
>> IF YOU WATCH THE MOVIE

2018
01:01:56,583 --> 01:01:59,375
CLOSELY, YOU CAN ALMOST SEE ME,

2019
01:01:59,375 --> 01:02:01,500
THE REAL ME,

2020
01:02:01,500 --> 01:02:03,542
DISCOVERING MYSELF.

2021
01:02:03,542 --> 01:02:06,083
SO THAT'S WHY I LIKE IT SO MUCH.

2022
01:02:06,083 --> 01:02:08,250
HOW OLD ARE YOU?

2023
01:02:08,250 --> 01:02:09,792
>> 28.

2024
01:02:09,792 --> 01:02:14,542
>> GIRLFRIEND?

2025
01:02:14,542 --> 01:02:16,333
>> CAN I TELL YOU A SECRET?

2026
01:02:16,333 --> 01:02:18,792
>> SURE, I LOVE SECRETS.

2027
01:02:22,959 --> 01:02:25,125
>> I'M A VIRGIN.

2028
01:02:25,125 --> 01:02:28,458
>> I LIKE TO STAB

2029
01:02:28,458 --> 01:02:29,959
AND SEE HOW FAR I CAN GO.

2030
01:02:29,959 --> 01:02:32,291
PAUL THOMAS HAS A WAY ABOUT HIM,

2031
01:02:32,291 --> 01:02:35,125
AND I THINK I GAINED

2032
01:02:35,125 --> 01:02:36,875
A LITTLE BIT OF HIS RESPECT.

2033
01:02:36,875 --> 01:02:38,625
HE'S USED TO BEING ABLE TO TELL

2034
01:02:38,625 --> 01:02:41,166
PEOPLE POP, POP, POP, POP, POP.

2035
01:02:41,166 --> 01:02:42,917
AND I WOULD BE LIKE, "LISTEN,

2036
01:02:42,917 --> 01:02:43,959
NO, THIS IS THE WAY THIS SHOULD

2037
01:02:43,959 --> 01:02:46,041
BE, AND THIS IS THE WAY

2038
01:02:46,041 --> 01:02:47,208
THIS SHOULD BE.

2039
01:02:47,208 --> 01:02:48,041
WHAT DO YOU THINK ABOUT THAT?"

2040
01:02:48,041 --> 01:02:48,917
>> SHE BROUGHT A LOT TO

2041
01:02:48,917 --> 01:02:51,291
THE TABLE, SHE LISTENED TO ME,

2042
01:02:51,291 --> 01:02:52,875
ALWAYS ON TIME-- I'M THE ONE

2043
01:02:52,875 --> 01:02:54,792
WHO HAD TO STEP UP MY GAME.

2044
01:02:54,792 --> 01:02:56,166
YOU KNOW, WITH JENNA,

2045
01:02:56,166 --> 01:02:58,500
NO PARTYING, YOU KNOW?

2046
01:02:58,500 --> 01:03:00,625
>> I'LL SEE YOU LATER,

2047
01:03:01,917 --> 01:03:09,917
>> I PLAYED JUSTINE JONES,

2048
01:03:12,166 --> 01:03:14,208
JONES," AND JENNA JAMESON

2049
01:03:15,750 --> 01:03:17,041
PLAYED THE DEVIL, WHICH WAS

2050
01:03:17,041 --> 01:03:18,041
QUITE INTERESTING BECAUSE I GOT

2051
01:03:18,041 --> 01:03:21,208
THE SCRIPT AND THEN HEARD THAT

2052
01:03:21,208 --> 01:03:22,917
AND MY-- MY FIRST THOUGHT WAS

2053
01:03:25,417 --> 01:03:26,709
NOT ONLY DO YOU HAVE TO REMAKE

2054
01:03:26,709 --> 01:03:28,709
THIS AMAZING CLASSIC FILM,

2055
01:03:28,709 --> 01:03:30,000
"THE DEVIL AND MISS JONES," BUT

2056
01:03:30,000 --> 01:03:32,959
ALSO NOW NEXT TO JENNA JAMESON

2057
01:03:32,959 --> 01:03:34,458
>> AT FIRST IT FEELS LIKE

2058
01:03:35,542 --> 01:03:38,458
A NO

2059
01:03:38,458 --> 01:03:38,917
WHAT AM I GONNA MAKE

2060
01:03:38,917 --> 01:03:41,375
ONCE IN A WHILE, YOU GET

2061
01:03:43,458 --> 01:03:45,083
"GODFATHER TWO," BUT MOST OF THE

2062
01:03:45,083 --> 01:03:47,041
TIME, THE SEQUEL'S JUST AREN'T

2063
01:03:47,041 --> 01:03:48,291
SO GOOD IF THE ORIGINAL'S

2064
01:03:48,291 --> 01:03:49,041
>> I HAD BEEN OUT OF

2065
01:03:49,458 --> 01:03:51,500
THE BUSINESS FOR A LONG TIME.

2066
01:03:51,500 --> 01:03:52,125
AND PAUL THOMAS CALLED ME ONE

2067
01:03:52,125 --> 01:03:54,417
NIGHT AND SAID, "WE'RE GONNA DO

2068
01:03:54,417 --> 01:03:55,625
A REMAKE OF 'THE DEVIL

2069
01:03:55,625 --> 01:03:56,250
AND I SAID, "WELL, VERY GOOD,

2070
01:03:57,417 --> 01:03:58,125
PAUL, CONGRATULATIONS,

2071
01:03:58,125 --> 01:04:00,458
GOOD LUCK," AND SO FORTH.

2072
01:04:00,458 --> 01:04:01,333
AND HE SAYS, "YOU'RE GONNA

2073
01:04:01,333 --> 01:04:02,125
BE IN IT," AND I SAID,

2074
01:04:02,125 --> 01:04:03,542
"OH, NO, I'M NOT."

2075
01:04:03,542 --> 01:04:04,166
AND HE SAID, "OH, YES, YOU ARE."

2076
01:04:04,166 --> 01:04:05,041
HE SAYS, "YOU'RE JUST GONNA DO

2077
01:04:05,041 --> 01:04:07,792
A CAMEO, THREE LINES."

2078
01:04:07,792 --> 01:04:08,667
I SAID, "I DON'T EVEN WANNA

2079
01:04:08,667 --> 01:04:09,625
LEARN THREE LINES."

2080
01:04:09,625 --> 01:04:10,333
HE SAYS, "I'LL GIVE YOU

2081
01:04:10,333 --> 01:04:13,250
$10,000," I SAID, "OKAY."

2082
01:04:13,250 --> 01:04:14,375
>> WHEN SHE COMES OUT AT THE END

2083
01:04:14,375 --> 01:04:16,041
OF THAT MOVIE, YOU GET CHILLS.

2084
01:04:16,041 --> 01:04:16,959
ESPECIALLY IF YOU KNOW

2085
01:04:16,959 --> 01:04:18,083
WHO SHE IS.

2086
01:04:18,083 --> 01:04:21,542
IT REALLY WORKS, AND, UH...

2087
01:04:21,542 --> 01:04:22,000
SHE'S JUST DELIGHTFUL.

2088
01:04:22,000 --> 01:04:25,041
>> DO YOU READ, MISS JONES?

2089
01:04:25,041 --> 01:04:26,375
>> ONLY ROMANCE NOVELS,

2090
01:04:26,375 --> 01:04:28,792
IT'S MY JOB.

2091
01:04:28,792 --> 01:04:31,166
>> YOU ARE SO PRIVILEGED.

2092
01:04:31,166 --> 01:04:32,792
AND YOU FEEL SO SORRY

2093
01:04:32,792 --> 01:04:34,083
FOR YOURSELF.

2094
01:04:34,083 --> 01:04:36,750
IS ONE OF THE MOST

2095
01:04:40,166 --> 01:04:43,458
GROUNDBREAKING WOMEN EVER.

2096
01:04:43,458 --> 01:04:46,625
OWNING HER SEXUALITY AND NOT

2097
01:04:49,917 --> 01:04:52,417
BACKING DOWN AT THE TIME WHEN

2098
01:04:52,417 --> 01:04:54,750
SHE WAS FAME-- UBER FAMOUS.

2099
01:04:54,750 --> 01:04:57,959
I HAVE ULTIMATE RESPECT FOR HER,

2100
01:04:57,959 --> 01:05:00,625
AND I MADE SURE I TOLD HER THAT.

2101
01:05:00,625 --> 01:05:02,792
AND HER ACTING WAS FANTASTIC,

2102
01:05:02,792 --> 01:05:04,000
TOO.

2103
01:05:04,000 --> 01:05:05,166
>> IT WAS REALLY COOL TO DO THAT

2104
01:05:05,166 --> 01:05:08,458
BECAUSE, YOU KNOW, AT THE TIME,

2105
01:05:09,083 --> 01:05:11,792
WE WERE THREE OF THE BIGGEST

2106
01:05:11,792 --> 01:05:12,250
NAMES IN THE BUSINESS,

2107
01:05:12,250 --> 01:05:14,291
AND IT WAS LIKE, "WOW, THIS

2108
01:05:14,291 --> 01:05:15,792
>> WHILE I'M GETTING DP'D,

2109
01:05:17,041 --> 01:05:19,667
I SAY THIS MONOLOGUE FROM--

2110
01:05:19,667 --> 01:05:20,250
THAT GEORGINA SPELVIN SAID IN

2111
01:05:20,250 --> 01:05:21,166
THE ORIGINAL "MISS JONES."

2112
01:05:21,166 --> 01:05:23,125
>> IF YOU TOUCH ME, I'LL COME,

2113
01:05:23,125 --> 01:05:24,125
I KNOW I WILL.

2114
01:05:24,125 --> 01:05:25,083
TOUCH ME, TOUCH ME, TOUCH ME.

2115
01:05:25,083 --> 01:05:27,417
I'LL MAKE YOU COME, TOO.

2116
01:05:27,417 --> 01:05:28,750
SO WHEN I DID HOWARD STERN,

2117
01:05:28,750 --> 01:05:29,750
HE SAID, "WELL, DID YOU FUCK

2118
01:05:29,750 --> 01:05:30,500
A SNAKE," BECAUSE THAT'S WHAT

2119
01:05:30,500 --> 01:05:31,375
PEOPLE THINK OF THE ORIGINAL

2120
01:05:31,375 --> 01:05:31,667
MISS JONES.

2121
01:05:31,667 --> 01:05:33,208
THEY DON'T REMEMBER MUCH, BUT

2122
01:05:33,208 --> 01:05:34,792
THEY REMEMBER THE SNAKE SCENE.

2123
01:05:34,792 --> 01:05:36,333
AND WHAT THEY ACTUALLY REMEMBER

2124
01:05:36,333 --> 01:05:37,792
ABOUT IT, BUT THEY THINK MOSTLY

2125
01:05:37,792 --> 01:05:38,333
THAT THERE WAS A SEX SCENE

2126
01:05:38,333 --> 01:05:39,083
WITH A SNAKE.

2127
01:05:39,083 --> 01:05:41,625
SO I WENT TO VIVID AND I SAID,

2128
01:05:41,625 --> 01:05:42,500
"LOOK, WE HAVE TO DO

2129
01:05:42,500 --> 01:05:43,417
A SNAKE SCENE."

2130
01:05:43,417 --> 01:05:44,625
>> IT WAS A GOOD TIME

2131
01:05:44,625 --> 01:05:45,709
IN EVERYONE'S LIVES.

2132
01:05:45,709 --> 01:05:46,750
THEY WERE TIGHT.

2133
01:05:46,750 --> 01:05:48,792
VIVID WAS TIGHT.

2134
01:05:48,792 --> 01:05:49,917
WE WERE ALL TIGHT AND WORKING--

2135
01:05:49,917 --> 01:05:51,959
REALLY WORKING BOTH FOR

2136
01:05:51,959 --> 01:05:53,291
"THE DEVIL IN MISS JONES" AND

2137
01:05:53,291 --> 01:05:54,083
FOR "MASSEUSE", WORKING AT THE

2138
01:05:54,083 --> 01:05:57,417
TOP OF OUR PROFESSIONAL LEVELS

2139
01:05:57,417 --> 01:05:58,041
AND OUR PERSONAL LIVES.

2140
01:05:58,041 --> 01:06:01,000
WE'RE ALL PRETTY DAMN TOGETHER.

2141
01:06:01,000 --> 01:06:02,917
SO IT WAS NOTHING BUT--

2142
01:06:02,917 --> 01:06:04,458
NOTHING BUT POSITIVE.

2143
01:06:04,458 --> 01:06:05,250
>> THE 2000s WERE THE DECADE

2144
01:06:05,250 --> 01:06:07,500
WHEN PORN GREW UP.

2145
01:06:07,500 --> 01:06:08,291
FLUSH WITH MONEY FROM THE DVD

2146
01:06:08,291 --> 01:06:10,625
BOOM, PRODUCERS BEGAN SHOOTING

2147
01:06:10,625 --> 01:06:11,917
BIGGER MOVIES WITH MAJOR

2148
01:06:11,917 --> 01:06:13,792
BUDGETS, GIGANTIC CASTS,

2149
01:06:13,792 --> 01:06:15,166
AND ELABORATE SCRIPTS.

2150
01:06:15,166 --> 01:06:16,250
THESE ADULT BLOCKBUSTERS NEEDED

2151
01:06:16,250 --> 01:06:18,333
A BETTER FORMAT THAN SIMPLE

2152
01:06:18,333 --> 01:06:19,750
VIDEO, AND FILM WAS BECOMING

2153
01:06:19,750 --> 01:06:21,792
TOO COSTLY TO JUSTIFY.

2154
01:06:21,792 --> 01:06:22,291
COMING WITH ITS OWN SET OF

2155
01:06:22,291 --> 01:06:24,417
TECHNICAL ISSUES AND CONCERNS,

2156
01:06:24,417 --> 01:06:26,417
THE FAST-GROWING HD FORMAT

2157
01:06:26,417 --> 01:06:28,125
>> THE FEATURES OF THAT TIME,

2158
01:06:29,333 --> 01:06:29,875
WERE PEOPLE SPENDING A LOT

2159
01:06:29,875 --> 01:06:30,917
OF MONEY ON THEM...

2160
01:06:30,917 --> 01:06:31,625
>> YEAH.

2161
01:06:31,625 --> 01:06:32,375
>> WHEN IT WAS NEW, WERE THEY--

2162
01:06:32,375 --> 01:06:33,250
>> YEAH, I MEAN, LIKE,

2163
01:06:33,250 --> 01:06:35,291
FIRST FEATURE LEADS WAS FOR

2164
01:06:37,208 --> 01:06:38,250
"WICKED."

2165
01:06:38,250 --> 01:06:40,417
IT WAS THIS REALLY BIG,

2166
01:06:40,417 --> 01:06:42,458
LIKE, MICHAEL RAVEN MOVIE.

2167
01:06:42,458 --> 01:06:44,041
I REMEMBER IT HAD, LIKE, THESE

2168
01:06:44,041 --> 01:06:46,166
OOZING, LIKE, TENTACLE DILDOS

2169
01:06:46,166 --> 01:06:49,458
AND FOG MACHINE, AND, LIKE,

2170
01:06:49,458 --> 01:06:50,333
THESE BIG SETS AND IT WAS THE

2171
01:06:50,333 --> 01:06:52,458
FIRST TIME, YOU KNOW, WE SHOT

2172
01:06:52,458 --> 01:06:53,875
OUT IN THE DESERT AND IT WAS,

2173
01:06:53,875 --> 01:06:55,542
LIKE, A WIND STORM AND IT WAS

2174
01:06:55,542 --> 01:06:58,000
JUST-- IT WAS AWESOME. IT WAS,

2175
01:06:58,000 --> 01:06:59,500
LIKE, REALLY FUN TO GO FROM,

2176
01:06:59,500 --> 01:07:01,000
LIKE, JUST GETTING, LIKE,

2177
01:07:01,000 --> 01:07:02,041
YOU KNOW...

2178
01:07:02,041 --> 01:07:03,000
>> NAILED.

2179
01:07:03,000 --> 01:07:06,166
>> FUCK-NAILED ON A GONZO SET,

2180
01:07:06,166 --> 01:07:07,709
JUST POUNDED, LIKE, "YEAH,

2181
01:07:07,709 --> 01:07:08,959
MOTHERFUCKER, COME ON, I CAN

2182
01:07:08,959 --> 01:07:09,750
TAKE IT," YOU KNOW,

2183
01:07:09,750 --> 01:07:12,125
TO, LIKE, CATERING.

2184
01:07:13,041 --> 01:07:14,709
YOU KNOW, LIKE, "WOULD YOU LIKE

2185
01:07:14,709 --> 01:07:15,333
A SNACK?"

2186
01:07:15,333 --> 01:07:16,250
"YES, I WOULD."

2187
01:07:16,250 --> 01:07:17,250
>> THERE'S BREAKFAST ON SET?

2188
01:07:17,250 --> 01:07:19,083
>> SO HOW HAS INTERNET AFFECTED

2189
01:07:20,959 --> 01:07:22,542
THE INDUSTRY TODAY?

2190
01:07:22,542 --> 01:07:25,291
>> I THINK IT MAKES THE FANS

2191
01:07:25,291 --> 01:07:27,875
ACCESS YOUR FAVORITE STARS AND

2192
01:07:29,625 --> 01:07:31,625
HAVE CONVERSATIONS AND GIVE THEM

2193
01:07:31,625 --> 01:07:32,333
GIFTS AND, YOU KNOW, JUST TO

2194
01:07:32,333 --> 01:07:35,709
TALK TO WHOEVER YOU'RE A FAN OF.

2195
01:07:35,709 --> 01:07:37,375
SO THE INTERNET, LITERALLY, THEY

2196
01:07:37,375 --> 01:07:40,125
CAN SEE WHO'S SHOOTING WHEN,

2197
01:07:40,125 --> 01:07:41,458
THAT DAY, THEY KNOW WHEN IT'S

2198
01:07:41,458 --> 01:07:42,166
GONNA COME OUT.

2199
01:07:42,166 --> 01:07:43,583
IT'S JUST, LIKE, RIGHT NOW,

2200
01:07:43,583 --> 01:07:45,041
>> I'M LOOKING FOR A PIRATE.

2201
01:07:47,458 --> 01:07:50,917
>> WE KNOW MANY, MANY PIRATES.

2202
01:07:50,917 --> 01:07:52,875
>> BY FAR, THE BIGGEST

2203
01:07:52,875 --> 01:07:53,750
PRODUCTION THAT I'VE EVER BEEN

2204
01:07:53,750 --> 01:07:55,041
INVOLVED IN HAD TO BE

2205
01:07:55,041 --> 01:07:55,625
THE "PIRATES."

2206
01:07:55,625 --> 01:07:57,583
SHOT STUFF IN L.A., THEN TOOK

2207
01:07:57,583 --> 01:07:58,250
THE WHOLE TROOP, CREW, EVERYBODY

2208
01:07:58,250 --> 01:08:00,083
THAT WAS INVOLVED IN IT

2209
01:08:00,083 --> 01:08:00,583
ALL THE WAY TO FLORIDA.

2210
01:08:00,583 --> 01:08:02,291
WE SHOT ON THE U.S.S. BOUNTY.

2211
01:08:02,291 --> 01:08:03,291
IT TOOK THREE WEEKS TO SHOOT

2212
01:08:03,291 --> 01:08:03,583
>> HELMSMAN, PREPARE

2213
01:08:05,083 --> 01:08:05,375
TO SET SAIL.

2214
01:08:05,375 --> 01:08:07,041
>> ARE YOU REALLY GONNA

2215
01:08:07,041 --> 01:08:08,709
LET HER GO UNSCATHED, SIR?

2216
01:08:08,709 --> 01:08:10,458
>> OF COURSE NOT.

2217
01:08:10,458 --> 01:08:17,375
>> WORKING WITH JOONE,

2218
01:08:18,333 --> 01:08:21,166
HE HAS A VISION,

2219
01:08:21,166 --> 01:08:21,542
HE'S AN ARTIST.

2220
01:08:21,542 --> 01:08:23,458
HE HAS THIS GREAT VISION

2221
01:08:23,458 --> 01:08:24,375
OF SOMETHING BIGGER

2222
01:08:24,375 --> 01:08:25,417
>> THERE'S SOME DIRECTORS THAT

2223
01:08:27,291 --> 01:08:29,417
ACTUALLY GET INVOLVED IN THEIR

2224
01:08:29,417 --> 01:08:30,500
STUFF, THEY HAVE THE VISION IN

2225
01:08:30,500 --> 01:08:31,375
THEIR HEAD, AND JOONE IS ONE

2226
01:08:31,375 --> 01:08:32,208
OF THOSE DIRECTORS.

2227
01:08:32,208 --> 01:08:33,417
HE ALREADY HAD THE SET IN HIS

2228
01:08:33,417 --> 01:08:34,792
HEAD AND THEY BUILT IT AND

2229
01:08:34,792 --> 01:08:36,125
THEY TOOK THEIR TIME TO DO IT

2230
01:08:36,125 --> 01:08:36,792
AND HE KNEW EXACTLY

2231
01:08:36,792 --> 01:08:37,375
WHAT HE WANTED.

2232
01:08:37,375 --> 01:08:38,208
ALREADY HAD THE SHOTS

2233
01:08:38,208 --> 01:08:38,500
IN HIS HEAD.

2234
01:08:38,500 --> 01:08:40,583
>> IT'S A BIT SLOW TONIGHT,

2235
01:08:40,583 --> 01:08:41,500
IT'S AWKWARD.

2236
01:08:41,500 --> 01:08:43,041
>> LINE UP THE CREW ON THE BOW.

2237
01:08:43,041 --> 01:08:44,041
BRING ME THE PASSENGERS

2238
01:08:44,041 --> 01:08:45,125
FROM THE DECK BELOW.

2239
01:08:45,125 --> 01:08:45,417
AND, SERENA,

2240
01:08:45,417 --> 01:08:47,333
AS MUCH AS I LOVE YOUR METHODS,

2241
01:08:47,333 --> 01:08:49,417
DON'T EVEN CONSIDER KILLING

2242
01:08:49,417 --> 01:08:49,834
>> I DON'T THINK I WAS EVER

2243
01:08:51,792 --> 01:08:53,458
A CRUEL PIRATE.

2244
01:08:53,458 --> 01:08:54,250
I'M GONNA HAVE TO WATCH THAT

2245
01:08:54,250 --> 01:08:55,291
AGAIN... UH, WAS I A CRUEL--

2246
01:08:55,291 --> 01:08:58,959
SHE WAS A HORNY PIRATE.

2247
01:09:00,542 --> 01:09:02,166
I DON'T KNOW IF SHE WAS CRUEL.

2248
01:09:02,166 --> 01:09:03,500
>> WELL, THERE'S THE VICIOUS

2249
01:09:03,500 --> 01:09:05,166
LADY I REMEMBER.

2250
01:09:05,166 --> 01:09:07,125
>> DON'T EVER SECOND-GUESS ME.

2251
01:09:07,125 --> 01:09:08,291
>> HE BUILT THE TENSION.

2252
01:09:08,291 --> 01:09:09,333
SO WE WERE, OF COURSE,

2253
01:09:09,333 --> 01:09:11,375
THE LAST SCENE OF "PIRATES."

2254
01:09:11,375 --> 01:09:13,208
HE JUST WAITED, AND THEY WOULD

2255
01:09:13,208 --> 01:09:14,500
SAY LITTLE THINGS TO US TO LIKE

2256
01:09:14,500 --> 01:09:16,083
GET US READY AND TURNED-ON

2257
01:09:16,083 --> 01:09:17,000
AND READY TO GO.

2258
01:09:17,000 --> 01:09:18,041
>> THEY KEPT JESSE JANE

2259
01:09:18,041 --> 01:09:20,291
AND I SEPARATE, UH, SEPARATED

2260
01:09:20,291 --> 01:09:24,083
JUST SO THE TENSION AND

2261
01:09:24,083 --> 01:09:25,792
THE, YOU KNOW, THE ANTICIPATION

2262
01:09:25,792 --> 01:09:27,500
WOULD BUILD UP AND...

2263
01:09:27,500 --> 01:09:28,917
>> AND HE'S COME TEASE ME.

2264
01:09:28,917 --> 01:09:30,000
"I WONDER WHO'S GONNA WIN?

2265
01:09:30,000 --> 01:09:31,500
I GUESS SHE'S GONNA SHOW YOU."

2266
01:09:31,500 --> 01:09:33,583
>> SHE'S ABOUT HALF MY SIZE

2267
01:09:33,583 --> 01:09:34,542
AND THIS LITTLE-- THIS LITTLE

2268
01:09:34,542 --> 01:09:36,333
CUPCAKE THOUGHT SHE WAS GONNA...

2269
01:09:36,333 --> 01:09:38,667
DOMINATE ME?

2270
01:09:38,667 --> 01:09:40,583
I HAD TO-- I HAD TO PUT HER IN

2271
01:09:40,583 --> 01:09:42,208
HER PLACE, BUT I LET HER PRETEND

2272
01:09:42,208 --> 01:09:43,250
TO THINK THAT FOR A LITTLE BIT.

2273
01:09:43,250 --> 01:09:45,125
>> OKAY, SO CARMEN GETS PUT--

2274
01:09:45,125 --> 01:09:45,542
CHOKED OFF THE BOAT

2275
01:09:45,542 --> 01:09:47,375
BY TOMMY GUNN.

2276
01:09:47,375 --> 01:09:48,667
>> AND THEY WANTED TO DO THIS

2277
01:09:48,667 --> 01:09:52,041
STUNT WHERE, UH, STUNT GIRL GOES

2278
01:09:52,041 --> 01:09:52,667
OFF IN THE WATER, NO BIG DEAL.

2279
01:09:52,667 --> 01:09:54,583
>> AND SHE GOES, "NO."

2280
01:09:54,583 --> 01:09:55,291
>> WELL, JESSE WOULDN'T HAVE

2281
01:09:55,291 --> 01:09:57,417
NOTHING TO DO WITH THAT.

2282
01:09:57,417 --> 01:09:57,959
SHE WANTED TO DO THE STUNT

2283
01:09:57,959 --> 01:09:58,875
HERSELF.

2284
01:09:58,875 --> 01:09:59,667
>> AND OF COURSE, I'M A

2285
01:09:59,667 --> 01:10:00,291
DAREDEVIL, SO I'M LIKE,

2286
01:10:00,291 --> 01:10:02,166
"I'LL DO IT."

2287
01:10:02,166 --> 01:10:02,667
>> AND I KNOW WHAT'S GONNA

2288
01:10:02,667 --> 01:10:04,500
HAPPEN BEFORE IT EVEN HAPPENS.

2289
01:10:04,500 --> 01:10:05,417
SO I ALREADY GOT MY STUFF OFF,

2290
01:10:05,417 --> 01:10:05,875
GOT MY BOOTS OFF, AND

2291
01:10:05,875 --> 01:10:07,041
I'M JUST STANDING HERE AND JUST

2292
01:10:07,041 --> 01:10:07,875
WAITING FOR HER TO JUMP IN.

2293
01:10:07,875 --> 01:10:09,083
AS SOON AS SHE JUMP IN

2294
01:10:09,083 --> 01:10:09,875
AND THEY GOT THE SHOT AND THE

2295
01:10:09,875 --> 01:10:11,083
SPLASH, I'M IN THE WATER

2296
01:10:11,083 --> 01:10:11,709
AFTER HER.

2297
01:10:11,709 --> 01:10:12,917
THEY'RE NOT EVEN THINKING THAT

2298
01:10:12,917 --> 01:10:14,417
THIS BIG, BALLOONING DRESS IS

2299
01:10:14,417 --> 01:10:15,667
JUST GONNA SUCK UP RIGHT TO HER,

2300
01:10:15,667 --> 01:10:16,375
AND SHE'S NOT GONNA BE ABLE TO

2301
01:10:16,375 --> 01:10:16,959
KICK, SHE'S NOT GONNA BE ABLE

2302
01:10:16,959 --> 01:10:18,083
TO DO ANYTHING.

2303
01:10:18,083 --> 01:10:19,709
>> WELL, MY DRESS, HER DRESS,

2304
01:10:19,709 --> 01:10:21,125
GETS CAUGHT ON A NAIL

2305
01:10:21,125 --> 01:10:21,542
UNDERNEATH THE BOAT

2306
01:10:21,542 --> 01:10:23,542
AND I START SINKING

2307
01:10:23,542 --> 01:10:24,667
AND I CAN'T COME UP.

2308
01:10:24,667 --> 01:10:25,375
>> BUT SHE WENT IN

2309
01:10:25,375 --> 01:10:28,125
AND SHE ALMOST DROWNED.

2310
01:10:28,125 --> 01:10:28,917
>> I THINK SOME OF THAT WAS

2311
01:10:28,917 --> 01:10:30,208
BEHIND-THE-SCENES, NOT ALL OF IT

2312
01:10:30,208 --> 01:10:30,959
WHERE I WAS DROWNING,

2313
01:10:30,959 --> 01:10:32,041
'CAUSE THAT WAS PROBABLY

2314
01:10:32,041 --> 01:10:32,834
NOT GOOD.

2315
01:10:32,834 --> 01:10:34,208
I DEFINITELY DIDN'T KNOW

2316
01:10:34,208 --> 01:10:35,375
IT WOULD BE AS BIG AS IT WAS

2317
01:10:35,375 --> 01:10:38,333
AND THE NUMBER ONE MOVIE EVER.

2318
01:10:38,333 --> 01:10:40,125
AND PEOPLE WHO EVER WATCHED PORN

2319
01:10:40,125 --> 01:10:40,959
HEARD OF THE MOVIE AND WENT

2320
01:10:40,959 --> 01:10:41,750
TO WATCH IT.

2321
01:10:41,750 --> 01:10:44,291
IT WAS THE FIRST MOVIE TO BE CUT

2322
01:10:44,291 --> 01:10:44,834
INTO A RATED R VERSION AND

2323
01:10:44,834 --> 01:10:46,333
RENTED IN BLOCKBUSTER.

2324
01:10:46,333 --> 01:10:48,750
IT WAS A BLOCKBUSTER HIT.

2325
01:10:50,875 --> 01:10:55,375
>> YOU MUST THINK ME A MONSTER.

2326
01:10:55,375 --> 01:10:56,583
>> "CORRUPTION" WAS PROBABLY

2327
01:10:58,959 --> 01:11:00,709
THE FIRST BIG-BUDGET MOVIE

2328
01:11:00,709 --> 01:11:02,542
I WAS THAT INVOLVED IN.

2329
01:11:04,000 --> 01:11:05,583
I'D, YOU KNOW, BEEN IN OTHER

2330
01:11:05,583 --> 01:11:07,500
BIG-BUDGET MOVIES AS TALENT,

2331
01:11:07,500 --> 01:11:08,500
BUT YOU'RE NOT AS INVOLVED

2332
01:11:08,500 --> 01:11:10,125
YOU SHOW UP AND, YOU KNOW,

2333
01:11:10,667 --> 01:11:13,000
YOU PRETTY MUCH DO YOUR THING

2334
01:11:13,000 --> 01:11:14,208
>> IT WAS SOMETHING BEING DONE

2335
01:11:16,166 --> 01:11:18,417
AND BEING DONE WELL AND WITH,

2336
01:11:18,417 --> 01:11:19,583
LIKE, HEART.

2337
01:11:19,583 --> 01:11:22,417
THAT, LIKE, ATTRACTS ME.

2338
01:11:23,834 --> 01:11:25,667
YEAH, I GOT YOU

2339
01:11:25,667 --> 01:11:30,250
RIGHT WHERE YOU WANT ME.

2340
01:11:30,250 --> 01:11:31,917
>> I ALSO HAD A PRETTY

2341
01:11:31,917 --> 01:11:33,542
DECENT ACTING ROLE.

2342
01:11:33,542 --> 01:11:35,166
AND THAT WAS PLAYING THE PART

2343
01:11:35,166 --> 01:11:36,667
OF CAROLYN HELMS,

2344
01:11:36,667 --> 01:11:40,458
WHO WAS THE SENATOR'S WIFE.

2345
01:11:40,458 --> 01:11:42,709
AND SHE'S KIND OF THE CENTRAL

2346
01:11:42,709 --> 01:11:43,583
PART OF THE MOVIE.

2347
01:11:43,583 --> 01:11:46,083
HERE'S CAROLYN IN THE MIDDLE,

2348
01:11:46,083 --> 01:11:47,208
AND SHE'S KIND OF STARTS

2349
01:11:47,208 --> 01:11:48,750
MANIPULATING EVERYBODY

2350
01:11:48,750 --> 01:11:51,041
>> I'M A UNION LEADER,

2351
01:11:51,583 --> 01:11:53,417
A TEAMSTER.

2352
01:11:53,417 --> 01:11:55,875
AND I'M A-- I'M TRYING TO WORK,

2353
01:11:55,875 --> 01:11:59,291
TO GAIN AN ADVANTAGE.

2354
01:12:00,583 --> 01:12:02,542
WORD IS YOU'RE PLANNING A RUN

2355
01:12:02,542 --> 01:12:04,208
AT THE BIG TICKET IN TWO YEARS.

2356
01:12:04,208 --> 01:12:06,375
IF THAT'S TRUE, YOU'RE GONNA

2357
01:12:06,375 --> 01:12:08,959
NEED MONEY, US, AND GOD

2358
01:12:08,959 --> 01:12:11,500
ON YOUR SIDE... IN THAT ORDER.

2359
01:12:11,500 --> 01:12:12,792
I'M BEING BLACKMAILED IN THIS

2360
01:12:12,792 --> 01:12:14,709
SCENE, SO I'M-- SO I'M DOING--

2361
01:12:14,709 --> 01:12:16,542
I'M PERFORMING A SEXUAL ACT

2362
01:12:16,542 --> 01:12:17,917
THAT IF I GET CAUGHT,

2363
01:12:17,917 --> 01:12:19,583
MY OWN CAREER WOULD BE DONE.

2364
01:12:19,583 --> 01:12:21,041
SO I WAS-- IT WAS ANOTHER SCENE

2365
01:12:21,041 --> 01:12:22,375
OF HUMILIATION FOR ME, WHICH I'M

2366
01:12:22,375 --> 01:12:24,166
COMFORTABLE WITH IN MY OWN LIFE

2367
01:12:24,166 --> 01:12:26,125
WITH TWO MARRIAGES BEHIND ME.

2368
01:12:26,125 --> 01:12:27,000
>> HOW MANY TIMES DID THEY PUSH

2369
01:12:27,000 --> 01:12:27,834
ME OUT OF THE CAR?

2370
01:12:27,834 --> 01:12:28,417
HOW MANY TIMES DID THEY ALMOST

2371
01:12:28,417 --> 01:12:29,583
HIT ME WITH THE CAR?

2372
01:12:29,583 --> 01:12:30,542
>> I THINK THEY WERE JUST HAVING

2373
01:12:30,542 --> 01:12:32,250
FUN THROWING JAMES OUT OF A CAR.

2374
01:12:32,250 --> 01:12:33,291
>> I HAD TO BE LIKE LIMP AND GET

2375
01:12:33,291 --> 01:12:34,667
THROWN OF THIS CAR, UM,

2376
01:12:34,667 --> 01:12:35,959
ONTO A PILE OF GARBAGE.

2377
01:12:35,959 --> 01:12:36,750
>> I THINK THEY MUST'VE SHOT

2378
01:12:36,750 --> 01:12:38,083
THAT SCENE. FOR WHATEVER REASON,

2379
01:12:38,083 --> 01:12:38,500
LIKE 15 TIMES.

2380
01:12:38,500 --> 01:12:39,500
>> IT FELT LIKE FOREVER 'CAUSE

2381
01:12:39,500 --> 01:12:40,667
I'D BEEN PUSHED OUT OF THE CAR

2382
01:12:40,667 --> 01:12:42,500
IN TO GARBAGE.

2383
01:12:42,500 --> 01:12:43,583
AND THEN THERE WAS THIS ONE TIME

2384
01:12:43,583 --> 01:12:45,375
WHERE, UH, MY LEGS FELT A LITTLE

2385
01:12:45,375 --> 01:12:46,792
WEIRD AND, LIKE, EVERYONE

2386
01:12:46,792 --> 01:12:48,125
STARTED SCREAMING 'CAUSE THE CAR

2387
01:12:48,125 --> 01:12:49,709
ALMOST ROLLED OVER MY ANKLE.

2388
01:12:49,709 --> 01:12:50,625
>> IT WAS FUN, IT WAS FANTASTIC

2389
01:12:50,625 --> 01:12:52,792
BECAUSE WE'D ALL WORKED SO HARD

2390
01:12:52,792 --> 01:12:54,500
ON IT AND, YOU KNOW, WE HAD THIS

2391
01:12:54,500 --> 01:12:56,000
SENSE OF FAMILY AND HARD WORK,

2392
01:12:56,000 --> 01:12:57,250
AND THE MOVIE JUST LOOKED

2393
01:12:57,250 --> 01:12:58,000
INCREDIBLE.

2394
01:12:58,000 --> 01:12:59,208
AND THEN WE WON.

2395
01:12:59,208 --> 01:12:59,750
AND I REMEMBER JUMPING UP

2396
01:12:59,750 --> 01:13:01,709
WHEN WE WON AT THE AVN AWARDS

2397
01:13:01,709 --> 01:13:03,667
AND I HAD A CORSET ON AND I WAS

2398
01:13:03,667 --> 01:13:04,709
SO EXCITED AND I ACTUALLY PEED

2399
01:13:04,709 --> 01:13:05,000
>> WOW.

2400
01:13:09,166 --> 01:13:10,792
THAT WAS THE CLOSEST THING

2401
01:13:10,792 --> 01:13:12,750
TO GOD I'VE EVER FELT.

2402
01:13:12,750 --> 01:13:15,041
>> I DON'T KNOW, BUT IT'S...

2403
01:13:17,375 --> 01:13:18,583
IT'S A LOT BIGGER AND A LOT

2404
01:13:18,583 --> 01:13:20,375
IT WAS MY FIRST LEAD,

2405
01:13:22,333 --> 01:13:23,875
BIG FEATURE FILM LIKE THAT.

2406
01:13:23,875 --> 01:13:24,709
I HAD DONE THE SMALLER ONES

2407
01:13:24,709 --> 01:13:25,542
WHERE I WAS LIKE SUPPORTING

2408
01:13:25,542 --> 01:13:27,333
ACTRESS.

2409
01:13:27,333 --> 01:13:28,500
BUT THIS WAS LIKE-- IT REALLY

2410
01:13:28,500 --> 01:13:29,000
PUT ME ON THE MAP AS FAR

2411
01:13:29,000 --> 01:13:29,667
MY PARTNER DIES,

2412
01:13:31,667 --> 01:13:33,250
LIKE, IN THE LINE OF DUTY.

2413
01:13:33,250 --> 01:13:34,041
I'M DEVASTATED.

2414
01:13:34,041 --> 01:13:35,291
BUT I'M KIND OF LIKE A HARD-ASS,

2415
01:13:35,291 --> 01:13:36,542
TOO, AND I DON'T LET ANYBODY

2416
01:13:36,542 --> 01:13:38,125
KIND OF SEE MY EMOTIONS.

2417
01:13:38,125 --> 01:13:38,709
AND WE DISCOVER THIS HACKER

2418
01:13:38,709 --> 01:13:41,417
GIRL, WHICH WAS PLAYED

2419
01:13:41,417 --> 01:13:42,917
BY HILLARY SCOTT.

2420
01:13:42,917 --> 01:13:44,291
AT THAT POINT, SEXY PICTURES

2421
01:13:44,291 --> 01:13:45,208
HAD JUST SIGNED HILLARY

2422
01:13:45,208 --> 01:13:46,291
TO UNDER CONTRACT.

2423
01:13:46,291 --> 01:13:47,750
AND THEY TOLD US

2424
01:13:47,750 --> 01:13:49,583
WE HAD TO USE HER.

2425
01:13:49,583 --> 01:13:49,875
IN THE END,

2426
01:13:49,875 --> 01:13:51,667
HILLARY DID AN AMAZING JOB.

2427
01:13:51,667 --> 01:13:53,667
SHE ACTUALLY, YOU KNOW...

2428
01:13:53,667 --> 01:13:56,583
SHE WAS PREPARED AND SHE CAME

2429
01:13:56,583 --> 01:13:58,709
AND WHO AM I KIDDING?

2430
01:14:00,458 --> 01:14:02,125
SHE DID NOT WORK HARD AT ALL.

2431
01:14:02,125 --> 01:14:04,041
SHE DIDN'T, I'M LYING TO TRY

2432
01:14:04,041 --> 01:14:05,333
THROUGH THE MIRACLE OF EDITING

2433
01:14:07,875 --> 01:14:10,458
AND GOOD ACTING COACHING,

2434
01:14:10,458 --> 01:14:12,375
I THINK THAT SHE FILLED

2435
01:14:12,375 --> 01:14:16,000
THE ROLE FINE.

2436
01:14:16,000 --> 01:14:16,959
>> DAVID, I KNOW YOU CAN

2437
01:14:16,959 --> 01:14:17,834
HEAR ME.

2438
01:14:17,834 --> 01:14:19,250
>> SHOWED UP ON SET AND I WAS

2439
01:14:19,250 --> 01:14:20,667
LIKE, "OH, THIS IS A BIG MOVIE,

2440
01:14:20,667 --> 01:14:21,542
AND THEY'RE LIKE, "YEAH, YOU'RE

2441
01:14:22,250 --> 01:14:23,041
LIKE THE STAR OF IT."

2442
01:14:23,041 --> 01:14:24,000
I'M LIKE, "BUT I'M ONLY HERE

2443
01:14:24,000 --> 01:14:24,750
FOR A DAY."

2444
01:14:24,750 --> 01:14:25,291
AND THEY'RE LIKE, "WELL, ALL

2445
01:14:25,291 --> 01:14:26,250
RIGHT, YOU'RE NOT THE STAR OF

2446
01:14:26,250 --> 01:14:26,792
IT, YOU'RE JUST-- THE WHOLE

2447
01:14:26,792 --> 01:14:28,792
>> YOU SEE A LOT OF MOVIES IN

2448
01:14:30,000 --> 01:14:30,625
PORN WHERE THEY SAY, "WE SPEND

2449
01:14:30,625 --> 01:14:32,792
A MILLION DOLLARS, WE SPEND $2

2450
01:14:32,792 --> 01:14:34,583
MILLION," WHATEVER THE CASE IS.

2451
01:14:34,583 --> 01:14:36,750
AND I'M GOING TO TELL YOU THAT

2452
01:14:36,750 --> 01:14:41,041
FOR THE MOST PART, THEY LIE.

2453
01:14:41,041 --> 01:14:42,667
PEOPLE WILL SAY, "WE SPEND ALL

2454
01:14:42,667 --> 01:14:44,125
THIS MONEY," AND THEY USUALLY

2455
01:14:44,125 --> 01:14:45,208
DOUBLE THE AMOUNT.

2456
01:14:45,208 --> 01:14:46,166
NOW LET ME TELL YOU,

2457
01:14:46,166 --> 01:14:49,500
"UPLOAD" COST $350,000.

2458
01:14:49,500 --> 01:14:50,083
THAT'S AN UNHEARD OF AMOUNT

2459
01:14:50,083 --> 01:14:52,417
OF MONEY IN PORN.

2460
01:14:58,792 --> 01:15:02,041
WE SHOT FOR 20 DAYS.

2461
01:15:02,041 --> 01:15:02,792
I DON'T THINK I'VE EVER KNOWN

2462
01:15:02,792 --> 01:15:05,291
A PORN MOVIE THAT SHOT

2463
01:15:05,291 --> 01:15:06,792
FOR 20 DAYS.

2464
01:15:06,792 --> 01:15:08,792
>> WHEN "UPLOAD" WON

2465
01:15:08,792 --> 01:15:11,125
ALL THE AWARDS, PICKED UP PRETTY

2466
01:15:11,125 --> 01:15:12,041
MUCH ALMOST EVERYTHING UNDER

2467
01:15:12,041 --> 01:15:14,291
THE SUN AT AVN'S, I FELT LIKE

2468
01:15:14,291 --> 01:15:17,000
SUCH A STRONG FEELING

2469
01:15:17,000 --> 01:15:18,750
OF ACCOMPLISHMENT.

2470
01:15:23,125 --> 01:15:24,208
>> ONE OF THE THINGS THAT

2471
01:15:24,208 --> 01:15:26,625
I LEARNED FROM ELI CROSS IS HE

2472
01:15:26,625 --> 01:15:28,500
SAID, "THERE'S TWO THINGS YOU

2473
01:15:28,500 --> 01:15:30,125
NEED, YOU NEED MONEY AND TIME.

2474
01:15:30,125 --> 01:15:32,417
AND THOSE TWO THINGS WILL ALWAYS

2475
01:15:32,417 --> 01:15:34,083
HELP YOU WITH A BETTER MOVIE."

2476
01:15:34,083 --> 01:15:36,583
WE WERE ABLE TO TAKE THE MONEY

2477
01:15:36,583 --> 01:15:37,667
THAT WE HAD AND TURN IT

2478
01:15:37,667 --> 01:15:38,875
INTO TIME, AND THAT MADE

2479
01:15:38,875 --> 01:15:40,667
FOR A BETTER MOVIE.

2480
01:15:42,250 --> 01:15:42,291
>> WHATEVER YOU ASK...

2481
01:15:45,750 --> 01:15:47,750
I AM YOUR SERVANT.

2482
01:15:48,709 --> 01:15:50,375
"FALLEN" TO THIS DAY IS

2483
01:15:50,375 --> 01:15:51,834
IN "FALLEN" I AM A GUARDIAN

2484
01:15:53,667 --> 01:15:55,291
ANGEL AND MY CHARGE

2485
01:15:55,291 --> 01:15:55,834
IS JENNA HAZE.

2486
01:16:05,500 --> 01:16:07,542
>> NO!

2487
01:16:07,542 --> 01:16:08,959
I THEN LOSE MY WINGS,

2488
01:16:08,959 --> 01:16:10,667
AND I'M SORT OF ROAMING

2489
01:16:10,667 --> 01:16:13,667
THE EARTH IN LIMBO IF YOU WILL.

2490
01:16:13,667 --> 01:16:15,291
AND I PRETTY MUCH HAVE SEX

2491
01:16:15,291 --> 01:16:17,166
WITH EVERYONE IN MY PATH.

2492
01:16:17,166 --> 01:16:18,291
>> THAT'S ONE OF THE THINGS.

2493
01:16:18,291 --> 01:16:19,291
WHEN YOU'RE IN THAT FANTASY

2494
01:16:19,291 --> 01:16:20,542
REALM, ESPECIALLY WHEN YOU'RE

2495
01:16:20,542 --> 01:16:22,792
AND A LOVE STORY AT THAT WITH

2496
01:16:25,250 --> 01:16:26,542
ALL THIS FANTASY STUFF WITH

2497
01:16:26,542 --> 01:16:27,792
ANGELS AND FLYING AROUND ON

2498
01:16:27,792 --> 01:16:29,542
ROOFTOPS, IS CAN YOU ACTUALLY

2499
01:16:29,542 --> 01:16:31,917
>> OH! OH!

2500
01:16:35,291 --> 01:16:37,125
>> A LOT HAS CHANGED.

2501
01:16:37,125 --> 01:16:39,667
I'M NO LONGER AN ANGEL.

2502
01:16:39,667 --> 01:16:41,750
"FALLEN", I THINK WE SHOT IT

2503
01:16:41,750 --> 01:16:43,250
OVER TWO WEEKS, BUT IT WASN'T

2504
01:16:43,250 --> 01:16:44,834
EVERY DAY OF THOSE TWO WEEKS.

2505
01:16:44,834 --> 01:16:46,375
WE HAD PREP DAYS AND THEN WE HAD

2506
01:16:46,375 --> 01:16:48,417
DOWN DAYS, SO-- SO PEOPLE COULD

2507
01:16:48,417 --> 01:16:50,375
REST THEIR PARTS, YOU KNOW?

2508
01:16:50,375 --> 01:16:50,875
WE HAD A LOT OF REALLY

2509
01:16:50,875 --> 01:16:53,083
AMAZING PEOPLE IN IT.

2510
01:16:53,083 --> 01:16:55,041
IT HAD ACTING, IT HAD A REALLY

2511
01:16:55,041 --> 01:16:56,208
GREAT STORYLINE.

2512
01:16:56,208 --> 01:16:57,375
IT HAD A LOT OF SEX.

2513
01:16:57,375 --> 01:16:59,750
IT HAD A LOT OF HARDER SEX, TOO.

2514
01:16:59,750 --> 01:17:01,542
>> A LOT OF "FALLEN" TAKES PLACE

2515
01:17:01,542 --> 01:17:02,083
ON ROOFTOPS, AND THOSE ARE

2516
01:17:02,083 --> 01:17:04,125
ACTUALLY IN CAMERA.

2517
01:17:04,125 --> 01:17:05,917
I'M-- I'M SCARED OF

2518
01:17:05,917 --> 01:17:07,834
GREEN SCREEN MYSELF.

2519
01:17:07,834 --> 01:17:10,709
I THINK "FALLEN" STANDS

2520
01:17:10,709 --> 01:17:12,291
ON ITS OWN MERITS.

2521
01:17:12,291 --> 01:17:14,375
IT'S A GREAT STORY.

2522
01:17:14,375 --> 01:17:16,291
IT KIND OF PROPELLED JESSICA

2523
01:17:16,291 --> 01:17:18,834
INTO THAT SUPERSTAR STATUS.

2524
01:17:18,834 --> 01:17:20,834
AND, UH, DIDN'T DO BAD FOR ME

2525
01:17:20,834 --> 01:17:23,083
AS A DIRECTOR, AS WELL.

2526
01:17:23,083 --> 01:17:25,291
THE REAL REASON TO DO "FALLEN"

2527
01:17:25,291 --> 01:17:27,000
WAS TO KIND OF HAVE JESSICA

2528
01:17:27,000 --> 01:17:28,166
HIT THAT OTHER LEVEL.

2529
01:17:28,166 --> 01:17:29,625
AND IT'S GREAT IF YOU CAN PUT

2530
01:17:29,625 --> 01:17:31,417
HER IN THIS GREAT MOVIE.

2531
01:17:31,417 --> 01:17:33,333
BUT IF THE SEX FALTERS,

2532
01:17:33,333 --> 01:17:34,917
THEN IT'S JUST A GREAT MOVIE

2533
01:17:34,917 --> 01:17:35,959
AND, YOU KNOW, YOU HAVEN'T DONE

2534
01:17:35,959 --> 01:17:38,417
WHAT YOU'RE TRYING TO DO WITH

2535
01:17:38,417 --> 01:17:40,709
YOUR STARLET BY TAKING HER

2536
01:17:40,709 --> 01:17:42,208
>> WHAT HAPPENED?

2537
01:17:46,625 --> 01:17:47,917
>> NO ONE KNOWS FOR SURE.

2538
01:17:47,917 --> 01:17:50,750
THEY CALL IT THE BIG BURN.

2539
01:17:53,959 --> 01:17:54,000
AND ON THE EIGHTH DAY,

2540
01:17:55,750 --> 01:17:57,834
>> WHEN I THINK OF

2541
01:17:59,792 --> 01:18:01,000
A POST-APOCALYPTIC WORLD,

2542
01:18:01,000 --> 01:18:04,000
UH, IT'S MORE THAN

2543
01:18:04,000 --> 01:18:05,375
JUST BROKEN DOWN BUILDINGS.

2544
01:18:05,375 --> 01:18:06,917
THERE'S A PRIMAL ELEMENT TO IT

2545
01:18:06,917 --> 01:18:09,208
WHERE PEOPLE ARE STEALING FROM

2546
01:18:09,208 --> 01:18:11,500
EACH OTHER IN MORE WAYS THAN

2547
01:18:12,083 --> 01:18:14,834
ONE, AND LIFE BECOMES CHEAPER

2548
01:18:14,834 --> 01:18:16,458
BECAUSE YOU DON'T HAVE ENOUGH

2549
01:18:16,458 --> 01:18:17,208
>> MY CHARACTER WAS BASICALLY

2550
01:18:18,792 --> 01:18:19,834
BEING SEX TRAFFICKED

2551
01:18:19,834 --> 01:18:20,917
IN POST-APOCALYPTIC, UH--

2552
01:18:20,917 --> 01:18:22,917
I DON'T THINK IT WAS ACTUALLY

2553
01:18:22,917 --> 01:18:24,000
I MEAN, JUST POST-APOCALYPTIC

2554
01:18:26,291 --> 01:18:26,875
EARTH.

2555
01:18:26,875 --> 01:18:28,834
>> YOU A BUTCHER NOW, TOO?

2556
01:18:28,834 --> 01:18:30,250
>> SPECIAL COMMISSION

2557
01:18:30,250 --> 01:18:31,667
FOR THE PRINCE.

2558
01:18:31,667 --> 01:18:32,792
HE GETS FIRST LOOK

2559
01:18:32,792 --> 01:18:33,834
AT ALL MY TRADE.

2560
01:18:33,834 --> 01:18:36,166
>> "THE 8TH DAY" WAS CONCEIVED

2561
01:18:36,166 --> 01:18:39,291
BY ME WITH AMBER RAYNE IN MIND

2562
01:18:39,291 --> 01:18:40,709
AS THE LEAD CHARACTER.

2563
01:18:40,709 --> 01:18:41,875
SHE IS THE SCRUFFY TANK GIRL

2564
01:18:41,875 --> 01:18:43,750
IN THE WHOLE MOVIE.

2565
01:18:43,750 --> 01:18:45,500
BUT IT WAS PERCEIVED BY EVERYONE

2566
01:18:45,500 --> 01:18:46,125
THAT KAYDEN, BEING ADAM & EVE'S

2567
01:18:46,125 --> 01:18:47,875
CONTRACT GIRL, WAS THE STAR

2568
01:18:47,875 --> 01:18:49,250
OF THE SHOW.

2569
01:18:49,250 --> 01:18:50,208
AND SHE CERTAINLY WAS

2570
01:18:50,208 --> 01:18:51,750
THE BOX COVER, BUT SHE IS

2571
01:18:51,750 --> 01:18:53,083
THE SUPPORTING ACTRESS.

2572
01:18:53,083 --> 01:18:54,000
AND, UM, WHEN AWARDS TIME CAME

2573
01:18:54,000 --> 01:18:55,583
OUT, IT WAS THE OTHER WAY

2574
01:18:55,583 --> 01:18:56,667
AROUND.

2575
01:18:56,667 --> 01:18:57,709
AMBER GOT SUPPORTING ACTRESS

2576
01:18:57,709 --> 01:18:58,208
NOMINEE AND KAYDEN GET,

2577
01:18:58,208 --> 01:19:00,333
YOU KNOW, ACTRESS NOMINEE.

2578
01:19:00,333 --> 01:19:01,041
>> "THE 8TH DAY" WAS PROBABLY

2579
01:19:02,959 --> 01:19:03,917
THE HARDEST MOVIE I'VE EVER

2580
01:19:03,917 --> 01:19:05,750
WORKED ON.

2581
01:19:05,750 --> 01:19:07,250
THERE WERE SOME DAYS WHERE WE

2582
01:19:07,250 --> 01:19:09,125
HAD STARTED THE DAY BEFORE.

2583
01:19:10,709 --> 01:19:12,166
THERE WERE EXAMPLES IN THE MOVIE

2584
01:19:12,166 --> 01:19:15,333
OF, UM, LIKE A MARKETPLACE, LIKE

2585
01:19:15,333 --> 01:19:16,083
A BAZAAR THAT WE HAD TO BUILD

2586
01:19:16,083 --> 01:19:18,250
WHERE PEOPLE WERE HAWKING JUNK

2587
01:19:18,250 --> 01:19:18,875
OR THEY WERE HAWKING FOOD

2588
01:19:18,875 --> 01:19:21,500
OR CLOTHES, THINGS THAT

2589
01:19:21,500 --> 01:19:22,583
THEY'D SCAVENGED.

2590
01:19:22,583 --> 01:19:24,542
>> THAT WAS A HUGE UNDERTAKING

2591
01:19:24,542 --> 01:19:25,625
AS FAR AS ART DIRECTION

2592
01:19:25,625 --> 01:19:26,375
WAS CONCERNED.

2593
01:19:26,375 --> 01:19:27,333
THE ART DIRECTOR, KYLIE IRELAND,

2594
01:19:27,333 --> 01:19:30,500
SPENT WEEKS RUNNING AROUND L.A.

2595
01:19:30,500 --> 01:19:33,000
FINDING STUFF TO DO THERE.

2596
01:19:33,000 --> 01:19:34,709
MY FAVORITE KAYDEN MOMENT, UM,

2597
01:19:34,709 --> 01:19:36,959
IN THE WHOLE SHOW WAS WHEN

2598
01:19:36,959 --> 01:19:37,875
SHE'S SUPPOSED TO BREAK DOWN

2599
01:19:37,875 --> 01:19:39,083
AND CRY ABOUT HER DAD.

2600
01:19:39,083 --> 01:19:40,875
>> IT WAS BEFORE I LEARNED

2601
01:19:40,875 --> 01:19:42,208
HOW TO CRY BY MYSELF.

2602
01:19:42,208 --> 01:19:44,041
>> AND CAN'T GET ANY TEARS

2603
01:19:44,041 --> 01:19:44,959
TO FLOW AT ALL.

2604
01:19:44,959 --> 01:19:46,083
WE WAITED A GOOD LONG TIME,

2605
01:19:46,083 --> 01:19:48,750
AT LEAST A HALF AN HOUR.

2606
01:19:48,750 --> 01:19:50,208
I WALK BACK IN AND I SAID,

2607
01:19:50,208 --> 01:19:51,208
"YOU GOT NOTHING?"

2608
01:19:51,208 --> 01:19:52,083
SHE GOES, "NO, NOTHING BAD'S

2609
01:19:52,083 --> 01:19:53,000
EVER HAPPENED TO ME."

2610
01:19:53,000 --> 01:19:55,792
>> I THINK THEY SQUIRTED CITRUS

2611
01:19:55,792 --> 01:19:57,375
JUICE OR SOME SORT OF CITRUSY

2612
01:19:57,375 --> 01:19:59,166
FRUIT IN MY EYES TO MAKE IT GO.

2613
01:19:59,166 --> 01:20:00,250
>> SHE SAID, "HOLY SHIT, LET'S

2614
01:20:00,250 --> 01:20:01,667
SHOOT RIGHT NOW 'CAUSE GOD DAMN

2615
01:20:01,667 --> 01:20:02,333
IT, THIS BURNS."

2616
01:20:02,333 --> 01:20:03,125
AND I SAID, "PERFECT."

2617
01:20:03,125 --> 01:20:05,000
>> MY DAD DID THIS.

2618
01:20:07,667 --> 01:20:11,000
ALL OF THIS.

2619
01:20:11,000 --> 01:20:11,625
>> AND SHE GOES, "WHY DID YOU DO

2620
01:20:11,625 --> 01:20:12,583
THAT TO ME?"

2621
01:20:12,583 --> 01:20:13,166
I SAID, "FUCK YOU, YOUR LIFE'S

2622
01:20:13,166 --> 01:20:13,458
PERFECT."

2623
01:20:13,458 --> 01:20:15,125
NO WONDER YOU CAN'T CRY.

2624
01:20:15,125 --> 01:20:17,291
>> IT WAS ONE OF THOSE THINGS

2625
01:20:17,291 --> 01:20:18,041
AFTER THE BLOOD, SWEAT, AND

2626
01:20:18,041 --> 01:20:19,917
TEARS THAT WENT INTO IT,

2627
01:20:19,917 --> 01:20:21,792
IT WAS REALLY A NICE PAYOFF.

2628
01:20:21,792 --> 01:20:22,417
IT WAS NICE TO BE ABLE TO SAY

2629
01:20:22,417 --> 01:20:24,250
SOMEONE ACKNOWLEDGED THIS.

2630
01:20:24,250 --> 01:20:25,750
IT WASN'T JUST US, YOU KNOW,

2631
01:20:25,750 --> 01:20:26,875
FUCKING AROUND IN THE DESERT.

2632
01:20:26,875 --> 01:20:28,125
'CAUSE THERE WERE TIMES WHEN IT

2633
01:20:28,125 --> 01:20:29,208
>> HOW DID MY FATHER DIE?

2634
01:20:31,083 --> 01:20:32,083
>> A YOUNG JEDI NAMED DARTH

2635
01:20:32,083 --> 01:20:35,208
VADER, WHO WAS A PUPIL OF MINE,

2636
01:20:35,208 --> 01:20:37,333
OFF AND LEFT HIM BURNING

2637
01:20:38,333 --> 01:20:41,667
IN A RIVER OF LAVA.

2638
01:20:41,667 --> 01:20:43,750
>> "STAR WARS" IS PROBABLY THE

2639
01:20:43,750 --> 01:20:45,709
AND THERE'S SO MUCH TO PARODY

2640
01:20:48,291 --> 01:20:50,709
IN IT, SO, UM...

2641
01:20:50,709 --> 01:20:52,166
WE REALLY DID-- WE REALLY DID,

2642
01:20:52,166 --> 01:20:55,417
THAT COULD BE HAD, EVERYTHING

2643
01:20:56,709 --> 01:20:58,542
SINGLE REFERENCE THAT WE COULD

2644
01:20:58,542 --> 01:21:00,500
HAVE, AND RECREATING A LOT

2645
01:21:00,500 --> 01:21:01,208
OF THE SCENES.

2646
01:21:01,208 --> 01:21:02,291
IT WAS REALLY A LOT OF FUN.

2647
01:21:02,291 --> 01:21:03,166
IT'S A LOT OF WORK,

2648
01:21:03,166 --> 01:21:04,917
BUT WE HAD A LOT OF FUN.

2649
01:21:09,000 --> 01:21:11,458
>> SHOOT FIRST, SHOOT OFTEN.

2650
01:21:13,041 --> 01:21:15,291
SORRY FOR THE MESS.

2651
01:21:15,291 --> 01:21:16,750
HAD TO KNOW "STAR WARS" TO ONE,

2652
01:21:18,834 --> 01:21:19,166
GET THE HUMOR.

2653
01:21:19,166 --> 01:21:23,458
TRYING TO GO WITH IT AND WHAT

2654
01:21:24,125 --> 01:21:26,625
WAS HAPPENING WITH STILL KIND OF

2655
01:21:26,625 --> 01:21:27,792
TRYING TO STICK TO THE ORIGINAL

2656
01:21:27,792 --> 01:21:28,417
SCRIPT.

2657
01:21:28,417 --> 01:21:29,417
>> THE THING THAT ALL THE FANS

2658
01:21:29,417 --> 01:21:30,709
WOULD ASK ME IN THE BEGINNING

2659
01:21:30,709 --> 01:21:31,375
WHEN I ANNOUNCE THE MOVIES,

2660
01:21:31,375 --> 01:21:32,458
LIKE, OKAY, THERE'S ONLY ONE

2661
01:21:32,458 --> 01:21:34,166
GIRL IN "STAR WARS."

2662
01:21:34,166 --> 01:21:35,709
YOU'RE GONNA HAVE A PORN MOVIE--

2663
01:21:35,709 --> 01:21:37,083
TO THIS DAY, PEOPLE WRITE ON

2664
01:21:37,083 --> 01:21:38,875
YOUTUBE, THEY WATCH, YOU KNOW,

2665
01:21:38,875 --> 01:21:40,000
THEY READ ABOUT IT LIKE THERE'S

2666
01:21:40,000 --> 01:21:41,583
GONNA BE ONLY ONE GIRL?

2667
01:21:41,583 --> 01:21:43,000
IT'S NOT TRUE, WE FOUND OTHER

2668
01:21:43,000 --> 01:21:44,583
GIRLS THAT ARE PART OF

2669
01:21:44,583 --> 01:21:45,542
THE "STAR WARS" UNIVERSE.

2670
01:21:45,542 --> 01:21:46,625
THE GIRLS IN THE CANTEEN,

2671
01:21:46,625 --> 01:21:47,542
I MEAN, THERE'S-- THERE'S

2672
01:21:47,542 --> 01:21:48,709
A TON OF PEOPLE THAT WE

2673
01:21:48,709 --> 01:21:50,208
WERE ABLE TO PUT TOGETHER,

2674
01:21:50,208 --> 01:21:50,792
IT'S WAS REALLY INTERESTING.

2675
01:21:50,792 --> 01:21:52,583
>> YOU CAN FIND SEX IN ANYTHING.

2676
01:21:52,583 --> 01:21:54,917
I DON'T NECESSARILY THINK THAT,

2677
01:21:54,917 --> 01:21:56,583
YOU KNOW, THE MOVIE OR THE THEME

2678
01:21:56,583 --> 01:21:58,709
HAS TO BE SEXY TO MAKE IT SEXY.

2679
01:21:58,709 --> 01:21:59,625
THAT'S OUR JOB,

2680
01:21:59,625 --> 01:22:00,375
THAT'S WHY WE'RE HERE.

2681
01:22:00,375 --> 01:22:00,875
WE'RE SUPPOSED TO MAKE THE

2682
01:22:00,875 --> 01:22:02,625
THINGS THAT AREN'T SEXY SEXY.

2683
01:22:02,625 --> 01:22:04,625
>> DON'T ACT SO SURPRISED,

2684
01:22:04,625 --> 01:22:05,166
YOUR HIGHNESS.

2685
01:22:05,166 --> 01:22:08,458
>> I'M NOT SURPRISED.

2686
01:22:08,458 --> 01:22:10,583
I'M DISGUSTED.

2687
01:22:10,583 --> 01:22:11,750
WE SAT IN A ROOM AND HE TALKED

2688
01:22:11,750 --> 01:22:12,500
INTO A POT.

2689
01:22:12,500 --> 01:22:13,917
WE RECORDED ALL HIS SOUND IN A

2690
01:22:13,917 --> 01:22:16,333
GIANT POT, LIKE A SPAGHETTI POT.

2691
01:22:16,333 --> 01:22:18,041
IT WAS HILARIOUS.

2692
01:22:18,041 --> 01:22:18,542
>> EVERY ONCE IN A WHILE

2693
01:22:18,542 --> 01:22:20,208
I HAVE A GOOD IDEA.

2694
01:22:20,208 --> 01:22:22,375
AND IN "STAR WARS" IT WAS LIKE

2695
01:22:22,375 --> 01:22:23,709
CHI CHI LARUE.

2696
01:22:23,709 --> 01:22:25,375
>> I'M SAVED!

2697
01:22:25,375 --> 01:22:26,458
OVER HERE.

2698
01:22:26,458 --> 01:22:28,542
HEY, SAILOR!

2699
01:22:28,542 --> 01:22:29,125
>> C-3PO HAS ALWAYS BEEN VERY

2700
01:22:29,125 --> 01:22:31,583
METROSEXUAL, AND I FIGURE WE

2701
01:22:31,583 --> 01:22:32,667
TAKE IT, YOU KNOW, TO PARODY

2702
01:22:32,667 --> 01:22:34,000
THAT, TO EXPLORE THAT.

2703
01:22:34,000 --> 01:22:34,583
>> "STAR WARS" WON A TOTAL OF

2704
01:22:34,583 --> 01:22:37,000
EIGHT AWARDS AT AVN WHICH IS THE

2705
01:22:37,000 --> 01:22:38,500
MOST THAT ANY PARODY HAS EVER

2706
01:22:38,500 --> 01:22:40,625
WON, AND I THINK THAT'S AMAZING.

2707
01:22:40,625 --> 01:22:42,291
IT'S CRAZY, UM,

2708
01:22:42,291 --> 01:22:44,750
AND WHAT'S EVEN MORE AMAZING

2709
01:22:44,750 --> 01:22:46,417
ABOUT THAT IS MOST OF ALL THAT--

2710
01:22:46,417 --> 01:22:47,625
ALL THE WORK FOR THE MOVIE WAS

2711
01:22:47,625 --> 01:22:49,291
DONE BEHIND-THE-SCENES, WITHOUT

2712
01:22:49,291 --> 01:22:51,625
THE SETS, WITHOUT THE COSTUMES,

2713
01:22:51,625 --> 01:22:52,291
WITHOUT THE TIME AND DEDICATION

2714
01:22:52,291 --> 01:22:54,583
FOR THE SCRIPT.

2715
01:22:54,583 --> 01:22:55,125
THE SHOOTING, THE ANGLES,

2716
01:22:55,125 --> 01:22:56,792
THE GREEN SCREEN,

2717
01:22:56,792 --> 01:22:57,208
THE POST PRODUCTION.

2718
01:22:57,208 --> 01:23:00,291
THE MOVIE WOULD'VE BEEN NOTHING.

2719
01:23:00,291 --> 01:23:01,291
AND I THINK, UM, YOU KNOW, THAT

2720
01:23:01,291 --> 01:23:03,166
REALLY SHOWS AND, YOU KNOW,

2721
01:23:03,166 --> 01:23:04,709
BY WINNING EIGHT AVN AWARDS,

2722
01:23:04,709 --> 01:23:06,750
IT DEFINITELY SHOWS THAT OTHER

2723
01:23:06,750 --> 01:23:07,917
PEOPLE APPRECIATE ALL THE HARD

2724
01:23:07,917 --> 01:23:08,959
>> MOST KNOW ME AS DEATH.

2725
01:23:12,125 --> 01:23:15,166
>> WHAT DO YOU WANT FROM ME?

2726
01:23:15,166 --> 01:23:18,750
>> I'VE COME FOR YOU.

2727
01:23:18,750 --> 01:23:21,333
>> THE BASIS BEHIND

2728
01:23:21,333 --> 01:23:22,083
"UNDERWORLD--" I PLAY

2729
01:23:22,083 --> 01:23:23,208
A CHARACTER NAMED TANYA,

2730
01:23:23,208 --> 01:23:26,291
AND I HAVE BEEN WITH MY FIANCÉ

2731
01:23:26,291 --> 01:23:29,417
AND WE HAVE MADE THE SWEET LOVE,

2732
01:23:29,417 --> 01:23:30,375
TO DRIVE ME HOME,

2733
01:23:32,333 --> 01:23:33,750
WE'RE IN HIS PARKING GARAGE,

2734
01:23:33,750 --> 01:23:35,166
AND ALL OF A SUDDEN, WE'RE

2735
01:23:35,166 --> 01:23:37,583
VICTIMS OF A VIOLENT MUGGING.

2736
01:23:37,583 --> 01:23:38,166
>> SAY GOOD-BYE TO YOUR

2737
01:23:38,166 --> 01:23:38,417
BOYFRIEND.

2738
01:23:38,417 --> 01:23:40,208
>> NO, PLEASE!

2739
01:23:40,208 --> 01:23:42,625
>> THE OPENING IS, UH,

2740
01:23:42,667 --> 01:23:44,917
A BIT DRASTIC

2741
01:23:44,959 --> 01:23:46,959
AND A BIT BLOODY

2742
01:23:47,000 --> 01:23:48,667
AND VIOLENT, UH,

2743
01:23:50,458 --> 01:23:51,875
BUT WE ACTUALLY

2744
01:23:51,875 --> 01:23:52,917
WENT BACK AND FORTH ON

2745
01:23:52,917 --> 01:23:53,417
HOW VIOLENT TO MAKE IT.

2746
01:23:53,417 --> 01:23:54,959
>> AND THEY'RE TRYING TO SAVE MY

2747
01:23:54,959 --> 01:23:57,125
LIFE, I'M PUT UNDER ANESTHESIA.

2748
01:23:57,125 --> 01:24:00,000
AND WHEN I GO UNDER ANESTHESIA,

2749
01:24:00,000 --> 01:24:03,041
THE REST OF THE MOVIE IS THAT,

2750
01:24:03,041 --> 01:24:04,709
GOING BACK AND FORTH BETWEEN

2751
01:24:04,709 --> 01:24:06,542
ME FIGHTING FOR MY LIFE IN THE

2752
01:24:06,542 --> 01:24:08,375
OPERATING ROOM AND THE THINGS

2753
01:24:08,375 --> 01:24:09,417
THAT ARE HAPPENING TO ME

2754
01:24:09,417 --> 01:24:10,750
IN THE UNDERWORLD.

2755
01:24:10,750 --> 01:24:11,291
>> IF YOU REALLY WATCH THE

2756
01:24:11,291 --> 01:24:14,458
MOVIE, EVERYTHING PRETTY MUCH

2757
01:24:14,458 --> 01:24:16,250
IS-- HAS A MIRROR IMAGE WITH THE

2758
01:24:16,250 --> 01:24:19,166
PEOPLE IN THE OPERATING ROOM

2759
01:24:19,166 --> 01:24:20,667
AND THE UNDERWORLD BELOW.

2760
01:24:20,667 --> 01:24:22,000
EVERYTHING'S KIND OF TIED IN

2761
01:24:22,000 --> 01:24:24,166
AND EVERYTHING'S, UH, GOT

2762
01:24:24,166 --> 01:24:26,083
A YING AND A YANG SORT OF THING.

2763
01:24:26,083 --> 01:24:28,208
>> XANDER CORVUS PLAYS SLICE

2764
01:24:28,208 --> 01:24:30,000
AND HE WAS SORT OF, UH,

2765
01:24:30,000 --> 01:24:32,417
HE HAD SCALPEL FINGERS

2766
01:24:32,417 --> 01:24:34,625
AND HE WAS UP ON STILTS AND

2767
01:24:34,625 --> 01:24:35,166
SO HE WAS THE SCALPEL THAT

2768
01:24:35,166 --> 01:24:37,166
WAS STARTING THE SURGERY.

2769
01:24:37,166 --> 01:24:39,000
>> THIS JOURNEY THAT YOU'VE

2770
01:24:39,000 --> 01:24:40,125
EMBARKED UPON IS YOUR

2771
01:24:40,125 --> 01:24:41,500
SUBCONSCIOUS SELF REACTING

2772
01:24:41,500 --> 01:24:43,917
TO THE WORLD AROUND IT.

2773
01:24:43,917 --> 01:24:45,125
>> THE NURSE WAS PASSING

2774
01:24:45,125 --> 01:24:46,583
THE GAUZE TO THE DOCTOR.

2775
01:24:46,583 --> 01:24:48,375
DURING MY OPERATION IT FELL.

2776
01:24:48,375 --> 01:24:51,208
AND AS IT DROPPED, YOU SEE

2777
01:24:51,208 --> 01:24:53,917
AN AERIALIST FALL OUT OF THE SKY

2778
01:24:53,917 --> 01:24:55,208
>> SO ME AND JESSICA DRAKE GOT

2779
01:24:56,375 --> 01:24:58,000
TO HAVE SEX ON WATER, OR IT

2780
01:24:58,000 --> 01:24:58,625
LOOKED AS THOUGH IT WAS DIRECTLY

2781
01:24:58,625 --> 01:24:59,333
ON THE WATER, BUT IT WAS

2782
01:24:59,333 --> 01:25:01,458
WAS BUILT AND, UH, THERE WAS

2783
01:25:03,208 --> 01:25:03,750
MAYBE LIKE AN INCH OF WATER

2784
01:25:03,750 --> 01:25:05,166
ON TOP OF IT.

2785
01:25:05,166 --> 01:25:06,250
>> AND I'M BLOODY IN A SHALLOW

2786
01:25:06,250 --> 01:25:09,375
POOL OF WATER FOR LIKE

2787
01:25:09,375 --> 01:25:11,875
EIGHT HOURS THAT DAY.

2788
01:25:11,875 --> 01:25:13,041
>> WHEN THE INTIMIDATION MELTED

2789
01:25:13,041 --> 01:25:14,375
AWAY WAS WHEN SHE STUMBLED ON

2790
01:25:14,375 --> 01:25:15,291
A FEW OF HER LINES AND LAUGHED

2791
01:25:15,291 --> 01:25:15,583
AT HERSELF.

2792
01:25:15,583 --> 01:25:17,917
AND THEN YOU REALIZE, LIKE,

2793
01:25:17,917 --> 01:25:19,000
SOMEONE'S A HUMAN BEING,

2794
01:25:19,000 --> 01:25:20,583
AND THEY'RE A NORMAL PERSON

2795
01:25:20,583 --> 01:25:24,083
AND... THAT'S OKAY.

2796
01:25:24,083 --> 01:25:26,333
>> OH, I LOVE HAVING SEX

2797
01:25:26,333 --> 01:25:27,667
WITH ASA AKIRA.

2798
01:25:27,667 --> 01:25:28,792
RIGHT BEFORE THE SCENE, WE'RE

2799
01:25:28,792 --> 01:25:30,083
TAKING PRETTY GIRLS AND I'M

2800
01:25:30,083 --> 01:25:31,417
LIKE, "OH, THIS IS GONNA BE

2801
01:25:31,417 --> 01:25:32,875
REALLY FUN."

2802
01:25:32,875 --> 01:25:34,375
WE JUST SORT OF GOT ON EACH

2803
01:25:34,375 --> 01:25:35,750
OTHER AND ROLLED OFF THE SET.

2804
01:25:35,750 --> 01:25:36,834
WE DID IT EVERYWHERE.

2805
01:25:36,834 --> 01:25:38,667
LIKE, WE WERE JUST HAVING SEX,

2806
01:25:38,667 --> 01:25:40,458
SO, AS MUCH AS POSSIBLE, YEAH,

2807
01:25:40,458 --> 01:25:42,709
I WOULD LIKE TO, UH,

2808
01:25:42,709 --> 01:25:44,291
>> IS THERE ANYTHING ELSE

2809
01:25:45,250 --> 01:25:48,041
YOU WANT?

2810
01:25:48,041 --> 01:25:51,792
>> I MEAN, WHAT ELSE IS THERE

2811
01:25:53,834 --> 01:25:55,417
APART FROM LUXURY?

2812
01:25:57,291 --> 01:25:59,000
>> THAT CAN'T BE

2813
01:25:59,000 --> 01:26:00,250
A SERIOUS QUESTION.

2814
01:26:00,250 --> 01:26:02,291
>> AN INDIE PORNO,

2815
01:26:02,291 --> 01:26:03,834
THAT'S WHAT WE CALL IT.

2816
01:26:03,834 --> 01:26:04,959
IT'S-- IT'S LIKE A REAL MOVIE

2817
01:26:06,583 --> 01:26:09,458
WITH EMOTION AND ACTING

2818
01:26:09,458 --> 01:26:11,417
IT'S PORN WITH A REAL STORYLINE.

2819
01:26:14,834 --> 01:26:17,917
>> WHY DID YOU COME?

2820
01:26:17,917 --> 01:26:21,125
>> I CAN'T DO THIS AGAIN.

2821
01:26:21,125 --> 01:26:21,542
>> WHY DID YOU COME

2822
01:26:21,542 --> 01:26:24,291
AFTER FIVE FUCKING YEARS?

2823
01:26:24,291 --> 01:26:26,625
MY CHARACTER, HER NAME'S JACKY.

2824
01:26:26,625 --> 01:26:28,166
SHE'S THE BADASS.

2825
01:26:28,166 --> 01:26:29,000
SHE'S DEFINITELY THE BADASS

2826
01:26:29,000 --> 01:26:31,875
OF THE MOVIE AND SHE, UH,

2827
01:26:31,875 --> 01:26:34,333
IS TRYING TO OPEN

2828
01:26:34,333 --> 01:26:36,792
THE OTHER LILY UP TO THIS WORLD

2829
01:26:36,792 --> 01:26:38,500
>> MY ROLE IN "WASTELAND"

2830
01:26:41,083 --> 01:26:43,166
WAS VERY SIMPLE.

2831
01:26:43,166 --> 01:26:44,500
THERE'S TWO GIRLS AT THE BAR.

2832
01:26:44,500 --> 01:26:45,500
I SAY SOMETHING IN THEIR EARS

2833
01:26:47,333 --> 01:26:49,500
WHICH IS EASY FOR ME.

2834
01:26:50,667 --> 01:26:52,333
TAKE HER UP TO THE BATHROOM

2835
01:26:52,333 --> 01:26:55,250
AND HAVE SEX WITH LILY LABEAU

2836
01:26:55,250 --> 01:26:56,583
IN THE BATHROOM.

2837
01:26:56,583 --> 01:26:58,333
IT'S A VERY, VERY CLOSED

2838
01:26:58,333 --> 01:26:59,375
ENVIRONMENT, IT'S LITERALLY

2839
01:26:59,375 --> 01:27:02,625
REAL TOILET SO THERE WAS NO ROOM

2840
01:27:02,625 --> 01:27:04,417
TO OPEN THE DOOR, SHOOT, LIKE,

2841
01:27:04,417 --> 01:27:05,542
THROUGH THE OPEN DOOR.

2842
01:27:05,542 --> 01:27:08,709
THEY SHOT IT ALL FROM ABOVE.

2843
01:27:08,709 --> 01:27:10,250
I THINK HE KNEW THAT THE BEST

2844
01:27:10,250 --> 01:27:12,208
WAY TO USE ME IS NOT TO HAVE ME

2845
01:27:12,208 --> 01:27:14,291
SPEAK BUT LET ME JUST FUCK.

2846
01:27:14,291 --> 01:27:15,041
>> I THINK THAT'S ONE OF THE

2847
01:27:15,041 --> 01:27:16,333
BIGGEST THINGS THAT SEPARATES

2848
01:27:16,333 --> 01:27:18,667
"WASTELAND" FROM A LOT OF

2849
01:27:18,667 --> 01:27:20,458
THE OTHER PORN IS THAT THE SHOTS

2850
01:27:20,458 --> 01:27:23,000
ARE SO BEAUTIFUL

2851
01:27:23,000 --> 01:27:25,125
AND THEY ARE THOUGHT OUT.

2852
01:27:25,125 --> 01:27:27,792
EVERY SINGLE SHOT IS THOUGHT OUT

2853
01:27:27,792 --> 01:27:29,000
AND PLANNED TO JUST--

2854
01:27:29,000 --> 01:27:30,041
>> IT WAS REALLY, REALLY DARK,

2855
01:27:31,625 --> 01:27:34,959
UM, WHERE WE SHOT THAT SCENE,

2856
01:27:34,959 --> 01:27:36,583
FOR ME BECAUSE I'VE NEVER SHOT

2857
01:27:39,667 --> 01:27:42,917
ANYTHING IN SUCH DARK LIGHTING.

2858
01:27:42,917 --> 01:27:43,458
IT WAS JUST COMPLETELY DARK.

2859
01:27:43,458 --> 01:27:46,208
I WAS LIKE, "REALLY, LIKE, CAN

2860
01:27:46,208 --> 01:27:47,500
YOU GUYS REALLY SEE

2861
01:27:47,500 --> 01:27:48,542
WHAT WE'RE SHOOTING?"

2862
01:27:48,542 --> 01:27:48,875
THEY'RE LIKE,

2863
01:27:48,875 --> 01:27:49,542
"YEAH, YEAH, IT LOOKS COOL."

2864
01:27:49,542 --> 01:27:52,041
>> IT'S THIS WHOLE STORY

2865
01:27:52,041 --> 01:27:53,542
COMBINING TO MAKE THIS BEAUTIFUL

2866
01:27:53,542 --> 01:27:56,250
JUDGMENT HAD REARED

2867
01:27:57,583 --> 01:27:58,542
ITS UGLY HEAD.

2868
01:27:58,542 --> 01:28:00,375
AND RIGHT WHEN MY GUARD

2869
01:28:00,375 --> 01:28:01,542
WAS FULLY DOWN,

2870
01:28:01,542 --> 01:28:06,792
IT SUDDENLY HAD POPPED BACK UP.

2871
01:28:06,792 --> 01:28:07,500
>> EMMA GOES INTO INTERVIEW

2872
01:28:07,500 --> 01:28:09,250
A MAN BY THE NAME OF

2873
01:28:09,250 --> 01:28:10,542
WILLIAM FITZGERALD WHO IS THIS

2874
01:28:10,542 --> 01:28:13,083
VERY PROMINENT BUSINESSMAN WHO

2875
01:28:13,083 --> 01:28:14,458
EMPLOYS PREDOMINANTLY FEMALES.

2876
01:28:14,458 --> 01:28:16,083
THERE'S AN UNSPOKEN ATTRACTION

2877
01:28:16,083 --> 01:28:17,917
PROPOSITIONS HER FOR

2878
01:28:20,000 --> 01:28:21,542
THE ROLE OF BEING HIS SUB.

2879
01:28:21,542 --> 01:28:24,083
SHE'S NOT A VERY SEXUAL PERSON.

2880
01:28:24,083 --> 01:28:25,750
SHE DEFINITELY DOESN'T CONFORM

2881
01:28:25,750 --> 01:28:27,542
TO NORMAL SOCIETY'S VIEWS

2882
01:28:27,542 --> 01:28:28,542
>> I DIDN'T READ THE "50 SHADES

2883
01:28:30,959 --> 01:28:32,083
OF GREY" BOOK OR ANYTHING LIKE

2884
01:28:32,083 --> 01:28:32,667
THAT BECAUSE I REMEMBER JACKY

2885
01:28:32,667 --> 01:28:34,959
WE WANNA DO PRETTY MUCH

2886
01:28:36,709 --> 01:28:37,750
THE OPPOSITE OF THAT.

2887
01:28:37,750 --> 01:28:39,208
>> I READ "50 SHADES OF GREY"

2888
01:28:39,208 --> 01:28:40,709
AND I HATED HOW THE FEMALE

2889
01:28:40,709 --> 01:28:42,166
PROTAGONIST WAS PORTRAYED.

2890
01:28:42,166 --> 01:28:44,667
SHE WAS INCREDIBLY WEAK AND HER

2891
01:28:44,667 --> 01:28:45,417
ENTIRE MOTIVATION WAS TO PLEASE

2892
01:28:45,417 --> 01:28:47,792
A MAN AND TO MAKE A MAN HAPPY.

2893
01:28:47,792 --> 01:28:49,417
I WANTED TO SET ABOUT WRITING

2894
01:28:49,417 --> 01:28:50,625
A BDSM STORY THAT REALLY

2895
01:28:50,625 --> 01:28:53,792
EXPLORED A STRONG WOMAN'S

2896
01:28:53,792 --> 01:28:56,542
SUB ROLE AND HOW THAT CAN BE

2897
01:28:56,542 --> 01:28:58,208
SO EMPOWERING FOR HER.

2898
01:28:58,208 --> 01:29:01,166
>> SHE WAS, UM, LIVING, LIKE,

2899
01:29:01,166 --> 01:29:03,834
A KIND OF RESERVED LIFE

2900
01:29:03,834 --> 01:29:05,542
AND NOT REALLY BEING HERSELF,

2901
01:29:05,542 --> 01:29:06,792
AND THAT'S SOMETHING THAT I CAN

2902
01:29:06,792 --> 01:29:08,417
VERY MUCH RELATE TO BECAUSE

2903
01:29:08,417 --> 01:29:11,542
I ALWAYS WANTED TO JUST, LIKE,

2904
01:29:11,542 --> 01:29:13,542
BE THE PERSON THAT EVERYONE

2905
01:29:13,542 --> 01:29:15,083
WANTED ME TO BE.

2906
01:29:15,083 --> 01:29:16,834
>> BDSM IS NOT JUST BEATING

2907
01:29:16,834 --> 01:29:18,250
SOMEBODY AND HARMING SOMEBODY

2908
01:29:18,250 --> 01:29:18,834
AND PHYSICALLY HURTING THEM.

2909
01:29:18,834 --> 01:29:21,875
IT'S SO MUCH ABOUT THE MENTAL

2910
01:29:21,875 --> 01:29:23,667
ASPECT OF THOSE RELATIONSHIPS.

2911
01:29:23,667 --> 01:29:25,709
SO FOR ME, I WANTED TO TELL

2912
01:29:25,709 --> 01:29:27,709
A STORY ABOUT THAT.

2913
01:29:27,709 --> 01:29:28,625
>> I DID FEEL LIKE, UH, I HAD

2914
01:29:28,625 --> 01:29:30,959
A LITTLE BIT OF AN ADVANTAGE

2915
01:29:30,959 --> 01:29:31,583
JOINING THE MOVIE BECAUSE I HAD

2916
01:29:31,583 --> 01:29:34,583
SOME BDSM EXPERIENCE WORKING

2917
01:29:34,583 --> 01:29:36,333
WITH DIFFERENT BONDAGE COMPANIES

2918
01:29:36,333 --> 01:29:37,375
IN THE INDUSTRY.

2919
01:29:37,375 --> 01:29:38,458
SO IT WAS NICE TO BE ABLE TO

2920
01:29:38,458 --> 01:29:40,000
BRING IN A LITTLE BIT OF

2921
01:29:40,000 --> 01:29:41,667
MY KNOWLEDGE AND EXPERIENCE

2922
01:29:41,667 --> 01:29:43,917
WITH THAT FOR A MOVIE THAT

2923
01:29:43,917 --> 01:29:45,500
SO MUCH, LIKE, REVOLVES AROUND

2924
01:29:45,500 --> 01:29:47,291
THE BDSM COMMUNITY.

2925
01:29:47,291 --> 01:29:47,792
>> SO "THE SUBMISSION OF

2926
01:29:47,792 --> 01:29:49,625
EMMA MARX" WON BEST BDSM MOVIE

2927
01:29:49,625 --> 01:29:50,625
AT AVN.

2928
01:29:50,625 --> 01:29:53,041
AND I WAS COMPLETELY FLOORED

2929
01:29:53,041 --> 01:29:53,667
BECAUSE WE'RE UP AGAINST

2930
01:29:53,667 --> 01:29:57,000
BDSM COMPANIES.

2931
01:29:57,000 --> 01:29:58,625
AND NEW SENSATIONS MAINLY IS

2932
01:29:58,625 --> 01:30:00,542
A FEATURE GONZO STUDIO

2933
01:30:00,542 --> 01:30:01,792
THAT DOESN'T REALLY FOCUS ON

2934
01:30:01,792 --> 01:30:03,709
ANYTHING PARTICULARLY HARDCORE.

2935
01:30:03,709 --> 01:30:05,208
>> I WAS REALLY FLATTERED THAT

2936
01:30:05,208 --> 01:30:07,041
THEY WOULD RECOGNIZE THAT FILM,

2937
01:30:07,041 --> 01:30:09,625
ESPECIALLY GIVEN THAT IT WASN'T

2938
01:30:09,625 --> 01:30:11,083
REALLY THE PHYSICALITY

2939
01:30:11,083 --> 01:30:11,750
THAT WAS EXPLORED.

2940
01:30:11,750 --> 01:30:13,875
IT WAS THE MENTAL ASPECT.

2941
01:30:13,875 --> 01:30:14,959
>> WHEN I FIRST STARTED,

2942
01:30:14,959 --> 01:30:15,583
WE WERE DOING FILM,

2943
01:30:15,583 --> 01:30:16,542
IT WAS A THRILL.

2944
01:30:16,542 --> 01:30:17,125
IT WAS GREAT, YOU KNOW, WE'RE

2945
01:30:17,125 --> 01:30:18,542
LUGGING THESE BIG ASS CAMERAS

2946
01:30:18,542 --> 01:30:19,542
AROUND SAN FRANCISCO

2947
01:30:19,542 --> 01:30:20,750
AND HAVING A FIELD DAY.

2948
01:30:20,750 --> 01:30:22,375
NOBODY BOTHERED US, NOBODY

2949
01:30:22,375 --> 01:30:24,083
CARED, YOU JUST DID THE MOVIES.

2950
01:30:24,083 --> 01:30:25,875
AND THE DRUGS WERE GREAT.

2951
01:30:25,875 --> 01:30:28,166
AND VIDEO CAME OUT AND IT WAS--

2952
01:30:28,166 --> 01:30:29,625
IT WAS A SMALLER PARTY.

2953
01:30:29,625 --> 01:30:30,542
YOU DIDN'T NEED THE CREW

2954
01:30:30,542 --> 01:30:33,834
YOU HAD FOR 35 MILLIMETER.

2955
01:30:33,834 --> 01:30:35,583
YOU HAD WAY SMALLER CREW, AND

2956
01:30:35,583 --> 01:30:37,583
YOU WOULD JUST SORT OF LOAD IT

2957
01:30:37,583 --> 01:30:39,709
IN A VAN, SHOW UP AT A LOCATION,

2958
01:30:39,709 --> 01:30:42,208
SHOT YOUR FOUR OR FIVE SCENES

2959
01:30:42,208 --> 01:30:43,458
AND RAN OUT THE DOOR,

2960
01:30:43,458 --> 01:30:43,792
YOU WERE DONE.

2961
01:30:43,792 --> 01:30:46,208
AND THE DRUGS WERE OKAY.

2962
01:30:46,208 --> 01:30:47,583
AND-- AND TOWARD THE END,

2963
01:30:47,583 --> 01:30:49,542
IT REALLY JUST GOT, "HOW FAST

2964
01:30:49,542 --> 01:30:51,667
CAN YOU CRANK IT OUT AND GET IT

2965
01:30:51,667 --> 01:30:53,083
BACK TO ME AND I GOTTA PEDAL

2966
01:30:53,083 --> 01:30:55,041
IT..." AND THE DRUGS SUCKED.

2967
01:30:55,041 --> 01:30:56,333
>> IT'S HARD TO SAY WHERE THE

2968
01:30:56,333 --> 01:30:58,250
PORN INDUSTRY WILL GO FROM HERE.

2969
01:30:58,250 --> 01:31:00,375
THE INTERNET ERA SEEMS TO DEMAND

2970
01:31:00,375 --> 01:31:00,917
A RETURN TO THE LOOPS AND

2971
01:31:00,917 --> 01:31:03,041
VIGNETTES THAT GAVE BIRTH TO THE

2972
01:31:03,041 --> 01:31:04,959
EROTIC FILM IN THE FIRST PLACE.

2973
01:31:04,959 --> 01:31:05,792
IT'S A SHAME TO THINK THAT THIS

2974
01:31:05,792 --> 01:31:08,166
LIST OF THE GREATEST ADULT

2975
01:31:08,166 --> 01:31:09,208
MOVIES MAYBE THE LAST

2976
01:31:09,208 --> 01:31:10,417
OF ITS KIND.

2977
01:31:10,417 --> 01:31:13,166
BUT THE FUTURE IS HARD TO SEE.

2978
01:31:13,166 --> 01:31:15,583
AND MAYBE THE ADULT FEATURE WILL

2979
01:31:15,583 --> 01:31:16,667
SURPRISE US WITH ITS LONGEVITY.

2980
01:31:16,667 --> 01:31:20,333
I'M CHANEL PRESTON, GOOD NIGHT.

2981
01:31:20,333 --> 01:31:23,792
♪♪

2982
01:31:23,792 --> 01:31:25,375
>> IF THE BRILLIANT SWEDISH

2983
01:31:25,375 --> 01:31:28,834
FILMMAKER INGMAR BERGMAN EVER

2984
01:31:28,834 --> 01:31:30,834
MADE AN X-RATED MOTION PICTURE,

2985
01:31:30,834 --> 01:31:33,542
IT WOULD LOOK EXACTLY LIKE THIS.

2986
01:31:36,417 --> 01:31:37,041
>> "PRISONER OF PARADISE" STARS

2987
01:31:37,041 --> 01:31:40,083
SUCH FILM GREATS AS SEKA.

2988
01:31:42,709 --> 01:31:45,208
>> FIBBER.

2989
01:31:45,208 --> 01:31:47,875
>> AMERICAN, I SAID OVER HERE!

2990
01:31:47,875 --> 01:31:49,500
FUCK ME!

2991
01:31:49,500 --> 01:31:51,125
>> AMERICAN GIRLS ARE LOVELY

2992
01:31:51,125 --> 01:31:52,250
CREATURES.

2993
01:31:53,917 --> 01:31:53,959
>> ILSA, TIE HER UP!

2994
01:31:56,583 --> 01:31:57,667
>> DON'T YOU COME IN ME,

2995
01:31:57,667 --> 01:32:01,125
YOU AMERICAN SWINE.

2996
01:32:01,125 --> 01:32:01,834
>> YOU'D NEVER GUESS WHAT THESE

2997
01:32:01,834 --> 01:32:03,792
SEXY YOUNG LADIES IN THE

2998
01:32:03,792 --> 01:32:06,583
FUNNY-LOOKING UNIFORMS

2999
01:32:06,583 --> 01:32:08,083
DO FOR A LIVING.

3000
01:32:08,083 --> 01:32:09,333
>> GARAGE GIRLS, GOOD MORNING.

3001
01:32:09,333 --> 01:32:11,542
>> WATCH AS THESE GORGEOUS

3002
01:32:11,542 --> 01:32:13,500
GARAGE GIRLS MIX BUSINESS

3003
01:32:13,500 --> 01:32:16,667
AND PLEASURE AS THEY CLIMB

3004
01:32:16,667 --> 01:32:18,750
THEIR WAY TO THE TOP.

3005
01:32:18,750 --> 01:32:19,792
>> HERE SHE COMES,

3006
01:32:19,792 --> 01:32:20,792
THE INCREDIBLE, VOLUPTUOUS

3007
01:32:20,792 --> 01:32:23,750
LESLIE BOVEE IN HER MOST

3008
01:32:23,750 --> 01:32:24,834
ELECTRIFYING ROLE AS

3009
01:32:24,834 --> 01:32:26,834
"THE SENATOR'S DAUGHTER."

3010
01:32:26,834 --> 01:32:28,834
CO-STARRING THE FABULOUS

3011
01:32:28,834 --> 01:32:30,750
JOHN HOLMES.

3012
01:32:30,750 --> 01:32:32,667
>> YOU ARE AN EROTIC

3013
01:32:32,667 --> 01:32:35,458
FILM STAR NOW LACKING

3014
01:32:35,458 --> 01:32:37,000
AN ESSENTIAL MEMBER,

3015
01:32:37,000 --> 01:32:39,291
BUT WE CAN REBUILD IT.

3016
01:32:39,291 --> 01:32:40,959
>> "THE SENATOR'S DAUGHTER"

3017
01:32:40,959 --> 01:32:43,792
COMING TO THIS THEATER SOON.

3018
01:32:55,166 --> 01:32:55,792
>> I'M STILL SORE HERE FROM WHAT

3019
01:32:55,792 --> 01:32:58,291
THE DEVIL DID TO ME.

3020
01:32:58,291 --> 01:33:00,041
HE EVEN MADE IT TALK.

3021
01:33:00,041 --> 01:33:02,000
>> IN THIS CASE, CURIOSITY

3022
01:33:02,000 --> 01:33:03,458
DIDN'T KILL THE CAT.

3023
01:33:03,458 --> 01:33:04,500
>> DO YOU WANT TO FIND OUT

3024
01:33:04,500 --> 01:33:06,208
WHAT LOVE IS ALL ABOUT?

3025
01:33:06,208 --> 01:33:07,834
>> HONEY, I'M ALMOST READY.

3026
01:33:07,834 --> 01:33:10,166
>> I'M GETTING READY.

3027
01:33:10,166 --> 01:33:12,667
>> DON'T MISS

3028
01:33:12,667 --> 01:33:15,333
"HERE COMES THE BRIDE."

3029
01:33:15,333 --> 01:33:17,041
>> COMING SOON TO THIS THEATER,

3030
01:33:17,041 --> 01:33:17,917
"THE PLEASURE PALACE."

3031
01:33:17,917 --> 01:33:20,500
THE NEWEST X-RATED FILM

3032
01:33:20,500 --> 01:33:21,875
FROM CARTER STEVENS.

3033
01:33:21,875 --> 01:33:24,125
THE MAN WHO GAVE YOU SUCH FILMS

3034
01:33:24,125 --> 01:33:25,959
AS "LICKITY-SPLIT", "THE LOVE

3035
01:33:25,959 --> 01:33:27,917
COUCH," AND "TEENAGE TWINS."

3036
01:33:27,917 --> 01:33:30,959
>> SUZIE SUPERSTAR.

3037
01:33:30,959 --> 01:33:32,583
>> ♪ BABY TAKE OFF ♪

3038
01:33:32,583 --> 01:33:35,291
♪ YOUR CLOTHES ♪

3039
01:33:35,291 --> 01:33:38,625
♪ MAKE LOVE TO ME ♪♪

3040
01:33:38,625 --> 01:33:40,125
>> GOD DAMN IT, YOU KNOW HOW

3041
01:33:40,125 --> 01:33:40,834
HORNY I GET WHEN I SING.

3042
01:33:40,834 --> 01:33:43,000
>> FIND OUT WHAT HAPPENS WHEN

3043
01:33:43,000 --> 01:33:45,166
TWO SEXY 16-YEAR-OLD GIRLS

3044
01:33:45,166 --> 01:33:45,709
TAKE THEIR PARENTS CAR

3045
01:33:45,709 --> 01:33:48,458
AND GO AWAY FOR THE WEEKEND.

3046
01:33:48,458 --> 01:33:49,542
>> THIS IS EXCITING.

3047
01:33:49,542 --> 01:33:50,083
I'VE NEVER BEEN TO AN ORGY

3048
01:33:50,083 --> 01:33:51,792
BEFORE.

3049
01:33:51,792 --> 01:33:52,834
>> NEITHER HAVE I.

3050
01:33:52,834 --> 01:33:54,291
WHAT'S AN ORGY?

3051
01:33:54,291 --> 01:33:55,709
>> "NAKED AFTERNOON" IS MORE

3052
01:33:55,709 --> 01:33:56,917
THAN EXPLICIT DRAMA.

3053
01:33:56,917 --> 01:33:59,500
IT IS THE REAL STORY OF

3054
01:33:59,500 --> 01:34:01,333
A GENUINE HONEST-TO-GOD

3055
01:34:01,333 --> 01:34:01,917
WOMAN-CHILD.

3056
01:34:01,917 --> 01:34:04,291
>> HOLLYWOOD IN THE 30s

3057
01:34:04,291 --> 01:34:05,750
IN A BIG, BRIGHT, AND BUBBLING

3058
01:34:05,750 --> 01:34:07,625
BLOCKBUSTER OF A MOVIE.

3059
01:34:07,625 --> 01:34:10,750
YOU'VE NEVER SEEN ANYTHING LIKE

3060
01:34:10,750 --> 01:34:13,500
"PINK CHAMPAGNE."

3061
01:34:17,041 --> 01:34:20,125
YOU GOTTA SEE IT TO BELIEVE IT.