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 00:01:01,583 --> 00:01:05,500 (PADDLE SMACKS) 22 00:01:05,500 --> 00:01:07,250 >> (SOBBING) 23 00:01:07,250 --> 00:01:09,875 >>YOU'RE A FUCKING ASSHOLE! 24 00:01:09,875 --> 00:01:11,417 >> I DESPISE YOU! 25 00:01:11,417 --> 00:01:13,542 >> FUCK THAT SHIT. RUN. 26 00:01:15,500 --> 00:01:17,333 >> AND THANK YOU FOR FLYING 27 00:01:17,333 --> 00:01:19,166 STAR TOURS. 28 00:01:27,125 --> 00:01:30,709 ♪♪ 29 00:01:40,083 --> 00:01:40,667 >> MOVIES HAVE BEEN MAKING US 30 00:01:40,667 --> 00:01:43,917 LAUGH AND CRY, GASP AND SCREAM 31 00:01:43,917 --> 00:01:45,458 FOR OVER 100 YEARS. 32 00:01:45,458 --> 00:01:46,792 AND SINCE THE EARLIEST DAYS 33 00:01:46,792 --> 00:01:47,375 OF CINEMA, ADULT FILMS HAVE 34 00:01:47,375 --> 00:01:49,250 BEEN A PART OF THE MOTION 35 00:01:49,250 --> 00:01:50,250 PICTURE LANDSCAPE, MAKING US 36 00:01:50,250 --> 00:01:53,000 GASP FOR ENTIRELY DIFFERENT 37 00:01:53,000 --> 00:01:54,000 REASONS. 38 00:01:54,000 --> 00:01:55,625 AS FAR BACK AS THE 1880's, 39 00:01:55,625 --> 00:01:57,500 FILMMAKERS SAW THE GOLDMINE 40 00:01:57,500 --> 00:01:59,000 POTENTIAL OF EROTIC FILM-- 41 00:01:59,000 --> 00:02:01,667 LOOPS, STAG FILMS, 42 00:02:01,667 --> 00:02:02,208 PEEP SHOW BOOTHS. 43 00:02:02,208 --> 00:02:05,166 FOR THE NEXT 90 YEARS, 44 00:02:05,166 --> 00:02:06,500 SOCIETY WATCHED SEX IN 45 00:02:06,500 --> 00:02:08,000 A VARIETY OF WAYS. 46 00:02:08,000 --> 00:02:09,542 THEN IN THE 1970's, 47 00:02:09,542 --> 00:02:10,834 EVERYTHING CHANGED. 48 00:02:10,834 --> 00:02:12,458 TAKING ADVANTAGE OF A MORE 49 00:02:12,458 --> 00:02:13,667 SOCIALLY PERMISSIVE ATMOSPHERE, 50 00:02:13,667 --> 00:02:15,542 DIRECTORS BEGAN TELLING STORIES 51 00:02:15,542 --> 00:02:17,500 SURROUNDING THE HARDCORE SEX. 52 00:02:17,500 --> 00:02:19,125 FOR THE FIRST TIME EVER, 53 00:02:19,125 --> 00:02:19,625 FULL-LENGTH MOVIES WITH 54 00:02:19,625 --> 00:02:21,709 EXPLICIT SEX WERE BEING SHOWN 55 00:02:21,709 --> 00:02:23,709 IN THEATERS FOR A MASS AUDIENCE. 56 00:02:23,709 --> 00:02:25,417 IT'S IMPOSSIBLE TO OVERSTATE THE 57 00:02:25,417 --> 00:02:26,375 IMPORTANCE OF GERARD DAMIANO'S 58 00:02:26,375 --> 00:02:28,917 FILM, "DEEP THROAT." 59 00:02:28,917 --> 00:02:29,500 THIS MOVIE OPENED THE DOOR FOR 60 00:02:29,500 --> 00:02:31,458 VIRTUALLY EVERY ADULT FEATURE 61 00:02:31,458 --> 00:02:32,959 THAT CAME AFTER. 62 00:02:32,959 --> 00:02:34,834 WHILE THE EXAGGERATED CLOSE-UPS, 63 00:02:34,834 --> 00:02:36,333 CAMPY PERFORMANCES, AND 64 00:02:36,333 --> 00:02:37,834 FIREWORKS GOING OFF DURING 65 00:02:37,834 --> 00:02:38,417 ORGASMS MIGHT SEEM A LITTLE 66 00:02:38,417 --> 00:02:40,583 COMICAL TO A MODERN AUDIENCE, 67 00:02:40,583 --> 00:02:43,917 IN 1972, AUDIENCES HAD NEVER 68 00:02:43,917 --> 00:02:45,458 SEEN ANYTHING LIKE IT. 69 00:02:45,458 --> 00:02:46,625 WHETHER DISCUSSING ADULT OR 70 00:02:46,625 --> 00:02:47,917 MAINSTREAM, "DEEP THROAT" 71 00:02:47,917 --> 00:02:49,041 REMAINS ONE OF THE MOST 72 00:02:49,041 --> 00:02:51,166 >> YOU SAY THAT YOU WANT MORE 73 00:02:51,792 --> 00:02:52,417 OUT OF SEX THAN JUST A LOT OF 74 00:02:52,417 --> 00:02:54,291 LITTLE TINGLES? 75 00:02:54,291 --> 00:02:56,125 >> YES, I WANNA HEAR BELLS 76 00:02:56,125 --> 00:02:57,250 AND BOMBS-- 77 00:02:57,250 --> 00:02:58,041 >> YES, WE JUST WENT THROUGH 78 00:02:58,041 --> 00:02:59,083 THAT, MISS LOVELACE. LET'S NOT 79 00:02:59,083 --> 00:02:59,500 DO THAT PART AGAIN. 80 00:02:59,500 --> 00:03:01,917 >> I DON'T THINK PEOPLE UNDER 81 00:03:01,917 --> 00:03:04,166 A CERTAIN AGE UNDERSTAND JUST 82 00:03:04,166 --> 00:03:08,000 HOW EDGY AND HOW RADICAL IT WAS 83 00:03:08,000 --> 00:03:10,417 TO PUT ACTUAL SEX IN A BIG MOVIE 84 00:03:10,417 --> 00:03:10,667 THEATER. 85 00:03:10,667 --> 00:03:12,709 >> "DEEP THROAT," IN PARTICULAR, 86 00:03:12,709 --> 00:03:14,041 OPEN A LOT OF DOORS. 87 00:03:14,041 --> 00:03:16,333 IT MADE IT-- SEEING SOMETHING 88 00:03:16,333 --> 00:03:17,625 LIKE THAT MORE ACCESSIBLE, 89 00:03:17,625 --> 00:03:20,083 AND THEN THAT HELPED IN MAKING 90 00:03:20,083 --> 00:03:21,709 >> "DEEP THROAT" AND... 91 00:03:23,291 --> 00:03:24,458 "THE DEVIL IN MISS JONES" 92 00:03:24,458 --> 00:03:25,000 PLAYED THE DOUBLE BILL FOR, 93 00:03:25,000 --> 00:03:26,083 >> WHEN "DEEP THROAT" CAME OUT 94 00:03:27,166 --> 00:03:28,875 IN NEW YORK THEATERS, LINES 95 00:03:28,875 --> 00:03:30,417 AROUND THE BLOCK-- JACKIE O. 96 00:03:30,417 --> 00:03:31,458 >> JACKIE KENNEDY WENT TO SEE-- 97 00:03:34,166 --> 00:03:36,125 >> DEEP THROAT IS THIS GIRL 98 00:03:37,375 --> 00:03:39,458 SHE'S-- SHE'S TIRED OF-- OF SEX. 99 00:03:42,709 --> 00:03:44,333 SHE THINKS THAT IT SHOULD BE 100 00:03:44,333 --> 00:03:46,250 MORE THAN JUST LITTLE TINGLES. 101 00:03:46,250 --> 00:03:47,834 >> IT MAKES ME FEEL SORT OF 102 00:03:47,834 --> 00:03:50,333 TINGLY ALL OVER, AND THEN-- 103 00:03:50,333 --> 00:03:51,417 >> AND THEN WHAT? 104 00:03:51,417 --> 00:03:53,375 >> NOTHING. I MEAN THERE SHOULD 105 00:03:53,375 --> 00:03:54,625 BE MORE TO SEX THAN A LOT OF 106 00:03:54,625 --> 00:03:55,458 LITTLE TINGLES. 107 00:03:55,458 --> 00:03:56,500 THERE SHOULD BE BELLS RINGING, 108 00:03:56,500 --> 00:03:58,500 SEAMS BURSTING, BOMBS GOING 109 00:03:58,500 --> 00:04:00,625 OFF-- SOMETHING. 110 00:04:00,625 --> 00:04:01,667 >> DO YOU WANNA GET OFF, OR DO 111 00:04:01,667 --> 00:04:02,750 YOU WANNA WRECK A CITY? 112 00:04:02,750 --> 00:04:03,542 >> SHE CAN'T UNDERSTAND WHY SHE 113 00:04:03,542 --> 00:04:06,417 CAN'T HAVE AN ORGASM, BECAUSE 114 00:04:06,417 --> 00:04:07,583 SHE HAS ALL THIS SEX, AND 115 00:04:07,583 --> 00:04:08,500 NOTHING-- I MEAN IT'S NICE, BUT 116 00:04:08,500 --> 00:04:10,333 NOTHING HAPPENS. 117 00:04:10,333 --> 00:04:13,291 SO, UM, SHE GOES TO SEE A SEX 118 00:04:13,291 --> 00:04:16,000 THERAPIST, MR. HARRY REIMS, 119 00:04:16,000 --> 00:04:18,917 WHO, UM, EXAMINES HER AND 120 00:04:18,917 --> 00:04:21,291 DISCOVERS THAT HER CLITORIS 121 00:04:21,291 --> 00:04:22,834 IS ACTUALLY ALL THE WAY IN 122 00:04:22,834 --> 00:04:24,208 THE BACK OF HER THROAT. 123 00:04:24,208 --> 00:04:25,083 >> WELL, THERE IT IS. 124 00:04:25,083 --> 00:04:26,125 YOU LITTLE BUGGER! 125 00:04:26,125 --> 00:04:27,083 THERE IT IS! 126 00:04:27,083 --> 00:04:28,291 >> WHAT? 127 00:04:28,291 --> 00:04:29,542 >> WELL, YOUR CLITORIS, IT'S 128 00:04:29,542 --> 00:04:30,667 DEEP DOWN IN THE BOTTOM OF YOUR 129 00:04:30,667 --> 00:04:31,667 THROAT. 130 00:04:31,667 --> 00:04:33,125 >> (SOBBING) 131 00:04:33,125 --> 00:04:34,709 >> NOW, NOW, MISS LOVELACE, 132 00:04:34,709 --> 00:04:36,959 LISTEN, HAVING A CLITORIS DEEP 133 00:04:36,959 --> 00:04:37,875 DOWN IN THE BOTTOM OF YOUR 134 00:04:37,875 --> 00:04:39,041 THROAT IS BETTER THAN HAVING 135 00:04:39,041 --> 00:04:40,417 NO CLITORIS AT ALL. 136 00:04:40,417 --> 00:04:44,166 >> THERE'S A THEME SONG-- 137 00:04:44,166 --> 00:04:44,583 I FORGOT. 138 00:04:44,583 --> 00:04:47,166 UM, THERE'S A THEME SONG 139 00:04:47,166 --> 00:04:48,959 WHEN SHE DISCOVERS THIS-- 140 00:04:48,959 --> 00:04:50,458 THIS, UH, SKILL. 141 00:04:50,458 --> 00:04:53,625 >> ♪ DEEP THROAT ♪ 142 00:04:53,625 --> 00:04:59,583 ♪ DEEPER THAN DEEP YOUR THROAT ♪ 143 00:04:59,583 --> 00:05:02,125 ♪ DEEP THROAT ♪ 144 00:05:02,125 --> 00:05:03,542 ♪ ROW ROW YOUR BOAT ♪ 145 00:05:03,542 --> 00:05:06,041 >> SHE FINALLY HAS AN ORGASM. 146 00:05:06,041 --> 00:05:09,542 THERE'S A MONTAGE OF FIREWORKS 147 00:05:09,542 --> 00:05:12,083 AND BELLS RINGING AND A ROCKET 148 00:05:12,083 --> 00:05:13,750 SHIP GOING UP WHILE IT'S 149 00:05:13,750 --> 00:05:15,542 FLASHING BETWEEN HER FACE COMING 150 00:05:15,542 --> 00:05:19,083 AND... SO FUNNY. 151 00:05:19,083 --> 00:05:19,625 SO HE HIRES HER AS A NURSE, 152 00:05:19,625 --> 00:05:23,417 AND SHE GOES OUT ON CALL 153 00:05:23,417 --> 00:05:25,458 AND FUCKS ALL THESE GUYS. 154 00:05:25,458 --> 00:05:27,542 >> TELL ME, MR. MOORE, 155 00:05:27,542 --> 00:05:29,208 HOW DO YOU FEEL NOW? 156 00:05:29,208 --> 00:05:31,875 >> AND, EVENTUALLY, SHE FINDS 157 00:05:31,875 --> 00:05:33,792 THE PERFECT PENIS 158 00:05:33,792 --> 00:05:35,083 FOR HER THROAT. 159 00:05:35,083 --> 00:05:38,333 AND THEY HAVE ANOTHER MONTAGE. 160 00:05:38,333 --> 00:05:40,583 IN MOST '70s PORNO, EVERYONE 161 00:05:40,583 --> 00:05:44,375 HAS A LOT OF HAIR, BUT IN 162 00:05:44,375 --> 00:05:46,834 "DEEP THROAT," LINDA IS 163 00:05:46,834 --> 00:05:48,583 COMPLETELY CLEAN-SHAVEN. 164 00:05:48,583 --> 00:05:51,542 I WONDERED IF MAYBE SHE STARTED 165 00:05:51,542 --> 00:05:53,500 THAT TREND PERHAPS? 166 00:05:53,500 --> 00:05:55,291 OR MADE IT POPULAR AT LEAST? 167 00:05:55,291 --> 00:05:56,750 I DON'T KNOW, BECAUSE SO MANY 168 00:05:56,750 --> 00:05:58,208 PEOPLE SAW IT, 169 00:05:58,208 --> 00:05:59,834 >> NIXON, ALONG WITH KEATING, 170 00:06:01,458 --> 00:06:03,583 AND THAT ADMINISTRATION WAS OUT 171 00:06:03,583 --> 00:06:06,792 TO STOP THE NEGATIVE PRESS OF 172 00:06:06,792 --> 00:06:09,625 WATERGATE AND, UH, VIETNAM. 173 00:06:09,625 --> 00:06:10,500 >> I THINK REVISITING THIS STORY 174 00:06:10,500 --> 00:06:12,542 AND REVISITING, YOU KNOW, THE 175 00:06:12,542 --> 00:06:16,041 TACTICS THAT CAME INTO PLAY 176 00:06:16,041 --> 00:06:17,333 THAT, UH, THEY HAD A PROBLEM 177 00:06:18,542 --> 00:06:21,500 MORALLY WITH SUBJECT MATTER, 178 00:06:21,500 --> 00:06:22,667 AS IN "DEEP THROAT," THE FILM, 179 00:06:22,667 --> 00:06:25,417 UM, IS IMPORTANT. 180 00:06:25,417 --> 00:06:26,709 >> AND THE EASIEST TARGET WAS 181 00:06:26,709 --> 00:06:28,250 THE ADULT FILM INDUSTRY. 182 00:06:28,250 --> 00:06:29,625 NIXON RIGGED THE COURTROOM AND 183 00:06:29,625 --> 00:06:32,542 RIGGED THE JUDGE AND GOT HIS, 184 00:06:32,542 --> 00:06:35,875 UH, CONVICTIONS AGAINST THE CAST 185 00:06:35,875 --> 00:06:37,542 MEMBERS OF "DEEP THROAT." 186 00:06:37,542 --> 00:06:40,208 >> I DEFINITELY THINK SHE'S-- 187 00:06:40,208 --> 00:06:42,125 SHE'S BETTER AT, UM, 188 00:06:42,125 --> 00:06:43,583 DEEP-THROATING THICKER COCKS 189 00:06:43,583 --> 00:06:45,333 THAN I AM, BUT I DEFINITELY 190 00:06:45,333 --> 00:06:47,500 DROOL A LOT MORE THAN SHE DOES. 191 00:06:50,375 --> 00:06:52,500 >> LADIES AND GENTLEMEN, YOU ARE 192 00:06:52,500 --> 00:06:54,792 ABOUT TO WITNESS THE RAVISHMENT 193 00:06:54,792 --> 00:06:56,208 OF A WOMAN WHO HAS BEEN 194 00:06:56,208 --> 00:06:56,583 ABDUCTED. 195 00:06:56,583 --> 00:06:58,542 >> I ANSWERED AN AD IN THE 196 00:06:58,542 --> 00:06:59,875 "SAN FRANCISCO CHRONICLE" 197 00:06:59,875 --> 00:07:01,375 THAT SAID "NOW CASTING FOR A 198 00:07:01,375 --> 00:07:03,291 MAJOR MOTION PICTURE." 199 00:07:03,291 --> 00:07:04,542 SO I WALKED UP THE STAIRS, AND I 200 00:07:04,542 --> 00:07:05,583 SAT IN THEIR OFFICE, AND HERE'S 201 00:07:05,583 --> 00:07:07,125 THESE TWO BROTHERS WHO ARE 202 00:07:07,125 --> 00:07:09,750 ABSOLUTELY CHARMING, FABULOUS 203 00:07:09,750 --> 00:07:13,000 NOT THE LEAST BIT OF A QUESTION 204 00:07:15,500 --> 00:07:16,333 IN MY MIND THAT THEY WERE 205 00:07:16,333 --> 00:07:17,500 TOTALLY HONEST GUYS. 206 00:07:17,500 --> 00:07:19,750 (SCREAMING) 207 00:07:19,750 --> 00:07:21,834 THEY EXPLAINED TO ME THE STORY 208 00:07:21,834 --> 00:07:22,917 OF "BEHIND THE GREEN DOOR," 209 00:07:22,917 --> 00:07:24,333 WHICH I THOUGHT WAS VERY COOL, 210 00:07:24,333 --> 00:07:25,250 BECAUSE THAT WAS THE TIME OF 211 00:07:25,250 --> 00:07:25,792 DRUGS, SEX, AND ROCK-N-ROLL. 212 00:07:25,792 --> 00:07:27,500 IT WAS JUST, YOU KNOW, 213 00:07:27,500 --> 00:07:28,333 ANYTHING WENT. 214 00:07:28,333 --> 00:07:29,458 BEFORE I LEFT, I SAID, "IF YOU 215 00:07:29,458 --> 00:07:30,500 DO WANT ME TO DO THIS, BY THE 216 00:07:30,500 --> 00:07:31,500 WAY, I WANT THIS AMOUNT OF 217 00:07:31,500 --> 00:07:32,458 MONEY AND THIS PERCENTAGE OF 218 00:07:32,458 --> 00:07:33,875 WHATEVER FOR SO MANY YEARS." 219 00:07:33,875 --> 00:07:34,625 AND THEY SAID, YOU KNOW, "DON'T 220 00:07:34,625 --> 00:07:37,125 CALL US, WE'LL CALL YOU." 221 00:07:37,125 --> 00:07:38,750 SO ABOUT AN HOUR LATER, I'M 222 00:07:38,750 --> 00:07:39,375 SITTING AT MY HOUSE, AND THEY 223 00:07:39,375 --> 00:07:40,291 CALLED AND SAID, "WE WANNA 224 00:07:40,291 --> 00:07:41,166 DO IT." 225 00:07:41,166 --> 00:07:42,208 SO THEY CAME OVER FOR ME TO 226 00:07:42,208 --> 00:07:43,125 SIGN THE CONTRACT, AND THAT WAS, 227 00:07:43,125 --> 00:07:46,125 UH, THAT WAS THE END OF THAT. 228 00:07:46,125 --> 00:07:48,041 >> ALTHOUGH, AT FIRST, 229 00:07:48,041 --> 00:07:49,875 HER REACTIONS MAY LEAD YOU TO 230 00:07:49,875 --> 00:07:51,041 BELIEVE THAT SHE IS BEING 231 00:07:51,041 --> 00:07:52,625 TORTURED, QUITE THE CONTRARY 232 00:07:52,625 --> 00:07:56,375 IS TRUE, FOR NO HARM WILL COME 233 00:07:56,375 --> 00:07:58,917 TO THOSE BEING RAVISHED. 234 00:07:58,917 --> 00:08:00,792 IN THE MORNING, SHE WILL BE 235 00:08:00,792 --> 00:08:02,583 SET FREE, UNAWARE OF ANYTHING 236 00:08:02,583 --> 00:08:05,583 EXCEPT THAT SHE HAS BEEN LOVED 237 00:08:05,583 --> 00:08:07,250 AS NEVER BEFORE. 238 00:08:07,250 --> 00:08:08,041 >> THE WHOLE THING ABOUT THE 239 00:08:08,041 --> 00:08:09,333 MOVIE WAS-- AND I SAID TO THEM, 240 00:08:09,333 --> 00:08:10,500 "I'M AN ACTRESS, AND I SAY 241 00:08:10,500 --> 00:08:12,333 NOT ONE WORD." 242 00:08:12,333 --> 00:08:13,959 HE SAID, "OH, NO, THAT'S EVEN 243 00:08:13,959 --> 00:08:15,458 MORE DIFFICULT," WHICH IT IS. 244 00:08:15,458 --> 00:08:16,250 BECAUSE YOU REALLY HAVE TO 245 00:08:16,250 --> 00:08:16,834 CONVEY YOUR FEELINGS, WHATEVER 246 00:08:16,834 --> 00:08:18,959 THEY MAY BE, THROUGH YOUR EYES 247 00:08:18,959 --> 00:08:19,875 AND YOUR ACTIONS. 248 00:08:19,875 --> 00:08:20,750 AND I SAID, "I DON'T REALLY 249 00:08:20,750 --> 00:08:21,750 WANNA KNOW WHAT'S GONNA HAPPEN. 250 00:08:21,750 --> 00:08:24,000 I KNOW IT'S GONNA BE WILD AND 251 00:08:24,000 --> 00:08:25,792 SEXY, AND IT'S GONNA BE SCARY, 252 00:08:25,792 --> 00:08:27,250 PROBABLY, FOR ME AT CERTAIN 253 00:08:27,250 --> 00:08:28,125 TIMES, BUT I DON'T 254 00:08:28,125 --> 00:08:33,166 WANT TO KNOW." 255 00:08:33,166 --> 00:08:33,792 JOHNNIE KEYES, HE WAS THE BLACK 256 00:08:33,792 --> 00:08:36,417 GUY WITH THE SHARK TEETH 257 00:08:36,417 --> 00:08:37,709 AROUND HIS NECK AND, UM, 258 00:08:37,709 --> 00:08:39,625 VERY ETHNIC LOOKING. 259 00:08:39,625 --> 00:08:41,750 AND WHEN WE STARTED TO HAVE SEX, 260 00:08:41,750 --> 00:08:44,000 IT WAS THE KIND OF THING WHERE 261 00:08:44,000 --> 00:08:45,291 I WAS, LIKE, TOTALLY FREAKED 262 00:08:45,291 --> 00:08:45,917 OUT, I DIDN'T THINK I WAS GONNA 263 00:08:45,917 --> 00:08:46,750 >> I FUCKED HER FOR A LONG TIME. 264 00:08:47,709 --> 00:08:48,834 I FUCKED HER FOR 43 MINUTES 265 00:08:48,834 --> 00:08:50,542 WITHOUT STOPPING. NOBODY DOES 266 00:08:50,542 --> 00:08:52,583 THAT. THAT WAS A MARATHON FUCK. 267 00:08:52,583 --> 00:08:53,250 WHERE IT TURNED FROM TERROR 268 00:08:56,333 --> 00:08:57,792 TO PLEASURE, AND I REALLY 269 00:08:57,792 --> 00:08:58,625 BELIEVE YOU CAN SEE THAT. 270 00:08:58,625 --> 00:08:59,250 AND I KNOW THAT THERE WAS A TIME 271 00:08:59,250 --> 00:09:01,750 THAT I FELT MYSELF SLIP ON TO 272 00:09:01,750 --> 00:09:02,125 THE OTHER SIDE, 273 00:09:02,125 --> 00:09:02,792 IF YOU KNOW WHAT I MEAN. 274 00:09:02,792 --> 00:09:05,083 >> UH, MARILYN, SHE PASSED OUT, 275 00:09:05,083 --> 00:09:07,542 SHE FAINTED. AND I-- IN MY MIND, 276 00:09:07,542 --> 00:09:08,125 I SAID, "SHIT, I'M GOING TO 277 00:09:08,125 --> 00:09:08,750 JAIL. I DONE KILLED THIS WHITE 278 00:09:08,750 --> 00:09:09,792 WOMAN WITH MY DICK." 279 00:09:09,792 --> 00:09:11,667 >> WELL, THE TRAPEZES 280 00:09:11,667 --> 00:09:12,625 WERE A BIT MUCH. 281 00:09:12,625 --> 00:09:13,500 IT'S A GOOD THING I WAS IN 282 00:09:13,500 --> 00:09:15,000 PRETTY GOOD SHAPE, BECAUSE THERE 283 00:09:15,000 --> 00:09:15,750 WAS A LOT OF STANDING AROUND, 284 00:09:15,750 --> 00:09:18,709 LITERALLY, ON TOP OF PEOPLE, 285 00:09:18,709 --> 00:09:19,834 AND THERE WAS TRAPEZES 286 00:09:19,834 --> 00:09:20,792 AND WHATNOT. YOU HAD TO BE 287 00:09:20,792 --> 00:09:23,208 A GYMNAST, DEFINITELY. 288 00:09:23,208 --> 00:09:24,542 THE WAY THAT THE STORY OF-- 289 00:09:24,542 --> 00:09:25,667 WHEN "BEHIND THE GREEN DOOR" 290 00:09:25,667 --> 00:09:27,542 AND "IVORY SOAP BOX" CAME OUT, 291 00:09:27,542 --> 00:09:28,542 I TOLD THE MITCHELL BROTHERS 292 00:09:28,542 --> 00:09:30,041 THAT, "OH, BY THE WAY, I DID 293 00:09:30,041 --> 00:09:31,333 THIS COMMERCIAL FOR PROCTER & 294 00:09:31,333 --> 00:09:33,125 GAMBLE, UH, IVORY SOAP BOX." 295 00:09:33,125 --> 00:09:34,917 AND THEY'RE SAYING, "WHAT?" 296 00:09:34,917 --> 00:09:36,417 WE WALKED DOWN THE SOAP AISLES, 297 00:09:36,417 --> 00:09:38,375 WE LOOK, AND THERE IS MY MUG 298 00:09:38,375 --> 00:09:40,667 ON ALL THESE BOXES, STARING DOWN 299 00:09:40,667 --> 00:09:42,166 AT US, AND IT JUST HAPPENED TO 300 00:09:42,166 --> 00:09:43,125 BE THE VERY SAME WEEK THAT 301 00:09:43,125 --> 00:09:44,083 "BEHIND THE GREEN DOOR" OPENED 302 00:09:44,083 --> 00:09:44,750 IN THE THEATERS. 303 00:09:44,750 --> 00:09:46,375 I'M NOT GONNA SAY THAT I CREATED 304 00:09:46,375 --> 00:09:46,959 PORNO CHIC, BUT I KNOW THAT I 305 00:09:46,959 --> 00:09:48,542 WAS PART OF IT. 306 00:09:48,542 --> 00:09:50,375 AND THAT WAS A VERY IMPORTANT 307 00:09:50,375 --> 00:09:51,583 TIME IN OUR HISTORY WHERE PEOPLE 308 00:09:51,583 --> 00:09:52,208 LIKE JOHNNY CARSON WERE WAITING 309 00:09:52,208 --> 00:09:54,291 IN LINE TO SEE "DEEP THROAT." 310 00:09:54,291 --> 00:09:55,834 IT WAS COUPLES, AND IT WAS 311 00:09:55,834 --> 00:09:57,542 ALL DIFFERENT PEOPLE FROM 312 00:09:57,542 --> 00:09:58,125 DIFFERENT WALKS OF LIFE GOING 313 00:09:58,125 --> 00:10:00,417 TO SEE ADULT FILMS AND GETTING 314 00:10:00,417 --> 00:10:01,041 >> YOU'RE TELLING ME THAT 315 00:10:02,083 --> 00:10:05,667 I'M DEAD, AND YOU'RE TRYING TO 316 00:10:05,667 --> 00:10:06,792 DECIDE WHETHER TO SEND ME UP TO 317 00:10:06,792 --> 00:10:10,333 HEAVEN OR DOWN TO HELL. 318 00:10:10,333 --> 00:10:12,917 >> I REALLY HONESTLY THOUGHT 319 00:10:12,917 --> 00:10:16,250 NOBODY I KNEW-- MUCH LESS 320 00:10:16,250 --> 00:10:17,834 ANYBODY I WAS RELATED TO-- 321 00:10:17,834 --> 00:10:20,959 WOULD EVER KNOW ABOUT IT. 322 00:10:20,959 --> 00:10:22,792 I CERTAINLY DID NOT EXPECT 323 00:10:22,792 --> 00:10:25,417 IT TO BECOME A HOUSEHOLD WORD. 324 00:10:25,417 --> 00:10:26,250 >> "THE DEVIL IN MISS JONES" 325 00:10:26,250 --> 00:10:29,333 WAS DEFINITELY AN ART MOVIE, 326 00:10:29,333 --> 00:10:31,542 AND I'M STILL NOT REALLY 100% 327 00:10:32,750 --> 00:10:37,125 SURE EXACTLY WHAT THE STORY WAS. 328 00:10:37,125 --> 00:10:39,250 BUT I STILL THINK IT WORKED. 329 00:10:39,250 --> 00:10:43,166 >> CAN YOU HELP ME? 330 00:10:43,166 --> 00:10:44,792 I-- I SEEMED TO HAVE LOST 331 00:10:44,792 --> 00:10:46,417 MY WAY. 332 00:10:46,417 --> 00:10:47,750 >> I'LL HELP YOU ALL I CAN, 333 00:10:47,750 --> 00:10:48,959 BUT YOU'RE NOT LOST. 334 00:10:48,959 --> 00:10:50,875 >> THEN WHERE AM I? 335 00:10:50,875 --> 00:10:51,959 >> YOU'RE HERE. 336 00:10:51,959 --> 00:10:54,375 >> JERRY DAMIANO WAS 337 00:10:54,375 --> 00:10:57,959 THE SWEETEST GUY I EVER MET. 338 00:10:57,959 --> 00:10:59,000 HE LOOKED BACK OVER AT ME, 339 00:10:59,000 --> 00:11:00,125 AND HE SAYS, "CAN YOU COOK?" 340 00:11:00,125 --> 00:11:00,834 I SAID, "YEAH." 341 00:11:00,834 --> 00:11:02,583 HE SAID, "OKAY, YOU WANNA 342 00:11:02,583 --> 00:11:03,667 COOK ON THE FILM?" 343 00:11:03,667 --> 00:11:04,417 I SAID, "SURE." 344 00:11:04,417 --> 00:11:06,000 HE SAID, "I GOT SOMEBODY COMING 345 00:11:06,000 --> 00:11:06,750 IN TO READ THE PART OF THE DEVIL 346 00:11:06,750 --> 00:11:09,333 IN THIS FILM I'M DOING. 347 00:11:09,333 --> 00:11:10,709 WOULD YOU MIND READING 348 00:11:10,709 --> 00:11:11,000 WITH HIM?" 349 00:11:11,000 --> 00:11:13,583 AND I SAID, "SURE, 350 00:11:13,583 --> 00:11:14,583 I'D BE GLAD TO." 351 00:11:14,583 --> 00:11:16,291 I'VE DONE EVERYTHING THAT 352 00:11:16,291 --> 00:11:18,208 I'VE BEEN TAUGHT. 353 00:11:18,208 --> 00:11:20,000 DOESN'T THAT COUNT FOR ANYTHING? 354 00:11:20,000 --> 00:11:20,834 AND HE LOOKS OVER AT ME, 355 00:11:20,834 --> 00:11:21,875 HE SAID, "WOULD YOU LIKE TO PLAY 356 00:11:21,875 --> 00:11:23,792 MISS JONES?" 357 00:11:23,792 --> 00:11:27,750 AND I SAID, "AND COOK?" 358 00:11:27,750 --> 00:11:29,959 HOW ABOUT LUST? 359 00:11:29,959 --> 00:11:30,792 >> LUST? 360 00:11:30,792 --> 00:11:32,875 >> YES, LUST. 361 00:11:32,875 --> 00:11:34,417 IT IS ONE OF THE SEVEN DEADLY 362 00:11:34,417 --> 00:11:36,000 SINS, ISN'T IT? 363 00:11:36,000 --> 00:11:37,542 >> HE OFFERED ME $100 A DAY TO 364 00:11:37,542 --> 00:11:38,709 DO MISS JONES. 365 00:11:38,709 --> 00:11:39,875 AND I SAID, "THAT SOUNDS GOOD." 366 00:11:39,875 --> 00:11:42,709 SO I WAS MAKING 125 A DAY, 367 00:11:42,709 --> 00:11:43,166 INSTEAD OF JUST 100. 368 00:11:43,166 --> 00:11:45,917 >> GEORGINA WAS AMAZING. 369 00:11:45,917 --> 00:11:47,875 HER ACTING WAS FANTASTIC, 370 00:11:47,875 --> 00:11:52,709 AND THE WAY THAT SHE FUCKED 371 00:11:52,709 --> 00:11:53,834 WAS SO PASSIONATE. 372 00:11:53,834 --> 00:11:56,208 LIKE, SHE-- SHE BROUGHT ENERGY 373 00:11:56,208 --> 00:11:57,500 TO ALL OF THE SCENES, AND IT 374 00:11:57,500 --> 00:11:58,792 REALLY, REALLY SHOWED. 375 00:11:58,792 --> 00:12:00,291 >> FOR THAT DAY, IT WAS A BIG 376 00:12:00,291 --> 00:12:01,500 BUDGET FILM. 377 00:12:01,500 --> 00:12:02,417 I THINK THEY WERE SPENDING 378 00:12:02,417 --> 00:12:04,000 SOMETHING LIKE $25,000. 379 00:12:04,000 --> 00:12:04,875 IT DIDN'T PUT MY KIDS THROUGH 380 00:12:04,875 --> 00:12:07,417 COLLEGE, BUT IT CERTAINLY DID 381 00:12:07,417 --> 00:12:08,041 OPEN UP AN INTERESTING CAN OF 382 00:12:08,041 --> 00:12:10,458 WORMS FOR MY LIFE. 383 00:12:10,458 --> 00:12:13,959 THAT SUICIDE SCENE-- EVERY ACTOR 384 00:12:13,959 --> 00:12:16,959 AND ACTRESS IN THE WORLD, 385 00:12:16,959 --> 00:12:19,291 FROM THE BEGINNING OF TIME, 386 00:12:19,291 --> 00:12:21,583 WANTS TO PLAY A DEATH SCENE. 387 00:12:21,583 --> 00:12:22,959 >> A SUICIDE AT THE BEGINNING 388 00:12:22,959 --> 00:12:24,208 OF A PORN MOVIE REALLY SETS 389 00:12:24,208 --> 00:12:25,208 THE TONE. 390 00:12:25,208 --> 00:12:26,917 AND I THINK IT'S ALSO VERY 391 00:12:26,917 --> 00:12:29,041 BRAVE TO START A MOVIE THAT'S 392 00:12:29,041 --> 00:12:32,083 SUPPOSED TO BE ABOUT SEX 393 00:12:32,083 --> 00:12:33,125 WITH DEATH. 394 00:12:33,125 --> 00:12:35,667 >> AH, HERMAN, HERMAN, THAT 395 00:12:35,667 --> 00:12:39,834 BEAUTIFUL, SWEET, AFFECTIONATE 396 00:12:39,834 --> 00:12:42,709 BOA, WHO COULD TURN AND LOOK AS 397 00:12:42,709 --> 00:12:44,083 FIERCE AS YOU WANTED HIM TO. 398 00:12:44,083 --> 00:12:45,333 WHAT AN ACTOR. 399 00:12:45,333 --> 00:12:46,750 IT WASN'T PLANNED FOR HIM 400 00:12:46,750 --> 00:12:47,709 TO BE IN THE FILM. 401 00:12:47,709 --> 00:12:49,291 AND I'M TALKING TO THE SNAKE 402 00:12:49,291 --> 00:12:50,959 ON THE BED, AND JERRY WALKS BY 403 00:12:50,959 --> 00:12:53,750 AND SKIDS TO A HALT AND SAID, 404 00:12:53,750 --> 00:12:55,000 "YOU'RE A SNAKE WRANGLER." 405 00:12:55,000 --> 00:12:56,875 HE SAID, "WOULD YOU DO 406 00:12:56,875 --> 00:12:58,000 A SCENE WITH IT?" 407 00:12:58,000 --> 00:12:59,667 MARKS SAYS, "$100 A DAY, 408 00:12:59,667 --> 00:13:00,792 SAME AS I GET." 409 00:13:00,792 --> 00:13:02,959 SO HERMAN WAS IN THE FILM. 410 00:13:02,959 --> 00:13:04,250 THE ANAL SCENE, WHICH EVERYONE, 411 00:13:04,250 --> 00:13:05,041 OF COURSE, ALWAYS ASKS ABOUT-- 412 00:13:05,041 --> 00:13:06,750 I DON'T KNOW-- IT'S-- IT'S A 413 00:13:06,750 --> 00:13:08,041 HUGE FANTASY IN EVERYONE'S MIND, 414 00:13:08,041 --> 00:13:10,333 I THINK, TO-- TO GIVE IT A TRY. 415 00:13:10,333 --> 00:13:12,917 AND WHEN IT GETS ALL BIG AND FAT 416 00:13:12,917 --> 00:13:16,000 AND HARD AND SLIPPERY, AND YOU 417 00:13:16,000 --> 00:13:18,500 COULD STICK IT IN MY ASS. 418 00:13:18,500 --> 00:13:19,041 GETTING FUCKED IN THE ASS 419 00:13:19,041 --> 00:13:21,333 IS JUST A COUPLE OF MINUTES OF-- 420 00:13:21,333 --> 00:13:23,583 YOU GET USED TO IT. 421 00:13:23,583 --> 00:13:25,166 >> ONE OF MY FAVORITE THINGS 422 00:13:25,166 --> 00:13:26,750 ABOUT THE SEX SCENES WAS 423 00:13:26,750 --> 00:13:28,083 GEORGINA'S DIRTY TALK. 424 00:13:28,083 --> 00:13:29,000 >> CAN YOU FEEL HIS PRICK? 425 00:13:29,000 --> 00:13:30,667 CAN HE FEEL YOU? 426 00:13:30,667 --> 00:13:31,125 CAN YOU FEEL HIM? 427 00:13:31,125 --> 00:13:33,500 CAN YOU FEEL YOUR COCKS 428 00:13:33,500 --> 00:13:34,333 TOGETHER? 429 00:13:34,333 --> 00:13:36,875 CAN YOU, RUBBING AGAINST MY... 430 00:13:36,875 --> 00:13:41,667 >> IT SO ADDED TO THE SEX SCENE. 431 00:13:41,667 --> 00:13:42,208 THE DIRTY-- THE DIRTY TALK 432 00:13:42,208 --> 00:13:44,166 WAS ONE OF THE HOTTEST THINGS 433 00:13:44,166 --> 00:13:45,458 OF THE MOVIE FOR ME. 434 00:13:45,458 --> 00:13:47,834 >> WHEN JERRY CALLED ME ABOUT 435 00:13:47,834 --> 00:13:50,333 A YEAR AFTER WE DID THE FILM 436 00:13:50,333 --> 00:13:51,583 AND SAID, "I WANT YOU TO GO TO 437 00:13:51,583 --> 00:13:52,917 TORONTO FOR THIS GRAND 438 00:13:52,917 --> 00:13:54,125 OPENING--" 439 00:13:54,125 --> 00:13:57,959 IT WAS LAVISH, IT WAS ELEGANT, 440 00:13:57,959 --> 00:14:00,500 IT WAS COVERED BY A MILLION 441 00:14:00,500 --> 00:14:03,041 CAMERAS ALL OVER THE ROOM, AND 442 00:14:03,041 --> 00:14:05,583 SPLASHED ALL OVER THE PLACE. 443 00:14:05,583 --> 00:14:08,333 AND... 444 00:14:08,333 --> 00:14:09,583 I SAID, "WELL, SO MUCH FOR 445 00:14:09,583 --> 00:14:11,792 ANIM-- ANONYMITY NOW. 446 00:14:11,792 --> 00:14:12,291 I GUESS I-- I GUESS I'LL 447 00:14:12,291 --> 00:14:14,166 HAVE TO TELL MY PARENTS WHAT 448 00:14:14,166 --> 00:14:15,583 >> WHAT'S YOUR NAME? 449 00:14:16,333 --> 00:14:17,750 >> MISTY BEETHOVEN. 450 00:14:17,750 --> 00:14:18,667 >> IS THAT YOUR REAL NAME? 451 00:14:18,667 --> 00:14:19,792 >> NO, IT'S NOT. 452 00:14:19,792 --> 00:14:20,792 I THOUGHT IT WOULD SOUND 453 00:14:20,792 --> 00:14:21,166 MORE IMPORTANT. 454 00:14:21,166 --> 00:14:22,083 >> WHAT WAS IT BEFORE? 455 00:14:22,083 --> 00:14:25,333 I WAS CAST IN "MISTY BEETHOVEN" 456 00:14:26,041 --> 00:14:29,041 AND I FLEW TO NEW YORK, 457 00:14:30,208 --> 00:14:32,500 AND I MET HIM, AND HE TALKED TO 458 00:14:32,500 --> 00:14:33,458 ME AND EVERYTHING AND TOLD ME 459 00:14:33,458 --> 00:14:35,750 TO GO BACK HOME AND TO GET 460 00:14:35,750 --> 00:14:36,375 EVERY BIT OF CLOTHING, 461 00:14:38,417 --> 00:14:39,750 EVERY PHOTOGRAPH THAT HAD EVER 462 00:14:39,750 --> 00:14:40,375 BEEN TAKEN OF ME IN MY ENTIRE 463 00:14:40,375 --> 00:14:42,583 LIFE, AND BRING IT ALL BACK 464 00:14:42,583 --> 00:14:43,208 TO NEW YORK. 465 00:14:43,208 --> 00:14:45,083 >> AS HYMAN MANDEL ONCE SAID, 466 00:14:48,375 --> 00:14:50,834 "NEVER LET THE FACT THAT THEY 467 00:14:50,834 --> 00:14:52,792 ARE DOING IT WRONG STOP YOU 468 00:14:52,792 --> 00:14:53,250 FROM DOING IT RIGHT." 469 00:14:53,250 --> 00:14:56,208 >> WHO WAS HYMAN MANDEL? 470 00:14:56,208 --> 00:14:57,458 >> I DON'T KNOW. 471 00:14:57,458 --> 00:14:59,041 I READ THAT ON THE MEN'S ROOM 472 00:14:59,041 --> 00:14:59,500 WALL AT THE NEW YORK 473 00:14:59,500 --> 00:15:00,166 >> IT'S A TAKE ON GEORGE BERNARD 474 00:15:02,333 --> 00:15:04,917 SHAW'S "PYGMALION" OR MODERN-DAY 475 00:15:04,917 --> 00:15:06,291 "MY FAIR LADY" OR EVEN "SHE'S 476 00:15:06,291 --> 00:15:07,375 ALL THAT," IF YOU'RE IN THE 477 00:15:07,375 --> 00:15:10,041 BUT IT'S TAKING THIS WOMAN, 478 00:15:11,959 --> 00:15:12,500 WHO IS, LIKE, A DIME-STORE 479 00:15:12,500 --> 00:15:14,208 HOOKER, BASICALLY, GIVING 480 00:15:14,208 --> 00:15:15,709 HAND JOBS IN MOVIE THEATERS. 481 00:15:15,709 --> 00:15:16,041 >> EXCUSE ME, 482 00:15:16,041 --> 00:15:17,625 MY GUM WAS IN FRONT OF YOU. 483 00:15:17,625 --> 00:15:18,333 >> HOW'D YOU KNOW 484 00:15:18,333 --> 00:15:18,709 THAT WAS YOURS? 485 00:15:18,709 --> 00:15:19,083 >> FIVE SEATS IN. 486 00:15:19,083 --> 00:15:20,750 FIVE'S MY LUCKY NUMBER. 487 00:15:20,750 --> 00:15:21,333 YOU AMERICAN? 488 00:15:21,333 --> 00:15:21,750 >> MOST OF THE TIME. 489 00:15:21,750 --> 00:15:23,291 >> FIVE BUCKS FOR A HAND JOB. 490 00:15:23,291 --> 00:15:24,959 I'LL MEET YOU OUTSIDE IN 491 00:15:24,959 --> 00:15:25,750 TEN MINUTES. 492 00:15:25,750 --> 00:15:26,667 >> TEN MINUTES? 493 00:15:26,667 --> 00:15:27,709 >> MM-HMM. TEN MINUTES. 494 00:15:27,709 --> 00:15:28,834 I HAVE TO MEET NAPOLEON. 495 00:15:28,834 --> 00:15:29,875 >> NAPOLEON? 496 00:15:29,875 --> 00:15:31,792 >> NAPOLEON. 497 00:15:31,792 --> 00:15:34,000 HI. YOU'RE RIGHT ON TIME. 498 00:15:34,000 --> 00:15:35,333 >> JAMIE GILLIS WAS A 499 00:15:35,333 --> 00:15:36,875 SEXOLOGIST, AND HE WAS GOING 500 00:15:36,875 --> 00:15:38,834 TO TRAIN ME TO BECOME THE 501 00:15:38,834 --> 00:15:39,834 >> HE TAKES HER ON AS A PROJECT 502 00:15:41,208 --> 00:15:44,333 WHERE HE FEELS HE CAN TURN THIS 503 00:15:44,333 --> 00:15:47,959 LOWLY STREET GIRL INTO A 504 00:15:47,959 --> 00:15:50,166 >> MY DEAR, YOU ARE THE ABSOLUTE 505 00:15:51,583 --> 00:15:53,875 NADIR OF PASSION, THE MOST 506 00:15:53,875 --> 00:15:55,375 UNEXCITING THING GOD HAS EVER 507 00:15:55,375 --> 00:15:57,208 CREATED, A SEXUAL CIVIL 508 00:15:57,208 --> 00:15:58,166 SERVICE WORKER. 509 00:15:58,166 --> 00:16:00,500 NOBODY NEEDS TO READ MY LAST 510 00:16:00,500 --> 00:16:01,291 BOOK MORE OR DESERVES TO BE IN 511 00:16:01,291 --> 00:16:03,834 MY NEXT BOOK LESS THAN YOU. 512 00:16:03,834 --> 00:16:04,792 >> IT'S FASCINATING, BECAUSE 513 00:16:04,792 --> 00:16:05,792 YOU'RE WATCHING THIS VERY 514 00:16:05,792 --> 00:16:07,291 INSECURE CONSTANCE MONEY 515 00:16:07,291 --> 00:16:09,125 GO FROM THIS VERY UNATTRACTIVE 516 00:16:09,125 --> 00:16:12,083 WIG AND MAKEUP TO THE END, WHERE 517 00:16:12,083 --> 00:16:14,792 SHE'S BASICALLY TAKING ONE OF 518 00:16:14,792 --> 00:16:16,375 THE MOST PRESTIGIOUS MEN IN TOWN 519 00:16:16,375 --> 00:16:19,000 AND PUTTING A STRAP ON 520 00:16:19,000 --> 00:16:20,000 AND FUCKING HIM WITH IT. 521 00:16:20,000 --> 00:16:21,166 >> I WENT UP TO SEE A FELLOW 522 00:16:21,166 --> 00:16:22,625 BY THE NAME OF RADLEY METZGER, 523 00:16:22,625 --> 00:16:24,875 WHO, UH, HIS NOM DE PORN 524 00:16:24,875 --> 00:16:26,875 BECAME HENRY PARIS. 525 00:16:26,875 --> 00:16:29,291 AND, UM, UH, INSTEAD OF BEING, 526 00:16:29,291 --> 00:16:32,208 UH, ON THE FILM, HE'S A BIT OF A 527 00:16:32,208 --> 00:16:33,959 SVENGALI, AND I WOUND UP BEING 528 00:16:33,959 --> 00:16:35,208 IN THE FILM. 529 00:16:35,208 --> 00:16:36,083 YOU DON'T THINK I'M GONNA LET 530 00:16:36,083 --> 00:16:38,208 HIM MAKE THAT PERILOUS JOURNEY 531 00:16:38,208 --> 00:16:40,166 ALONE? 532 00:16:40,166 --> 00:16:41,834 IT WAS QUITE AN EXPERIENCE, 533 00:16:41,834 --> 00:16:43,208 BECAUSE I WAS UNFAMILIAR WITH 534 00:16:43,208 --> 00:16:45,625 WHAT BEHAVIOR AND PROTOCOL WAS 535 00:16:45,625 --> 00:16:47,959 SUPPOSED TO BE LIKE, UH, ON AN 536 00:16:47,959 --> 00:16:49,291 ADULT SET, SO IT WAS REALLY 537 00:16:49,291 --> 00:16:51,250 BREAKING INTO SOMETHING THAT 538 00:16:51,250 --> 00:16:53,208 BROKE ALL THE RULES. 539 00:16:53,208 --> 00:16:56,166 >> ♪ WISH I HAD HER BESIDE ME ♪ 540 00:16:56,166 --> 00:16:57,417 >> IT'S FUNNY-- I WASN'T EVEN 541 00:16:57,417 --> 00:16:58,834 AWARE-- IT WAS-- I WAS WATCHING 542 00:16:58,834 --> 00:17:00,041 THE FILM, BUT I WAS ROOTING FOR 543 00:17:00,041 --> 00:17:00,625 BOTH OF THEM TO BE TOGETHER 544 00:17:00,625 --> 00:17:02,917 UNTIL THE ACT-- END MOMENT WHERE 545 00:17:02,917 --> 00:17:04,542 SHE'S GIVING HIM A BLOW JOB, 546 00:17:04,542 --> 00:17:06,625 AND HE'S DEGRADING HER AS IF 547 00:17:06,625 --> 00:17:08,291 SHE'S NOT IN THE ROOM, UH, 548 00:17:08,291 --> 00:17:09,959 PRETENDING THAT SHE'S NOT THERE, 549 00:17:09,959 --> 00:17:10,542 AND THEN THEY HAVE THIS MOMENT 550 00:17:10,542 --> 00:17:12,625 WHERE THEY-- THEY COME TOGETHER. 551 00:17:12,625 --> 00:17:14,291 IT'S JUST-- IT'S BEAUTIFUL. 552 00:17:14,291 --> 00:17:15,291 >> YOU KNOW WHY MOST PEOPLE 553 00:17:15,291 --> 00:17:17,417 HAVE SEXUAL PROBLEMS? 554 00:17:17,417 --> 00:17:19,333 THEY TALK TOO GODDAMN MUCH! 555 00:17:23,000 --> 00:17:25,709 >> JAMIE IS A VERY SWEET PERSON 556 00:17:25,709 --> 00:17:26,291 ON ONE HAND, AND ON THE OTHER 557 00:17:26,291 --> 00:17:28,417 HAND, IS A VERY DISTURBED 558 00:17:28,417 --> 00:17:29,291 INDIVIDUAL. 559 00:17:29,291 --> 00:17:30,917 JAMIE HAD HIS DEMONS. 560 00:17:30,917 --> 00:17:33,000 >> YOU INSTANTLY JUST ARE SO 561 00:17:33,000 --> 00:17:33,959 ENGAGED BY HIM. 562 00:17:33,959 --> 00:17:34,583 IN FACT, WHEN I STARTED WATCHING 563 00:17:34,583 --> 00:17:36,125 THE-- THE OPENING IN "MISTY 564 00:17:36,125 --> 00:17:37,166 BEETHOVEN," I WASN'T EVEN AWARE 565 00:17:37,166 --> 00:17:38,875 THAT JAMIE GILLIS WAS A PORN 566 00:17:38,875 --> 00:17:39,792 PERFORMER. 567 00:17:39,792 --> 00:17:40,375 I THOUGHT HE WAS GOING TO NOT 568 00:17:40,375 --> 00:17:42,959 HAVE ANY SEX IN THE MOVIE, 569 00:17:42,959 --> 00:17:44,583 BECAUSE HE WAS SO GOOD. 570 00:17:44,583 --> 00:17:45,834 YOU THINK TO YOURSELF, "HOW 571 00:17:45,834 --> 00:17:47,875 COULD THIS GUY BE A PORN ACTOR?" 572 00:17:47,875 --> 00:17:49,125 >> WORKING FOR RADLEY METZGER 573 00:17:49,125 --> 00:17:52,333 WAS, UM-- I DON'T REALLY KNOW. 574 00:17:52,333 --> 00:17:55,542 I-- I DON'T KNOW HOW TO REALLY 575 00:17:55,542 --> 00:17:58,834 SAY IT-- IT COMES BACK TO THAT 576 00:17:58,834 --> 00:18:00,041 THING, "IF YOU CAN'T SAY 577 00:18:00,041 --> 00:18:00,417 ANYTHING NICE..." 578 00:18:00,417 --> 00:18:03,041 >> OKAY, LET'S GET YOU 579 00:18:03,041 --> 00:18:04,625 UNDRESSED. 580 00:18:04,625 --> 00:18:06,291 NO, NO, NO, YOU DON'T DO IT 581 00:18:06,291 --> 00:18:07,625 YOURSELF. 582 00:18:07,625 --> 00:18:08,417 YOU DON'T KNOW HOW, 583 00:18:08,417 --> 00:18:09,208 FOR ONE THING. 584 00:18:09,208 --> 00:18:10,667 >> HE TOLD ME HE DIDN'T THINK 585 00:18:10,667 --> 00:18:12,500 I COULD ACT, AND THAT'S WHY HE 586 00:18:12,500 --> 00:18:13,750 PUT ME THROUGH EVERYTHING. 587 00:18:13,750 --> 00:18:14,375 THAT WAS HIS JUSTIFICATION. 588 00:18:14,375 --> 00:18:18,625 >> I THINK MEN STINK. 589 00:18:18,625 --> 00:18:20,583 >> WELL, THEY THINK YOU STINK. 590 00:18:20,583 --> 00:18:21,250 IN FACT, IT'S ONE OF THE MOST 591 00:18:21,250 --> 00:18:23,208 PERFECTLY BALANCED EQUATIONS 592 00:18:23,208 --> 00:18:23,458 IN NATURE. 593 00:18:23,458 --> 00:18:25,041 >> I'D LIKE TO SAY THAT MOVIE 594 00:18:25,041 --> 00:18:26,041 WAS MADE MORE WITH BLOOD AND 595 00:18:26,041 --> 00:18:27,166 SWEAT THAN MONEY. 596 00:18:27,166 --> 00:18:27,500 HE REALLY DID 597 00:18:27,500 --> 00:18:29,709 MAKE A MASTERPIECE. 598 00:18:29,709 --> 00:18:31,542 I'VE HEARD SO MANY PEOPLE QUOTE 599 00:18:31,542 --> 00:18:33,041 LINES FROM IT THAT HE MUST HAVE 600 00:18:33,041 --> 00:18:33,583 BEEN DOING SOMETHING RIGHT. 601 00:18:33,583 --> 00:18:35,709 >> IT HAS AN EXTREMELY STRONG 602 00:18:35,709 --> 00:18:37,667 STORY WITH BEAUTIFUL IMAGERY. 603 00:18:37,667 --> 00:18:38,291 >> AND, ALSO, I MEAN, LOOKING AT 604 00:18:38,291 --> 00:18:40,250 IT ALL THESE YEARS LATER, IT WAS 605 00:18:40,250 --> 00:18:41,333 ALSO-- I MEAN I LOOKED 606 00:18:41,333 --> 00:18:42,542 PRETTY GOOD, TOO. 607 00:18:42,542 --> 00:18:43,625 I THINK IT WAS ALSO THE FACT 608 00:18:43,625 --> 00:18:44,250 THAT IT WAS MORE REALITY 609 00:18:44,250 --> 00:18:46,500 THAN FANTASY. 610 00:18:46,500 --> 00:18:48,875 >> THERE IS SO MUCH GOING ON 611 00:18:48,875 --> 00:18:51,000 WITHIN THAT MOVIE THAT REALLY 612 00:18:51,000 --> 00:18:53,166 SAYS, "THIS IS AN ARTISTIC 613 00:18:53,166 --> 00:18:54,083 >> EXCUSE ME. UH, PARDON ME. 614 00:18:56,417 --> 00:18:57,667 DO YOU MIND IF I BLOW 615 00:18:57,667 --> 00:18:58,667 YOUR WAITER? 616 00:18:58,667 --> 00:19:01,667 >> NOT AT ALL. 617 00:19:01,667 --> 00:19:02,917 >> I DON'T KNOW WHAT ON EARTH 618 00:19:02,917 --> 00:19:04,000 HAPPENED TO MINE. 619 00:19:04,000 --> 00:19:06,083 >> BARBARA BROADCAST WAS A MOVIE 620 00:19:06,083 --> 00:19:07,667 ABOUT A WOMAN WHO IS A SEX 621 00:19:07,667 --> 00:19:08,500 WORKER WHO WROTE A BOOK. 622 00:19:08,500 --> 00:19:09,625 IT'S TAKING PLACE AT A 623 00:19:09,625 --> 00:19:10,417 RESTAURANT, AND PEOPLE ARE 624 00:19:10,417 --> 00:19:11,667 GIVING BLOW JOBS AS IF 625 00:19:11,667 --> 00:19:12,583 IT'S NO BIG DEAL. 626 00:19:12,583 --> 00:19:13,458 NOBODY'S BATTING AN EYE, 627 00:19:13,458 --> 00:19:14,917 NOBODY'S LOOKING AT IT 628 00:19:14,917 --> 00:19:15,875 PEOPLE ARE HAVING SEX ON TABLES. 629 00:19:17,542 --> 00:19:20,291 AND IT WAS WHAT I FEEL A TRUE 630 00:19:20,291 --> 00:19:21,375 ADULT SHOULD-- FILM SHOULD BE, 631 00:19:21,375 --> 00:19:22,750 WHERE THERE'S ABSOLUTELY ZERO 632 00:19:22,750 --> 00:19:24,166 JUDGMENT ABOUT EVERYTHING THAT'S 633 00:19:24,166 --> 00:19:25,834 GOING ON AROUND THEM. 634 00:19:25,834 --> 00:19:26,417 >> YES, WE'LL HAVE YOUR 635 00:19:26,417 --> 00:19:27,333 RESERVATION IN ABOUT FIVE 636 00:19:27,333 --> 00:19:27,583 MINUTES. 637 00:19:27,583 --> 00:19:29,250 >> THANK YOU VERY MUCH. 638 00:19:29,250 --> 00:19:38,125 >> YOU'RE QUITE WELCOME. 639 00:19:38,125 --> 00:19:39,542 >> THERE'S A LOT OF JOKES IN 640 00:19:39,542 --> 00:19:40,750 "BARBARA BROADCAST." 641 00:19:40,750 --> 00:19:41,709 ONE OF THEM IS WHEN THE 642 00:19:41,709 --> 00:19:42,959 MAITRE 'D, UM, HE RECEIVES A 643 00:19:42,959 --> 00:19:44,500 BLOW JOB EVERY TIME SOMEBODY 644 00:19:44,500 --> 00:19:46,542 DROPS A PLATE OR MESSES UP. 645 00:19:46,542 --> 00:19:48,333 AND IT'S JUST SO CAVALIER IN 646 00:19:48,333 --> 00:19:49,291 THAT HE JUST UNBUTTONS 647 00:19:49,291 --> 00:19:51,083 HIS PANTS, AND THEY GET 648 00:19:51,083 --> 00:19:52,333 DOWN ON THEIR KNEES. 649 00:19:57,041 --> 00:19:57,083 >> WELL, BOBBY ASTER I REMEMBER 650 00:19:58,458 --> 00:20:00,125 VERY WELL, BECAUSE HE'S THE VERY 651 00:20:00,125 --> 00:20:01,500 FIRST PERSON THAT I EVER WORKED 652 00:20:01,500 --> 00:20:03,583 >> ANNETTE HAVEN'S A BEAUTIFUL 653 00:20:04,750 --> 00:20:06,500 WOMAN, AND IT LENDS ITSELF TO 654 00:20:06,500 --> 00:20:08,709 THIS IDEA THAT YOU CAN BE 655 00:20:08,709 --> 00:20:09,500 A BEAUTIFUL WOMAN 656 00:20:09,500 --> 00:20:11,250 AND BE A SEXUAL WOMAN. 657 00:20:11,250 --> 00:20:12,458 >> MY BROTHER'S KIND OF SHY, 658 00:20:12,458 --> 00:20:14,667 AND, WELL, HE'S A BIG, BIG FAN 659 00:20:14,667 --> 00:20:16,041 OF YOURS. 660 00:20:16,041 --> 00:20:16,917 WELL, WOULD YOU MIND GIVING HIM 661 00:20:16,917 --> 00:20:18,917 AN AUTOGRAPH AND A LITTLE HEAD? 662 00:20:18,917 --> 00:20:21,667 >> ANNETTE, UM, WAS JUST, UH, 663 00:20:21,667 --> 00:20:24,792 JUST ONE OF THE MOST FLAWLESSLY 664 00:20:24,792 --> 00:20:26,250 BEAUTIFUL WOMAN I HAD EVER SEEN, 665 00:20:26,250 --> 00:20:26,875 LET ALONE I THINK IT WAS THE-- 666 00:20:26,875 --> 00:20:28,875 THE FIRST RED BUSH 667 00:20:28,875 --> 00:20:30,291 THAT I HAD EVER SEEN. 668 00:20:30,291 --> 00:20:31,625 SERIOUS AS A HEART ATTACK AND A 669 00:20:31,625 --> 00:20:33,000 GREAT BUSINESSWOMAN, 670 00:20:33,000 --> 00:20:34,458 AND, UH, NUTTIER THAN A 671 00:20:34,458 --> 00:20:35,667 FRUITCAKE AS WELL. 672 00:20:35,667 --> 00:20:36,959 >> IN "BARBARA BROADCAST," 673 00:20:36,959 --> 00:20:38,709 METZGER'S USING THESE VERY WIDE 674 00:20:38,709 --> 00:20:40,333 SHOTS WHERE YOU'RE SEEING SEXUAL 675 00:20:40,333 --> 00:20:42,750 ACTIVITY HAPPENING WHILE THERE 676 00:20:42,750 --> 00:20:44,875 IS DIALOGUE HAPPENING BETWEEN 677 00:20:44,875 --> 00:20:46,000 THE MAIN CHARACTERS. 678 00:20:46,000 --> 00:20:46,583 THERE ALSO WAS ANOTHER JOKE IN 679 00:20:46,583 --> 00:20:47,458 "BARBARA BROADCAST" THAT I LOVED 680 00:20:47,458 --> 00:20:49,834 WHERE I BELIEVE IT WAS THEY 681 00:20:49,834 --> 00:20:51,625 ORDERED UP A NUMBER 17, WHICH, 682 00:20:51,625 --> 00:20:53,333 BASICALLY, WAS A MAN CAME ON 683 00:20:53,333 --> 00:20:54,208 A SALAD. 684 00:20:54,208 --> 00:20:55,333 >> HE DOES A WONDERFUL 685 00:20:55,333 --> 00:20:56,375 CAFE AU LAIT. 686 00:20:56,375 --> 00:20:57,709 >> IT'S CINEMATICALLY BEAUTIFUL, 687 00:20:57,709 --> 00:20:59,625 THE LOCATIONS, I MEAN, SHOOTING 688 00:20:59,625 --> 00:21:01,709 AT, UH, A RESTAURANT. 689 00:21:01,709 --> 00:21:02,875 I MEAN, THE KITCHEN SCENE WITH 690 00:21:02,875 --> 00:21:04,250 C.J. LAING WITH ALL THE STEAM 691 00:21:04,250 --> 00:21:05,458 AND THE POTS AND THE PANS AND 692 00:21:05,458 --> 00:21:07,000 THE THIS AND THE THAT AND... 693 00:21:07,000 --> 00:21:08,000 >> THEY TOOK A SCENE FROM "MISTY 694 00:21:08,000 --> 00:21:09,625 BEETHOVEN," I UNDERSTAND, AS A 695 00:21:09,625 --> 00:21:11,291 FILLER FOR THE GIGANTIC CLIM-- 696 00:21:11,291 --> 00:21:12,667 CLIMAX OF THE FILM. 697 00:21:12,667 --> 00:21:13,875 >> SO WE HAVE THIS LITTLE PET 698 00:21:13,875 --> 00:21:15,375 WORKING FOR US, AND TO SET HER 699 00:21:15,375 --> 00:21:17,625 STRAIGHT, WE LET CURLY AT HER, 700 00:21:17,625 --> 00:21:19,458 TO ACT OUT ONE OF HIS FANTASIES. 701 00:21:19,458 --> 00:21:21,166 JIMMY WASN'T VERY NICE TO ME 702 00:21:21,166 --> 00:21:21,959 WHEN HE FIRST MET ME. 703 00:21:21,959 --> 00:21:22,583 THE MAKEUP LADY, 704 00:21:24,417 --> 00:21:25,625 SHE KEPT PUTTING MORE HAIRPIECES 705 00:21:25,625 --> 00:21:26,625 IN MY HAIR, MORE AND MORE 706 00:21:26,625 --> 00:21:28,041 HAIRPIECES. SHE SAID, "WELL, 707 00:21:28,041 --> 00:21:29,500 I DON'T WANT HER BRAINS TO SPILL 708 00:21:29,500 --> 00:21:30,417 AND JAMIE SAID, "WELL, IF IT'S 709 00:21:31,458 --> 00:21:33,375 GONNA BE REALISTIC-- IF THEY'RE 710 00:21:33,375 --> 00:21:34,291 GONNA COME OUT, THEY'RE GONNA 711 00:21:34,291 --> 00:21:34,875 COME OUT. 712 00:21:34,875 --> 00:21:35,667 STOP PUTTING THOSE HAIRPIECES 713 00:21:35,667 --> 00:21:36,000 IN HER HAIR." 714 00:21:36,000 --> 00:21:37,417 I DIDN'T EVEN KNOW WHAT WAS 715 00:21:37,417 --> 00:21:43,125 GOING ON. 716 00:21:43,125 --> 00:21:43,750 >> JAMIE WOULD CALL ME WHENEVER 717 00:21:43,750 --> 00:21:45,625 HE WAS IN KIND OF ONE BIND OR 718 00:21:45,625 --> 00:21:45,834 ANOTHER. 719 00:21:45,834 --> 00:21:47,166 HE SAYS, "MITCH, YOU'VE 720 00:21:47,166 --> 00:21:48,000 GOTTA COME HERE RIGHT AWAY. 721 00:21:48,000 --> 00:21:48,875 YOU'VE GOTTA COME RIGHT-- RIGHT 722 00:21:48,875 --> 00:21:50,500 AWAY," AND I HEAR THIS, LIKE, 723 00:21:50,500 --> 00:21:51,500 WATER SOUND, LIKE, 724 00:21:51,500 --> 00:21:53,208 THIS FLUSHING SOUND. 725 00:21:53,208 --> 00:21:54,125 HE'S LIKE, "HURRY, HURRY." 726 00:21:54,125 --> 00:21:55,166 SO I THREW SOMETHING ON, 727 00:21:55,166 --> 00:21:56,250 AND I JUMPED IN A CAB. 728 00:21:56,250 --> 00:22:00,000 I GET THERE, AND JAMIE WAS 729 00:22:00,000 --> 00:22:02,417 FUCKING C.J. FROM BEHIND, 730 00:22:02,417 --> 00:22:03,875 BUT HAD HER HEAD IMMERSED 731 00:22:03,875 --> 00:22:05,208 IN THE TOILET BOWL, AND SHE HAD 732 00:22:05,208 --> 00:22:06,542 A NECKLACE ON, AND THE CATCH GOT 733 00:22:06,542 --> 00:22:08,333 CAUGHT, AND SO HE HAD TO KEEP 734 00:22:08,333 --> 00:22:10,166 FLUSHING THE TOILET IN ORDER FOR 735 00:22:10,166 --> 00:22:11,250 HER TO GET AIR. 736 00:22:11,250 --> 00:22:12,458 AND I GOT THE CATCH FROM 737 00:22:12,458 --> 00:22:14,083 UNDERNEATH HER NECK, AND, UH, 738 00:22:14,083 --> 00:22:15,333 SHE COMES UP FOR AIR AND SAYS, 739 00:22:15,333 --> 00:22:16,083 >> I'LL GIVE YOU $10 IF YOU LET 740 00:22:17,417 --> 00:22:18,291 ME LOOK AT YOUR TITS. 741 00:22:18,291 --> 00:22:18,667 >> MR. GREENFIELD! 742 00:22:18,667 --> 00:22:21,250 >> PLEASE, PLEASE, I JUST WANNA 743 00:22:21,250 --> 00:22:21,875 LOOK AT YOUR PRETTY LITTLE TITS. 744 00:22:21,875 --> 00:22:23,834 >> YOU KNOW WE'RE ALL 745 00:22:23,834 --> 00:22:25,041 GOOD GIRLS. 746 00:22:25,041 --> 00:22:26,250 >> THE DIRECTOR AT THE TIME-- 747 00:22:26,250 --> 00:22:27,250 I'D WORKED FOR HIM QUITE A FEW 748 00:22:27,250 --> 00:22:28,834 TIMES-- I HELPED CAST 749 00:22:28,834 --> 00:22:30,166 SOME PEOPLE IN THAT FILM. 750 00:22:30,166 --> 00:22:32,500 I ALSO, UM, FOUND A WAY TO GET 751 00:22:32,500 --> 00:22:35,250 ACCESS TO BROOKLYN COLLEGE. 752 00:22:35,250 --> 00:22:37,166 AND WE KINDA KNEW WHEN THE 753 00:22:37,709 --> 00:22:39,709 FACILITIES WERE OPEN. 754 00:22:39,709 --> 00:22:40,625 WE-- IT WAS LIKE "DO WHAT YOU 755 00:22:40,625 --> 00:22:42,667 CAN WHEN YOU CAN." 756 00:22:42,667 --> 00:22:43,125 WE JUST LUCKED OUT. 757 00:22:43,125 --> 00:22:43,667 WE DIDN'T GET CAUGHT DOING 758 00:22:43,667 --> 00:22:46,291 ANYTHING. 759 00:22:48,625 --> 00:22:50,500 >> I DON'T THINK I WAS EVER 760 00:22:50,500 --> 00:22:51,709 ON SET WHEN BAMBI WOODS WAS 761 00:22:51,709 --> 00:22:52,458 ON SET. 762 00:22:52,458 --> 00:22:53,500 MAYBE I MET HER ONE TIME. 763 00:22:53,500 --> 00:22:55,417 SHE WAS, FOR THAT TIME, 764 00:22:55,417 --> 00:22:56,667 INCREDIBLY HOT-LOOKING. 765 00:22:56,667 --> 00:22:57,667 >> DEBBIE, WHAT ARE YOU 766 00:22:57,667 --> 00:22:57,917 GONNA DO? 767 00:22:57,917 --> 00:22:59,709 >> RAISE THE MONEY FAST. 768 00:22:59,709 --> 00:23:00,166 >> WHEN DO YOU HAVE TO 769 00:23:00,166 --> 00:23:01,125 LEAVE, DEBBIE? 770 00:23:01,125 --> 00:23:02,000 >> IN TWO WEEKS. 771 00:23:02,000 --> 00:23:03,166 >> BUT THAT'S NOT ENOUGH TIME 772 00:23:03,166 --> 00:23:05,208 TO RAISE THE FARE. 773 00:23:07,500 --> 00:23:08,667 >> THE WORST THING ABOUT 774 00:23:08,667 --> 00:23:11,125 "DEBBIE DOES DALLAS" IS 775 00:23:11,125 --> 00:23:11,709 R. BOLLA'S THE ONLY GUY THAT 776 00:23:11,709 --> 00:23:13,750 GETS TO FUCK HER. 777 00:23:13,750 --> 00:23:15,375 YOU WANNA FUCK THAT GIRL. 778 00:23:15,375 --> 00:23:15,959 I MEAN, IT'S A COMPLETE TEASE. 779 00:23:15,959 --> 00:23:17,709 IT'S A-- IT'S A COCK-TEASING 780 00:23:17,709 --> 00:23:19,041 FILM, AND IT WORKED 781 00:23:19,041 --> 00:23:21,000 ON THAT LEVEL. 782 00:23:26,291 --> 00:23:28,500 >> SIX, SEVEN, EIGHT... 783 00:23:28,500 --> 00:23:33,333 >> OH! 784 00:23:33,333 --> 00:23:33,709 >> (WHISTLE BLOWS) 785 00:23:33,709 --> 00:23:36,000 >> THE DALLAS COWBOYS STARTED 786 00:23:36,000 --> 00:23:36,542 THE WHOLE CHEERLEADER CRAZE, 787 00:23:36,542 --> 00:23:38,792 AND IT REALLY WENT VIRAL. 788 00:23:38,792 --> 00:23:40,250 IF YOU COULD USE THAT WORD 789 00:23:40,250 --> 00:23:42,083 BACK THEN. AND SOMEBODY WAS 790 00:23:42,083 --> 00:23:43,458 SMART ENOUGH TO CAPITALIZE ON 791 00:23:43,458 --> 00:23:44,542 THAT. THEY DIDN'T HAVE ANY IDEA 792 00:23:44,542 --> 00:23:47,291 IT WOULD BLOW UP LIKE IT DID. 793 00:23:47,291 --> 00:23:49,417 >> NO, MOM. YOU KNOW 794 00:23:51,875 --> 00:23:52,834 I'M GONNA STAY WITH YOU. 795 00:23:52,834 --> 00:23:58,542 >> OH, DARLING, I'M SO GLAD. 796 00:23:58,542 --> 00:23:59,583 KIRDY STEVENS. 797 00:23:59,583 --> 00:24:01,500 WE MET-- WE MET AT A RESTAURANT 798 00:24:03,709 --> 00:24:07,875 IN, UM, WEST L.A., AND HE TOLD 799 00:24:07,875 --> 00:24:09,500 ME IT WAS ABOUT INCEST, AND I 800 00:24:09,500 --> 00:24:10,959 SAID, "NO, ABSOLUTELY NOT." 801 00:24:10,959 --> 00:24:12,917 >> I LOVED "TABOO" AS A MOVIE. 802 00:24:12,917 --> 00:24:14,792 IN FACT, THE ENDING WAS SO 803 00:24:14,792 --> 00:24:16,375 DISTURBING AND BOTHERSOME TO ME 804 00:24:16,375 --> 00:24:17,250 THAT SHE DIDN'T END UP WITH HER 805 00:24:17,250 --> 00:24:18,750 SON, IT MADE ME QUESTION MY OWN 806 00:24:18,750 --> 00:24:20,875 >> HE PERSISTED, AND THEN, UM, 807 00:24:24,625 --> 00:24:27,250 AGAIN, I-- I CAN ONLY DESCRIBE 808 00:24:27,250 --> 00:24:28,834 THIS AS MY HIGHER SELF JUMPED IN 809 00:24:28,834 --> 00:24:30,792 AND SAID, "DO IT." 810 00:24:30,792 --> 00:24:31,959 BECAUSE SOMEBODY'S GOING TO 811 00:24:31,959 --> 00:24:33,208 DO IT. 812 00:24:33,208 --> 00:24:34,750 YOU-- IF YOU DO IT, YOU CAN 813 00:24:34,750 --> 00:24:37,166 BRING CONSCIOUSNESS AND QUALITY 814 00:24:37,166 --> 00:24:38,417 TO IT, SO DO IT. 815 00:24:38,417 --> 00:24:39,625 >> WE ARE CENSORING OURSELVES 816 00:24:39,625 --> 00:24:41,458 FROM DOING THINGS THAT ARE AS 817 00:24:41,458 --> 00:24:42,583 FREE AND AS OPEN AS THEY WERE 818 00:24:42,583 --> 00:24:44,917 35 YEARS AGO. 819 00:24:44,917 --> 00:24:46,291 I MEAN THEY WERE MORE FREE 820 00:24:46,291 --> 00:24:46,625 35 YEARS AGO. 821 00:24:46,625 --> 00:24:47,792 >> I HATED THE SCRIPT THE FIRST 822 00:24:47,792 --> 00:24:50,333 TIME I READ IT. 823 00:24:50,333 --> 00:24:51,542 IT WAS-- IT WAS REALLY 824 00:24:51,542 --> 00:24:54,709 DIFFICULT TO, UM-- TO READ ABOUT 825 00:24:54,709 --> 00:24:56,667 INCEST IN SUCH A SORT OF 826 00:24:56,667 --> 00:24:59,875 FLIPPANT, UM, MANNER. 827 00:24:59,875 --> 00:25:01,333 BUT IT WAS SO WRONG. 828 00:25:01,333 --> 00:25:03,125 >> LOOK, MA, I DON'T THINK ANY 829 00:25:03,125 --> 00:25:05,125 LESS OF EITHER ONE OF US. 830 00:25:05,125 --> 00:25:07,834 IT HAPPENED, 831 00:25:07,834 --> 00:25:10,000 AND I GOTTA TELL YA, 832 00:25:10,000 --> 00:25:12,500 I WANT IT TO HAPPEN AGAIN. 833 00:25:12,500 --> 00:25:14,959 >> DON'T-- DON'T... NO, PAUL, 834 00:25:14,959 --> 00:25:18,417 DON'T. THE WORLD HAS 835 00:25:18,417 --> 00:25:19,875 A DIRTY WORD FOR THIS. 836 00:25:19,875 --> 00:25:20,667 >> THERE'S THESE-- THESE MOMENTS 837 00:25:20,667 --> 00:25:22,667 THAT KIND OF MAKE YOU SAY, 838 00:25:22,667 --> 00:25:24,542 "WHOA!" THESE JARRING MOMENTS, 839 00:25:24,542 --> 00:25:25,542 LIKE, FOR EXAMPLE, WHEN KAY 840 00:25:25,542 --> 00:25:26,583 PARKER IS IN THE KITCHEN, AND 841 00:25:26,583 --> 00:25:27,625 HER BREAST IS HANGING OUT OF HER 842 00:25:27,625 --> 00:25:28,875 SHIRT, AND SHE'S STANDING THERE 843 00:25:28,875 --> 00:25:29,834 WITH HER SON, AND IT'S ALMOST AS 844 00:25:29,834 --> 00:25:32,375 IF THERE'S NO COVERING UP, 845 00:25:32,375 --> 00:25:33,750 AND IT-- IT'S JUST, AGAIN, 846 00:25:33,750 --> 00:25:35,000 SEX IS OUT THERE. 847 00:25:35,000 --> 00:25:36,417 >> I MEAN I'M NOT EXACTLY 848 00:25:36,417 --> 00:25:39,750 OVER-THE-HILL, YOU KNOW. 849 00:25:39,750 --> 00:25:42,291 >> YOU'RE TELLING ME. 850 00:25:42,291 --> 00:25:43,417 >> YOU SEE IT A LOT WITH KAY 851 00:25:43,417 --> 00:25:44,583 PARKER'S FRIEND IN THE MOVIE, 852 00:25:44,583 --> 00:25:46,417 WHO IS HAVING ORGIES AND-- AND 853 00:25:46,417 --> 00:25:47,834 DOESN'T HAVE ANY ISSUES WITH-- 854 00:25:47,834 --> 00:25:49,333 SHE THINKS IT'S HOT IMAGINING 855 00:25:49,333 --> 00:25:49,792 THAT HER SON WOULD BE 856 00:25:49,792 --> 00:25:51,667 HAVING SEX WITH HER. 857 00:25:51,667 --> 00:25:53,542 SHE REFERENCES THAT KAY PARKER 858 00:25:53,542 --> 00:25:55,166 IS, YOU KNOW, HAS BEEN KIND OF 859 00:25:55,166 --> 00:25:57,250 ASSAULTED BY HER BOSS. 860 00:25:57,250 --> 00:25:58,291 AND SHE'S ON THE PHONE WITH HER 861 00:25:58,291 --> 00:25:58,875 FRIEND, AND THE FRIEND SAYS... 862 00:25:58,875 --> 00:26:02,917 >> WHAT'S GOING ON OVER THERE? 863 00:26:02,917 --> 00:26:04,333 IS JERRY RAPING YOU? 864 00:26:04,333 --> 00:26:05,291 >> CUT THAT OUT, 865 00:26:05,291 --> 00:26:05,750 YOU SON-OF- A-BITCH! 866 00:26:05,750 --> 00:26:08,750 >> WHAT'S HE DOING? 867 00:26:08,750 --> 00:26:10,500 DOES HE HAVE HIS COCK OUT? 868 00:26:10,500 --> 00:26:12,333 >> BUT IT-- IT-- IT LENDS ITSELF 869 00:26:12,333 --> 00:26:14,625 TO THIS IDEA THAT THERE'S LOTS 870 00:26:14,625 --> 00:26:15,834 OF DIFFERENT THINGS THAT PEOPLE 871 00:26:15,834 --> 00:26:18,208 FIND SEXUALLY AROUSING, EVEN IF 872 00:26:18,208 --> 00:26:18,875 IT IS NEC-- EVEN IF IT IS 873 00:26:18,875 --> 00:26:20,792 FORBIDDEN. 874 00:26:20,792 --> 00:26:21,709 >> WHENEVER I THINK ABOUT THE-- 875 00:26:21,709 --> 00:26:23,959 THE SCENE, THE SEDUCTION SCENE 876 00:26:23,959 --> 00:26:25,625 WITH MIKE RANGER IN "TABOO," 877 00:26:25,625 --> 00:26:26,917 I-- I GET GOOSEFLESH-- 878 00:26:26,917 --> 00:26:28,500 I'M GETTING RIGHT NOW, AS I-- 879 00:26:28,500 --> 00:26:29,750 AS I GET READY TO TALK ABOUT IT, 880 00:26:29,750 --> 00:26:32,583 BECAUSE I DO REFER TO IT AS A 881 00:26:32,583 --> 00:26:35,834 VERY, UM, SPIRITUAL EXPERIENCE. 882 00:26:35,834 --> 00:26:37,500 >> SHE'S JUST LEFT THIS ORGY 883 00:26:37,500 --> 00:26:39,667 PARTY THAT SHE FELT EXTREMELY 884 00:26:39,667 --> 00:26:40,250 UNCOMFORTABLE AND DID NOT 885 00:26:40,250 --> 00:26:43,083 PARTICIPATE IN, AND SHE JUST 886 00:26:43,083 --> 00:26:45,041 FINDS IT WITHIN HERSELF THAT 887 00:26:45,041 --> 00:26:46,458 SHE MUST HAVE SEX, 888 00:26:46,458 --> 00:26:48,375 AND HE'S SAFE FOR HER. 889 00:26:48,375 --> 00:26:49,208 HE IS SAFE. 890 00:26:49,208 --> 00:26:50,875 >> (GROANING) 891 00:26:55,125 --> 00:26:57,500 >> I LOST MYSELF IN THAT SCENE. 892 00:26:57,500 --> 00:26:58,875 I WAS NOT THERE. 893 00:26:58,875 --> 00:27:02,333 I SURRENDERED, IF YOU WILL, TO 894 00:27:02,333 --> 00:27:03,792 THE PART, AND THE PART, OR THE 895 00:27:03,792 --> 00:27:07,834 ROLE, THE MOTHER, JUST TOOK ME, 896 00:27:07,834 --> 00:27:10,291 UM, ON THIS TRIP. 897 00:27:10,291 --> 00:27:11,917 >> IT WAS ALMOST LIKE, YES, THIS 898 00:27:11,917 --> 00:27:13,417 IS THE NATURAL THING THAT SHOULD 899 00:27:13,417 --> 00:27:16,250 HAPPEN BETWEEN MY MOTHER AND I. 900 00:27:16,250 --> 00:27:17,000 THAT'S-- 901 00:27:17,000 --> 00:27:17,625 >> (INTERVIEWER) I'M APPALLED. 902 00:27:17,625 --> 00:27:19,417 >> THERE'S NOTHING WRONGER 903 00:27:19,417 --> 00:27:20,959 >> WHAT'LL IT BE, GENTS? 904 00:27:22,625 --> 00:27:24,083 >> OH, THE MASTER WILL HAVE 905 00:27:24,083 --> 00:27:26,709 A BEER, ANYTHING IMPORTED. 906 00:27:26,709 --> 00:27:27,875 >> BOTTLE OF BUFFALO PISS, 907 00:27:27,875 --> 00:27:29,291 PLEASE. 908 00:27:29,291 --> 00:27:31,333 >> THE AMERO BROTHERS MADE A BIG 909 00:27:31,333 --> 00:27:33,667 BUDGET COMEDY. WE JUST HAD A LOT 910 00:27:33,667 --> 00:27:35,875 OF FUN. I SWEAR, THE BURNING OF 911 00:27:35,875 --> 00:27:36,792 ATLANTA SCENE OR WHATEVER WAS 912 00:27:36,792 --> 00:27:38,875 THE FUNNIEST THING I'VE EVER 913 00:27:38,875 --> 00:27:40,750 >> NOW, REMEMBER, PAY NO 914 00:27:42,166 --> 00:27:43,250 ATTENTION TO ME WHEN I'M TALKING 915 00:27:43,250 --> 00:27:44,792 TO YOU, JUST DO WHAT I SAY. 916 00:27:44,792 --> 00:27:46,166 THIS IS A VERY SIMPLE LITTLE 917 00:27:46,166 --> 00:27:47,709 SCENE I'D LIKE TO GET DONE 918 00:27:47,709 --> 00:27:49,667 QUICKLY, BECAUSE WE ARE SHOOTING 919 00:27:49,667 --> 00:27:50,125 THE BOMBING OF ATLANTA 920 00:27:50,125 --> 00:27:51,542 THIS AFTERNOON. 921 00:27:51,542 --> 00:27:53,583 >> (ALL SCREAMING) 922 00:27:55,959 --> 00:27:58,000 >> IT WAS FUNNY AND QUIRKY. 923 00:28:02,667 --> 00:28:06,375 IT WAS-- IT WAS VERY HORNY, 924 00:28:06,375 --> 00:28:07,250 IT HAD SO MANY SEX SCENES. 925 00:28:08,792 --> 00:28:10,500 I WAS REALLY IMPRESSED. 926 00:28:10,500 --> 00:28:13,375 >> I DID IT IN A BOAT ONCE, 927 00:28:13,375 --> 00:28:15,000 AND I HAD TO DO ALL THE ROWING. 928 00:28:15,000 --> 00:28:17,834 >> R. BOLLA AND I ARE IN 929 00:28:17,834 --> 00:28:19,959 WYOMING, WHERE WE MEET 930 00:28:19,959 --> 00:28:22,750 THE CANE SISTERS. 931 00:28:27,750 --> 00:28:29,750 I DECIDE TO TAKE THEM TO 932 00:28:29,750 --> 00:28:32,041 NEW YORK WITH US, AND-- AND SHE 933 00:28:32,041 --> 00:28:33,667 SAYS SOMETHING LIKE, "WHAT, 934 00:28:33,667 --> 00:28:34,875 YOU GOT AN AIRPLANE?" 935 00:28:34,875 --> 00:28:36,208 >> ANYWAY, I'M TO BE QUEEN 936 00:28:36,208 --> 00:28:37,291 OF THE FAIRIES, AND I'VE GOT 937 00:28:37,291 --> 00:28:39,250 THIS TERRIFIC GOWN RIGGED UP. 938 00:28:39,250 --> 00:28:40,667 >> A GOWN? 939 00:28:40,667 --> 00:28:41,500 ARE YOU ONE OF THOSE 940 00:28:41,500 --> 00:28:42,583 TRANSYLVANIANS? 941 00:28:42,583 --> 00:28:44,000 >> SUSIE MANDELL WAS THE-- MY 942 00:28:44,000 --> 00:28:47,500 FAVORITE OF THE TWO CHARACTERS. 943 00:28:47,500 --> 00:28:49,834 >> CANDY, WHAT'S A FILM LOOP? 944 00:28:49,834 --> 00:28:50,875 >> YOU'VE GOT ME. 945 00:28:50,875 --> 00:28:54,583 >> THEY'RE LOOKING FOR 46 GIRLS 946 00:28:54,583 --> 00:28:55,792 AND A MONKEY. 947 00:28:55,792 --> 00:28:57,208 >> IT WAS REALLY A TRIBUTE TO 948 00:28:57,208 --> 00:29:00,542 THE, UH, MGM MOVIES, 949 00:29:00,542 --> 00:29:03,375 ONLY WITH HARDCORE SEX. 950 00:29:03,375 --> 00:29:04,792 >> FUCK. 951 00:29:04,792 --> 00:29:06,458 >> THE RAPE SCENE WHERE THE 952 00:29:06,458 --> 00:29:08,417 YANKEES CAME IN AND, LIKE, 953 00:29:08,417 --> 00:29:10,333 BANGED ALL THE CHICKS. 954 00:29:13,667 --> 00:29:15,625 >> I WANT A CUM SHOT, OR NONE OF 955 00:29:15,625 --> 00:29:17,291 YOU FAGGOTS GET PAID! 956 00:29:17,291 --> 00:29:19,959 >> "BLONDE AMBITION" WAS PLAYING 957 00:29:19,959 --> 00:29:22,083 IN NEW YORK-- THE R-RATED 958 00:29:22,083 --> 00:29:22,959 VERSION AT ONE THEATER, 959 00:29:22,959 --> 00:29:25,750 AND THE X-RATED VERSION AT 960 00:29:25,750 --> 00:29:27,000 >> IT'S SANDY, AM I RIGHT? 961 00:29:30,083 --> 00:29:32,417 OH, BUT THERE IS AN AMAZING 962 00:29:32,417 --> 00:29:33,875 RESEMBLANCE. 963 00:29:33,875 --> 00:29:35,333 BUT NOW THAT I LOOK AT YOU, 964 00:29:35,333 --> 00:29:36,583 >> WELL, IS MY SISTER HERE 965 00:29:37,709 --> 00:29:39,250 OR NOT? 966 00:29:39,250 --> 00:29:41,875 >> "NEON NIGHTS" HAD A VERY 967 00:29:41,875 --> 00:29:43,542 VERONICA HART PLAYED A MADAME, 968 00:29:46,375 --> 00:29:49,417 AND I WAS KIND OF HER BOY-TOY, 969 00:29:49,417 --> 00:29:50,709 >> I'M GONNA MAKE YOU SWEAT, 970 00:29:51,834 --> 00:29:53,041 BABY. 971 00:29:53,041 --> 00:29:54,208 YOU'RE MY PRIVATE FUCKING 972 00:29:54,208 --> 00:29:56,125 >> THE FILM WAS ACTUALLY 973 00:29:57,291 --> 00:29:59,000 KIND OF FUCKED UP. 974 00:29:59,000 --> 00:30:01,625 UM, THE DAUGHTER IS LISTENING TO 975 00:30:01,625 --> 00:30:03,709 HER MOM AND HER MOM'S BOYFRIEND 976 00:30:03,709 --> 00:30:05,208 AND THEN SHE STARTS 977 00:30:05,625 --> 00:30:08,375 MASTURBATING WITH A HAIRBRUSH. 978 00:30:08,375 --> 00:30:10,709 AND THEN SHE'S IN THE BATHROOM, 979 00:30:10,709 --> 00:30:11,083 AND HE COMES IN, 980 00:30:11,083 --> 00:30:13,250 AND HE'S TELLING HER TO SHUSH 981 00:30:13,250 --> 00:30:14,792 AND TURN AROUND, AND HE'S 982 00:30:14,792 --> 00:30:15,542 GRABBING ON HER 983 00:30:15,542 --> 00:30:16,500 AND TOUCHING HER. 984 00:30:16,500 --> 00:30:18,250 >> NO. 985 00:30:18,250 --> 00:30:21,208 >> TURN AROUND, COME ON. 986 00:30:21,208 --> 00:30:24,250 TURN AROUND, BABY. 987 00:30:24,250 --> 00:30:26,792 THAT'S A GIRL. 988 00:30:26,792 --> 00:30:28,000 THAT'S A GOOD GIRL. 989 00:30:28,000 --> 00:30:29,375 >> WHEN JAKE TEAGUE MAKES 990 00:30:29,375 --> 00:30:31,000 LYSA THATCHER ELEVATE, THEY DID 991 00:30:31,000 --> 00:30:32,458 IT VERY WELL, LIKE, HE WAS 992 00:30:32,458 --> 00:30:33,709 PUTTING HIS ARMS UNDERNEATH HER 993 00:30:33,709 --> 00:30:35,792 BUTT AND OVER HER BOOBS AND 994 00:30:35,792 --> 00:30:37,458 OVER HER VAGINA AND, LIKE, DOING 995 00:30:37,458 --> 00:30:39,000 THE WHOLE CREEPY THING, AND THEN 996 00:30:39,000 --> 00:30:41,458 I LOVE HOW HE GOT IN HER MIND. 997 00:30:41,458 --> 00:30:43,208 HE WAS HAVING SEX WITH ANOTHER 998 00:30:43,208 --> 00:30:45,250 WOMAN WHILE HE WAS INSIDE OF HER 999 00:30:45,250 --> 00:30:46,083 MIND, AND SHE WAS FEELING 1000 00:30:46,083 --> 00:30:47,000 EVERYTHING THAT HIM AND THE 1001 00:30:47,000 --> 00:30:48,125 OTHER WOMAN WERE DOING. 1002 00:30:48,125 --> 00:30:50,208 I THOUGHT THAT WAS PRETTY 1003 00:30:50,208 --> 00:30:51,542 INTERESTING. 1004 00:30:51,542 --> 00:30:54,417 >> SO VERONICA, BACK HOME, 1005 00:30:54,417 --> 00:30:58,750 IS TAKING A SHOWER, AND A LA 1006 00:30:58,750 --> 00:31:03,625 HITCHCOCK IN "PSYCHO," UH, I 1007 00:31:03,625 --> 00:31:05,750 ENTER-- BUT I HAD SOME FLOWERS-- 1008 00:31:05,750 --> 00:31:07,333 AND I PULL BACK THE CURTAIN, 1009 00:31:07,333 --> 00:31:08,917 AND SHE SCREAMS. 1010 00:31:08,917 --> 00:31:11,000 >> (SCREAMING) 1011 00:31:11,000 --> 00:31:13,667 ♪♪ (STRINGS SHRIEKING) 1012 00:31:15,000 --> 00:31:17,250 >> GOTCHA! 1013 00:31:17,250 --> 00:31:18,959 OH, MAN, WERE YOU EVER GOIN'! 1014 00:31:18,959 --> 00:31:19,875 >> NO! 1015 00:31:19,875 --> 00:31:20,583 >> PEEING IN YOUR PANTS, 1016 00:31:20,583 --> 00:31:23,458 YOU WERE SO SCARED. 1017 00:31:23,458 --> 00:31:24,542 >> YOU FUCK! 1018 00:31:24,542 --> 00:31:26,291 >> SHE'S ALL PISSED OFF AT THAT, 1019 00:31:26,291 --> 00:31:27,000 AND THEN WE GO OFF IN THE 1020 00:31:27,000 --> 00:31:30,417 BEDROOM AND MAKE REALLY FRANTIC 1021 00:31:30,417 --> 00:31:31,625 AND HARD, HARD SEX. 1022 00:31:31,625 --> 00:31:33,083 >> I THOUGHT HE DID VERY WELL AT 1023 00:31:33,083 --> 00:31:34,458 KEEPING THE PLOT TOGETHER AND 1024 00:31:34,458 --> 00:31:35,166 MAKING IT AN INTERESTING MOVIE 1025 00:31:35,166 --> 00:31:38,208 THAT IS, NOT ONLY RISKY AND 1026 00:31:38,208 --> 00:31:40,583 DIFFERENT AND VERY INTERESTING 1027 00:31:40,583 --> 00:31:42,834 WITH THE MAGICIAN AND HER 1028 00:31:42,834 --> 00:31:44,208 HITCH-HIKING AND BEING IN LOVE 1029 00:31:44,208 --> 00:31:46,750 WITH HER MOTHER'S BOYFRIEND, 1030 00:31:46,750 --> 00:31:47,375 >> I WANNA GIVE IT A TRY. 1031 00:31:49,083 --> 00:31:51,291 I DON'T WANNA LOOK BACK 1032 00:31:51,291 --> 00:31:52,250 WITH REGRETS. 1033 00:31:52,250 --> 00:31:53,625 YOU KNOW, IF ONLY I'D GONE 1034 00:31:53,625 --> 00:31:54,667 TO NEW YORK, I COULD'VE BEEN 1035 00:31:54,667 --> 00:31:56,166 >> THE PLOT OF "ROOMMATES" IS 1036 00:31:58,375 --> 00:32:00,750 SHE HAPPENS TO BE A HOOKER, 1037 00:32:02,542 --> 00:32:04,166 AND SHE DECIDES TO GET OUT 1038 00:32:04,166 --> 00:32:04,542 OF THE BUSINESS. 1039 00:32:04,542 --> 00:32:06,041 AND HER APARTMENT'S TOO BIG 1040 00:32:06,041 --> 00:32:07,834 FOR HER, SO SHE CONSIGNS 1041 00:32:07,834 --> 00:32:08,291 TWO ROOMMATES TO COME 1042 00:32:08,291 --> 00:32:10,000 >> WELL, THERE YOU HAVE IT-- 1043 00:32:10,583 --> 00:32:12,250 >> ONE WAS, UH, A BEAUTIFUL, 1044 00:32:14,667 --> 00:32:16,792 GORGEOUS MODEL, WHO, 1045 00:32:16,792 --> 00:32:18,333 UNFORTUNATELY, SEEMED TO HAVE 1046 00:32:18,333 --> 00:32:19,500 A DRUG PROBLEM AND GET IN 1047 00:32:19,500 --> 00:32:21,000 AND I PLAYED A COLLEGE STUDENT 1048 00:32:23,125 --> 00:32:24,542 WHO, ACTUALLY, I THINK, 1049 00:32:24,542 --> 00:32:25,542 RAN AWAY FROM COLLEGE. 1050 00:32:25,542 --> 00:32:27,583 I WAS HAVING AN AFFAIR WITH MY 1051 00:32:27,583 --> 00:32:28,792 COLLEGE PROFESSOR, AND IT 1052 00:32:28,792 --> 00:32:30,250 FINALLY DAWNED ON ME THAT 1053 00:32:30,250 --> 00:32:32,250 HE DIDN'T LOVE ME AT ALL. 1054 00:32:32,250 --> 00:32:33,250 >> MY CHARACTER HAD SOME BAD 1055 00:32:33,250 --> 00:32:36,417 PEOPLE IN HER LIFE, AND, UH, 1056 00:32:36,417 --> 00:32:38,959 STUFF HAPPENS BECAUSE I RUN 1057 00:32:38,959 --> 00:32:40,458 RAMPANT, AND I KIND OF 1058 00:32:40,458 --> 00:32:41,333 LEARN MY LESSON. 1059 00:32:41,333 --> 00:32:42,667 WHERE AM I? 1060 00:32:42,667 --> 00:32:43,750 >> YOU'RE IN QUEENS. WHERE THE 1061 00:32:43,750 --> 00:32:44,875 FUCK DO YOU THINK YOU ARE? 1062 00:32:44,875 --> 00:32:46,583 >> THE FAMOUS RAPE SCENE 1063 00:32:46,583 --> 00:32:48,291 FROM "ROOMMATES." 1064 00:32:48,291 --> 00:32:50,542 SO MUCH OF IT WAS INFERRED. 1065 00:32:50,542 --> 00:32:52,709 THE BACKS OF THE ACTORS WERE TO 1066 00:32:52,709 --> 00:32:53,667 THE CAMERA. 1067 00:32:53,667 --> 00:32:54,959 I WAS LAYING ON THE FLOOR. 1068 00:32:54,959 --> 00:32:56,458 >> RUB SOME ON HER FACE, SAL, 1069 00:32:56,458 --> 00:32:57,458 RUB IT IN. 1070 00:32:57,458 --> 00:32:58,125 MAKE HER EAT IT. 1071 00:32:58,125 --> 00:33:00,083 >> AGAIN, YOU HEAR THE SOUNDS, 1072 00:33:00,083 --> 00:33:02,291 YOU HEAR THEIR VOICES, YOU CAN 1073 00:33:02,291 --> 00:33:04,083 ONLY IMAGINE THE WORST POSSIBLE 1074 00:33:04,083 --> 00:33:06,792 THING IS HAPPENING TO ME. 1075 00:33:06,792 --> 00:33:08,875 JAMIE GILLIS COMES BURSTING IN, 1076 00:33:08,875 --> 00:33:10,458 STARTS KNOCKING THE GUYS ASIDE, 1077 00:33:10,458 --> 00:33:11,959 AND THEN JAMIE STARTS DOING 1078 00:33:11,959 --> 00:33:13,250 JAMIE GILLIS. 1079 00:33:13,250 --> 00:33:13,709 >> DID THEY HURT YOU? 1080 00:33:13,709 --> 00:33:14,834 >> NO. 1081 00:33:14,834 --> 00:33:16,500 >> LET ME SEE IF THEY HURT YOU. 1082 00:33:16,500 --> 00:33:18,417 THEY STUCK THE BOTTLE-- 1083 00:33:18,417 --> 00:33:19,375 DID THEY HURT YOU WITH-- 1084 00:33:19,375 --> 00:33:19,917 DID THEY HURT YOU WITH THE 1085 00:33:19,917 --> 00:33:21,667 BOTTLE WHEN THEY-- WHEN THEY 1086 00:33:21,667 --> 00:33:22,709 SHOVED IT IN? 1087 00:33:22,709 --> 00:33:23,834 >> HE'S NOT THERE TO HELP ME, 1088 00:33:23,834 --> 00:33:25,500 HE'S THERE TO JERK OFF ON ME, 1089 00:33:25,500 --> 00:33:26,208 YOU KNOW? 1090 00:33:26,208 --> 00:33:28,542 SICK, TWISTED JAMIE GILLIS. 1091 00:33:28,542 --> 00:33:29,959 >> HE WASN'T INTERESTED IN 1092 00:33:29,959 --> 00:33:31,458 DEGRADING ANYBODY, YOU KNOW? 1093 00:33:31,458 --> 00:33:32,625 CHUCK'S IDEA OF A GREAT TIME 1094 00:33:32,625 --> 00:33:34,834 WAS TO-- TO HAVE FUN. 1095 00:33:34,834 --> 00:33:36,500 >> (LAUGHING) 1096 00:33:36,500 --> 00:33:38,000 COME ON, YOU GUYS ARE ANIMALS. 1097 00:33:38,000 --> 00:33:39,875 TAKE A BREAK ALREADY. 1098 00:33:39,875 --> 00:33:41,125 IT DIDN'T FIT INTO ANY CATEGORY. 1099 00:33:41,125 --> 00:33:42,166 SO CHUCK REALLY WENT OUT 1100 00:33:42,166 --> 00:33:44,417 ON A LIMB TO MAKE THIS. 1101 00:33:44,417 --> 00:33:46,333 IT WAS ONE OF THE FIRST MOVIES 1102 00:33:46,333 --> 00:33:47,125 WHERE EVERYBODY WASN'T RUNNING 1103 00:33:47,125 --> 00:33:49,250 AROUND, GOING "FUCK ME, FUCK ME, 1104 00:33:49,250 --> 00:33:49,500 FUCK ME." 1105 00:33:49,500 --> 00:33:51,583 >> IN THE END OF THE 1970s, 1106 00:33:51,583 --> 00:33:52,750 THEATRICAL PORN FILMS 1107 00:33:52,750 --> 00:33:54,333 BEGIN TO STRUGGLE. 1108 00:33:54,333 --> 00:33:55,125 OBSCENITY PROSECUTIONS ROSE, 1109 00:33:55,125 --> 00:33:57,792 ZONING LAWS HAD FORCED ADULT 1110 00:33:57,792 --> 00:33:58,917 THEATERS INTO THE WORST 1111 00:33:58,917 --> 00:34:00,917 NEIGHBORHOODS, AND THE PORN CHIC 1112 00:34:00,917 --> 00:34:02,000 THAT FUELED TICKET SALES 1113 00:34:02,000 --> 00:34:02,250 DIED OUT. 1114 00:34:02,250 --> 00:34:05,041 BUT THERE WAS A NEW FRONTIER 1115 00:34:05,041 --> 00:34:05,542 OPENING FOR ADULT MOVIE 1116 00:34:05,542 --> 00:34:08,875 PRODUCERS-- THE VCR WAS ABOUT 1117 00:34:08,875 --> 00:34:10,375 TO REDEFINE THE PORN INDUSTRY 1118 00:34:10,375 --> 00:34:11,291 >> WHEN DID PEOPLE START 1119 00:34:12,583 --> 00:34:15,041 TO BUY VHS's? 1120 00:34:15,041 --> 00:34:16,083 WHEN WAS THAT STARTING TO BE 1121 00:34:16,083 --> 00:34:17,333 THE NORM VERSUS, UH, 1122 00:34:17,333 --> 00:34:18,625 GOING TO THE THEATER? 1123 00:34:18,625 --> 00:34:19,333 >> IN THE MID-'70s, THE MACHINES 1124 00:34:19,333 --> 00:34:21,375 CAME OUT, AND PEOPLE THOUGHT 1125 00:34:21,375 --> 00:34:23,208 THIS WAS THE GREATEST INVENTION 1126 00:34:23,208 --> 00:34:24,834 AND THEY HAD TO HAVE ONE-- 1127 00:34:26,291 --> 00:34:26,709 YOU HAD TO GO OUT. 1128 00:34:26,709 --> 00:34:28,125 BUT, LIKE YOU SAID, THEY WERE 1129 00:34:28,125 --> 00:34:28,709 EXPENSIVE. THEY WERE 1130 00:34:28,709 --> 00:34:29,166 $1,000 A MACHINE. 1131 00:34:29,166 --> 00:34:31,834 AND THE MOVIES THEMSELVES 1132 00:34:31,834 --> 00:34:34,291 WERE $95. 1133 00:34:34,291 --> 00:34:36,166 THEY WOULD HAVE PARTIES, THOUGH. 1134 00:34:36,166 --> 00:34:37,125 THEY WOULD GO IN AND CHIP IN 1135 00:34:37,125 --> 00:34:37,667 >> THERE WAS MORE WORK THAN-- 1136 00:34:39,875 --> 00:34:41,041 THAN GIRLS IN THE BUSINESS. 1137 00:34:41,041 --> 00:34:42,625 LIKE, THERE WERE, LIKE, 12 OF US 1138 00:34:42,625 --> 00:34:43,417 REALLY IN THE BUSINESS, 1139 00:34:43,417 --> 00:34:45,709 IT SEEMED, AND I THINK WE ALL 1140 00:34:45,709 --> 00:34:47,875 I MEAN, IT WAS JUST-- THE-- 1141 00:34:49,291 --> 00:34:50,500 THE PRODUCERS COULDN'T GET 1142 00:34:50,500 --> 00:34:51,583 ENOUGH GIRLS. 1143 00:34:51,583 --> 00:34:52,709 >> SO WHAT WAS IT LIKE 1144 00:34:52,709 --> 00:34:54,166 SHOOTING-- WHAT WAS A DAY ONSET 1145 00:34:54,166 --> 00:34:55,375 LIKE BACK THEN? 1146 00:34:55,375 --> 00:34:56,375 >> UM, LET'S SEE, THERE WAS 1147 00:34:56,375 --> 00:34:58,917 USUALLY A SCRIPT, LIKE, A 1148 00:34:58,917 --> 00:35:00,291 20-PAGE SCRIPT, WHICH ALWAYS 1149 00:35:00,291 --> 00:35:01,792 IRRITATED ME, 'CAUSE I WAS NOT 1150 00:35:01,792 --> 00:35:03,208 GOOD AT MEMORIZING THINGS. 1151 00:35:03,208 --> 00:35:04,750 IT WAS ALWAYS SHOT AT, LIKE, 1152 00:35:04,750 --> 00:35:06,083 A REALLY NICE HOUSE, 1153 00:35:06,083 --> 00:35:07,917 THE LOCATION-- NOT ALWAYS, BUT 1154 00:35:07,917 --> 00:35:08,500 FOR THE MOST PART IT WAS, YOU 1155 00:35:08,500 --> 00:35:10,583 KNOW, SHOT IN REALLY NICE HOUSES 1156 00:35:10,583 --> 00:35:12,583 UP IN PORN VALLEY SOMEWHERE. 1157 00:35:12,583 --> 00:35:14,083 THEY ALWAYS HAD CATERING, 1158 00:35:14,083 --> 00:35:14,500 HAIR, AND MAKEUP. 1159 00:35:14,500 --> 00:35:17,792 I MEAN, IT WAS LIKE-- IN A WEIRD 1160 00:35:17,792 --> 00:35:19,458 WAY, IT WAS KINDA LIKE BEING ON 1161 00:35:19,458 --> 00:35:20,375 A REAL MOVIE SET, ONLY WE WERE 1162 00:35:20,375 --> 00:35:22,500 NAKED HAVING SEX. 1163 00:35:22,500 --> 00:35:23,083 >> YOU COULD ACTUALLY SEE THE 1164 00:35:23,083 --> 00:35:24,625 PLAYBACK AT-- ON THE SET. 1165 00:35:24,625 --> 00:35:26,709 IT WAS LIKE A WHOLE NEW WORLD. 1166 00:35:26,709 --> 00:35:28,208 BUT THE VIDEO QUALITY IN THOSE 1167 00:35:28,208 --> 00:35:30,625 DAYS WAS NOT THE BEST. 1168 00:35:30,625 --> 00:35:32,083 BUT EVERYBODY WANTED TO DO IT 1169 00:35:32,083 --> 00:35:33,208 BECAUSE IT WAS CHEAP, 1170 00:35:33,208 --> 00:35:34,709 IT WAS QUICK, IT WAS PAINLESS. 1171 00:35:34,709 --> 00:35:37,291 >> SO, AS A PERFORMER, WHAT... 1172 00:35:37,291 --> 00:35:38,583 DID THE CONSUMERS 1173 00:35:38,583 --> 00:35:39,583 SORT OF EXPECT FROM YOU? 1174 00:35:39,583 --> 00:35:40,417 LIKE, WERE YOU GUYS SHOOTING 1175 00:35:40,417 --> 00:35:42,000 A LOT OF CRAZY SEX ACTS? 1176 00:35:42,000 --> 00:35:42,333 >> NUDITY. NO. 1177 00:35:42,333 --> 00:35:43,417 >> OR DID THEY WANT YOU TO BE 1178 00:35:43,417 --> 00:35:45,834 A GOOD ACTRESS? DID THEY CARE? 1179 00:35:45,834 --> 00:35:46,792 DID THEY JUST WANNA SEE YOUR-- 1180 00:35:46,792 --> 00:35:48,667 >> I THINK, IN 1984, THEY WERE 1181 00:35:48,667 --> 00:35:50,375 JUST HAPPY THAT THEY COULD WATCH 1182 00:35:50,375 --> 00:35:52,583 A FILM IN THEIR HOUSE OF A NAKED 1183 00:35:52,583 --> 00:35:54,125 GIRL SUCKING A GUY'S DICK. 1184 00:35:54,125 --> 00:35:56,000 LIKE, THERE WAS DEFINITELY NO 1185 00:35:56,000 --> 00:35:57,667 CRAZY SEX ACTS LIKE THERE ARE-- 1186 00:35:57,667 --> 00:35:58,417 I MEAN, IT WAS KINDA LIKE, YOU 1187 00:35:58,417 --> 00:35:59,417 KNOW, THE TYPICAL THREE 1188 00:35:59,417 --> 00:36:03,083 POSITIONS, HEAD, HIM EATING ME 1189 00:36:03,083 --> 00:36:04,458 OUT, BUT IT WASN'T CRAZY SEX. 1190 00:36:04,458 --> 00:36:06,625 I REALLY THINK, BACK IN '84, 1191 00:36:06,625 --> 00:36:07,250 PEOPLE WERE JUST SO HAPPY THAT 1192 00:36:07,250 --> 00:36:08,417 THEY COULD WATCH PEOPLE HAVE SEX 1193 00:36:08,417 --> 00:36:11,166 >> GOOD EVENING, MUTANTS 1194 00:36:12,333 --> 00:36:16,333 AND MUTETTES, AND WELCOME TO 1195 00:36:16,333 --> 00:36:20,417 >> THE STORYLINE IS THERE'S BEEN 1196 00:36:22,959 --> 00:36:25,000 THING AND, IN THE WAKE OF THAT, 1197 00:36:28,750 --> 00:36:31,542 STILL STAND THE TOUCH OF ANOTHER 1198 00:36:33,291 --> 00:36:35,625 HUMAN BEING, AND THE REST OF 1199 00:36:35,625 --> 00:36:37,083 THEM CAN'T. 1200 00:36:37,083 --> 00:36:37,709 >> TRUST ME, FOLKS, I KNOW WHAT 1201 00:36:37,709 --> 00:36:39,291 YOU WANT, AND I KNOW WHAT IT 1202 00:36:39,291 --> 00:36:40,834 FEELS LIKE WHEN YOU DON'T 1203 00:36:40,834 --> 00:36:41,291 GET IT. 1204 00:36:41,291 --> 00:36:44,959 NEED IS MY FIX, LADIES AND 1205 00:36:44,959 --> 00:36:45,750 GENTLEMEN. 1206 00:36:45,750 --> 00:36:47,333 >> AND SO THE PEOPLE WHO CAN 1207 00:36:47,333 --> 00:36:48,917 TOUCH OTHER PEOPLE AND, 1208 00:36:48,917 --> 00:36:50,750 THEREFORE, HAVE SEX ARE FORCED 1209 00:36:50,750 --> 00:36:53,500 TO STAGE THESE LIVE SEX SHOWS 1210 00:36:53,500 --> 00:36:56,959 FOR THE PEOPLE WHO CAN'T HAVE 1211 00:36:56,959 --> 00:36:58,041 SEX LIKE THAT. 1212 00:36:58,041 --> 00:36:58,500 IT'S, LIKE, WEIRD AND 1213 00:36:58,500 --> 00:37:00,333 EXPERIMENTAL, BUT THEN IT'S GOT 1214 00:37:00,333 --> 00:37:03,458 THIS VERY OBVIOUS METAPHOR 1215 00:37:03,458 --> 00:37:06,333 ABOUT PORNOGRAPHY AND ITS PLACE 1216 00:37:06,333 --> 00:37:07,166 IN THE WORLD. 1217 00:37:07,166 --> 00:37:09,333 >> LEAVING SO SOON, FRIEND? 1218 00:37:09,333 --> 00:37:12,250 FEELING A LITTLE QUEASY? 1219 00:37:12,250 --> 00:37:13,500 >> LIVE THEATER, ON THE OTHER 1220 00:37:13,500 --> 00:37:15,542 HAND, AND THE HISTORY OF LIVE 1221 00:37:15,542 --> 00:37:17,041 THEATER, YOU CAN SEE A LOT OF 1222 00:37:17,041 --> 00:37:18,542 WHERE "CAFE FLESH'S" REFERENCES 1223 00:37:18,542 --> 00:37:20,125 PROBABLY CAME FROM. 1224 00:37:20,125 --> 00:37:21,917 >> "CAFE FLESH" STANDS THE TEST 1225 00:37:21,917 --> 00:37:23,417 OF TIME BECAUSE IT'S A PORNO 1226 00:37:23,417 --> 00:37:26,083 ABOUT PORNO. 1227 00:37:26,083 --> 00:37:29,291 IT, IT VERY MUCH IS WHAT IT IS, 1228 00:37:29,291 --> 00:37:31,792 AND THERE'S SOMETHING SO 1229 00:37:31,792 --> 00:37:34,291 WONDERFULLY HONEST ABOUT IT. 1230 00:37:34,291 --> 00:37:36,583 BUT THEN IT'S GOT ALL OF THE 1231 00:37:36,583 --> 00:37:38,500 OTHER LAYERS, SO IT REMAINS 1232 00:37:38,500 --> 00:37:39,917 INTERESTING. 1233 00:37:39,917 --> 00:37:41,750 I MEAN, YOU WATCH IT SIX OR 1234 00:37:41,750 --> 00:37:43,083 SEVEN TIMES, YOU'RE STILL GONNA 1235 00:37:43,083 --> 00:37:44,583 >> DOES IT EVER BOTHER YOU 1236 00:37:46,792 --> 00:37:47,709 FUCKING YOUR BEST FRIEND'S 1237 00:37:47,709 --> 00:37:49,250 WIFE? 1238 00:37:49,250 --> 00:37:51,875 >> (CHUCKLING) YOU'RE IN 1239 00:37:51,875 --> 00:37:52,417 >> "SCOUNDRELS" WAS THE FIRST 1240 00:37:54,625 --> 00:37:56,333 FILM TO WIN A BEST PICTURE AWARD 1241 00:37:56,333 --> 00:37:57,875 AND HOWARD SAID TO ME, CECIL 1242 00:37:59,166 --> 00:37:59,792 HOWARD, "YOU'RE NOT GONNA CRACK 1243 00:37:59,792 --> 00:38:00,417 ONE JOKE IN THIS. 1244 00:38:00,417 --> 00:38:02,750 YOU'RE NOT GONNA BE-- NO MUGGING 1245 00:38:02,750 --> 00:38:03,417 TO THE CAMERA. 1246 00:38:03,417 --> 00:38:04,667 YOU'RE NOT GONNA BE A HAM." 1247 00:38:04,667 --> 00:38:06,125 >> RON JEREMY SCARED ME AT THAT 1248 00:38:06,125 --> 00:38:07,291 TIME, UM... 1249 00:38:07,291 --> 00:38:07,834 IT WAS, IT WAS REALLY ODD 1250 00:38:07,834 --> 00:38:09,709 BECAUSE, BEFORE I HAD MET 1251 00:38:09,709 --> 00:38:11,166 RON JEREMY, I HADN'T HEARD 1252 00:38:11,166 --> 00:38:13,208 ANYTHING ABOUT HIM, UM, BUT HIS 1253 00:38:13,208 --> 00:38:14,208 HEADSHOT TO ME LOOKED LIKE 1254 00:38:14,208 --> 00:38:14,917 >> HOWARD WAS A TOUGH GUY. 1255 00:38:15,792 --> 00:38:16,959 CECIL HOWARD WAS TOUGH. 1256 00:38:16,959 --> 00:38:17,458 HE WANTED THINGS HIS WAY. 1257 00:38:17,458 --> 00:38:19,583 BUT I RESPECT THAT. 1258 00:38:19,583 --> 00:38:20,792 >> I REALLY ENJOYED WORKING WITH 1259 00:38:20,792 --> 00:38:23,041 CECIL HOWARD, AND HE WAS ONE OF 1260 00:38:23,041 --> 00:38:23,959 MY FAVORITE DIRECTORS, 1261 00:38:23,959 --> 00:38:25,458 AND I WORKED FOR HIM 1262 00:38:25,458 --> 00:38:26,625 >> EVERYTHING IN THE MOVIE IS 1263 00:38:27,542 --> 00:38:29,750 VERY DARK LIT AND VERY DARK 1264 00:38:29,750 --> 00:38:30,875 IN GENERAL. 1265 00:38:30,875 --> 00:38:32,583 THE DRAMA OF THE MOVIE, I THINK, 1266 00:38:32,583 --> 00:38:33,625 >> AH, I'M GONNA CHANGE. 1267 00:38:40,625 --> 00:38:42,917 >> THAT'LL BE THE DAY. 1268 00:38:42,917 --> 00:38:43,792 >> IT'S A FASCINATING 1269 00:38:43,792 --> 00:38:44,959 PSYCHODRAMA. 1270 00:38:44,959 --> 00:38:46,500 THROUGHOUT THE MOVIE, 1271 00:38:46,500 --> 00:38:48,083 I'M IN CLOWN WHITE 1272 00:38:48,083 --> 00:38:48,542 TALKING ABOUT MY LIFE. 1273 00:38:48,542 --> 00:38:50,500 >> I'VE BEEN GOOD. 1274 00:38:50,500 --> 00:38:51,917 I'VE BEEN REAL GOOD. 1275 00:38:51,917 --> 00:38:54,083 FUCK IT, NOBODY TELLS THE TRUTH 1276 00:38:54,083 --> 00:38:54,834 ALL THE TIME. 1277 00:38:54,834 --> 00:38:55,834 >> EVERYBODY'S FUCKING EVERYBODY 1278 00:38:55,834 --> 00:38:57,083 IN THIS MOVIE, BUT IT'S NOT A 1279 00:38:57,083 --> 00:38:58,291 HAPPY-GO-LUCKY THING, YOU KNOW. 1280 00:38:58,291 --> 00:39:00,417 THE DOCTOR IS CHEATING ON HIS, 1281 00:39:00,417 --> 00:39:01,542 UM, HIS WIFE WITH HIS SECRETARY. 1282 00:39:01,542 --> 00:39:03,583 AND, YOU KNOW, HIS SECRETARY'S 1283 00:39:03,583 --> 00:39:05,333 CHEATING ON HIM WITH HIS BEST 1284 00:39:05,333 --> 00:39:06,000 FRIEND WHO, I BELIEVE, HIS WIFE 1285 00:39:06,000 --> 00:39:07,458 IS ALSO SLEEPING WITH. 1286 00:39:07,458 --> 00:39:09,500 (SIGHING) 1287 00:39:09,500 --> 00:39:11,709 AND THEN THEY HAVE THIS TEENAGE 1288 00:39:11,709 --> 00:39:14,083 DAUGHTER WHO FEELS INVISIBLE. 1289 00:39:14,083 --> 00:39:15,500 >> MY PERFECT PARENTS. 1290 00:39:15,500 --> 00:39:16,875 THEY DON'T KNOW ANYTHING 1291 00:39:16,875 --> 00:39:17,500 ABOUT ME. 1292 00:39:17,500 --> 00:39:20,667 WHAT DO I LIKE? 1293 00:39:20,667 --> 00:39:22,375 I LIKE MAKING LOVE. 1294 00:39:22,375 --> 00:39:23,417 >> SO SHE'S TAKING IT OUT 1295 00:39:23,417 --> 00:39:24,542 BY BECOMING A WHORE 1296 00:39:24,542 --> 00:39:26,208 AND HAVING ALL THE SEX 1297 00:39:26,208 --> 00:39:27,166 IN THE WORLD THAT SHE CAN. 1298 00:39:27,166 --> 00:39:27,959 >> SHE'S THE GIRL AT THE CANDY 1299 00:39:27,959 --> 00:39:29,834 STORE ON THE CORNER. 1300 00:39:29,834 --> 00:39:30,750 THAT'S WHY I GET TO SEE HER 1301 00:39:30,750 --> 00:39:31,625 EVERY DAY, AND THEN FINALLY, 1302 00:39:31,625 --> 00:39:33,166 I JUST TELL HER TO HOP IN. 1303 00:39:33,166 --> 00:39:34,208 SHE GETS IN MY CAR, AND WE'RE 1304 00:39:34,208 --> 00:39:36,166 GONNA ESCAPE AND RUN AWAY. 1305 00:39:36,166 --> 00:39:37,583 >> MY MOM ALWAYS TOLD ME 1306 00:39:37,583 --> 00:39:38,583 I SHOULD MARRY A DOCTOR. 1307 00:39:38,583 --> 00:39:42,500 (HORN HONKING) 1308 00:39:45,500 --> 00:39:46,667 (SCREAMING) 1309 00:39:46,667 --> 00:39:49,542 >> WE CRASH MY CAR AND DIE. 1310 00:39:49,542 --> 00:39:50,625 WHICH IS CERTAINLY A STATEMENT 1311 00:39:50,625 --> 00:39:51,542 AGAINST INFIDELITY, YOU KNOW? 1312 00:39:51,542 --> 00:39:54,333 >> EVERYBODY HAS A DARK SIDE, 1313 00:39:54,333 --> 00:39:55,625 AND IT'S REALLY HARD TO HIDE 1314 00:39:55,625 --> 00:39:56,041 NO MATTER HOW PRETTY 1315 00:39:56,041 --> 00:39:56,709 YOUR SURROUNDINGS ARE. 1316 00:39:56,709 --> 00:39:59,000 AND THIS MOVIE REALLY DIGS INTO 1317 00:39:59,000 --> 00:40:00,709 EVERYBODY'S SEXUALLY DEVIANT 1318 00:40:00,709 --> 00:40:01,542 DARK SIDE. 1319 00:40:01,542 --> 00:40:01,959 >> NO ONE FILMS LIKE 1320 00:40:01,959 --> 00:40:02,542 THAT ANYMORE. 1321 00:40:02,542 --> 00:40:04,500 CECIL HOWARD, CHUCK VINCENT, 1322 00:40:04,500 --> 00:40:05,500 RADLEY METZGER, HENRI PACHARD, 1323 00:40:05,500 --> 00:40:06,542 ANTHONY SPINELLI ON THE WEST 1324 00:40:06,542 --> 00:40:08,917 COAST, THESE GUYS MADE FILMS 1325 00:40:08,917 --> 00:40:09,542 WHICH HAD SEX IN IT. 1326 00:40:12,625 --> 00:40:14,500 >> BY THE WAY, WHAT'S YOUR NAME? 1327 00:40:14,500 --> 00:40:15,333 >> ELIZABETH. 1328 00:40:15,333 --> 00:40:16,583 >> THAT'S A NICE NAME. 1329 00:40:20,709 --> 00:40:20,750 >> SPINELLI, HIS NAME WAS SAM, 1330 00:40:22,458 --> 00:40:22,917 HE WAS THE BACKBONE 1331 00:40:22,917 --> 00:40:23,583 HE WAS MORE THAN, UH, 1332 00:40:26,667 --> 00:40:27,709 A TALENTED DIRECTOR. 1333 00:40:27,709 --> 00:40:30,750 HE WAS MAKING THE BEST MOVIES. 1334 00:40:30,750 --> 00:40:32,917 AND HE BECAME A FRIEND 1335 00:40:32,917 --> 00:40:33,917 AND A MENTOR. 1336 00:40:33,917 --> 00:40:35,500 >> ANTHONY SPINELLI... 1337 00:40:35,500 --> 00:40:36,417 >> WHO IS... 1338 00:40:36,417 --> 00:40:37,834 >> HE WAS MY-- HE'S A DIRECTOR. 1339 00:40:37,834 --> 00:40:39,542 HE'S MY DAD. 1340 00:40:39,542 --> 00:40:40,583 IT WAS A GREAT TEAM. 1341 00:40:41,917 --> 00:40:42,959 HE WOULD USUALLY SAY, 1342 00:40:42,959 --> 00:40:44,000 "I HAVE AN IDEA." 1343 00:40:44,000 --> 00:40:45,083 AND I'D GO, AND I'D WRITE THE 1344 00:40:45,083 --> 00:40:46,625 ROUGH DRAFT, AND WE, UH, 1345 00:40:46,625 --> 00:40:47,917 SHOWED IT TO HIM, AND WE-- 1346 00:40:47,917 --> 00:40:48,917 GREAT COLLABORATION, 1347 00:40:48,917 --> 00:40:49,875 >> THE PLOT OF "NOTHING TO HIDE" 1348 00:40:51,500 --> 00:40:53,208 REALLY REMINDED ME OF 1349 00:40:53,208 --> 00:40:54,500 "OF MICE AND MEN." 1350 00:40:54,500 --> 00:40:56,583 AND I THINK THAT THAT'S 1351 00:40:56,583 --> 00:40:56,917 REALLY DIFFERENT 1352 00:40:56,917 --> 00:40:59,709 FOR A PORN MOVIE. 1353 00:40:59,709 --> 00:41:00,583 HOW TO BE A MAN. 1354 00:41:01,625 --> 00:41:04,291 AND "LOVE'S FOR SUCKERS," 1355 00:41:04,291 --> 00:41:05,250 HE'S TEACHING ME. 1356 00:41:05,250 --> 00:41:06,792 AND I FALL IN LOVE, 1357 00:41:06,792 --> 00:41:07,917 AND I WANNA MARRY. 1358 00:41:07,917 --> 00:41:10,375 >> HAVE YOU EVER LOVED SOMEBODY? 1359 00:41:10,375 --> 00:41:14,125 >> NO. 1360 00:41:14,125 --> 00:41:15,083 >> HAVE YOU EVER WANTED 1361 00:41:15,083 --> 00:41:15,750 TO LOVE SOMEBODY? 1362 00:41:15,750 --> 00:41:17,542 >> NO. 1363 00:41:17,542 --> 00:41:19,000 >> I THINK THAT THERE IS PARTS 1364 00:41:19,000 --> 00:41:19,709 OF THIS MOVIE THAT YOU CAN 1365 00:41:19,709 --> 00:41:20,625 JERK-OFF TO. 1366 00:41:20,625 --> 00:41:23,083 >> SLOW AND DEEP. 1367 00:41:23,083 --> 00:41:23,750 >> AS LONG AS YOU'RE INTO 1368 00:41:23,750 --> 00:41:24,041 JOHN LESLIE. 1369 00:41:24,041 --> 00:41:27,125 ONE OF THE SCENES IN THERE 1370 00:41:27,125 --> 00:41:29,875 HAS SOMETHING FOR MOST PEOPLE TO 1371 00:41:29,875 --> 00:41:30,667 JERK OFF TO. 1372 00:41:30,667 --> 00:41:33,250 >> OH, JACK! 1373 00:41:33,250 --> 00:41:35,500 >> I'M NOT SURE YOU CAN JERK OFF 1374 00:41:35,500 --> 00:41:38,542 TO THE RICHARD PACHECO SCENE. 1375 00:41:38,542 --> 00:41:39,125 >> NONE OF THE WOMEN THAT HAD 1376 00:41:39,125 --> 00:41:42,917 COME BY FIT WHAT SAM WANTED TO 1377 00:41:42,917 --> 00:41:44,166 COME OUT OF THAT CHARACTER. 1378 00:41:44,166 --> 00:41:46,458 >> AH! 1379 00:41:47,834 --> 00:41:49,000 WHY DON'T YOU WATCH WHERE 1380 00:41:49,000 --> 00:41:49,875 YOU'RE GOING?! 1381 00:41:49,875 --> 00:41:51,500 >> SHE WAS PERFECT. 1382 00:41:51,500 --> 00:41:53,375 >> THE SEX SCENE BETWEEN RICHARD 1383 00:41:53,375 --> 00:41:56,083 AND CHELSEA WAS MY FAVORITE. 1384 00:41:56,083 --> 00:42:00,000 IT WAS SO REAL. 1385 00:42:00,000 --> 00:42:02,291 >> I SORT OF GOT MY-- 1386 00:42:02,291 --> 00:42:04,250 SOME SPITTLE ON MY FINGER AND 1387 00:42:04,250 --> 00:42:05,500 PLAYED WITH HER NIPPLE AND... 1388 00:42:05,500 --> 00:42:07,250 "NO, NO, NO, 1389 00:42:07,250 --> 00:42:08,250 WHAT ARE YOU DOING? 1390 00:42:08,250 --> 00:42:09,875 LENNY WOULD NEVER DO THAT!" 1391 00:42:09,875 --> 00:42:11,583 >> SEE? 1392 00:42:11,583 --> 00:42:12,083 >> OH, IS THAT A RUBBER? 1393 00:42:12,083 --> 00:42:14,166 >> HOW'D YOU KNOW? 1394 00:42:14,166 --> 00:42:15,333 >> I SAW ONE IN 1395 00:42:15,333 --> 00:42:15,792 MY BROTHER'S DRAWER. 1396 00:42:15,792 --> 00:42:18,417 >> I'VE NEVER SEEN THAT IN 1397 00:42:18,417 --> 00:42:19,000 A PORN MOVIE BEFORE WHERE THEY 1398 00:42:19,000 --> 00:42:21,917 ACTUALLY STOP THE SEX TO PUT ON 1399 00:42:21,917 --> 00:42:23,208 A CONDOM, AND THEY TALK ABOUT 1400 00:42:23,208 --> 00:42:23,834 PUTTING ON THE CONDOM AND HOW 1401 00:42:23,834 --> 00:42:26,333 SHE'S NEVER DONE THAT BEFORE, 1402 00:42:26,333 --> 00:42:27,500 AND IT JUST-- IT WAS SO, 1403 00:42:27,500 --> 00:42:29,792 SO REAL. I LOVED IT. 1404 00:42:29,792 --> 00:42:30,792 >> THERE'S A GREAT AWKWARDNESS 1405 00:42:30,792 --> 00:42:33,375 AND PLAYFULNESS ABOUT WINNING 1406 00:42:33,375 --> 00:42:34,583 THIS, ABOUT PUTTING ON THE 1407 00:42:34,583 --> 00:42:35,709 CONDOM 'CAUSE IT'S PLAYED, 1408 00:42:35,709 --> 00:42:36,875 PLAYED REALISTICALLY. 1409 00:42:36,875 --> 00:42:38,750 SPINELLI PLAYED THE OWNER 1410 00:42:38,750 --> 00:42:41,000 OF A HOT DOG STAND. 1411 00:42:41,000 --> 00:42:43,041 >> YOU DON'T FOOL ME. 1412 00:42:44,792 --> 00:42:45,792 YOU DON'T WANNA STOP BEING 1413 00:42:45,792 --> 00:42:48,041 A MOTHER AND A FATHER, RIGHT? 1414 00:42:48,041 --> 00:42:49,959 >> HE AND JOHN HAVE A LONG SCENE 1415 00:42:49,959 --> 00:42:51,667 WHERE THEY TALK ABOUT, YOU KNOW, 1416 00:42:51,667 --> 00:42:52,083 "YOU'RE JUST JEALOUS 1417 00:42:52,083 --> 00:42:53,333 IS WHAT IT IS." 1418 00:42:53,333 --> 00:42:54,333 YOU'RE GONNA LOSE THE KID. 1419 00:42:54,333 --> 00:42:56,375 WHEN AVN DID THEIR FIRST AWARDS, 1420 00:42:56,375 --> 00:42:59,000 THEY GAVE ME BEST ACTOR FOR 1421 00:42:59,000 --> 00:43:00,875 "IRRESISTIBLE", AND THEY ALSO 1422 00:43:00,875 --> 00:43:03,500 GAVE ME BEST SUPPORTING ACTOR 1423 00:43:03,500 --> 00:43:03,959 FOR "NOTHING TO HIDE." 1424 00:43:03,959 --> 00:43:07,083 THAT PROBABLY WAS THE 1425 00:43:07,083 --> 00:43:08,625 >> FOR SEVERAL MONTHS, I'VE BEEN 1426 00:43:10,166 --> 00:43:12,083 WRITING STORIES, NOT FOR 1427 00:43:12,083 --> 00:43:14,125 PUBLICATION BUT FOR A VERY 1428 00:43:14,125 --> 00:43:14,834 CURIOUS MAN, 1429 00:43:14,834 --> 00:43:17,417 A PRIVATE CLITEROTICA. 1430 00:43:17,417 --> 00:43:19,041 >> JANINE AND I BECAME BEST 1431 00:43:19,041 --> 00:43:20,375 FRIENDS WHEN WE WERE 1432 00:43:20,375 --> 00:43:21,917 18 AND 19 YEARS OLD. 1433 00:43:21,917 --> 00:43:23,125 AND I DON'T THINK EITHER OF US 1434 00:43:23,125 --> 00:43:24,250 REALLY KNEW WHAT TO BE 1435 00:43:24,250 --> 00:43:24,750 TOTALLY PREPARED FOR. 1436 00:43:24,750 --> 00:43:25,834 I THINK SHE'D DONE SOME... 1437 00:43:25,834 --> 00:43:27,917 SHE'D BEEN A "PENTHOUSE" PET SO 1438 00:43:27,917 --> 00:43:28,959 SHE'D DONE SOME "PENTHOUSE" 1439 00:43:28,959 --> 00:43:30,583 VIDEOS, BUT NOT EXACTLY THE 1440 00:43:30,583 --> 00:43:32,000 HARDCORE WE WERE ABOUT READY 1441 00:43:32,000 --> 00:43:32,917 TO GET INVOLVED IN. 1442 00:43:32,917 --> 00:43:34,166 >> WORKING WITH ANDREW BLAKE, 1443 00:43:34,166 --> 00:43:38,041 HE'S, UM... HE'S VERY 1444 00:43:38,041 --> 00:43:40,125 UNDERSTATED, YOU KNOW, QUIET 1445 00:43:40,125 --> 00:43:41,875 GUY, BUT HIS WHEELS ARE ALWAYS 1446 00:43:41,875 --> 00:43:42,125 >> ANDREW BLAKE IS THE 1447 00:43:43,500 --> 00:43:45,417 QUINTESSENTIAL ARTIST. 1448 00:43:45,417 --> 00:43:47,166 I MEAN, HE'S QUIRKY. 1449 00:43:47,166 --> 00:43:49,208 HE'S INTERESTING. 1450 00:43:49,208 --> 00:43:51,000 SOMEWHAT INTROVERTED. 1451 00:43:51,000 --> 00:43:53,542 BIT OF A RECLUSE, UH, EXCEPT FOR 1452 00:43:53,542 --> 00:43:54,500 WHEN HE'S FILMING, AND I THINK 1453 00:43:54,500 --> 00:43:55,417 THAT'S KIND OF WHEN IT ALL 1454 00:43:55,417 --> 00:43:56,583 >> I HIRED THIS GUY TO MAKE 1455 00:43:58,291 --> 00:43:59,959 THESE-- HE MADE, LIKE, 1456 00:43:59,959 --> 00:44:03,291 >> AND BOY, AT THE BEGINNING, 1457 00:44:05,041 --> 00:44:06,959 THERE'S SOME MIGHTY HEFTY ONES. 1458 00:44:06,959 --> 00:44:09,500 THEY WERE QUITE BIG. 1459 00:44:09,500 --> 00:44:12,000 >> AND WHEN HE ARRIVED ON THE 1460 00:44:12,000 --> 00:44:15,750 SET, HE WAS BLOODY, AND HE HAD 1461 00:44:15,750 --> 00:44:17,875 CUT HIMSELF, AND HE NEEDED TO GO 1462 00:44:17,875 --> 00:44:20,417 TO THE HOSPITAL. 1463 00:44:20,417 --> 00:44:22,917 AND HE DROPPED OFF THE DILDOS, 1464 00:44:22,917 --> 00:44:24,458 AND, YOU KNOW, I NEVER HEARD 1465 00:44:24,458 --> 00:44:25,583 FROM HIM AGAIN. 1466 00:44:25,583 --> 00:44:26,250 (CHUCKLING) 1467 00:44:26,250 --> 00:44:27,208 >> AND, OF COURSE, BY THE TIME 1468 00:44:27,208 --> 00:44:28,083 WE WERE DONE, 1469 00:44:28,083 --> 00:44:30,875 WE WERE COMPLETELY NUMB. 1470 00:44:30,875 --> 00:44:32,125 >> I DIDN'T KNOW ANYTHING ABOUT 1471 00:44:32,125 --> 00:44:32,792 THE ADULT INDUSTRY. 1472 00:44:32,792 --> 00:44:34,834 AT THAT TIME OF MAKING "HIDDEN 1473 00:44:34,834 --> 00:44:36,041 OBSESSIONS," I HAD NEVER 1474 00:44:36,041 --> 00:44:36,834 HEARD OF VIVID. 1475 00:44:36,834 --> 00:44:39,709 I KNEW NOTHING ABOUT THE 1476 00:44:39,709 --> 00:44:41,959 BIG-BUDGET CONTRACT GIRLS 1477 00:44:41,959 --> 00:44:42,875 AND WHAT HAVE YOU. 1478 00:44:42,875 --> 00:44:45,208 >> I MEAN, BASICALLY, I'M ONE TO 1479 00:44:45,208 --> 00:44:46,417 FLY UNDER THE RADAR. 1480 00:44:46,417 --> 00:44:49,041 THAT WAS THE WRONG FIRST SCENE 1481 00:44:49,041 --> 00:44:51,417 TO EVER DO. 1482 00:44:51,417 --> 00:44:52,875 >> I'M THE LAST MAN STANDING, 1483 00:44:52,875 --> 00:44:56,417 UH, STILL SHOOTING FILM. 1484 00:44:56,417 --> 00:44:58,417 WHEN I'M 80, AND I'M STILL 1485 00:44:58,417 --> 00:45:01,667 SHOOTING SOME 19-YEAR-OLD GIRL, 1486 00:45:01,667 --> 00:45:03,834 AND I WANNA KEEL OVER, AND MY 1487 00:45:03,834 --> 00:45:07,208 BOLEX GOES INTO HER PUSSY. 1488 00:45:07,208 --> 00:45:08,291 THAT'S WHAT I ENVISION FOR 1489 00:45:08,291 --> 00:45:09,125 >> WELL, I GUESS THESE ARE FOR 1490 00:45:11,667 --> 00:45:13,208 IF YOU'RE LONELY AT NIGHT AND, 1491 00:45:13,208 --> 00:45:15,792 UH, NEED SOMEONE TO TALK TO. 1492 00:45:15,792 --> 00:45:17,542 >> YEAH. 1493 00:45:17,542 --> 00:45:20,041 >> I TOOK THE IDEA OF "JUSTINE" 1494 00:45:20,041 --> 00:45:22,875 FROM A FRENCH FILM BY, UM, 1495 00:45:22,875 --> 00:45:25,792 A DIRECTOR NAMED LOUIS MALLE. 1496 00:45:25,792 --> 00:45:29,375 IT'S ABOUT A FATHER WHO 1497 00:45:29,375 --> 00:45:33,667 FALLS FOR HIS SON'S GIRLFRIEND. 1498 00:45:33,667 --> 00:45:34,625 >> I SAID, I'VE SEEN IT. 1499 00:45:34,625 --> 00:45:35,667 AND HE SAID, "WHAT'D YOU THINK?" 1500 00:45:35,667 --> 00:45:37,542 AND I SAID, "I HATED IT." 1501 00:45:37,542 --> 00:45:39,041 HE SAID, "YOU HATED IT, WHY?" 1502 00:45:39,041 --> 00:45:39,875 I SAID, "BECAUSE OF THE MORALITY 1503 00:45:39,875 --> 00:45:42,291 THAT THIS MAN WOULD DESTROY HIS 1504 00:45:44,834 --> 00:45:47,750 SON AND HIS WIFE FOR THE SAKE OF 1505 00:45:47,750 --> 00:45:49,500 >> IT WAS AN EVENT OF MY... 1506 00:45:51,834 --> 00:45:53,875 SORT OF... HAVING A SON WHO'S IN 1507 00:45:53,875 --> 00:45:56,083 SOME WAYS MORE GROWN-UP THAN ME. 1508 00:45:56,083 --> 00:45:56,959 HE'S TELLING ME, YOU KNOW, 1509 00:45:56,959 --> 00:45:59,041 >> WHY DON'T YOU TELL ME WHAT 1510 00:46:00,625 --> 00:46:03,000 YOU'RE THINKING. 1511 00:46:03,000 --> 00:46:05,542 >> I'M THINKING ABOUT MY FATHER. 1512 00:46:05,542 --> 00:46:07,291 >> YOUR FATHER? 1513 00:46:07,291 --> 00:46:10,542 >> IN "DAMAGE", UH, JEREMY IRONS 1514 00:46:10,542 --> 00:46:11,417 IS THE FATHER. 1515 00:46:11,417 --> 00:46:14,250 HE KNEW THAT THIS WAS HIS SON'S 1516 00:46:14,250 --> 00:46:15,291 GIRLFRIEND. 1517 00:46:15,291 --> 00:46:16,834 HE DIDN'T CARE. 1518 00:46:16,834 --> 00:46:19,375 >> BUT IN OUR MOVIE, 1519 00:46:19,375 --> 00:46:21,250 THE FATHER WOULD NOT DESTROY 1520 00:46:21,250 --> 00:46:22,333 HIS SON. 1521 00:46:22,333 --> 00:46:23,875 HE WOULD GIVE UP THE GIRL 1522 00:46:23,875 --> 00:46:25,875 BECAUSE HIS SON IS HIS SON. 1523 00:46:25,875 --> 00:46:27,834 >> MMM. 1524 00:46:29,917 --> 00:46:32,208 WOULD YOU LIKE A TASTE? 1525 00:46:32,208 --> 00:46:34,291 >> I LIKE OUR VERSION BETTER. 1526 00:46:34,291 --> 00:46:36,125 >> ROXANNE BLAZE HAD A SERIES OF 1527 00:46:36,125 --> 00:46:39,083 ENDLESS ORGASMS FROM A WATER 1528 00:46:39,083 --> 00:46:40,417 HOSE I WAS SPRAYING HER WITH. 1529 00:46:40,417 --> 00:46:41,625 AND THAT WAS VERY REAL, 1530 00:46:41,625 --> 00:46:44,583 IT WAS VERY INTERESTING. 1531 00:46:44,583 --> 00:46:46,375 >> SHE'S ONE OF HIS GIRLS, 1532 00:46:46,375 --> 00:46:47,917 HE WOULD LOOK AND-- AND SAY, 1533 00:46:47,917 --> 00:46:50,375 "WHAT'S A NICE GIRL LIKE YOU 1534 00:46:50,375 --> 00:46:52,083 DOING IN A PLACE LIKE THIS?" 1535 00:46:52,083 --> 00:46:55,083 WHY'D YOU COME BACK, HMM? 1536 00:46:55,083 --> 00:46:58,583 >> BECAUSE I SHOULDN'T HAVE. 1537 00:46:58,583 --> 00:46:59,917 BECAUSE YOU'RE DANGEROUS FOR ME. 1538 00:46:59,917 --> 00:47:01,417 >> WE REALLY FELT 1539 00:47:01,417 --> 00:47:03,125 WHAT WE WERE DOING-- 1540 00:47:03,125 --> 00:47:04,125 YOU KNOW, WE KNEW IT WAS 1541 00:47:04,125 --> 00:47:05,000 ONLY PORN. 1542 00:47:05,000 --> 00:47:07,458 BUT WE WANTED TO MAKE IT THE 1543 00:47:07,458 --> 00:47:08,625 BEST PORN WE COULD POSSIBLY 1544 00:47:08,625 --> 00:47:09,208 MAKE IT. 1545 00:47:09,208 --> 00:47:10,041 >> "JUSTINE" DOES QUALIFY AS ONE 1546 00:47:10,041 --> 00:47:13,125 OF THE BETTER MOVIES MADE, UH, 1547 00:47:13,125 --> 00:47:15,083 UH, BOTH IN THE HISTORY OF PORN, 1548 00:47:15,083 --> 00:47:17,041 BUT IN MY PERSONAL HISTORY 1549 00:47:17,041 --> 00:47:17,917 WORKING. 1550 00:47:17,917 --> 00:47:19,709 IT WOULD BE IN MY TOP TEN 1551 00:47:19,709 --> 00:47:20,333 >> MY CRIME WAS TO SHARE THESE 1552 00:47:22,208 --> 00:47:23,959 VISIONS WITH YOU. 1553 00:47:23,959 --> 00:47:26,375 THE TRUTH. 1554 00:47:26,375 --> 00:47:28,250 AND FOR THIS, I HAVE BEEN 1555 00:47:28,250 --> 00:47:30,000 >> "LATEX" WAS VERY INEXPENSIVE 1556 00:47:33,041 --> 00:47:33,333 BUT THEN THERE WAS ABOUT 1557 00:47:34,959 --> 00:47:37,834 12 MONTHS OF POST MAKING ALL OF 1558 00:47:37,834 --> 00:47:39,667 THIS STUFF, SO THAT MIGHT'VE 1559 00:47:39,667 --> 00:47:40,834 THIS IS A WHOLE MOVIE FULL OF 1560 00:47:42,583 --> 00:47:44,083 COMPUTER-GENERATED EFFECTS. 1561 00:47:44,083 --> 00:47:45,000 THIS WAS SO FAR BEFORE ANYBODY 1562 00:47:45,000 --> 00:47:47,041 EVER THOUGHT TO DO ANYTHING LIKE 1563 00:47:47,041 --> 00:47:49,000 THAT FOR PORNO, YOU KNOW? 1564 00:47:49,000 --> 00:47:50,083 EVERYBODY WHO WORKED ON 1565 00:47:50,083 --> 00:47:51,792 A MICHAEL NINN FEATURE KNEW THEY 1566 00:47:51,792 --> 00:47:52,208 WERE IN FOR A RIDE. 1567 00:47:52,208 --> 00:47:54,000 THIS IS SOMETHING THAT YOU'RE 1568 00:47:54,000 --> 00:47:56,000 NOT GONNA WALK IN AND BE OUT OF 1569 00:47:56,000 --> 00:47:57,208 THERE IN AN HOUR. 1570 00:47:57,208 --> 00:47:58,125 UH, MORE OFTEN THAN NOT, IT 1571 00:47:58,125 --> 00:48:00,000 MIGHT TAKE YOU A COUPLE OF HOURS 1572 00:48:00,000 --> 00:48:02,250 JUST TO GET YOUR MAKEUP ON. 1573 00:48:02,250 --> 00:48:03,750 HE SAYS THAT YOU CLAIMED TO BE 1574 00:48:03,750 --> 00:48:06,333 ABLE TO "SEE INSIDE OF PEOPLE." 1575 00:48:06,333 --> 00:48:07,500 DID YOU SAY THAT? 1576 00:48:07,500 --> 00:48:10,834 >> YES. 1577 00:48:10,834 --> 00:48:11,875 >> I'D CALL THAT E.S.P., 1578 00:48:11,875 --> 00:48:12,208 WOULDN'T YOU? 1579 00:48:12,208 --> 00:48:14,291 >> I WOULD CALL IT SEEING 1580 00:48:14,291 --> 00:48:15,125 >> JON DOUGH REALLY TOOK HOLD OF 1581 00:48:17,542 --> 00:48:19,291 THAT ROLE AND CREATED THAT ROLE 1582 00:48:19,291 --> 00:48:20,041 ALMOST ON HIS OWN. 1583 00:48:20,041 --> 00:48:23,125 UM, MICHAEL NINN MADE IT INTO 1584 00:48:23,125 --> 00:48:24,709 VISUALLY POWERFUL MOVIE AND 1585 00:48:26,333 --> 00:48:27,792 TECHNICALLY FAR SUPERIOR THAN 1586 00:48:27,792 --> 00:48:28,959 MOST EVERYTHING ELSE THAT HAD 1587 00:48:28,959 --> 00:48:30,041 BEEN MADE BEFORE THAT. 1588 00:48:30,041 --> 00:48:31,083 >> YOU'RE ASKING ME TO EXPLAIN 1589 00:48:31,083 --> 00:48:33,583 SOMETHING THAT I DON'T REALLY 1590 00:48:33,583 --> 00:48:34,000 UNDERSTAND MYSELF. 1591 00:48:34,000 --> 00:48:38,125 >> HE WAS SO DEEPLY DEDICATED TO 1592 00:48:38,125 --> 00:48:39,500 WHAT WAS GOING IN THERE, MORE 1593 00:48:39,500 --> 00:48:40,583 THAN I EVER SAW HIM 1594 00:48:40,583 --> 00:48:41,959 IN ANY MOVIE. 1595 00:48:41,959 --> 00:48:42,417 >> THERE WAS ONE SET, 1596 00:48:42,417 --> 00:48:45,125 THE KITCHEN SET WITH ZACK 1597 00:48:45,125 --> 00:48:46,750 AND SUNSET THOMAS. 1598 00:48:46,750 --> 00:48:48,750 THAT'S THE ONLY SET WE SHOT ON. 1599 00:48:48,750 --> 00:48:49,750 EVERYTHING ELSE WAS SHOT 1600 00:48:49,750 --> 00:48:50,291 AGAINST GREEN SCREEN, WHICH 1601 00:48:50,291 --> 00:48:52,583 MEANS EVERYTHING ELSE IN THE 1602 00:48:52,583 --> 00:48:54,000 MOVIE HAD TO BE MANUFACTURED 1603 00:48:54,000 --> 00:48:55,208 >> I'M IN THE KITCHEN, YOU KNOW, 1604 00:48:56,625 --> 00:48:57,125 LATEX GLOVES ON. 1605 00:48:57,125 --> 00:48:59,625 AND THERE'S THESE BIG, WHITE 1606 00:48:59,625 --> 00:49:01,083 AND I WAS IN THE DRESSING ROOM. 1607 00:49:02,583 --> 00:49:03,583 I WAS JUST ALL UPSET BECAUSE 1608 00:49:03,583 --> 00:49:04,709 I WAS SO USED WEARING THESE 1609 00:49:04,709 --> 00:49:06,166 LITTLE SKIMPY UNDERWEAR. 1610 00:49:06,166 --> 00:49:07,709 I SAID, "MIKE, I CANNOT WEAR 1611 00:49:07,709 --> 00:49:09,834 THESE GRANNY UNDERWEAR." 1612 00:49:12,291 --> 00:49:13,959 >> MICHAEL NINN SEEMS TO DEAL 1613 00:49:13,959 --> 00:49:16,250 MORE WITH, UM, BROAD SYMBOLISM, 1614 00:49:16,250 --> 00:49:17,041 LIKE, SYMBOLIC STORIES. 1615 00:49:17,041 --> 00:49:19,625 THEY WERE HUGE STORIES THAT 1616 00:49:19,625 --> 00:49:21,125 TALKED ABOUT BASICALLY 1617 00:49:21,125 --> 00:49:21,458 GOOD AND EVIL. 1618 00:49:21,458 --> 00:49:24,333 THERE'S ALWAYS THE INNOCENCE 1619 00:49:24,333 --> 00:49:25,542 THAT GETS CORRUPTED. 1620 00:49:25,542 --> 00:49:28,625 THERE'S THE, THE SOCIETY THAT 1621 00:49:28,625 --> 00:49:30,083 CHURNS UP THE INNOCENTS IN ITS 1622 00:49:30,083 --> 00:49:32,917 GEARS, IT'S-- IT'S VERY SYMBOLIC 1623 00:49:32,917 --> 00:49:34,750 AND BROAD IN ITS SCOPE, AND 1624 00:49:34,750 --> 00:49:35,917 I THINK ANDREW BLAKE WAS MORE 1625 00:49:35,917 --> 00:49:36,291 ABOUT INSTANCES. 1626 00:49:36,291 --> 00:49:38,208 >> HOME VIDEO BECAME SUCH 1627 00:49:38,208 --> 00:49:40,041 A POPULAR FORMAT FOR PORN THAT, 1628 00:49:40,041 --> 00:49:41,875 BY THE MID-90'S, ADULT THEATERS 1629 00:49:41,875 --> 00:49:42,750 WERE ESSENTIALLY A THING 1630 00:49:42,750 --> 00:49:43,750 OF THE PAST. 1631 00:49:43,750 --> 00:49:45,250 PRODUCERS TRADED NEW YORK AND 1632 00:49:45,250 --> 00:49:46,166 SAN FRANCISCO FOR SUNNY L.A., 1633 00:49:46,166 --> 00:49:48,583 AND THE SAN FERNANDO VALLEY 1634 00:49:48,583 --> 00:49:50,291 BECAME THE UNDISPUTED CAPITAL 1635 00:49:50,291 --> 00:49:52,291 OF THE ADULT BUSINESS. 1636 00:49:52,291 --> 00:49:53,291 VHS AND THE INDUSTRY SEEMED LIKE 1637 00:49:53,291 --> 00:49:55,125 A MARRIAGE THAT WOULD LAST 1638 00:49:55,125 --> 00:49:56,250 FOREVER. 1639 00:49:56,250 --> 00:49:57,125 BUT PROGRESS NEVER STANDS STILL. 1640 00:49:57,125 --> 00:49:59,709 AND A POWERFUL NEW FORMAT WAS 1641 00:49:59,709 --> 00:50:01,375 ABOUT TO BRING NEW OPTIONS AND 1642 00:50:01,375 --> 00:50:03,166 >> WHY ARE YOU GOING THROUGH 1643 00:50:03,792 --> 00:50:05,834 MY PURSE? 1644 00:50:05,834 --> 00:50:07,709 >> TO FIND YOUR BADGE. 1645 00:50:07,709 --> 00:50:08,291 YOUR FIREMAN I.D. 1646 00:50:08,291 --> 00:50:09,125 >> YOU'RE THE KIND OF GIRL WHO 1647 00:50:09,125 --> 00:50:11,667 TAKES OUT PERSONAL ADS. 1648 00:50:11,667 --> 00:50:13,959 "OH, HOT-BLOODED BLONDE 1649 00:50:13,959 --> 00:50:15,750 >> IT WAS SHORTLY AFTER 1650 00:50:16,875 --> 00:50:17,500 "BACKDRAFT," THAT BIG FIREMAN 1651 00:50:17,500 --> 00:50:19,333 AND WHEN IT CAME TO 1652 00:50:20,959 --> 00:50:22,041 "FLASHPOINT," WHAT WE WERE 1653 00:50:22,041 --> 00:50:24,709 TRYING TO DO IS WE HAD KIND OF 1654 00:50:24,709 --> 00:50:25,333 STARTED TO ELEVATE OUR ADULT 1655 00:50:25,333 --> 00:50:27,792 MOVIES INTO WHAT WE THOUGHT 1656 00:50:27,792 --> 00:50:28,417 SEX OUT OF THEM, BECOME KIND OF 1657 00:50:31,583 --> 00:50:33,083 LIKE THAT "B" MOVIE VIBE. 1658 00:50:33,083 --> 00:50:34,917 >> I JUST WISH I HAD 1659 00:50:34,917 --> 00:50:38,250 IT HAD A STORYLINE. 1660 00:50:39,834 --> 00:50:41,625 AND IT HAD REAL ACTING. 1661 00:50:41,625 --> 00:50:45,000 >> FOR ITS TIME, IT WAS A HUGE 1662 00:50:46,709 --> 00:50:49,250 MOVIE, AND, UH, AS LUCK WOULD 1663 00:50:49,250 --> 00:50:51,792 HAVE IT, I JUST HAPPENED TO MEET 1664 00:50:51,792 --> 00:50:53,500 A BIG PYROTECHNICS GUY WHO 1665 00:50:53,500 --> 00:50:54,709 WORKED IN THE MAINSTREAM. 1666 00:50:54,709 --> 00:50:55,959 >> THEY ACTUALLY WORKED ON 1667 00:50:55,959 --> 00:50:56,333 "BACKDRAFT." 1668 00:50:56,333 --> 00:50:58,333 >> WHEN WORKING WITH FIRE, 1669 00:50:58,333 --> 00:50:59,291 OF COURSE, THERE'S ALWAYS A HUGE 1670 00:50:59,291 --> 00:51:02,166 AMOUNT OF SAFETY PRECAUTIONS 1671 00:51:02,166 --> 00:51:03,667 ESPECIALLY WITH THE MAINSTREAM 1672 00:51:03,667 --> 00:51:05,125 GUY DOING IT ALL, YOU KNOW, 1673 00:51:05,125 --> 00:51:05,834 WE HAD SAFETY MEETINGS 1674 00:51:05,834 --> 00:51:06,625 ALL THE TIME. 1675 00:51:06,625 --> 00:51:08,000 >> AT THE TIME, I DIDN'T REALLY 1676 00:51:08,000 --> 00:51:09,834 THINK ABOUT HOW HARD IT IS 1677 00:51:09,834 --> 00:51:11,208 TO BE A FIREFIGHTER. 1678 00:51:11,208 --> 00:51:13,709 SO THEY HAD ME CARRYING 1679 00:51:13,709 --> 00:51:16,041 DUMMIES UPSTAIRS. 1680 00:51:16,041 --> 00:51:17,083 >> I THINK A COUPLE OF PEOPLE 1681 00:51:17,083 --> 00:51:17,709 STARTED THINKING THEY WERE GONNA 1682 00:51:17,709 --> 00:51:18,375 PASS OUT RUNNING UP AND DOWN 1683 00:51:18,375 --> 00:51:20,834 STAIRS WITH ALL THE GEAR ON. 1684 00:51:20,834 --> 00:51:22,291 >> STEVENS, WHAT DO YOU THINK 1685 00:51:22,291 --> 00:51:23,208 YOU'RE DOING? 1686 00:51:23,208 --> 00:51:25,333 >> SHH! 1687 00:51:25,333 --> 00:51:26,583 >> IF THE CAPTAIN CATCHES YOU, 1688 00:51:26,583 --> 00:51:27,792 YOUR ASS IS HISTORY. 1689 00:51:27,792 --> 00:51:29,458 >> I DIDN'T REALLY REALIZE HOW 1690 00:51:29,458 --> 00:51:31,333 INCREDIBLY REAL 1691 00:51:31,333 --> 00:51:33,667 THIS WAS GOING TO BE. 1692 00:51:33,667 --> 00:51:36,500 WHEN YOU'RE HAVING SEX BEHIND 1693 00:51:36,500 --> 00:51:40,917 FIRE, YOU DON'T REALLY REALIZE 1694 00:51:40,917 --> 00:51:42,333 THE FEAR THAT YOU'RE 1695 00:51:42,333 --> 00:51:43,583 GONNA BE FEELING. 1696 00:51:43,583 --> 00:51:45,500 >> WE REALLY ONLY HAD ONE HUGE 1697 00:51:45,500 --> 00:51:49,041 FIRE DAY, AND HE HAD A HUGE CREW 1698 00:51:49,041 --> 00:51:50,333 IN THERE TO MAKE SURE EVERYBODY 1699 00:51:50,333 --> 00:51:51,667 KNEW WHAT THEY WERE DOING. 1700 00:51:51,667 --> 00:51:55,000 AND REALLY HAD A GRASP OF WHAT 1701 00:51:55,000 --> 00:51:56,583 THE ISSUES WERE WHEN IT CAME TO 1702 00:51:56,583 --> 00:51:59,208 SAFETY AND ANY, UH-- AND KEEPING 1703 00:51:59,208 --> 00:52:00,208 THE ACTORS OUT OF DANGER. 1704 00:52:00,208 --> 00:52:03,625 >> I REALLY THINK THAT WE-- 1705 00:52:03,625 --> 00:52:04,375 WE ACCOMPLISHED SOMETHING 1706 00:52:04,375 --> 00:52:07,458 REALLY BEAUTIFUL AND SOMETHING 1707 00:52:07,458 --> 00:52:08,834 >> TO BE HONEST WITH YOU, 1708 00:52:11,000 --> 00:52:12,125 I DIDN'T EXACTLY INHERIT 1709 00:52:12,125 --> 00:52:14,458 MY FATHER'S SIN... 1710 00:52:14,458 --> 00:52:19,125 >> IT WAS NOT 1711 00:52:19,458 --> 00:52:20,291 A HIGH-BUDGET MOVIE. 1712 00:52:20,291 --> 00:52:23,083 OVER FIVE DAYS FOR 70 GRAND. 1713 00:52:26,000 --> 00:52:29,375 SO 2-1/2 DAYS, $35,000... 1714 00:52:29,375 --> 00:52:31,041 IT'S NOTHING FOR FILM. 1715 00:52:31,041 --> 00:52:31,625 >> TO ME, IT WAS A BIG DEAL 1716 00:52:31,625 --> 00:52:32,458 BECAUSE THIS WAS ANOTHER ONE-- 1717 00:52:32,458 --> 00:52:34,625 YOU KNOW, THE FILMS WERE HERE 1718 00:52:34,625 --> 00:52:35,959 AND THERE, JUST FEW AND FAR 1719 00:52:35,959 --> 00:52:36,458 >> DIDN'T YOU APPLY AT 1720 00:52:38,083 --> 00:52:39,041 THE SHERIFF'S OFFICE IN COUNCIL 1721 00:52:39,041 --> 00:52:40,208 BLUFFS OR SOMETHING? 1722 00:52:40,208 --> 00:52:41,208 >> YEAH, I GOT ACCEPTED, TOO, 1723 00:52:41,208 --> 00:52:41,959 BUT I'M NOT READY TO LEAVE YET. 1724 00:52:41,959 --> 00:52:43,208 >> THE ACTORS THAT CAME ON 1725 00:52:43,208 --> 00:52:44,625 REALLY TOOK IT SERIOUSLY AND 1726 00:52:44,625 --> 00:52:45,333 REALLY, YOU KNOW, I GOT GOOD 1727 00:52:45,333 --> 00:52:47,583 PEOPLE WITH ACTING CHOPS. 1728 00:52:47,583 --> 00:52:48,333 SHANNA McCULLOUGH WHO, 1729 00:52:48,333 --> 00:52:50,375 YOU KNOW, LATER WON AN AWARD 1730 00:52:50,375 --> 00:52:52,125 FOR IT FOR BEST ACTRESS. 1731 00:52:52,125 --> 00:52:53,208 >> THIS WAS A FILM NOIR 1732 00:52:53,208 --> 00:52:54,458 AND IT WAS A DETECTIVE STORY 1733 00:52:54,458 --> 00:52:56,500 AND HE WANTED ME TO STAR IN IT. 1734 00:52:56,500 --> 00:52:59,250 IT'S A STORY OF TWO DETECTIVES 1735 00:52:59,250 --> 00:53:01,166 AND THIS WOMAN 1736 00:53:01,166 --> 00:53:02,792 WHO'S A FEMME FATALE KILLER. 1737 00:53:02,792 --> 00:53:04,917 AND SHE'S, YOU KNOW, SEDUCING 1738 00:53:04,917 --> 00:53:06,166 MEN AND THEN KILLING THEM. 1739 00:53:06,166 --> 00:53:06,667 AND SHE'S BEEN STALKING 1740 00:53:06,667 --> 00:53:08,959 MY PARTNER. 1741 00:53:08,959 --> 00:53:09,500 APPARENTLY, HIS FATHER DEALT 1742 00:53:09,500 --> 00:53:12,125 WITH THIS ALSO FEMME FATALE 1743 00:53:12,125 --> 00:53:14,166 IN HIS CAREER AS A POLICEMAN. 1744 00:53:14,166 --> 00:53:16,166 AND HE THINKS IT'S THE SAME 1745 00:53:16,166 --> 00:53:17,542 WOMAN AND SHE'S STILL AROUND 1746 00:53:17,542 --> 00:53:18,709 AFTER 50 YEARS. 1747 00:53:18,709 --> 00:53:19,458 AND I SAID, "NO, IT MUST 1748 00:53:19,458 --> 00:53:19,834 BE HER DAUGHTER." 1749 00:53:19,834 --> 00:53:21,583 >> THE LOOK OF "LOOKER" IS VERY 1750 00:53:21,583 --> 00:53:23,500 GRITTY AND NOIR INSPIRED 1751 00:53:23,500 --> 00:53:25,208 AND THIS IS NO ACCIDENT. 1752 00:53:25,208 --> 00:53:26,709 I WANTED TO DO A MOVIE THAT 1753 00:53:26,709 --> 00:53:29,750 COULD'VE BEEN SHOT IN THE 30s. 1754 00:53:29,750 --> 00:53:31,083 >> HE WAS A REAL SLAVE DRIVER. 1755 00:53:31,083 --> 00:53:32,125 HE LITERALLY WOULD WORK 1756 00:53:32,125 --> 00:53:33,625 A 24-HOUR DAY IF THAT WAS WHAT 1757 00:53:33,625 --> 00:53:35,208 WAS NECESSARY BECAUSE HE WAS 1758 00:53:35,208 --> 00:53:36,333 A PERFECTIONIST AND HE WANTED 1759 00:53:36,333 --> 00:53:36,792 EVERYBODY ELSE TO BE. 1760 00:53:36,792 --> 00:53:38,583 >> WHEN WE SHOT THAT MOVIE, WE 1761 00:53:38,583 --> 00:53:40,375 KNEW WE HAD SOMETHING SPECIAL. 1762 00:53:40,375 --> 00:53:41,625 >> WE PUT A LOT OF HEART INTO IT 1763 00:53:41,625 --> 00:53:42,625 AND NIC PUT A LOT OF HEART INTO 1764 00:53:42,625 --> 00:53:44,792 IT, AND WE DIDN'T GET 1765 00:53:44,792 --> 00:53:46,000 AN OPPORTUNITY TO DO THAT MUCH 1766 00:53:46,000 --> 00:53:48,417 ANYMORE SO IT REALLY FELT GOOD 1767 00:53:48,417 --> 00:53:49,959 THAT IT WAS RECOGNIZED FOR WHAT 1768 00:53:49,959 --> 00:53:52,291 WE REALLY WANTED IT TO BE. 1769 00:53:52,291 --> 00:53:52,792 >> EARLY ON IN THE SHOW, 1770 00:53:52,792 --> 00:53:55,208 SHANNA WON FOR BEST ACTRESS. 1771 00:53:55,208 --> 00:53:55,750 AND WE WERE LOOKING AT EACH 1772 00:53:55,750 --> 00:53:58,834 OTHER LIKE, "COULD THIS BE?" 1773 00:53:58,834 --> 00:53:59,500 AND THEN JUST THE FLOODGATES 1774 00:53:59,500 --> 00:54:02,083 JUST OPENED UP AND WE WON BEST 1775 00:54:02,083 --> 00:54:04,333 FILM DIRECTOR FOR ME, BEST FILM, 1776 00:54:04,333 --> 00:54:07,750 ART DIRECTION, SCRIPT, EDITING. 1777 00:54:07,750 --> 00:54:09,959 I MEAN, TRIFECTA, SWEEP. 1778 00:54:09,959 --> 00:54:11,709 SO IT WAS ONE OF THE BETTER 1779 00:54:11,709 --> 00:54:12,709 >> DOGS LICK. 1780 00:54:14,500 --> 00:54:16,917 MEN FUCKING EAT PUSSY. 1781 00:54:16,917 --> 00:54:18,375 EAT MY PUSSY. 1782 00:54:20,333 --> 00:54:21,333 >> "SEVEN DEADLY SINS" WAS 1783 00:54:21,333 --> 00:54:22,959 THE OBVIOUS CANDIDATE FOR 1784 00:54:22,959 --> 00:54:23,583 THE VIGNETTE STYLE OF SHOOTING. 1785 00:54:23,583 --> 00:54:24,375 I WANTED TO BE ABLE TO HAVE 1786 00:54:24,375 --> 00:54:27,417 EVERYTHING DISTINCTLY, 1787 00:54:27,417 --> 00:54:28,375 UH, REPRESENTED 1788 00:54:28,375 --> 00:54:30,625 BY THE SIN ITSELF. 1789 00:54:30,625 --> 00:54:32,500 >> WHERE AM I? 1790 00:54:34,125 --> 00:54:34,166 >> YOU STUPID BITCH. 1791 00:54:37,458 --> 00:54:39,083 >> THE BASIC STORY IS A CRISIS 1792 00:54:39,083 --> 00:54:40,834 OF THIS WOMAN WHO'S IN LOVE 1793 00:54:40,834 --> 00:54:42,125 WITH THE REAL JANINE. 1794 00:54:42,125 --> 00:54:44,750 AND SHE'S BEEN TOLD THAT SHE 1795 00:54:44,750 --> 00:54:45,542 ACTUALLY KIND OF LOOKS LIKE 1796 00:54:45,542 --> 00:54:46,875 JANINE, BUT OF COURSE, WE HAVE 1797 00:54:46,875 --> 00:54:48,834 A REALLY DOWDY VERSION OF HER. 1798 00:54:48,834 --> 00:54:49,458 SO THE CHALLENGE WAS HOW DO WE 1799 00:54:49,458 --> 00:54:52,959 >> IT WAS A STRETCH, YOU KNOW, 1800 00:54:53,583 --> 00:54:58,041 IT WAS, UH... 1801 00:54:58,041 --> 00:54:58,542 I WAS JUST KIND OF... IT'S HARD 1802 00:55:01,166 --> 00:55:03,458 NOT TO JUST EMBRACE HER. 1803 00:55:03,458 --> 00:55:06,750 SO, UH, TO TAKE MYSELF OUT OF 1804 00:55:06,750 --> 00:55:09,000 THAT SITUATION AND BE LIKE, 1805 00:55:09,000 --> 00:55:11,333 "YEAH, IT'S ME AND IT'S ME," 1806 00:55:11,333 --> 00:55:14,125 >> YOU KNOW, THERE WERE CERTAIN 1807 00:55:14,959 --> 00:55:16,000 THINGS THAT WE HAD TO HIDE. 1808 00:55:16,000 --> 00:55:17,583 WHEN YOU'RE TRYING TO SHOOT AND 1809 00:55:17,583 --> 00:55:18,667 BE SOMEBODY, AND YOU CAN'T SHOW 1810 00:55:18,667 --> 00:55:19,834 YOUR FACE OR YOU'RE TRYING TO 1811 00:55:19,834 --> 00:55:21,750 IT WASN'T EASY. 1812 00:55:22,667 --> 00:55:24,458 THAT I CAN TELL YOU. 1813 00:55:24,458 --> 00:55:27,417 >> YOUR A WHINY, DRIED-UP 1814 00:55:27,417 --> 00:55:28,792 OLD MAID. 1815 00:55:28,792 --> 00:55:29,834 >> SHUT UP! 1816 00:55:29,834 --> 00:55:31,000 >> THAT NOBODY WANTS. 1817 00:55:31,000 --> 00:55:31,792 >> SHUT UP. 1818 00:55:31,792 --> 00:55:32,583 >> THERE WAS A LOT OF FOOD. 1819 00:55:34,291 --> 00:55:35,625 THERE WAS AN ABUNDANCE OF-- 1820 00:55:35,625 --> 00:55:39,875 (GIGGLING) 1821 00:55:41,166 --> 00:55:42,709 IT'S A PERFECT SCENE IF YOU'RE 1822 00:55:42,709 --> 00:55:46,166 A FOOD FETISH KIND OF GUY. 1823 00:55:46,166 --> 00:55:48,625 >> WE HAD TO BUILD SUPPORTS 1824 00:55:48,625 --> 00:55:51,291 FOR THESE-- I THINK THEY WERE 1825 00:55:51,291 --> 00:55:51,667 TEN-FEET TALL-- 1826 00:55:51,667 --> 00:55:53,834 AND WE DID AN ARC AROUND THAT. 1827 00:55:53,834 --> 00:55:54,959 AND THEN SET THAT IN 1828 00:55:54,959 --> 00:55:55,709 A STAGE THAT, AT THE TIME, 1829 00:55:55,709 --> 00:55:57,125 I THINK WAS BLACK. 1830 00:55:57,125 --> 00:55:58,583 SO WE COULD, YOU KNOW-- 1831 00:55:58,583 --> 00:55:59,542 AND THEN WE ACTUALLY GOT A 1832 00:55:59,542 --> 00:56:01,834 TURNTABLE FOR THEM TO HAVE SEX 1833 00:56:01,834 --> 00:56:04,291 ON SO THAT COULD REVOLVE, SO THE 1834 00:56:04,291 --> 00:56:05,792 IMAGE BEHIND IN ALL THE MIRRORS 1835 00:56:05,792 --> 00:56:07,333 WAS REVOLVING AT THE SAME TIME. 1836 00:56:07,333 --> 00:56:09,041 IT HAD A VERY, YOU KNOW, KIND OF 1837 00:56:09,041 --> 00:56:09,583 A SURREAL DEPARTMENT STORE 1838 00:56:09,583 --> 00:56:12,000 >> HEY, WATCH THE TEETH, 1839 00:56:14,583 --> 00:56:15,667 SWEETIE. 1840 00:56:15,667 --> 00:56:19,792 >> SORRY, FORCE OF HABIT. 1841 00:56:19,792 --> 00:56:20,709 >> "DARK ANGELS" CAME OUT-- 1842 00:56:20,709 --> 00:56:23,291 SCOTT TAYLOR, THE OWNER 1843 00:56:23,291 --> 00:56:24,500 OF NEW SENSATIONS. 1844 00:56:24,500 --> 00:56:25,667 HE GOES, "I'VE ALWAYS REALLY 1845 00:56:25,667 --> 00:56:26,667 KIND OF LIKED HORROR MOVIES AND 1846 00:56:26,667 --> 00:56:30,375 STUFF AND VAMPIRE-TYPE STUFF." 1847 00:56:30,375 --> 00:56:31,959 AND I SAID, "WELL, WE CAN DO 1848 00:56:31,959 --> 00:56:32,792 >> YOU LOOKING FOR SOMETHING 1849 00:56:33,709 --> 00:56:34,792 SPECIAL TONIGHT? 1850 00:56:34,792 --> 00:56:36,667 >> IT DEPENDS, YOU A COP? 1851 00:56:38,583 --> 00:56:40,583 >> YOU SEE A BADGE, SWEETHEART? 1852 00:56:40,583 --> 00:56:42,667 >> WHEN I CONCEIVED THE WHOLE 1853 00:56:42,667 --> 00:56:44,625 STORY AND WAS WRITING THE SCRIPT 1854 00:56:44,625 --> 00:56:47,250 AND EVERYTHING, MIKE HORNER WAS 1855 00:56:47,250 --> 00:56:49,458 ALREADY CAST IN MY HEAD. 1856 00:56:49,458 --> 00:56:50,041 >> WE HAD TO SPEND MORE TIME 1857 00:56:50,041 --> 00:56:52,667 PREPPING AND SETTING UP FOR THE 1858 00:56:52,667 --> 00:56:54,709 BLEEDING SCENE THAN WE DID ON 1859 00:56:54,709 --> 00:56:55,542 THE ENTIRE SEX SCENE, BECAUSE IT 1860 00:56:55,542 --> 00:56:57,792 TOOK SEVERAL HOURS FOR THEM TO 1861 00:56:57,792 --> 00:56:58,166 THEY HAD TO CLEAN THE CAR ONE 1862 00:57:00,000 --> 00:57:01,625 TIME FROM ALL THIS BLOOD-- 1863 00:57:01,625 --> 00:57:03,333 ALL OVER THE WINDOWS. 1864 00:57:03,333 --> 00:57:04,333 IT JUST DIDN'T WORK FOR 1865 00:57:04,333 --> 00:57:05,417 >> I WAS JUST GETTING TO THAT. 1866 00:57:14,041 --> 00:57:15,333 >> WE DIDN'T GET STARTED DOING 1867 00:57:15,333 --> 00:57:17,583 THAT SCENE UNTIL ABOUT MIDNIGHT. 1868 00:57:17,583 --> 00:57:18,834 AND WE WENT TILL LIKE 1869 00:57:18,834 --> 00:57:19,542 4:00 IN THE MORNING, 1870 00:57:19,542 --> 00:57:20,542 5:00 IN THE MORNING. 1871 00:57:20,542 --> 00:57:23,083 WE GOT OUT OF THERE JUST IN TIME 1872 00:57:23,083 --> 00:57:24,125 FOR THE SUNRISE. 1873 00:57:24,125 --> 00:57:24,750 >> WHEN I APPROACHED SYDNEE TO 1874 00:57:24,750 --> 00:57:27,333 DO THE MOVIE, I SAID, 1875 00:57:27,333 --> 00:57:29,333 "ALL RIGHT, I DON'T KNOW IF 1876 00:57:29,333 --> 00:57:30,250 YOU'VE DONE SOMETHING LIKE THIS 1877 00:57:30,250 --> 00:57:30,834 BEFORE, WE'RE GONNA DO, LIKE, 1878 00:57:30,834 --> 00:57:32,709 YOU KNOW, FULL-BODY CAST 1879 00:57:32,709 --> 00:57:33,917 OF YOU, PROSTHETICS." 1880 00:57:33,917 --> 00:57:34,667 'CAUSE THAT'S HER IN THE MONSTER 1881 00:57:34,667 --> 00:57:36,041 SUIT AT THE END. 1882 00:57:36,041 --> 00:57:37,500 AND, YOU KNOW, AND YOU'RE GONNA 1883 00:57:37,500 --> 00:57:38,208 BE WEARING CONTACTS 1884 00:57:38,208 --> 00:57:38,959 AND ALL THIS. 1885 00:57:38,959 --> 00:57:40,417 AND, YOU KNOW, 1886 00:57:40,417 --> 00:57:42,000 WOULD YOU COMMIT TO THIS? 1887 00:57:42,000 --> 00:57:42,709 >> AND I'M LOOKING AROUND THE 1888 00:57:44,166 --> 00:57:45,250 WAREHOUSE AND THINKING, "MAN, 1889 00:57:45,250 --> 00:57:46,875 YOU KNOW, I'M WORKING IN THIS 1890 00:57:46,875 --> 00:57:48,375 WAREHOUSE AND, YOU KNOW, I'M A 1891 00:57:48,375 --> 00:57:50,125 NEVER TOOK THE TIME TO TAKE CARE 1892 00:57:51,458 --> 00:57:52,500 OF ALL THESE PALLETS THAT LAY 1893 00:57:52,500 --> 00:57:53,959 HERE ALL OVER, BROKEN." 1894 00:57:55,709 --> 00:57:58,500 "AH, I'LL NEVER FALL ON THAT." 1895 00:57:58,500 --> 00:57:59,542 IN THE DUMPSTER, 1896 00:57:59,542 --> 00:58:00,875 WOULDN'T YOU KNOW IT? 1897 00:58:00,875 --> 00:58:02,875 PALLET, RIGHT, RIGHT? 1898 00:58:02,875 --> 00:58:04,667 A PALLET AND BROKEN GLASS. 1899 00:58:04,667 --> 00:58:06,583 >> JEWEL DE'NYLE WAS THE 1900 00:58:06,583 --> 00:58:09,125 CONTRACT GIRL, AND SHE ACTUALLY 1901 00:58:09,125 --> 00:58:11,709 QUIT, UH, FIVE DAYS BEFORE 1902 00:58:11,709 --> 00:58:12,834 WE FINISHED SHOOTING. 1903 00:58:12,834 --> 00:58:14,208 SHE STORMED OFF THE SET. 1904 00:58:14,208 --> 00:58:15,375 IT'S ACTUALLY ON THE 1905 00:58:15,375 --> 00:58:15,792 BEHIND-THE-SCENES. 1906 00:58:15,792 --> 00:58:16,625 FORTUNATELY, I HAD SHOT THE END 1907 00:58:16,625 --> 00:58:18,375 ALREADY. 1908 00:58:18,375 --> 00:58:20,417 IT BROKE A LOT OF RULES 1909 00:58:20,417 --> 00:58:22,542 WHEN IT CAME OUT. 1910 00:58:22,542 --> 00:58:23,834 IT UPSET SOME PEOPLE, 1911 00:58:23,834 --> 00:58:25,417 IT EXCITED A LOT OF PEOPLE, IT 1912 00:58:25,417 --> 00:58:26,750 MADE A LOT OF MONEY, YOU KNOW? 1913 00:58:26,750 --> 00:58:28,125 IT WAS-- IT WAS ONE OF 1914 00:58:28,125 --> 00:58:29,583 THOSE GREAT EXPERIENCES THAT 1915 00:58:29,583 --> 00:58:31,917 I WAS NEVER ABLE TO DUPLICATE, 1916 00:58:31,917 --> 00:58:33,500 EVEN WITH BIGGER BUDGETS, BIGGER 1917 00:58:33,500 --> 00:58:35,208 CREWS, NEWER EQUIPMENT, 1918 00:58:35,208 --> 00:58:35,792 EVERYTHING. 1919 00:58:35,792 --> 00:58:36,709 I WAS NEVER ABLE TO CAPTURE 1920 00:58:36,709 --> 00:58:39,542 THE MAGIC THAT WENT INTO 1921 00:58:39,542 --> 00:58:40,583 >> YOU TRIED TO GET MY 1922 00:58:41,250 --> 00:58:42,250 ATTENTION. 1923 00:58:42,250 --> 00:58:42,750 >> YES. 1924 00:58:42,750 --> 00:58:45,083 >> WELL, YOU DID. 1925 00:58:45,083 --> 00:58:46,458 I WAS VERY IMPRESSED 1926 00:58:46,458 --> 00:58:47,667 BY YOUR DVD. 1927 00:58:47,667 --> 00:58:49,166 ANYTHING ELSE IMPRESS YOU 1928 00:58:50,041 --> 00:58:51,667 >> I THOUGHT I HAD A GOOD MOVIE 1929 00:58:52,333 --> 00:58:55,500 BECAUSE, UH, THE SCRIPT WAS THE 1930 00:58:55,500 --> 00:58:57,208 BEST SCRIPT THAT I THOUGHT I HAD 1931 00:58:57,208 --> 00:58:58,709 EVER COME UP WITH IN TERMS OF 1932 00:58:58,709 --> 00:58:59,667 INTERESTING IDEAS. 1933 00:58:59,667 --> 00:59:00,959 IT TOOK A LONG TIME TO WRITE IT. 1934 00:59:00,959 --> 00:59:08,333 (SHRIEKING) 1935 00:59:08,333 --> 00:59:10,000 >> TO BE DIRECTED BY JOHN, 1936 00:59:10,000 --> 00:59:11,542 ESPECIALLY FOR THIS MOVIE, 1937 00:59:11,542 --> 00:59:12,959 WAS SO SPECIAL FOR ME 1938 00:59:12,959 --> 00:59:15,208 I WAS A BIG FAN OF ALL 1939 00:59:15,834 --> 00:59:16,959 THE "BUTTMAN" SERIES. 1940 00:59:16,959 --> 00:59:19,542 I WAS A BIG FAN OF JOHN, SO IT 1941 00:59:19,542 --> 00:59:22,083 WAS LIKE BEING IN A DREAM. 1942 00:59:22,083 --> 00:59:22,750 >> I HAD A GOOD MEETING WITH MY 1943 00:59:22,750 --> 00:59:25,000 CINEMATOGRAPHER WHO SAID, 1944 00:59:25,000 --> 00:59:26,166 "WELL, WHAT'S THE RELATIONSHIP 1945 00:59:26,166 --> 00:59:27,417 BETWEEN THOSE TWO GIRLS?" 1946 00:59:27,417 --> 00:59:28,792 AND I SAID, "OH. 1947 00:59:28,792 --> 00:59:30,542 THEY COULD HAVE A RELATIONSHIP." 1948 00:59:30,542 --> 00:59:32,125 THAT'S MORE THAN JUST THE GIRL 1949 00:59:32,125 --> 00:59:33,041 IN THE BACK ROOM TRYING TO 1950 00:59:33,041 --> 00:59:33,834 SEDUCE ROCCO. 1951 00:59:33,834 --> 00:59:35,500 >> MY ENGLISH AT THAT TIME 1952 00:59:35,500 --> 00:59:37,041 WAS HORRIBLE, LIKE, 1953 00:59:37,041 --> 00:59:39,375 BARELY ANY ENGLISH. 1954 00:59:39,375 --> 00:59:41,375 ROCCO SPEAKS FRENCH VERY WELL 1955 00:59:41,375 --> 00:59:41,959 SO HE WOULD TRANSLATE SOME OF 1956 00:59:41,959 --> 00:59:43,750 THE THINGS, BUT THE FUNNIEST 1957 00:59:43,750 --> 00:59:45,750 PART WAS-- WAS THE DIALOGUE 1958 00:59:45,750 --> 00:59:48,375 I HAD, I WAS BASICALLY DOING 1959 00:59:48,375 --> 00:59:50,125 IT-- DOING IT-- PHONETICALLY. 1960 00:59:50,125 --> 00:59:51,583 >> I TOLD YOU THEY ARE STILL 1961 00:59:51,583 --> 00:59:52,792 IN THE DARK AGES. 1962 00:59:52,792 --> 00:59:55,208 I'M ALREADY NOT A GREAT ACTOR 1963 00:59:55,208 --> 00:59:56,500 TO START WITH, 1964 00:59:56,500 --> 00:59:58,000 BUT HERE, IT WAS LIKE-- 1965 00:59:58,000 --> 01:00:05,792 LIKE ROBOTIC ACTING. 1966 01:00:05,792 --> 01:00:06,917 >> I'LL DO THIS THING ABOUT 1967 01:00:06,917 --> 01:00:08,959 THIS LITTLE FASHION COMPANY 1968 01:00:08,959 --> 01:00:10,041 'CAUSE I WANNA DO STUFF WITH 1969 01:00:10,041 --> 01:00:11,583 FASHION 'CAUSE I LIKE CLOTHES 1970 01:00:11,583 --> 01:00:13,125 AND SEXY CLOTHES ON GIRLS. 1971 01:00:13,125 --> 01:00:14,583 IT GIVES ME AN EXCUSE, AND I'LL 1972 01:00:14,583 --> 01:00:15,542 HAVE THIS LITTLE MOUSEY GIRL 1973 01:00:15,542 --> 01:00:16,333 SITTING IN THE CORNER AND 1974 01:00:16,333 --> 01:00:16,917 SHE'LL JUST-- SHE'LL REALLY BE 1975 01:00:16,917 --> 01:00:19,041 THE BRAINS BEHIND THE OPERATION. 1976 01:00:19,041 --> 01:00:19,750 AND WE'LL DO THIS LIKE NORMAL, 1977 01:00:19,750 --> 01:00:23,166 LIKE TV SHOW KIND OF THING. 1978 01:00:23,166 --> 01:00:26,834 BUT THAT MORPHED INTO A FETISH 1979 01:00:26,834 --> 01:00:29,125 FASHION COMPANY AND THE GIRL 1980 01:00:29,125 --> 01:00:30,125 SITTING IN THE CORNER WAS 1981 01:00:30,125 --> 01:00:32,542 BELLADONNA WHO SENDS THE GUY 1982 01:00:32,542 --> 01:00:33,792 SHE'S TRYING TO SEDUCE AN 1983 01:00:33,792 --> 01:00:36,959 EXTREME S&M DVD WHERE HE FINDS 1984 01:00:36,959 --> 01:00:38,750 THIS STUFF WITH EASTER EGGS 1985 01:00:38,750 --> 01:00:39,041 ON THE DVD. 1986 01:00:39,041 --> 01:00:41,125 IT MORPHED INTO SOMETHING THAT 1987 01:00:41,125 --> 01:00:42,291 WAS REALLY LIKE A PRIMER 1988 01:00:42,291 --> 01:00:43,667 FOR S&M SEX. 1989 01:00:43,667 --> 01:00:44,959 WHEREAS, IT WAS SUPPOSED TO BE 1990 01:00:44,959 --> 01:00:46,125 THIS MIDDLE-OF-THE-ROAD THING, 1991 01:00:46,125 --> 01:00:47,625 BECAUSE I CAN'T THINK 1992 01:00:47,625 --> 01:00:48,875 MIDDLE-OF-THE-ROAD SOMEHOW. 1993 01:00:48,875 --> 01:00:51,750 305 ROLLS OF FILM AS I RECALL. 1994 01:00:51,750 --> 01:00:53,792 AND MOST OF THOSE WERE THE FOUR 1995 01:00:53,792 --> 01:00:55,917 MINUTES, ALTHOUGH, WE DID HAVE 1996 01:00:55,917 --> 01:00:57,333 ON TWO DIFFERENT DAYS, WE HAD 1997 01:00:57,333 --> 01:00:58,583 THE BIG CAMERA WHICH COULD SHOOT 1998 01:00:58,583 --> 01:00:59,000 11 MINUTES AT A TIME 1999 01:00:59,000 --> 01:01:01,250 WHICH WAS SO GREAT, 11 MINUTES. 2000 01:01:01,250 --> 01:01:03,000 I DON'T THINK I'VE DONE MY BEST 2001 01:01:03,000 --> 01:01:04,417 MOVIE YET, THAT'S FOR SURE. 2002 01:01:04,417 --> 01:01:05,041 I HOPE TO BE DOING MY NEXT MOVIE 2003 01:01:05,041 --> 01:01:05,959 IS GONNA BE MY BEST MOVIE, 2004 01:01:05,959 --> 01:01:07,625 >> WHAT CAN I DO FOR YOU TODAY? 2005 01:01:09,250 --> 01:01:10,875 >> I'D LIKE A MASSAGE. 2006 01:01:10,875 --> 01:01:12,166 >> WELL, YOU'VE CERTAINLY COME 2007 01:01:12,166 --> 01:01:14,458 TO THE RIGHT PLACE. 2008 01:01:14,458 --> 01:01:16,667 >> I MADE THE ORIGINAL 2009 01:01:16,667 --> 01:01:17,917 "MASSEUSE" IN ABOUT 1990 2010 01:01:17,917 --> 01:01:18,959 OR SOMETHING LIKE THAT. 2011 01:01:18,959 --> 01:01:22,458 AND IT WAS REALLY A DEPARTURE 2012 01:01:22,458 --> 01:01:28,166 >> HELLO, THIS IS JIM. 2013 01:01:30,208 --> 01:01:32,583 >> I THINK IT IS THE BEST 2014 01:01:32,583 --> 01:01:33,667 I FELT SO INCREDIBLY 2015 01:01:37,125 --> 01:01:38,917 COMFORTABLE WITH THE SCRIPT, 2016 01:01:38,917 --> 01:01:41,500 >> THE DIRECTNESS, THE 2017 01:01:41,959 --> 01:01:44,542 SIMPLICITY, THE TRUTHFULNESS 2018 01:01:44,542 --> 01:01:45,417 OF IT. 2019 01:01:45,417 --> 01:01:46,875 THERE'S NO BELLS AND WHISTLES. 2020 01:01:46,875 --> 01:01:47,959 IT'S JUST A MASSEUSE 2021 01:01:47,959 --> 01:01:50,917 AND HER CLIENT TALKING. 2022 01:01:50,917 --> 01:01:52,667 YOU KNOW, WHAT DID I CALL IT-- 2023 01:01:52,667 --> 01:01:53,208 "MY DINNER WITH ANDRE" 2024 01:01:53,208 --> 01:01:55,083 OF X-RATED MOVIES. 2025 01:01:55,083 --> 01:01:56,583 >> IF YOU WATCH THE MOVIE 2026 01:01:56,583 --> 01:01:59,375 CLOSELY, YOU CAN ALMOST SEE ME, 2027 01:01:59,375 --> 01:02:01,500 THE REAL ME, 2028 01:02:01,500 --> 01:02:03,542 DISCOVERING MYSELF. 2029 01:02:03,542 --> 01:02:06,083 SO THAT'S WHY I LIKE IT SO MUCH. 2030 01:02:06,083 --> 01:02:08,250 HOW OLD ARE YOU? 2031 01:02:08,250 --> 01:02:09,792 >> 28. 2032 01:02:09,792 --> 01:02:14,542 >> GIRLFRIEND? 2033 01:02:14,542 --> 01:02:16,333 >> CAN I TELL YOU A SECRET? 2034 01:02:16,333 --> 01:02:18,792 >> SURE, I LOVE SECRETS. 2035 01:02:22,959 --> 01:02:25,125 >> I'M A VIRGIN. 2036 01:02:25,125 --> 01:02:28,458 >> I LIKE TO STAB 2037 01:02:28,458 --> 01:02:29,959 AND SEE HOW FAR I CAN GO. 2038 01:02:29,959 --> 01:02:32,291 PAUL THOMAS HAS A WAY ABOUT HIM, 2039 01:02:32,291 --> 01:02:35,125 AND I THINK I GAINED 2040 01:02:35,125 --> 01:02:36,875 A LITTLE BIT OF HIS RESPECT. 2041 01:02:36,875 --> 01:02:38,625 HE'S USED TO BEING ABLE TO TELL 2042 01:02:38,625 --> 01:02:41,166 PEOPLE POP, POP, POP, POP, POP. 2043 01:02:41,166 --> 01:02:42,917 AND I WOULD BE LIKE, "LISTEN, 2044 01:02:42,917 --> 01:02:43,959 NO, THIS IS THE WAY THIS SHOULD 2045 01:02:43,959 --> 01:02:46,041 BE, AND THIS IS THE WAY 2046 01:02:46,041 --> 01:02:47,208 THIS SHOULD BE. 2047 01:02:47,208 --> 01:02:48,041 WHAT DO YOU THINK ABOUT THAT?" 2048 01:02:48,041 --> 01:02:48,917 >> SHE BROUGHT A LOT TO 2049 01:02:48,917 --> 01:02:51,291 THE TABLE, SHE LISTENED TO ME, 2050 01:02:51,291 --> 01:02:52,875 ALWAYS ON TIME-- I'M THE ONE 2051 01:02:52,875 --> 01:02:54,792 WHO HAD TO STEP UP MY GAME. 2052 01:02:54,792 --> 01:02:56,166 YOU KNOW, WITH JENNA, 2053 01:02:56,166 --> 01:02:58,500 NO PARTYING, YOU KNOW? 2054 01:02:58,500 --> 01:03:00,625 >> I'LL SEE YOU LATER, 2055 01:03:01,917 --> 01:03:09,917 >> I PLAYED JUSTINE JONES, 2056 01:03:12,166 --> 01:03:14,208 JONES," AND JENNA JAMESON 2057 01:03:15,750 --> 01:03:17,041 PLAYED THE DEVIL, WHICH WAS 2058 01:03:17,041 --> 01:03:18,041 QUITE INTERESTING BECAUSE I GOT 2059 01:03:18,041 --> 01:03:21,208 THE SCRIPT AND THEN HEARD THAT 2060 01:03:21,208 --> 01:03:22,917 AND MY-- MY FIRST THOUGHT WAS 2061 01:03:25,417 --> 01:03:26,709 NOT ONLY DO YOU HAVE TO REMAKE 2062 01:03:26,709 --> 01:03:28,709 THIS AMAZING CLASSIC FILM, 2063 01:03:28,709 --> 01:03:30,000 "THE DEVIL AND MISS JONES," BUT 2064 01:03:30,000 --> 01:03:32,959 ALSO NOW NEXT TO JENNA JAMESON 2065 01:03:32,959 --> 01:03:34,458 >> AT FIRST IT FEELS LIKE 2066 01:03:35,542 --> 01:03:38,458 A NO-WIN SITUATION, YOU KNOW? 2067 01:03:38,458 --> 01:03:38,917 WHAT AM I GONNA MAKE 2068 01:03:38,917 --> 01:03:41,375 ONCE IN A WHILE, YOU GET 2069 01:03:43,458 --> 01:03:45,083 "GODFATHER TWO," BUT MOST OF THE 2070 01:03:45,083 --> 01:03:47,041 TIME, THE SEQUEL'S JUST AREN'T 2071 01:03:47,041 --> 01:03:48,291 SO GOOD IF THE ORIGINAL'S 2072 01:03:48,291 --> 01:03:49,041 >> I HAD BEEN OUT OF 2073 01:03:49,458 --> 01:03:51,500 THE BUSINESS FOR A LONG TIME. 2074 01:03:51,500 --> 01:03:52,125 AND PAUL THOMAS CALLED ME ONE 2075 01:03:52,125 --> 01:03:54,417 NIGHT AND SAID, "WE'RE GONNA DO 2076 01:03:54,417 --> 01:03:55,625 A REMAKE OF 'THE DEVIL 2077 01:03:55,625 --> 01:03:56,250 AND I SAID, "WELL, VERY GOOD, 2078 01:03:57,417 --> 01:03:58,125 PAUL, CONGRATULATIONS, 2079 01:03:58,125 --> 01:04:00,458 GOOD LUCK," AND SO FORTH. 2080 01:04:00,458 --> 01:04:01,333 AND HE SAYS, "YOU'RE GONNA 2081 01:04:01,333 --> 01:04:02,125 BE IN IT," AND I SAID, 2082 01:04:02,125 --> 01:04:03,542 "OH, NO, I'M NOT." 2083 01:04:03,542 --> 01:04:04,166 AND HE SAID, "OH, YES, YOU ARE." 2084 01:04:04,166 --> 01:04:05,041 HE SAYS, "YOU'RE JUST GONNA DO 2085 01:04:05,041 --> 01:04:07,792 A CAMEO, THREE LINES." 2086 01:04:07,792 --> 01:04:08,667 I SAID, "I DON'T EVEN WANNA 2087 01:04:08,667 --> 01:04:09,625 LEARN THREE LINES." 2088 01:04:09,625 --> 01:04:10,333 HE SAYS, "I'LL GIVE YOU 2089 01:04:10,333 --> 01:04:13,250 $10,000," I SAID, "OKAY." 2090 01:04:13,250 --> 01:04:14,375 >> WHEN SHE COMES OUT AT THE END 2091 01:04:14,375 --> 01:04:16,041 OF THAT MOVIE, YOU GET CHILLS. 2092 01:04:16,041 --> 01:04:16,959 ESPECIALLY IF YOU KNOW 2093 01:04:16,959 --> 01:04:18,083 WHO SHE IS. 2094 01:04:18,083 --> 01:04:21,542 IT REALLY WORKS, AND, UH... 2095 01:04:21,542 --> 01:04:22,000 SHE'S JUST DELIGHTFUL. 2096 01:04:22,000 --> 01:04:25,041 >> DO YOU READ, MISS JONES? 2097 01:04:25,041 --> 01:04:26,375 >> ONLY ROMANCE NOVELS, 2098 01:04:26,375 --> 01:04:28,792 IT'S MY JOB. 2099 01:04:28,792 --> 01:04:31,166 >> YOU ARE SO PRIVILEGED. 2100 01:04:31,166 --> 01:04:32,792 AND YOU FEEL SO SORRY 2101 01:04:32,792 --> 01:04:34,083 FOR YOURSELF. 2102 01:04:34,083 --> 01:04:36,750 IS ONE OF THE MOST 2103 01:04:40,166 --> 01:04:43,458 GROUNDBREAKING WOMEN EVER. 2104 01:04:43,458 --> 01:04:46,625 OWNING HER SEXUALITY AND NOT 2105 01:04:49,917 --> 01:04:52,417 BACKING DOWN AT THE TIME WHEN 2106 01:04:52,417 --> 01:04:54,750 SHE WAS FAME-- UBER FAMOUS. 2107 01:04:54,750 --> 01:04:57,959 I HAVE ULTIMATE RESPECT FOR HER, 2108 01:04:57,959 --> 01:05:00,625 AND I MADE SURE I TOLD HER THAT. 2109 01:05:00,625 --> 01:05:02,792 AND HER ACTING WAS FANTASTIC, 2110 01:05:02,792 --> 01:05:04,000 TOO. 2111 01:05:04,000 --> 01:05:05,166 >> IT WAS REALLY COOL TO DO THAT 2112 01:05:05,166 --> 01:05:08,458 BECAUSE, YOU KNOW, AT THE TIME, 2113 01:05:09,083 --> 01:05:11,792 WE WERE THREE OF THE BIGGEST 2114 01:05:11,792 --> 01:05:12,250 NAMES IN THE BUSINESS, 2115 01:05:12,250 --> 01:05:14,291 AND IT WAS LIKE, "WOW, THIS 2116 01:05:14,291 --> 01:05:15,792 >> WHILE I'M GETTING DP'D, 2117 01:05:17,041 --> 01:05:19,667 I SAY THIS MONOLOGUE FROM-- 2118 01:05:19,667 --> 01:05:20,250 THAT GEORGINA SPELVIN SAID IN 2119 01:05:20,250 --> 01:05:21,166 THE ORIGINAL "MISS JONES." 2120 01:05:21,166 --> 01:05:23,125 >> IF YOU TOUCH ME, I'LL COME, 2121 01:05:23,125 --> 01:05:24,125 I KNOW I WILL. 2122 01:05:24,125 --> 01:05:25,083 TOUCH ME, TOUCH ME, TOUCH ME. 2123 01:05:25,083 --> 01:05:27,417 I'LL MAKE YOU COME, TOO. 2124 01:05:27,417 --> 01:05:28,750 SO WHEN I DID HOWARD STERN, 2125 01:05:28,750 --> 01:05:29,750 HE SAID, "WELL, DID YOU FUCK 2126 01:05:29,750 --> 01:05:30,500 A SNAKE," BECAUSE THAT'S WHAT 2127 01:05:30,500 --> 01:05:31,375 PEOPLE THINK OF THE ORIGINAL 2128 01:05:31,375 --> 01:05:31,667 MISS JONES. 2129 01:05:31,667 --> 01:05:33,208 THEY DON'T REMEMBER MUCH, BUT 2130 01:05:33,208 --> 01:05:34,792 THEY REMEMBER THE SNAKE SCENE. 2131 01:05:34,792 --> 01:05:36,333 AND WHAT THEY ACTUALLY REMEMBER 2132 01:05:36,333 --> 01:05:37,792 ABOUT IT, BUT THEY THINK MOSTLY 2133 01:05:37,792 --> 01:05:38,333 THAT THERE WAS A SEX SCENE 2134 01:05:38,333 --> 01:05:39,083 WITH A SNAKE. 2135 01:05:39,083 --> 01:05:41,625 SO I WENT TO VIVID AND I SAID, 2136 01:05:41,625 --> 01:05:42,500 "LOOK, WE HAVE TO DO 2137 01:05:42,500 --> 01:05:43,417 A SNAKE SCENE." 2138 01:05:43,417 --> 01:05:44,625 >> IT WAS A GOOD TIME 2139 01:05:44,625 --> 01:05:45,709 IN EVERYONE'S LIVES. 2140 01:05:45,709 --> 01:05:46,750 THEY WERE TIGHT. 2141 01:05:46,750 --> 01:05:48,792 VIVID WAS TIGHT. 2142 01:05:48,792 --> 01:05:49,917 WE WERE ALL TIGHT AND WORKING-- 2143 01:05:49,917 --> 01:05:51,959 REALLY WORKING BOTH FOR 2144 01:05:51,959 --> 01:05:53,291 "THE DEVIL IN MISS JONES" AND 2145 01:05:53,291 --> 01:05:54,083 FOR "MASSEUSE", WORKING AT THE 2146 01:05:54,083 --> 01:05:57,417 TOP OF OUR PROFESSIONAL LEVELS 2147 01:05:57,417 --> 01:05:58,041 AND OUR PERSONAL LIVES. 2148 01:05:58,041 --> 01:06:01,000 WE'RE ALL PRETTY DAMN TOGETHER. 2149 01:06:01,000 --> 01:06:02,917 SO IT WAS NOTHING BUT-- 2150 01:06:02,917 --> 01:06:04,458 NOTHING BUT POSITIVE. 2151 01:06:04,458 --> 01:06:05,250 >> THE 2000s WERE THE DECADE 2152 01:06:05,250 --> 01:06:07,500 WHEN PORN GREW UP. 2153 01:06:07,500 --> 01:06:08,291 FLUSH WITH MONEY FROM THE DVD 2154 01:06:08,291 --> 01:06:10,625 BOOM, PRODUCERS BEGAN SHOOTING 2155 01:06:10,625 --> 01:06:11,917 BIGGER MOVIES WITH MAJOR 2156 01:06:11,917 --> 01:06:13,792 BUDGETS, GIGANTIC CASTS, 2157 01:06:13,792 --> 01:06:15,166 AND ELABORATE SCRIPTS. 2158 01:06:15,166 --> 01:06:16,250 THESE ADULT BLOCKBUSTERS NEEDED 2159 01:06:16,250 --> 01:06:18,333 A BETTER FORMAT THAN SIMPLE 2160 01:06:18,333 --> 01:06:19,750 VIDEO, AND FILM WAS BECOMING 2161 01:06:19,750 --> 01:06:21,792 TOO COSTLY TO JUSTIFY. 2162 01:06:21,792 --> 01:06:22,291 COMING WITH ITS OWN SET OF 2163 01:06:22,291 --> 01:06:24,417 TECHNICAL ISSUES AND CONCERNS, 2164 01:06:24,417 --> 01:06:26,417 THE FAST-GROWING HD FORMAT 2165 01:06:26,417 --> 01:06:28,125 >> THE FEATURES OF THAT TIME, 2166 01:06:29,333 --> 01:06:29,875 WERE PEOPLE SPENDING A LOT 2167 01:06:29,875 --> 01:06:30,917 OF MONEY ON THEM... 2168 01:06:30,917 --> 01:06:31,625 >> YEAH. 2169 01:06:31,625 --> 01:06:32,375 >> WHEN IT WAS NEW, WERE THEY-- 2170 01:06:32,375 --> 01:06:33,250 >> YEAH, I MEAN, LIKE, 2171 01:06:33,250 --> 01:06:35,291 FIRST FEATURE LEADS WAS FOR 2172 01:06:37,208 --> 01:06:38,250 "WICKED." 2173 01:06:38,250 --> 01:06:40,417 IT WAS THIS REALLY BIG, 2174 01:06:40,417 --> 01:06:42,458 LIKE, MICHAEL RAVEN MOVIE. 2175 01:06:42,458 --> 01:06:44,041 I REMEMBER IT HAD, LIKE, THESE 2176 01:06:44,041 --> 01:06:46,166 OOZING, LIKE, TENTACLE DILDOS 2177 01:06:46,166 --> 01:06:49,458 AND FOG MACHINE, AND, LIKE, 2178 01:06:49,458 --> 01:06:50,333 THESE BIG SETS AND IT WAS THE 2179 01:06:50,333 --> 01:06:52,458 FIRST TIME, YOU KNOW, WE SHOT 2180 01:06:52,458 --> 01:06:53,875 OUT IN THE DESERT AND IT WAS, 2181 01:06:53,875 --> 01:06:55,542 LIKE, A WIND STORM AND IT WAS 2182 01:06:55,542 --> 01:06:58,000 JUST-- IT WAS AWESOME. IT WAS, 2183 01:06:58,000 --> 01:06:59,500 LIKE, REALLY FUN TO GO FROM, 2184 01:06:59,500 --> 01:07:01,000 LIKE, JUST GETTING, LIKE, 2185 01:07:01,000 --> 01:07:02,041 YOU KNOW... 2186 01:07:02,041 --> 01:07:03,000 >> NAILED. 2187 01:07:03,000 --> 01:07:06,166 >> FUCK-NAILED ON A GONZO SET, 2188 01:07:06,166 --> 01:07:07,709 JUST POUNDED, LIKE, "YEAH, 2189 01:07:07,709 --> 01:07:08,959 MOTHERFUCKER, COME ON, I CAN 2190 01:07:08,959 --> 01:07:09,750 TAKE IT," YOU KNOW, 2191 01:07:09,750 --> 01:07:12,125 TO, LIKE, CATERING. 2192 01:07:12,125 --> 01:07:13,041 (LAUGHING) 2193 01:07:13,041 --> 01:07:14,709 YOU KNOW, LIKE, "WOULD YOU LIKE 2194 01:07:14,709 --> 01:07:15,333 A SNACK?" 2195 01:07:15,333 --> 01:07:16,250 "YES, I WOULD." 2196 01:07:16,250 --> 01:07:17,250 >> THERE'S BREAKFAST ON SET? 2197 01:07:17,250 --> 01:07:19,083 >> SO HOW HAS INTERNET AFFECTED 2198 01:07:20,959 --> 01:07:22,542 THE INDUSTRY TODAY? 2199 01:07:22,542 --> 01:07:25,291 >> I THINK IT MAKES THE FANS 2200 01:07:25,291 --> 01:07:27,875 ACCESS YOUR FAVORITE STARS AND 2201 01:07:29,625 --> 01:07:31,625 HAVE CONVERSATIONS AND GIVE THEM 2202 01:07:31,625 --> 01:07:32,333 GIFTS AND, YOU KNOW, JUST TO 2203 01:07:32,333 --> 01:07:35,709 TALK TO WHOEVER YOU'RE A FAN OF. 2204 01:07:35,709 --> 01:07:37,375 SO THE INTERNET, LITERALLY, THEY 2205 01:07:37,375 --> 01:07:40,125 CAN SEE WHO'S SHOOTING WHEN, 2206 01:07:40,125 --> 01:07:41,458 THAT DAY, THEY KNOW WHEN IT'S 2207 01:07:41,458 --> 01:07:42,166 GONNA COME OUT. 2208 01:07:42,166 --> 01:07:43,583 IT'S JUST, LIKE, RIGHT NOW, 2209 01:07:43,583 --> 01:07:45,041 >> I'M LOOKING FOR A PIRATE. 2210 01:07:47,458 --> 01:07:50,917 >> WE KNOW MANY, MANY PIRATES. 2211 01:07:50,917 --> 01:07:52,875 >> BY FAR, THE BIGGEST 2212 01:07:52,875 --> 01:07:53,750 PRODUCTION THAT I'VE EVER BEEN 2213 01:07:53,750 --> 01:07:55,041 INVOLVED IN HAD TO BE 2214 01:07:55,041 --> 01:07:55,625 THE "PIRATES." 2215 01:07:55,625 --> 01:07:57,583 SHOT STUFF IN L.A., THEN TOOK 2216 01:07:57,583 --> 01:07:58,250 THE WHOLE TROOP, CREW, EVERYBODY 2217 01:07:58,250 --> 01:08:00,083 THAT WAS INVOLVED IN IT 2218 01:08:00,083 --> 01:08:00,583 ALL THE WAY TO FLORIDA. 2219 01:08:00,583 --> 01:08:02,291 WE SHOT ON THE U.S.S. BOUNTY. 2220 01:08:02,291 --> 01:08:03,291 IT TOOK THREE WEEKS TO SHOOT 2221 01:08:03,291 --> 01:08:03,583 >> HELMSMAN, PREPARE 2222 01:08:05,083 --> 01:08:05,375 TO SET SAIL. 2223 01:08:05,375 --> 01:08:07,041 >> ARE YOU REALLY GONNA 2224 01:08:07,041 --> 01:08:08,709 LET HER GO UNSCATHED, SIR? 2225 01:08:08,709 --> 01:08:10,458 >> OF COURSE NOT. 2226 01:08:10,458 --> 01:08:17,375 >> WORKING WITH JOONE, 2227 01:08:18,333 --> 01:08:21,166 HE HAS A VISION, 2228 01:08:21,166 --> 01:08:21,542 HE'S AN ARTIST. 2229 01:08:21,542 --> 01:08:23,458 HE HAS THIS GREAT VISION 2230 01:08:23,458 --> 01:08:24,375 OF SOMETHING BIGGER 2231 01:08:24,375 --> 01:08:25,417 >> THERE'S SOME DIRECTORS THAT 2232 01:08:27,291 --> 01:08:29,417 ACTUALLY GET INVOLVED IN THEIR 2233 01:08:29,417 --> 01:08:30,500 STUFF, THEY HAVE THE VISION IN 2234 01:08:30,500 --> 01:08:31,375 THEIR HEAD, AND JOONE IS ONE 2235 01:08:31,375 --> 01:08:32,208 OF THOSE DIRECTORS. 2236 01:08:32,208 --> 01:08:33,417 HE ALREADY HAD THE SET IN HIS 2237 01:08:33,417 --> 01:08:34,792 HEAD AND THEY BUILT IT AND 2238 01:08:34,792 --> 01:08:36,125 THEY TOOK THEIR TIME TO DO IT 2239 01:08:36,125 --> 01:08:36,792 AND HE KNEW EXACTLY 2240 01:08:36,792 --> 01:08:37,375 WHAT HE WANTED. 2241 01:08:37,375 --> 01:08:38,208 ALREADY HAD THE SHOTS 2242 01:08:38,208 --> 01:08:38,500 IN HIS HEAD. 2243 01:08:38,500 --> 01:08:40,583 >> IT'S A BIT SLOW TONIGHT, 2244 01:08:40,583 --> 01:08:41,500 IT'S AWKWARD. 2245 01:08:41,500 --> 01:08:43,041 >> LINE UP THE CREW ON THE BOW. 2246 01:08:43,041 --> 01:08:44,041 BRING ME THE PASSENGERS 2247 01:08:44,041 --> 01:08:45,125 FROM THE DECK BELOW. 2248 01:08:45,125 --> 01:08:45,417 AND, SERENA, 2249 01:08:45,417 --> 01:08:47,333 AS MUCH AS I LOVE YOUR METHODS, 2250 01:08:47,333 --> 01:08:49,417 DON'T EVEN CONSIDER KILLING 2251 01:08:49,417 --> 01:08:49,834 >> I DON'T THINK I WAS EVER 2252 01:08:51,792 --> 01:08:53,458 A CRUEL PIRATE. 2253 01:08:53,458 --> 01:08:54,250 I'M GONNA HAVE TO WATCH THAT 2254 01:08:54,250 --> 01:08:55,291 AGAIN... UH, WAS I A CRUEL-- 2255 01:08:55,291 --> 01:08:58,959 SHE WAS A HORNY PIRATE. 2256 01:09:00,542 --> 01:09:02,166 I DON'T KNOW IF SHE WAS CRUEL. 2257 01:09:02,166 --> 01:09:03,500 >> WELL, THERE'S THE VICIOUS 2258 01:09:03,500 --> 01:09:05,166 LADY I REMEMBER. 2259 01:09:05,166 --> 01:09:07,125 >> DON'T EVER SECOND-GUESS ME. 2260 01:09:07,125 --> 01:09:08,291 >> HE BUILT THE TENSION. 2261 01:09:08,291 --> 01:09:09,333 SO WE WERE, OF COURSE, 2262 01:09:09,333 --> 01:09:11,375 THE LAST SCENE OF "PIRATES." 2263 01:09:11,375 --> 01:09:13,208 HE JUST WAITED, AND THEY WOULD 2264 01:09:13,208 --> 01:09:14,500 SAY LITTLE THINGS TO US TO LIKE 2265 01:09:14,500 --> 01:09:16,083 GET US READY AND TURNED-ON 2266 01:09:16,083 --> 01:09:17,000 AND READY TO GO. 2267 01:09:17,000 --> 01:09:18,041 >> THEY KEPT JESSE JANE 2268 01:09:18,041 --> 01:09:20,291 AND I SEPARATE, UH, SEPARATED 2269 01:09:20,291 --> 01:09:24,083 JUST SO THE TENSION AND 2270 01:09:24,083 --> 01:09:25,792 THE, YOU KNOW, THE ANTICIPATION 2271 01:09:25,792 --> 01:09:27,500 WOULD BUILD UP AND... 2272 01:09:27,500 --> 01:09:28,917 >> AND HE'S COME TEASE ME. 2273 01:09:28,917 --> 01:09:30,000 "I WONDER WHO'S GONNA WIN? 2274 01:09:30,000 --> 01:09:31,500 I GUESS SHE'S GONNA SHOW YOU." 2275 01:09:31,500 --> 01:09:33,583 >> SHE'S ABOUT HALF MY SIZE 2276 01:09:33,583 --> 01:09:34,542 AND THIS LITTLE-- THIS LITTLE 2277 01:09:34,542 --> 01:09:36,333 CUPCAKE THOUGHT SHE WAS GONNA... 2278 01:09:36,333 --> 01:09:38,667 DOMINATE ME? 2279 01:09:38,667 --> 01:09:40,583 I HAD TO-- I HAD TO PUT HER IN 2280 01:09:40,583 --> 01:09:42,208 HER PLACE, BUT I LET HER PRETEND 2281 01:09:42,208 --> 01:09:43,250 TO THINK THAT FOR A LITTLE BIT. 2282 01:09:43,250 --> 01:09:45,125 >> OKAY, SO CARMEN GETS PUT-- 2283 01:09:45,125 --> 01:09:45,542 CHOKED OFF THE BOAT 2284 01:09:45,542 --> 01:09:47,375 BY TOMMY GUNN. 2285 01:09:47,375 --> 01:09:48,667 >> AND THEY WANTED TO DO THIS 2286 01:09:48,667 --> 01:09:52,041 STUNT WHERE, UH, STUNT GIRL GOES 2287 01:09:52,041 --> 01:09:52,667 OFF IN THE WATER, NO BIG DEAL. 2288 01:09:52,667 --> 01:09:54,583 >> AND SHE GOES, "NO." 2289 01:09:54,583 --> 01:09:55,291 >> WELL, JESSE WOULDN'T HAVE 2290 01:09:55,291 --> 01:09:57,417 NOTHING TO DO WITH THAT. 2291 01:09:57,417 --> 01:09:57,959 SHE WANTED TO DO THE STUNT 2292 01:09:57,959 --> 01:09:58,875 HERSELF. 2293 01:09:58,875 --> 01:09:59,667 >> AND OF COURSE, I'M A 2294 01:09:59,667 --> 01:10:00,291 DAREDEVIL, SO I'M LIKE, 2295 01:10:00,291 --> 01:10:02,166 "I'LL DO IT." 2296 01:10:02,166 --> 01:10:02,667 >> AND I KNOW WHAT'S GONNA 2297 01:10:02,667 --> 01:10:04,500 HAPPEN BEFORE IT EVEN HAPPENS. 2298 01:10:04,500 --> 01:10:05,417 SO I ALREADY GOT MY STUFF OFF, 2299 01:10:05,417 --> 01:10:05,875 GOT MY BOOTS OFF, AND 2300 01:10:05,875 --> 01:10:07,041 I'M JUST STANDING HERE AND JUST 2301 01:10:07,041 --> 01:10:07,875 WAITING FOR HER TO JUMP IN. 2302 01:10:07,875 --> 01:10:09,083 AS SOON AS SHE JUMP IN 2303 01:10:09,083 --> 01:10:09,875 AND THEY GOT THE SHOT AND THE 2304 01:10:09,875 --> 01:10:11,083 SPLASH, I'M IN THE WATER 2305 01:10:11,083 --> 01:10:11,709 AFTER HER. 2306 01:10:11,709 --> 01:10:12,917 THEY'RE NOT EVEN THINKING THAT 2307 01:10:12,917 --> 01:10:14,417 THIS BIG, BALLOONING DRESS IS 2308 01:10:14,417 --> 01:10:15,667 JUST GONNA SUCK UP RIGHT TO HER, 2309 01:10:15,667 --> 01:10:16,375 AND SHE'S NOT GONNA BE ABLE TO 2310 01:10:16,375 --> 01:10:16,959 KICK, SHE'S NOT GONNA BE ABLE 2311 01:10:16,959 --> 01:10:18,083 TO DO ANYTHING. 2312 01:10:18,083 --> 01:10:19,709 >> WELL, MY DRESS, HER DRESS, 2313 01:10:19,709 --> 01:10:21,125 GETS CAUGHT ON A NAIL 2314 01:10:21,125 --> 01:10:21,542 UNDERNEATH THE BOAT 2315 01:10:21,542 --> 01:10:23,542 AND I START SINKING 2316 01:10:23,542 --> 01:10:24,667 AND I CAN'T COME UP. 2317 01:10:24,667 --> 01:10:25,375 >> BUT SHE WENT IN 2318 01:10:25,375 --> 01:10:28,125 AND SHE ALMOST DROWNED. 2319 01:10:28,125 --> 01:10:28,917 >> I THINK SOME OF THAT WAS 2320 01:10:28,917 --> 01:10:30,208 BEHIND-THE-SCENES, NOT ALL OF IT 2321 01:10:30,208 --> 01:10:30,959 WHERE I WAS DROWNING, 2322 01:10:30,959 --> 01:10:32,041 'CAUSE THAT WAS PROBABLY 2323 01:10:32,041 --> 01:10:32,834 NOT GOOD. 2324 01:10:32,834 --> 01:10:34,208 I DEFINITELY DIDN'T KNOW 2325 01:10:34,208 --> 01:10:35,375 IT WOULD BE AS BIG AS IT WAS 2326 01:10:35,375 --> 01:10:38,333 AND THE NUMBER ONE MOVIE EVER. 2327 01:10:38,333 --> 01:10:40,125 AND PEOPLE WHO EVER WATCHED PORN 2328 01:10:40,125 --> 01:10:40,959 HEARD OF THE MOVIE AND WENT 2329 01:10:40,959 --> 01:10:41,750 TO WATCH IT. 2330 01:10:41,750 --> 01:10:44,291 IT WAS THE FIRST MOVIE TO BE CUT 2331 01:10:44,291 --> 01:10:44,834 INTO A RATED R VERSION AND 2332 01:10:44,834 --> 01:10:46,333 RENTED IN BLOCKBUSTER. 2333 01:10:46,333 --> 01:10:48,750 IT WAS A BLOCKBUSTER HIT. 2334 01:10:50,875 --> 01:10:55,375 >> YOU MUST THINK ME A MONSTER. 2335 01:10:55,375 --> 01:10:56,583 >> "CORRUPTION" WAS PROBABLY 2336 01:10:58,959 --> 01:11:00,709 THE FIRST BIG-BUDGET MOVIE 2337 01:11:00,709 --> 01:11:02,542 I WAS THAT INVOLVED IN. 2338 01:11:04,000 --> 01:11:05,583 I'D, YOU KNOW, BEEN IN OTHER 2339 01:11:05,583 --> 01:11:07,500 BIG-BUDGET MOVIES AS TALENT, 2340 01:11:07,500 --> 01:11:08,500 BUT YOU'RE NOT AS INVOLVED 2341 01:11:08,500 --> 01:11:10,125 YOU SHOW UP AND, YOU KNOW, 2342 01:11:10,667 --> 01:11:13,000 YOU PRETTY MUCH DO YOUR THING 2343 01:11:13,000 --> 01:11:14,208 >> IT WAS SOMETHING BEING DONE 2344 01:11:16,166 --> 01:11:18,417 AND BEING DONE WELL AND WITH, 2345 01:11:18,417 --> 01:11:19,583 LIKE, HEART. 2346 01:11:19,583 --> 01:11:22,417 THAT, LIKE, ATTRACTS ME. 2347 01:11:23,834 --> 01:11:25,667 YEAH, I GOT YOU 2348 01:11:25,667 --> 01:11:30,250 RIGHT WHERE YOU WANT ME. 2349 01:11:30,250 --> 01:11:31,917 >> I ALSO HAD A PRETTY 2350 01:11:31,917 --> 01:11:33,542 DECENT ACTING ROLE. 2351 01:11:33,542 --> 01:11:35,166 AND THAT WAS PLAYING THE PART 2352 01:11:35,166 --> 01:11:36,667 OF CAROLYN HELMS, 2353 01:11:36,667 --> 01:11:40,458 WHO WAS THE SENATOR'S WIFE. 2354 01:11:40,458 --> 01:11:42,709 AND SHE'S KIND OF THE CENTRAL 2355 01:11:42,709 --> 01:11:43,583 PART OF THE MOVIE. 2356 01:11:43,583 --> 01:11:46,083 HERE'S CAROLYN IN THE MIDDLE, 2357 01:11:46,083 --> 01:11:47,208 AND SHE'S KIND OF STARTS 2358 01:11:47,208 --> 01:11:48,750 MANIPULATING EVERYBODY 2359 01:11:48,750 --> 01:11:51,041 >> I'M A UNION LEADER, 2360 01:11:51,583 --> 01:11:53,417 A TEAMSTER. 2361 01:11:53,417 --> 01:11:55,875 AND I'M A-- I'M TRYING TO WORK, 2362 01:11:55,875 --> 01:11:59,291 TO GAIN AN ADVANTAGE. 2363 01:12:00,583 --> 01:12:02,542 WORD IS YOU'RE PLANNING A RUN 2364 01:12:02,542 --> 01:12:04,208 AT THE BIG TICKET IN TWO YEARS. 2365 01:12:04,208 --> 01:12:06,375 IF THAT'S TRUE, YOU'RE GONNA 2366 01:12:06,375 --> 01:12:08,959 NEED MONEY, US, AND GOD 2367 01:12:08,959 --> 01:12:11,500 ON YOUR SIDE... IN THAT ORDER. 2368 01:12:11,500 --> 01:12:12,792 I'M BEING BLACKMAILED IN THIS 2369 01:12:12,792 --> 01:12:14,709 SCENE, SO I'M-- SO I'M DOING-- 2370 01:12:14,709 --> 01:12:16,542 I'M PERFORMING A SEXUAL ACT 2371 01:12:16,542 --> 01:12:17,917 THAT IF I GET CAUGHT, 2372 01:12:17,917 --> 01:12:19,583 MY OWN CAREER WOULD BE DONE. 2373 01:12:19,583 --> 01:12:21,041 SO I WAS-- IT WAS ANOTHER SCENE 2374 01:12:21,041 --> 01:12:22,375 OF HUMILIATION FOR ME, WHICH I'M 2375 01:12:22,375 --> 01:12:24,166 COMFORTABLE WITH IN MY OWN LIFE 2376 01:12:24,166 --> 01:12:26,125 WITH TWO MARRIAGES BEHIND ME. 2377 01:12:26,125 --> 01:12:27,000 >> HOW MANY TIMES DID THEY PUSH 2378 01:12:27,000 --> 01:12:27,834 ME OUT OF THE CAR? 2379 01:12:27,834 --> 01:12:28,417 HOW MANY TIMES DID THEY ALMOST 2380 01:12:28,417 --> 01:12:29,583 HIT ME WITH THE CAR? 2381 01:12:29,583 --> 01:12:30,542 >> I THINK THEY WERE JUST HAVING 2382 01:12:30,542 --> 01:12:32,250 FUN THROWING JAMES OUT OF A CAR. 2383 01:12:32,250 --> 01:12:33,291 >> I HAD TO BE LIKE LIMP AND GET 2384 01:12:33,291 --> 01:12:34,667 THROWN OF THIS CAR, UM, 2385 01:12:34,667 --> 01:12:35,959 ONTO A PILE OF GARBAGE. 2386 01:12:35,959 --> 01:12:36,750 >> I THINK THEY MUST'VE SHOT 2387 01:12:36,750 --> 01:12:38,083 THAT SCENE. FOR WHATEVER REASON, 2388 01:12:38,083 --> 01:12:38,500 LIKE 15 TIMES. 2389 01:12:38,500 --> 01:12:39,500 >> IT FELT LIKE FOREVER 'CAUSE 2390 01:12:39,500 --> 01:12:40,667 I'D BEEN PUSHED OUT OF THE CAR 2391 01:12:40,667 --> 01:12:42,500 IN TO GARBAGE. 2392 01:12:42,500 --> 01:12:43,583 AND THEN THERE WAS THIS ONE TIME 2393 01:12:43,583 --> 01:12:45,375 WHERE, UH, MY LEGS FELT A LITTLE 2394 01:12:45,375 --> 01:12:46,792 WEIRD AND, LIKE, EVERYONE 2395 01:12:46,792 --> 01:12:48,125 STARTED SCREAMING 'CAUSE THE CAR 2396 01:12:48,125 --> 01:12:49,709 ALMOST ROLLED OVER MY ANKLE. 2397 01:12:49,709 --> 01:12:50,625 >> IT WAS FUN, IT WAS FANTASTIC 2398 01:12:50,625 --> 01:12:52,792 BECAUSE WE'D ALL WORKED SO HARD 2399 01:12:52,792 --> 01:12:54,500 ON IT AND, YOU KNOW, WE HAD THIS 2400 01:12:54,500 --> 01:12:56,000 SENSE OF FAMILY AND HARD WORK, 2401 01:12:56,000 --> 01:12:57,250 AND THE MOVIE JUST LOOKED 2402 01:12:57,250 --> 01:12:58,000 INCREDIBLE. 2403 01:12:58,000 --> 01:12:59,208 AND THEN WE WON. 2404 01:12:59,208 --> 01:12:59,750 AND I REMEMBER JUMPING UP 2405 01:12:59,750 --> 01:13:01,709 WHEN WE WON AT THE AVN AWARDS 2406 01:13:01,709 --> 01:13:03,667 AND I HAD A CORSET ON AND I WAS 2407 01:13:03,667 --> 01:13:04,709 SO EXCITED AND I ACTUALLY PEED 2408 01:13:04,709 --> 01:13:05,000 >> WOW. 2409 01:13:09,166 --> 01:13:10,792 THAT WAS THE CLOSEST THING 2410 01:13:10,792 --> 01:13:12,750 TO GOD I'VE EVER FELT. 2411 01:13:12,750 --> 01:13:15,041 >> I DON'T KNOW, BUT IT'S... 2412 01:13:17,375 --> 01:13:18,583 IT'S A LOT BIGGER AND A LOT 2413 01:13:18,583 --> 01:13:20,375 IT WAS MY FIRST LEAD, 2414 01:13:22,333 --> 01:13:23,875 BIG FEATURE FILM LIKE THAT. 2415 01:13:23,875 --> 01:13:24,709 I HAD DONE THE SMALLER ONES 2416 01:13:24,709 --> 01:13:25,542 WHERE I WAS LIKE SUPPORTING 2417 01:13:25,542 --> 01:13:27,333 ACTRESS. 2418 01:13:27,333 --> 01:13:28,500 BUT THIS WAS LIKE-- IT REALLY 2419 01:13:28,500 --> 01:13:29,000 PUT ME ON THE MAP AS FAR 2420 01:13:29,000 --> 01:13:29,667 MY PARTNER DIES, 2421 01:13:31,667 --> 01:13:33,250 LIKE, IN THE LINE OF DUTY. 2422 01:13:33,250 --> 01:13:34,041 I'M DEVASTATED. 2423 01:13:34,041 --> 01:13:35,291 BUT I'M KIND OF LIKE A HARD-ASS, 2424 01:13:35,291 --> 01:13:36,542 TOO, AND I DON'T LET ANYBODY 2425 01:13:36,542 --> 01:13:38,125 KIND OF SEE MY EMOTIONS. 2426 01:13:38,125 --> 01:13:38,709 AND WE DISCOVER THIS HACKER 2427 01:13:38,709 --> 01:13:41,417 GIRL, WHICH WAS PLAYED 2428 01:13:41,417 --> 01:13:42,917 BY HILLARY SCOTT. 2429 01:13:42,917 --> 01:13:44,291 AT THAT POINT, SEXY PICTURES 2430 01:13:44,291 --> 01:13:45,208 HAD JUST SIGNED HILLARY 2431 01:13:45,208 --> 01:13:46,291 TO UNDER CONTRACT. 2432 01:13:46,291 --> 01:13:47,750 AND THEY TOLD US 2433 01:13:47,750 --> 01:13:49,583 WE HAD TO USE HER. 2434 01:13:49,583 --> 01:13:49,875 IN THE END, 2435 01:13:49,875 --> 01:13:51,667 HILLARY DID AN AMAZING JOB. 2436 01:13:51,667 --> 01:13:53,667 SHE ACTUALLY, YOU KNOW... 2437 01:13:53,667 --> 01:13:56,583 SHE WAS PREPARED AND SHE CAME 2438 01:13:56,583 --> 01:13:58,709 AND WHO AM I KIDDING? 2439 01:14:00,458 --> 01:14:02,125 SHE DID NOT WORK HARD AT ALL. 2440 01:14:02,125 --> 01:14:04,041 SHE DIDN'T, I'M LYING TO TRY 2441 01:14:04,041 --> 01:14:05,333 THROUGH THE MIRACLE OF EDITING 2442 01:14:07,875 --> 01:14:10,458 AND GOOD ACTING COACHING, 2443 01:14:10,458 --> 01:14:12,375 I THINK THAT SHE FILLED 2444 01:14:12,375 --> 01:14:16,000 THE ROLE FINE. 2445 01:14:16,000 --> 01:14:16,959 >> DAVID, I KNOW YOU CAN 2446 01:14:16,959 --> 01:14:17,834 HEAR ME. 2447 01:14:17,834 --> 01:14:19,250 >> SHOWED UP ON SET AND I WAS 2448 01:14:19,250 --> 01:14:20,667 LIKE, "OH, THIS IS A BIG MOVIE, 2449 01:14:20,667 --> 01:14:21,542 AND THEY'RE LIKE, "YEAH, YOU'RE 2450 01:14:22,250 --> 01:14:23,041 LIKE THE STAR OF IT." 2451 01:14:23,041 --> 01:14:24,000 I'M LIKE, "BUT I'M ONLY HERE 2452 01:14:24,000 --> 01:14:24,750 FOR A DAY." 2453 01:14:24,750 --> 01:14:25,291 AND THEY'RE LIKE, "WELL, ALL 2454 01:14:25,291 --> 01:14:26,250 RIGHT, YOU'RE NOT THE STAR OF 2455 01:14:26,250 --> 01:14:26,792 IT, YOU'RE JUST-- THE WHOLE 2456 01:14:26,792 --> 01:14:28,792 >> YOU SEE A LOT OF MOVIES IN 2457 01:14:30,000 --> 01:14:30,625 PORN WHERE THEY SAY, "WE SPEND 2458 01:14:30,625 --> 01:14:32,792 A MILLION DOLLARS, WE SPEND $2 2459 01:14:32,792 --> 01:14:34,583 MILLION," WHATEVER THE CASE IS. 2460 01:14:34,583 --> 01:14:36,750 AND I'M GOING TO TELL YOU THAT 2461 01:14:36,750 --> 01:14:41,041 FOR THE MOST PART, THEY LIE. 2462 01:14:41,041 --> 01:14:42,667 PEOPLE WILL SAY, "WE SPEND ALL 2463 01:14:42,667 --> 01:14:44,125 THIS MONEY," AND THEY USUALLY 2464 01:14:44,125 --> 01:14:45,208 DOUBLE THE AMOUNT. 2465 01:14:45,208 --> 01:14:46,166 NOW LET ME TELL YOU, 2466 01:14:46,166 --> 01:14:49,500 "UPLOAD" COST $350,000. 2467 01:14:49,500 --> 01:14:50,083 THAT'S AN UNHEARD OF AMOUNT 2468 01:14:50,083 --> 01:14:52,417 OF MONEY IN PORN. 2469 01:14:58,792 --> 01:15:02,041 WE SHOT FOR 20 DAYS. 2470 01:15:02,041 --> 01:15:02,792 I DON'T THINK I'VE EVER KNOWN 2471 01:15:02,792 --> 01:15:05,291 A PORN MOVIE THAT SHOT 2472 01:15:05,291 --> 01:15:06,792 FOR 20 DAYS. 2473 01:15:06,792 --> 01:15:08,792 >> WHEN "UPLOAD" WON 2474 01:15:08,792 --> 01:15:11,125 ALL THE AWARDS, PICKED UP PRETTY 2475 01:15:11,125 --> 01:15:12,041 MUCH ALMOST EVERYTHING UNDER 2476 01:15:12,041 --> 01:15:14,291 THE SUN AT AVN'S, I FELT LIKE 2477 01:15:14,291 --> 01:15:17,000 SUCH A STRONG FEELING 2478 01:15:17,000 --> 01:15:18,750 OF ACCOMPLISHMENT. 2479 01:15:23,125 --> 01:15:24,208 >> ONE OF THE THINGS THAT 2480 01:15:24,208 --> 01:15:26,625 I LEARNED FROM ELI CROSS IS HE 2481 01:15:26,625 --> 01:15:28,500 SAID, "THERE'S TWO THINGS YOU 2482 01:15:28,500 --> 01:15:30,125 NEED, YOU NEED MONEY AND TIME. 2483 01:15:30,125 --> 01:15:32,417 AND THOSE TWO THINGS WILL ALWAYS 2484 01:15:32,417 --> 01:15:34,083 HELP YOU WITH A BETTER MOVIE." 2485 01:15:34,083 --> 01:15:36,583 WE WERE ABLE TO TAKE THE MONEY 2486 01:15:36,583 --> 01:15:37,667 THAT WE HAD AND TURN IT 2487 01:15:37,667 --> 01:15:38,875 INTO TIME, AND THAT MADE 2488 01:15:38,875 --> 01:15:40,667 FOR A BETTER MOVIE. 2489 01:15:42,250 --> 01:15:42,291 >> WHATEVER YOU ASK... 2490 01:15:45,750 --> 01:15:47,750 I AM YOUR SERVANT. 2491 01:15:48,709 --> 01:15:50,375 "FALLEN" TO THIS DAY IS 2492 01:15:50,375 --> 01:15:51,834 IN "FALLEN" I AM A GUARDIAN 2493 01:15:53,667 --> 01:15:55,291 ANGEL AND MY CHARGE 2494 01:15:55,291 --> 01:15:55,834 IS JENNA HAZE. 2495 01:15:55,834 --> 01:15:59,208 (EXPLOSION) 2496 01:16:05,500 --> 01:16:07,542 >> NO! 2497 01:16:07,542 --> 01:16:08,959 I THEN LOSE MY WINGS, 2498 01:16:08,959 --> 01:16:10,667 AND I'M SORT OF ROAMING 2499 01:16:10,667 --> 01:16:13,667 THE EARTH IN LIMBO IF YOU WILL. 2500 01:16:13,667 --> 01:16:15,291 AND I PRETTY MUCH HAVE SEX 2501 01:16:15,291 --> 01:16:17,166 WITH EVERYONE IN MY PATH. 2502 01:16:17,166 --> 01:16:18,291 >> THAT'S ONE OF THE THINGS. 2503 01:16:18,291 --> 01:16:19,291 WHEN YOU'RE IN THAT FANTASY 2504 01:16:19,291 --> 01:16:20,542 REALM, ESPECIALLY WHEN YOU'RE 2505 01:16:20,542 --> 01:16:22,792 AND A LOVE STORY AT THAT WITH 2506 01:16:25,250 --> 01:16:26,542 ALL THIS FANTASY STUFF WITH 2507 01:16:26,542 --> 01:16:27,792 ANGELS AND FLYING AROUND ON 2508 01:16:27,792 --> 01:16:29,542 ROOFTOPS, IS CAN YOU ACTUALLY 2509 01:16:29,542 --> 01:16:31,917 >> OH! OH! 2510 01:16:35,291 --> 01:16:37,125 >> A LOT HAS CHANGED. 2511 01:16:37,125 --> 01:16:39,667 I'M NO LONGER AN ANGEL. 2512 01:16:39,667 --> 01:16:41,750 "FALLEN", I THINK WE SHOT IT 2513 01:16:41,750 --> 01:16:43,250 OVER TWO WEEKS, BUT IT WASN'T 2514 01:16:43,250 --> 01:16:44,834 EVERY DAY OF THOSE TWO WEEKS. 2515 01:16:44,834 --> 01:16:46,375 WE HAD PREP DAYS AND THEN WE HAD 2516 01:16:46,375 --> 01:16:48,417 DOWN DAYS, SO-- SO PEOPLE COULD 2517 01:16:48,417 --> 01:16:50,375 REST THEIR PARTS, YOU KNOW? 2518 01:16:50,375 --> 01:16:50,875 WE HAD A LOT OF REALLY 2519 01:16:50,875 --> 01:16:53,083 AMAZING PEOPLE IN IT. 2520 01:16:53,083 --> 01:16:55,041 IT HAD ACTING, IT HAD A REALLY 2521 01:16:55,041 --> 01:16:56,208 GREAT STORYLINE. 2522 01:16:56,208 --> 01:16:57,375 IT HAD A LOT OF SEX. 2523 01:16:57,375 --> 01:16:59,750 IT HAD A LOT OF HARDER SEX, TOO. 2524 01:16:59,750 --> 01:17:01,542 >> A LOT OF "FALLEN" TAKES PLACE 2525 01:17:01,542 --> 01:17:02,083 ON ROOFTOPS, AND THOSE ARE 2526 01:17:02,083 --> 01:17:04,125 ACTUALLY IN CAMERA. 2527 01:17:04,125 --> 01:17:05,917 I'M-- I'M SCARED OF 2528 01:17:05,917 --> 01:17:07,834 GREEN SCREEN MYSELF. 2529 01:17:07,834 --> 01:17:10,709 I THINK "FALLEN" STANDS 2530 01:17:10,709 --> 01:17:12,291 ON ITS OWN MERITS. 2531 01:17:12,291 --> 01:17:14,375 IT'S A GREAT STORY. 2532 01:17:14,375 --> 01:17:16,291 IT KIND OF PROPELLED JESSICA 2533 01:17:16,291 --> 01:17:18,834 INTO THAT SUPERSTAR STATUS. 2534 01:17:18,834 --> 01:17:20,834 AND, UH, DIDN'T DO BAD FOR ME 2535 01:17:20,834 --> 01:17:23,083 AS A DIRECTOR, AS WELL. 2536 01:17:23,083 --> 01:17:25,291 THE REAL REASON TO DO "FALLEN" 2537 01:17:25,291 --> 01:17:27,000 WAS TO KIND OF HAVE JESSICA 2538 01:17:27,000 --> 01:17:28,166 HIT THAT OTHER LEVEL. 2539 01:17:28,166 --> 01:17:29,625 AND IT'S GREAT IF YOU CAN PUT 2540 01:17:29,625 --> 01:17:31,417 HER IN THIS GREAT MOVIE. 2541 01:17:31,417 --> 01:17:33,333 BUT IF THE SEX FALTERS, 2542 01:17:33,333 --> 01:17:34,917 THEN IT'S JUST A GREAT MOVIE 2543 01:17:34,917 --> 01:17:35,959 AND, YOU KNOW, YOU HAVEN'T DONE 2544 01:17:35,959 --> 01:17:38,417 WHAT YOU'RE TRYING TO DO WITH 2545 01:17:38,417 --> 01:17:40,709 YOUR STARLET BY TAKING HER 2546 01:17:40,709 --> 01:17:42,208 >> WHAT HAPPENED? 2547 01:17:46,625 --> 01:17:47,917 >> NO ONE KNOWS FOR SURE. 2548 01:17:47,917 --> 01:17:50,750 THEY CALL IT THE BIG BURN. 2549 01:17:53,959 --> 01:17:54,000 AND ON THE EIGHTH DAY, 2550 01:17:55,750 --> 01:17:57,834 >> WHEN I THINK OF 2551 01:17:59,792 --> 01:18:01,000 A POST-APOCALYPTIC WORLD, 2552 01:18:01,000 --> 01:18:04,000 UH, IT'S MORE THAN 2553 01:18:04,000 --> 01:18:05,375 JUST BROKEN DOWN BUILDINGS. 2554 01:18:05,375 --> 01:18:06,917 THERE'S A PRIMAL ELEMENT TO IT 2555 01:18:06,917 --> 01:18:09,208 WHERE PEOPLE ARE STEALING FROM 2556 01:18:09,208 --> 01:18:11,500 EACH OTHER IN MORE WAYS THAN 2557 01:18:12,083 --> 01:18:14,834 ONE, AND LIFE BECOMES CHEAPER 2558 01:18:14,834 --> 01:18:16,458 BECAUSE YOU DON'T HAVE ENOUGH 2559 01:18:16,458 --> 01:18:17,208 >> MY CHARACTER WAS BASICALLY 2560 01:18:18,792 --> 01:18:19,834 BEING SEX TRAFFICKED 2561 01:18:19,834 --> 01:18:20,917 IN POST-APOCALYPTIC, UH-- 2562 01:18:20,917 --> 01:18:22,917 I DON'T THINK IT WAS ACTUALLY 2563 01:18:22,917 --> 01:18:24,000 I MEAN, JUST POST-APOCALYPTIC 2564 01:18:26,291 --> 01:18:26,875 EARTH. 2565 01:18:26,875 --> 01:18:28,834 >> YOU A BUTCHER NOW, TOO? 2566 01:18:28,834 --> 01:18:30,250 >> SPECIAL COMMISSION 2567 01:18:30,250 --> 01:18:31,667 FOR THE PRINCE. 2568 01:18:31,667 --> 01:18:32,792 HE GETS FIRST LOOK 2569 01:18:32,792 --> 01:18:33,834 AT ALL MY TRADE. 2570 01:18:33,834 --> 01:18:36,166 >> "THE 8TH DAY" WAS CONCEIVED 2571 01:18:36,166 --> 01:18:39,291 BY ME WITH AMBER RAYNE IN MIND 2572 01:18:39,291 --> 01:18:40,709 AS THE LEAD CHARACTER. 2573 01:18:40,709 --> 01:18:41,875 SHE IS THE SCRUFFY TANK GIRL 2574 01:18:41,875 --> 01:18:43,750 IN THE WHOLE MOVIE. 2575 01:18:43,750 --> 01:18:45,500 BUT IT WAS PERCEIVED BY EVERYONE 2576 01:18:45,500 --> 01:18:46,125 THAT KAYDEN, BEING ADAM & EVE'S 2577 01:18:46,125 --> 01:18:47,875 CONTRACT GIRL, WAS THE STAR 2578 01:18:47,875 --> 01:18:49,250 OF THE SHOW. 2579 01:18:49,250 --> 01:18:50,208 AND SHE CERTAINLY WAS 2580 01:18:50,208 --> 01:18:51,750 THE BOX COVER, BUT SHE IS 2581 01:18:51,750 --> 01:18:53,083 THE SUPPORTING ACTRESS. 2582 01:18:53,083 --> 01:18:54,000 AND, UM, WHEN AWARDS TIME CAME 2583 01:18:54,000 --> 01:18:55,583 OUT, IT WAS THE OTHER WAY 2584 01:18:55,583 --> 01:18:56,667 AROUND. 2585 01:18:56,667 --> 01:18:57,709 AMBER GOT SUPPORTING ACTRESS 2586 01:18:57,709 --> 01:18:58,208 NOMINEE AND KAYDEN GET, 2587 01:18:58,208 --> 01:19:00,333 YOU KNOW, ACTRESS NOMINEE. 2588 01:19:00,333 --> 01:19:01,041 >> "THE 8TH DAY" WAS PROBABLY 2589 01:19:02,959 --> 01:19:03,917 THE HARDEST MOVIE I'VE EVER 2590 01:19:03,917 --> 01:19:05,750 WORKED ON. 2591 01:19:05,750 --> 01:19:07,250 THERE WERE SOME DAYS WHERE WE 2592 01:19:07,250 --> 01:19:09,125 HAD STARTED THE DAY BEFORE. 2593 01:19:10,709 --> 01:19:12,166 THERE WERE EXAMPLES IN THE MOVIE 2594 01:19:12,166 --> 01:19:15,333 OF, UM, LIKE A MARKETPLACE, LIKE 2595 01:19:15,333 --> 01:19:16,083 A BAZAAR THAT WE HAD TO BUILD 2596 01:19:16,083 --> 01:19:18,250 WHERE PEOPLE WERE HAWKING JUNK 2597 01:19:18,250 --> 01:19:18,875 OR THEY WERE HAWKING FOOD 2598 01:19:18,875 --> 01:19:21,500 OR CLOTHES, THINGS THAT 2599 01:19:21,500 --> 01:19:22,583 THEY'D SCAVENGED. 2600 01:19:22,583 --> 01:19:24,542 >> THAT WAS A HUGE UNDERTAKING 2601 01:19:24,542 --> 01:19:25,625 AS FAR AS ART DIRECTION 2602 01:19:25,625 --> 01:19:26,375 WAS CONCERNED. 2603 01:19:26,375 --> 01:19:27,333 THE ART DIRECTOR, KYLIE IRELAND, 2604 01:19:27,333 --> 01:19:30,500 SPENT WEEKS RUNNING AROUND L.A. 2605 01:19:30,500 --> 01:19:33,000 FINDING STUFF TO DO THERE. 2606 01:19:33,000 --> 01:19:34,709 MY FAVORITE KAYDEN MOMENT, UM, 2607 01:19:34,709 --> 01:19:36,959 IN THE WHOLE SHOW WAS WHEN 2608 01:19:36,959 --> 01:19:37,875 SHE'S SUPPOSED TO BREAK DOWN 2609 01:19:37,875 --> 01:19:39,083 AND CRY ABOUT HER DAD. 2610 01:19:39,083 --> 01:19:40,875 >> IT WAS BEFORE I LEARNED 2611 01:19:40,875 --> 01:19:42,208 HOW TO CRY BY MYSELF. 2612 01:19:42,208 --> 01:19:44,041 >> AND CAN'T GET ANY TEARS 2613 01:19:44,041 --> 01:19:44,959 TO FLOW AT ALL. 2614 01:19:44,959 --> 01:19:46,083 WE WAITED A GOOD LONG TIME, 2615 01:19:46,083 --> 01:19:48,750 AT LEAST A HALF AN HOUR. 2616 01:19:48,750 --> 01:19:50,208 I WALK BACK IN AND I SAID, 2617 01:19:50,208 --> 01:19:51,208 "YOU GOT NOTHING?" 2618 01:19:51,208 --> 01:19:52,083 SHE GOES, "NO, NOTHING BAD'S 2619 01:19:52,083 --> 01:19:53,000 EVER HAPPENED TO ME." 2620 01:19:53,000 --> 01:19:55,792 >> I THINK THEY SQUIRTED CITRUS 2621 01:19:55,792 --> 01:19:57,375 JUICE OR SOME SORT OF CITRUSY 2622 01:19:57,375 --> 01:19:59,166 FRUIT IN MY EYES TO MAKE IT GO. 2623 01:19:59,166 --> 01:20:00,250 >> SHE SAID, "HOLY SHIT, LET'S 2624 01:20:00,250 --> 01:20:01,667 SHOOT RIGHT NOW 'CAUSE GOD DAMN 2625 01:20:01,667 --> 01:20:02,333 IT, THIS BURNS." 2626 01:20:02,333 --> 01:20:03,125 AND I SAID, "PERFECT." 2627 01:20:03,125 --> 01:20:05,000 >> MY DAD DID THIS. 2628 01:20:05,000 --> 01:20:07,667 (CRYING) 2629 01:20:07,667 --> 01:20:11,000 ALL OF THIS. 2630 01:20:11,000 --> 01:20:11,625 >> AND SHE GOES, "WHY DID YOU DO 2631 01:20:11,625 --> 01:20:12,583 THAT TO ME?" 2632 01:20:12,583 --> 01:20:13,166 I SAID, "FUCK YOU, YOUR LIFE'S 2633 01:20:13,166 --> 01:20:13,458 PERFECT." 2634 01:20:13,458 --> 01:20:15,125 NO WONDER YOU CAN'T CRY. 2635 01:20:15,125 --> 01:20:17,291 >> IT WAS ONE OF THOSE THINGS 2636 01:20:17,291 --> 01:20:18,041 AFTER THE BLOOD, SWEAT, AND 2637 01:20:18,041 --> 01:20:19,917 TEARS THAT WENT INTO IT, 2638 01:20:19,917 --> 01:20:21,792 IT WAS REALLY A NICE PAYOFF. 2639 01:20:21,792 --> 01:20:22,417 IT WAS NICE TO BE ABLE TO SAY 2640 01:20:22,417 --> 01:20:24,250 SOMEONE ACKNOWLEDGED THIS. 2641 01:20:24,250 --> 01:20:25,750 IT WASN'T JUST US, YOU KNOW, 2642 01:20:25,750 --> 01:20:26,875 FUCKING AROUND IN THE DESERT. 2643 01:20:26,875 --> 01:20:28,125 'CAUSE THERE WERE TIMES WHEN IT 2644 01:20:28,125 --> 01:20:29,208 >> HOW DID MY FATHER DIE? 2645 01:20:31,083 --> 01:20:32,083 >> A YOUNG JEDI NAMED DARTH 2646 01:20:32,083 --> 01:20:35,208 VADER, WHO WAS A PUPIL OF MINE, 2647 01:20:35,208 --> 01:20:37,333 OFF AND LEFT HIM BURNING 2648 01:20:38,333 --> 01:20:41,667 IN A RIVER OF LAVA. 2649 01:20:41,667 --> 01:20:43,750 >> "STAR WARS" IS PROBABLY THE 2650 01:20:43,750 --> 01:20:45,709 AND THERE'S SO MUCH TO PARODY 2651 01:20:48,291 --> 01:20:50,709 IN IT, SO, UM... 2652 01:20:50,709 --> 01:20:52,166 WE REALLY DID-- WE REALLY DID, 2653 01:20:52,166 --> 01:20:55,417 THAT COULD BE HAD, EVERYTHING 2654 01:20:56,709 --> 01:20:58,542 SINGLE REFERENCE THAT WE COULD 2655 01:20:58,542 --> 01:21:00,500 HAVE, AND RECREATING A LOT 2656 01:21:00,500 --> 01:21:01,208 OF THE SCENES. 2657 01:21:01,208 --> 01:21:02,291 IT WAS REALLY A LOT OF FUN. 2658 01:21:02,291 --> 01:21:03,166 IT'S A LOT OF WORK, 2659 01:21:03,166 --> 01:21:04,917 BUT WE HAD A LOT OF FUN. 2660 01:21:09,000 --> 01:21:11,458 >> SHOOT FIRST, SHOOT OFTEN. 2661 01:21:13,041 --> 01:21:15,291 SORRY FOR THE MESS. 2662 01:21:15,291 --> 01:21:16,750 HAD TO KNOW "STAR WARS" TO ONE, 2663 01:21:18,834 --> 01:21:19,166 GET THE HUMOR. 2664 01:21:19,166 --> 01:21:23,458 TRYING TO GO WITH IT AND WHAT 2665 01:21:24,125 --> 01:21:26,625 WAS HAPPENING WITH STILL KIND OF 2666 01:21:26,625 --> 01:21:27,792 TRYING TO STICK TO THE ORIGINAL 2667 01:21:27,792 --> 01:21:28,417 SCRIPT. 2668 01:21:28,417 --> 01:21:29,417 >> THE THING THAT ALL THE FANS 2669 01:21:29,417 --> 01:21:30,709 WOULD ASK ME IN THE BEGINNING 2670 01:21:30,709 --> 01:21:31,375 WHEN I ANNOUNCE THE MOVIES, 2671 01:21:31,375 --> 01:21:32,458 LIKE, OKAY, THERE'S ONLY ONE 2672 01:21:32,458 --> 01:21:34,166 GIRL IN "STAR WARS." 2673 01:21:34,166 --> 01:21:35,709 YOU'RE GONNA HAVE A PORN MOVIE-- 2674 01:21:35,709 --> 01:21:37,083 TO THIS DAY, PEOPLE WRITE ON 2675 01:21:37,083 --> 01:21:38,875 YOUTUBE, THEY WATCH, YOU KNOW, 2676 01:21:38,875 --> 01:21:40,000 THEY READ ABOUT IT LIKE THERE'S 2677 01:21:40,000 --> 01:21:41,583 GONNA BE ONLY ONE GIRL? 2678 01:21:41,583 --> 01:21:43,000 IT'S NOT TRUE, WE FOUND OTHER 2679 01:21:43,000 --> 01:21:44,583 GIRLS THAT ARE PART OF 2680 01:21:44,583 --> 01:21:45,542 THE "STAR WARS" UNIVERSE. 2681 01:21:45,542 --> 01:21:46,625 THE GIRLS IN THE CANTEEN, 2682 01:21:46,625 --> 01:21:47,542 I MEAN, THERE'S-- THERE'S 2683 01:21:47,542 --> 01:21:48,709 A TON OF PEOPLE THAT WE 2684 01:21:48,709 --> 01:21:50,208 WERE ABLE TO PUT TOGETHER, 2685 01:21:50,208 --> 01:21:50,792 IT'S WAS REALLY INTERESTING. 2686 01:21:50,792 --> 01:21:52,583 >> YOU CAN FIND SEX IN ANYTHING. 2687 01:21:52,583 --> 01:21:54,917 I DON'T NECESSARILY THINK THAT, 2688 01:21:54,917 --> 01:21:56,583 YOU KNOW, THE MOVIE OR THE THEME 2689 01:21:56,583 --> 01:21:58,709 HAS TO BE SEXY TO MAKE IT SEXY. 2690 01:21:58,709 --> 01:21:59,625 THAT'S OUR JOB, 2691 01:21:59,625 --> 01:22:00,375 THAT'S WHY WE'RE HERE. 2692 01:22:00,375 --> 01:22:00,875 WE'RE SUPPOSED TO MAKE THE 2693 01:22:00,875 --> 01:22:02,625 THINGS THAT AREN'T SEXY SEXY. 2694 01:22:02,625 --> 01:22:04,625 >> DON'T ACT SO SURPRISED, 2695 01:22:04,625 --> 01:22:05,166 YOUR HIGHNESS. 2696 01:22:05,166 --> 01:22:08,458 >> I'M NOT SURPRISED. 2697 01:22:08,458 --> 01:22:10,583 I'M DISGUSTED. 2698 01:22:10,583 --> 01:22:11,750 WE SAT IN A ROOM AND HE TALKED 2699 01:22:11,750 --> 01:22:12,500 INTO A POT. 2700 01:22:12,500 --> 01:22:13,917 WE RECORDED ALL HIS SOUND IN A 2701 01:22:13,917 --> 01:22:16,333 GIANT POT, LIKE A SPAGHETTI POT. 2702 01:22:16,333 --> 01:22:18,041 IT WAS HILARIOUS. 2703 01:22:18,041 --> 01:22:18,542 >> EVERY ONCE IN A WHILE 2704 01:22:18,542 --> 01:22:20,208 I HAVE A GOOD IDEA. 2705 01:22:20,208 --> 01:22:22,375 AND IN "STAR WARS" IT WAS LIKE 2706 01:22:22,375 --> 01:22:23,709 CHI CHI LARUE. 2707 01:22:23,709 --> 01:22:25,375 >> I'M SAVED! 2708 01:22:25,375 --> 01:22:26,458 OVER HERE. 2709 01:22:26,458 --> 01:22:28,542 HEY, SAILOR! 2710 01:22:28,542 --> 01:22:29,125 >> C-3PO HAS ALWAYS BEEN VERY 2711 01:22:29,125 --> 01:22:31,583 METROSEXUAL, AND I FIGURE WE 2712 01:22:31,583 --> 01:22:32,667 TAKE IT, YOU KNOW, TO PARODY 2713 01:22:32,667 --> 01:22:34,000 THAT, TO EXPLORE THAT. 2714 01:22:34,000 --> 01:22:34,583 >> "STAR WARS" WON A TOTAL OF 2715 01:22:34,583 --> 01:22:37,000 EIGHT AWARDS AT AVN WHICH IS THE 2716 01:22:37,000 --> 01:22:38,500 MOST THAT ANY PARODY HAS EVER 2717 01:22:38,500 --> 01:22:40,625 WON, AND I THINK THAT'S AMAZING. 2718 01:22:40,625 --> 01:22:42,291 IT'S CRAZY, UM, 2719 01:22:42,291 --> 01:22:44,750 AND WHAT'S EVEN MORE AMAZING 2720 01:22:44,750 --> 01:22:46,417 ABOUT THAT IS MOST OF ALL THAT-- 2721 01:22:46,417 --> 01:22:47,625 ALL THE WORK FOR THE MOVIE WAS 2722 01:22:47,625 --> 01:22:49,291 DONE BEHIND-THE-SCENES, WITHOUT 2723 01:22:49,291 --> 01:22:51,625 THE SETS, WITHOUT THE COSTUMES, 2724 01:22:51,625 --> 01:22:52,291 WITHOUT THE TIME AND DEDICATION 2725 01:22:52,291 --> 01:22:54,583 FOR THE SCRIPT. 2726 01:22:54,583 --> 01:22:55,125 THE SHOOTING, THE ANGLES, 2727 01:22:55,125 --> 01:22:56,792 THE GREEN SCREEN, 2728 01:22:56,792 --> 01:22:57,208 THE POST PRODUCTION. 2729 01:22:57,208 --> 01:23:00,291 THE MOVIE WOULD'VE BEEN NOTHING. 2730 01:23:00,291 --> 01:23:01,291 AND I THINK, UM, YOU KNOW, THAT 2731 01:23:01,291 --> 01:23:03,166 REALLY SHOWS AND, YOU KNOW, 2732 01:23:03,166 --> 01:23:04,709 BY WINNING EIGHT AVN AWARDS, 2733 01:23:04,709 --> 01:23:06,750 IT DEFINITELY SHOWS THAT OTHER 2734 01:23:06,750 --> 01:23:07,917 PEOPLE APPRECIATE ALL THE HARD 2735 01:23:07,917 --> 01:23:08,959 >> MOST KNOW ME AS DEATH. 2736 01:23:12,125 --> 01:23:15,166 >> WHAT DO YOU WANT FROM ME? 2737 01:23:15,166 --> 01:23:18,750 >> I'VE COME FOR YOU. 2738 01:23:18,750 --> 01:23:21,333 >> THE BASIS BEHIND 2739 01:23:21,333 --> 01:23:22,083 "UNDERWORLD--" I PLAY 2740 01:23:22,083 --> 01:23:23,208 A CHARACTER NAMED TANYA, 2741 01:23:23,208 --> 01:23:26,291 AND I HAVE BEEN WITH MY FIANCÉ 2742 01:23:26,291 --> 01:23:29,417 AND WE HAVE MADE THE SWEET LOVE, 2743 01:23:29,417 --> 01:23:30,375 TO DRIVE ME HOME, 2744 01:23:32,333 --> 01:23:33,750 WE'RE IN HIS PARKING GARAGE, 2745 01:23:33,750 --> 01:23:35,166 AND ALL OF A SUDDEN, WE'RE 2746 01:23:35,166 --> 01:23:37,583 VICTIMS OF A VIOLENT MUGGING. 2747 01:23:37,583 --> 01:23:38,166 >> SAY GOOD-BYE TO YOUR 2748 01:23:38,166 --> 01:23:38,417 BOYFRIEND. 2749 01:23:38,417 --> 01:23:40,208 >> NO, PLEASE! 2750 01:23:40,208 --> 01:23:42,625 >> THE OPENING IS, UH, 2751 01:23:42,667 --> 01:23:44,917 A BIT DRASTIC 2752 01:23:44,959 --> 01:23:46,959 AND A BIT BLOODY 2753 01:23:47,000 --> 01:23:48,667 AND VIOLENT, UH, 2754 01:23:50,458 --> 01:23:51,875 BUT WE ACTUALLY 2755 01:23:51,875 --> 01:23:52,917 WENT BACK AND FORTH ON 2756 01:23:52,917 --> 01:23:53,417 HOW VIOLENT TO MAKE IT. 2757 01:23:53,417 --> 01:23:54,959 >> AND THEY'RE TRYING TO SAVE MY 2758 01:23:54,959 --> 01:23:57,125 LIFE, I'M PUT UNDER ANESTHESIA. 2759 01:23:57,125 --> 01:24:00,000 AND WHEN I GO UNDER ANESTHESIA, 2760 01:24:00,000 --> 01:24:03,041 THE REST OF THE MOVIE IS THAT, 2761 01:24:03,041 --> 01:24:04,709 GOING BACK AND FORTH BETWEEN 2762 01:24:04,709 --> 01:24:06,542 ME FIGHTING FOR MY LIFE IN THE 2763 01:24:06,542 --> 01:24:08,375 OPERATING ROOM AND THE THINGS 2764 01:24:08,375 --> 01:24:09,417 THAT ARE HAPPENING TO ME 2765 01:24:09,417 --> 01:24:10,750 IN THE UNDERWORLD. 2766 01:24:10,750 --> 01:24:11,291 >> IF YOU REALLY WATCH THE 2767 01:24:11,291 --> 01:24:14,458 MOVIE, EVERYTHING PRETTY MUCH 2768 01:24:14,458 --> 01:24:16,250 IS-- HAS A MIRROR IMAGE WITH THE 2769 01:24:16,250 --> 01:24:19,166 PEOPLE IN THE OPERATING ROOM 2770 01:24:19,166 --> 01:24:20,667 AND THE UNDERWORLD BELOW. 2771 01:24:20,667 --> 01:24:22,000 EVERYTHING'S KIND OF TIED IN 2772 01:24:22,000 --> 01:24:24,166 AND EVERYTHING'S, UH, GOT 2773 01:24:24,166 --> 01:24:26,083 A YING AND A YANG SORT OF THING. 2774 01:24:26,083 --> 01:24:28,208 >> XANDER CORVUS PLAYS SLICE 2775 01:24:28,208 --> 01:24:30,000 AND HE WAS SORT OF, UH, 2776 01:24:30,000 --> 01:24:32,417 HE HAD SCALPEL FINGERS 2777 01:24:32,417 --> 01:24:34,625 AND HE WAS UP ON STILTS AND 2778 01:24:34,625 --> 01:24:35,166 SO HE WAS THE SCALPEL THAT 2779 01:24:35,166 --> 01:24:37,166 WAS STARTING THE SURGERY. 2780 01:24:37,166 --> 01:24:39,000 >> THIS JOURNEY THAT YOU'VE 2781 01:24:39,000 --> 01:24:40,125 EMBARKED UPON IS YOUR 2782 01:24:40,125 --> 01:24:41,500 SUBCONSCIOUS SELF REACTING 2783 01:24:41,500 --> 01:24:43,917 TO THE WORLD AROUND IT. 2784 01:24:43,917 --> 01:24:45,125 >> THE NURSE WAS PASSING 2785 01:24:45,125 --> 01:24:46,583 THE GAUZE TO THE DOCTOR. 2786 01:24:46,583 --> 01:24:48,375 DURING MY OPERATION IT FELL. 2787 01:24:48,375 --> 01:24:51,208 AND AS IT DROPPED, YOU SEE 2788 01:24:51,208 --> 01:24:53,917 AN AERIALIST FALL OUT OF THE SKY 2789 01:24:53,917 --> 01:24:55,208 >> SO ME AND JESSICA DRAKE GOT 2790 01:24:56,375 --> 01:24:58,000 TO HAVE SEX ON WATER, OR IT 2791 01:24:58,000 --> 01:24:58,625 LOOKED AS THOUGH IT WAS DIRECTLY 2792 01:24:58,625 --> 01:24:59,333 ON THE WATER, BUT IT WAS 2793 01:24:59,333 --> 01:25:01,458 WAS BUILT AND, UH, THERE WAS 2794 01:25:03,208 --> 01:25:03,750 MAYBE LIKE AN INCH OF WATER 2795 01:25:03,750 --> 01:25:05,166 ON TOP OF IT. 2796 01:25:05,166 --> 01:25:06,250 >> AND I'M BLOODY IN A SHALLOW 2797 01:25:06,250 --> 01:25:09,375 POOL OF WATER FOR LIKE 2798 01:25:09,375 --> 01:25:11,875 EIGHT HOURS THAT DAY. 2799 01:25:11,875 --> 01:25:13,041 >> WHEN THE INTIMIDATION MELTED 2800 01:25:13,041 --> 01:25:14,375 AWAY WAS WHEN SHE STUMBLED ON 2801 01:25:14,375 --> 01:25:15,291 A FEW OF HER LINES AND LAUGHED 2802 01:25:15,291 --> 01:25:15,583 AT HERSELF. 2803 01:25:15,583 --> 01:25:17,917 AND THEN YOU REALIZE, LIKE, 2804 01:25:17,917 --> 01:25:19,000 SOMEONE'S A HUMAN BEING, 2805 01:25:19,000 --> 01:25:20,583 AND THEY'RE A NORMAL PERSON 2806 01:25:20,583 --> 01:25:24,083 AND... THAT'S OKAY. 2807 01:25:24,083 --> 01:25:26,333 >> OH, I LOVE HAVING SEX 2808 01:25:26,333 --> 01:25:27,667 WITH ASA AKIRA. 2809 01:25:27,667 --> 01:25:28,792 RIGHT BEFORE THE SCENE, WE'RE 2810 01:25:28,792 --> 01:25:30,083 TAKING PRETTY GIRLS AND I'M 2811 01:25:30,083 --> 01:25:31,417 LIKE, "OH, THIS IS GONNA BE 2812 01:25:31,417 --> 01:25:32,875 REALLY FUN." 2813 01:25:32,875 --> 01:25:34,375 WE JUST SORT OF GOT ON EACH 2814 01:25:34,375 --> 01:25:35,750 OTHER AND ROLLED OFF THE SET. 2815 01:25:35,750 --> 01:25:36,834 WE DID IT EVERYWHERE. 2816 01:25:36,834 --> 01:25:38,667 LIKE, WE WERE JUST HAVING SEX, 2817 01:25:38,667 --> 01:25:40,458 SO, AS MUCH AS POSSIBLE, YEAH, 2818 01:25:40,458 --> 01:25:42,709 I WOULD LIKE TO, UH, 2819 01:25:42,709 --> 01:25:44,291 >> IS THERE ANYTHING ELSE 2820 01:25:45,250 --> 01:25:48,041 YOU WANT? 2821 01:25:48,041 --> 01:25:51,792 >> I MEAN, WHAT ELSE IS THERE 2822 01:25:53,834 --> 01:25:55,417 APART FROM LUXURY? 2823 01:25:57,291 --> 01:25:59,000 >> THAT CAN'T BE 2824 01:25:59,000 --> 01:26:00,250 A SERIOUS QUESTION. 2825 01:26:00,250 --> 01:26:02,291 >> AN INDIE PORNO, 2826 01:26:02,291 --> 01:26:03,834 THAT'S WHAT WE CALL IT. 2827 01:26:03,834 --> 01:26:04,959 IT'S-- IT'S LIKE A REAL MOVIE 2828 01:26:06,583 --> 01:26:09,458 WITH EMOTION AND ACTING 2829 01:26:09,458 --> 01:26:11,417 IT'S PORN WITH A REAL STORYLINE. 2830 01:26:14,834 --> 01:26:17,917 >> WHY DID YOU COME? 2831 01:26:17,917 --> 01:26:21,125 >> I CAN'T DO THIS AGAIN. 2832 01:26:21,125 --> 01:26:21,542 >> WHY DID YOU COME 2833 01:26:21,542 --> 01:26:24,291 AFTER FIVE FUCKING YEARS? 2834 01:26:24,291 --> 01:26:26,625 MY CHARACTER, HER NAME'S JACKY. 2835 01:26:26,625 --> 01:26:28,166 SHE'S THE BADASS. 2836 01:26:28,166 --> 01:26:29,000 SHE'S DEFINITELY THE BADASS 2837 01:26:29,000 --> 01:26:31,875 OF THE MOVIE AND SHE, UH, 2838 01:26:31,875 --> 01:26:34,333 IS TRYING TO OPEN 2839 01:26:34,333 --> 01:26:36,792 THE OTHER LILY UP TO THIS WORLD 2840 01:26:36,792 --> 01:26:38,500 >> MY ROLE IN "WASTELAND" 2841 01:26:41,083 --> 01:26:43,166 WAS VERY SIMPLE. 2842 01:26:43,166 --> 01:26:44,500 THERE'S TWO GIRLS AT THE BAR. 2843 01:26:44,500 --> 01:26:45,500 I SAY SOMETHING IN THEIR EARS 2844 01:26:47,333 --> 01:26:49,500 WHICH IS EASY FOR ME. 2845 01:26:50,667 --> 01:26:52,333 TAKE HER UP TO THE BATHROOM 2846 01:26:52,333 --> 01:26:55,250 AND HAVE SEX WITH LILY LABEAU 2847 01:26:55,250 --> 01:26:56,583 IN THE BATHROOM. 2848 01:26:56,583 --> 01:26:58,333 IT'S A VERY, VERY CLOSED 2849 01:26:58,333 --> 01:26:59,375 ENVIRONMENT, IT'S LITERALLY 2850 01:26:59,375 --> 01:27:02,625 REAL TOILET SO THERE WAS NO ROOM 2851 01:27:02,625 --> 01:27:04,417 TO OPEN THE DOOR, SHOOT, LIKE, 2852 01:27:04,417 --> 01:27:05,542 THROUGH THE OPEN DOOR. 2853 01:27:05,542 --> 01:27:08,709 THEY SHOT IT ALL FROM ABOVE. 2854 01:27:08,709 --> 01:27:10,250 I THINK HE KNEW THAT THE BEST 2855 01:27:10,250 --> 01:27:12,208 WAY TO USE ME IS NOT TO HAVE ME 2856 01:27:12,208 --> 01:27:14,291 SPEAK BUT LET ME JUST FUCK. 2857 01:27:14,291 --> 01:27:15,041 >> I THINK THAT'S ONE OF THE 2858 01:27:15,041 --> 01:27:16,333 BIGGEST THINGS THAT SEPARATES 2859 01:27:16,333 --> 01:27:18,667 "WASTELAND" FROM A LOT OF 2860 01:27:18,667 --> 01:27:20,458 THE OTHER PORN IS THAT THE SHOTS 2861 01:27:20,458 --> 01:27:23,000 ARE SO BEAUTIFUL 2862 01:27:23,000 --> 01:27:25,125 AND THEY ARE THOUGHT OUT. 2863 01:27:25,125 --> 01:27:27,792 EVERY SINGLE SHOT IS THOUGHT OUT 2864 01:27:27,792 --> 01:27:29,000 AND PLANNED TO JUST-- 2865 01:27:29,000 --> 01:27:30,041 >> IT WAS REALLY, REALLY DARK, 2866 01:27:31,625 --> 01:27:34,959 UM, WHERE WE SHOT THAT SCENE, 2867 01:27:34,959 --> 01:27:36,583 FOR ME BECAUSE I'VE NEVER SHOT 2868 01:27:39,667 --> 01:27:42,917 ANYTHING IN SUCH DARK LIGHTING. 2869 01:27:42,917 --> 01:27:43,458 IT WAS JUST COMPLETELY DARK. 2870 01:27:43,458 --> 01:27:46,208 I WAS LIKE, "REALLY, LIKE, CAN 2871 01:27:46,208 --> 01:27:47,500 YOU GUYS REALLY SEE 2872 01:27:47,500 --> 01:27:48,542 WHAT WE'RE SHOOTING?" 2873 01:27:48,542 --> 01:27:48,875 THEY'RE LIKE, 2874 01:27:48,875 --> 01:27:49,542 "YEAH, YEAH, IT LOOKS COOL." 2875 01:27:49,542 --> 01:27:52,041 >> IT'S THIS WHOLE STORY 2876 01:27:52,041 --> 01:27:53,542 COMBINING TO MAKE THIS BEAUTIFUL 2877 01:27:53,542 --> 01:27:56,250 JUDGMENT HAD REARED 2878 01:27:57,583 --> 01:27:58,542 ITS UGLY HEAD. 2879 01:27:58,542 --> 01:28:00,375 AND RIGHT WHEN MY GUARD 2880 01:28:00,375 --> 01:28:01,542 WAS FULLY DOWN, 2881 01:28:01,542 --> 01:28:06,792 IT SUDDENLY HAD POPPED BACK UP. 2882 01:28:06,792 --> 01:28:07,500 >> EMMA GOES INTO INTERVIEW 2883 01:28:07,500 --> 01:28:09,250 A MAN BY THE NAME OF 2884 01:28:09,250 --> 01:28:10,542 WILLIAM FITZGERALD WHO IS THIS 2885 01:28:10,542 --> 01:28:13,083 VERY PROMINENT BUSINESSMAN WHO 2886 01:28:13,083 --> 01:28:14,458 EMPLOYS PREDOMINANTLY FEMALES. 2887 01:28:14,458 --> 01:28:16,083 THERE'S AN UNSPOKEN ATTRACTION 2888 01:28:16,083 --> 01:28:17,917 PROPOSITIONS HER FOR 2889 01:28:20,000 --> 01:28:21,542 THE ROLE OF BEING HIS SUB. 2890 01:28:21,542 --> 01:28:24,083 SHE'S NOT A VERY SEXUAL PERSON. 2891 01:28:24,083 --> 01:28:25,750 SHE DEFINITELY DOESN'T CONFORM 2892 01:28:25,750 --> 01:28:27,542 TO NORMAL SOCIETY'S VIEWS 2893 01:28:27,542 --> 01:28:28,542 >> I DIDN'T READ THE "50 SHADES 2894 01:28:30,959 --> 01:28:32,083 OF GREY" BOOK OR ANYTHING LIKE 2895 01:28:32,083 --> 01:28:32,667 THAT BECAUSE I REMEMBER JACKY 2896 01:28:32,667 --> 01:28:34,959 WE WANNA DO PRETTY MUCH 2897 01:28:36,709 --> 01:28:37,750 THE OPPOSITE OF THAT. 2898 01:28:37,750 --> 01:28:39,208 >> I READ "50 SHADES OF GREY" 2899 01:28:39,208 --> 01:28:40,709 AND I HATED HOW THE FEMALE 2900 01:28:40,709 --> 01:28:42,166 PROTAGONIST WAS PORTRAYED. 2901 01:28:42,166 --> 01:28:44,667 SHE WAS INCREDIBLY WEAK AND HER 2902 01:28:44,667 --> 01:28:45,417 ENTIRE MOTIVATION WAS TO PLEASE 2903 01:28:45,417 --> 01:28:47,792 A MAN AND TO MAKE A MAN HAPPY. 2904 01:28:47,792 --> 01:28:49,417 I WANTED TO SET ABOUT WRITING 2905 01:28:49,417 --> 01:28:50,625 A BDSM STORY THAT REALLY 2906 01:28:50,625 --> 01:28:53,792 EXPLORED A STRONG WOMAN'S 2907 01:28:53,792 --> 01:28:56,542 SUB ROLE AND HOW THAT CAN BE 2908 01:28:56,542 --> 01:28:58,208 SO EMPOWERING FOR HER. 2909 01:28:58,208 --> 01:29:01,166 >> SHE WAS, UM, LIVING, LIKE, 2910 01:29:01,166 --> 01:29:03,834 A KIND OF RESERVED LIFE 2911 01:29:03,834 --> 01:29:05,542 AND NOT REALLY BEING HERSELF, 2912 01:29:05,542 --> 01:29:06,792 AND THAT'S SOMETHING THAT I CAN 2913 01:29:06,792 --> 01:29:08,417 VERY MUCH RELATE TO BECAUSE 2914 01:29:08,417 --> 01:29:11,542 I ALWAYS WANTED TO JUST, LIKE, 2915 01:29:11,542 --> 01:29:13,542 BE THE PERSON THAT EVERYONE 2916 01:29:13,542 --> 01:29:15,083 WANTED ME TO BE. 2917 01:29:15,083 --> 01:29:16,834 >> BDSM IS NOT JUST BEATING 2918 01:29:16,834 --> 01:29:18,250 SOMEBODY AND HARMING SOMEBODY 2919 01:29:18,250 --> 01:29:18,834 AND PHYSICALLY HURTING THEM. 2920 01:29:18,834 --> 01:29:21,875 IT'S SO MUCH ABOUT THE MENTAL 2921 01:29:21,875 --> 01:29:23,667 ASPECT OF THOSE RELATIONSHIPS. 2922 01:29:23,667 --> 01:29:25,709 SO FOR ME, I WANTED TO TELL 2923 01:29:25,709 --> 01:29:27,709 A STORY ABOUT THAT. 2924 01:29:27,709 --> 01:29:28,625 >> I DID FEEL LIKE, UH, I HAD 2925 01:29:28,625 --> 01:29:30,959 A LITTLE BIT OF AN ADVANTAGE 2926 01:29:30,959 --> 01:29:31,583 JOINING THE MOVIE BECAUSE I HAD 2927 01:29:31,583 --> 01:29:34,583 SOME BDSM EXPERIENCE WORKING 2928 01:29:34,583 --> 01:29:36,333 WITH DIFFERENT BONDAGE COMPANIES 2929 01:29:36,333 --> 01:29:37,375 IN THE INDUSTRY. 2930 01:29:37,375 --> 01:29:38,458 SO IT WAS NICE TO BE ABLE TO 2931 01:29:38,458 --> 01:29:40,000 BRING IN A LITTLE BIT OF 2932 01:29:40,000 --> 01:29:41,667 MY KNOWLEDGE AND EXPERIENCE 2933 01:29:41,667 --> 01:29:43,917 WITH THAT FOR A MOVIE THAT 2934 01:29:43,917 --> 01:29:45,500 SO MUCH, LIKE, REVOLVES AROUND 2935 01:29:45,500 --> 01:29:47,291 THE BDSM COMMUNITY. 2936 01:29:47,291 --> 01:29:47,792 >> SO "THE SUBMISSION OF 2937 01:29:47,792 --> 01:29:49,625 EMMA MARX" WON BEST BDSM MOVIE 2938 01:29:49,625 --> 01:29:50,625 AT AVN. 2939 01:29:50,625 --> 01:29:53,041 AND I WAS COMPLETELY FLOORED 2940 01:29:53,041 --> 01:29:53,667 BECAUSE WE'RE UP AGAINST 2941 01:29:53,667 --> 01:29:57,000 BDSM COMPANIES. 2942 01:29:57,000 --> 01:29:58,625 AND NEW SENSATIONS MAINLY IS 2943 01:29:58,625 --> 01:30:00,542 A FEATURE GONZO STUDIO 2944 01:30:00,542 --> 01:30:01,792 THAT DOESN'T REALLY FOCUS ON 2945 01:30:01,792 --> 01:30:03,709 ANYTHING PARTICULARLY HARDCORE. 2946 01:30:03,709 --> 01:30:05,208 >> I WAS REALLY FLATTERED THAT 2947 01:30:05,208 --> 01:30:07,041 THEY WOULD RECOGNIZE THAT FILM, 2948 01:30:07,041 --> 01:30:09,625 ESPECIALLY GIVEN THAT IT WASN'T 2949 01:30:09,625 --> 01:30:11,083 REALLY THE PHYSICALITY 2950 01:30:11,083 --> 01:30:11,750 THAT WAS EXPLORED. 2951 01:30:11,750 --> 01:30:13,875 IT WAS THE MENTAL ASPECT. 2952 01:30:13,875 --> 01:30:14,959 >> WHEN I FIRST STARTED, 2953 01:30:14,959 --> 01:30:15,583 WE WERE DOING FILM, 2954 01:30:15,583 --> 01:30:16,542 IT WAS A THRILL. 2955 01:30:16,542 --> 01:30:17,125 IT WAS GREAT, YOU KNOW, WE'RE 2956 01:30:17,125 --> 01:30:18,542 LUGGING THESE BIG ASS CAMERAS 2957 01:30:18,542 --> 01:30:19,542 AROUND SAN FRANCISCO 2958 01:30:19,542 --> 01:30:20,750 AND HAVING A FIELD DAY. 2959 01:30:20,750 --> 01:30:22,375 NOBODY BOTHERED US, NOBODY 2960 01:30:22,375 --> 01:30:24,083 CARED, YOU JUST DID THE MOVIES. 2961 01:30:24,083 --> 01:30:25,875 AND THE DRUGS WERE GREAT. 2962 01:30:25,875 --> 01:30:28,166 AND VIDEO CAME OUT AND IT WAS-- 2963 01:30:28,166 --> 01:30:29,625 IT WAS A SMALLER PARTY. 2964 01:30:29,625 --> 01:30:30,542 YOU DIDN'T NEED THE CREW 2965 01:30:30,542 --> 01:30:33,834 YOU HAD FOR 35 MILLIMETER. 2966 01:30:33,834 --> 01:30:35,583 YOU HAD WAY SMALLER CREW, AND 2967 01:30:35,583 --> 01:30:37,583 YOU WOULD JUST SORT OF LOAD IT 2968 01:30:37,583 --> 01:30:39,709 IN A VAN, SHOW UP AT A LOCATION, 2969 01:30:39,709 --> 01:30:42,208 SHOT YOUR FOUR OR FIVE SCENES 2970 01:30:42,208 --> 01:30:43,458 AND RAN OUT THE DOOR, 2971 01:30:43,458 --> 01:30:43,792 YOU WERE DONE. 2972 01:30:43,792 --> 01:30:46,208 AND THE DRUGS WERE OKAY. 2973 01:30:46,208 --> 01:30:47,583 AND-- AND TOWARD THE END, 2974 01:30:47,583 --> 01:30:49,542 IT REALLY JUST GOT, "HOW FAST 2975 01:30:49,542 --> 01:30:51,667 CAN YOU CRANK IT OUT AND GET IT 2976 01:30:51,667 --> 01:30:53,083 BACK TO ME AND I GOTTA PEDAL 2977 01:30:53,083 --> 01:30:55,041 IT..." AND THE DRUGS SUCKED. 2978 01:30:55,041 --> 01:30:56,333 >> IT'S HARD TO SAY WHERE THE 2979 01:30:56,333 --> 01:30:58,250 PORN INDUSTRY WILL GO FROM HERE. 2980 01:30:58,250 --> 01:31:00,375 THE INTERNET ERA SEEMS TO DEMAND 2981 01:31:00,375 --> 01:31:00,917 A RETURN TO THE LOOPS AND 2982 01:31:00,917 --> 01:31:03,041 VIGNETTES THAT GAVE BIRTH TO THE 2983 01:31:03,041 --> 01:31:04,959 EROTIC FILM IN THE FIRST PLACE. 2984 01:31:04,959 --> 01:31:05,792 IT'S A SHAME TO THINK THAT THIS 2985 01:31:05,792 --> 01:31:08,166 LIST OF THE GREATEST ADULT 2986 01:31:08,166 --> 01:31:09,208 MOVIES MAYBE THE LAST 2987 01:31:09,208 --> 01:31:10,417 OF ITS KIND. 2988 01:31:10,417 --> 01:31:13,166 BUT THE FUTURE IS HARD TO SEE. 2989 01:31:13,166 --> 01:31:15,583 AND MAYBE THE ADULT FEATURE WILL 2990 01:31:15,583 --> 01:31:16,667 SURPRISE US WITH ITS LONGEVITY. 2991 01:31:16,667 --> 01:31:20,333 I'M CHANEL PRESTON, GOOD NIGHT. 2992 01:31:20,333 --> 01:31:23,792 ♪♪ 2993 01:31:23,792 --> 01:31:25,375 >> IF THE BRILLIANT SWEDISH 2994 01:31:25,375 --> 01:31:28,834 FILMMAKER INGMAR BERGMAN EVER 2995 01:31:28,834 --> 01:31:30,834 MADE AN X-RATED MOTION PICTURE, 2996 01:31:30,834 --> 01:31:33,542 IT WOULD LOOK EXACTLY LIKE THIS. 2997 01:31:36,417 --> 01:31:37,041 >> "PRISONER OF PARADISE" STARS 2998 01:31:37,041 --> 01:31:40,083 SUCH FILM GREATS AS SEKA. 2999 01:31:40,083 --> 01:31:42,709 (LAUGHING) 3000 01:31:42,709 --> 01:31:45,208 >> FIBBER. 3001 01:31:45,208 --> 01:31:47,875 >> AMERICAN, I SAID OVER HERE! 3002 01:31:47,875 --> 01:31:49,500 FUCK ME! 3003 01:31:49,500 --> 01:31:51,125 >> AMERICAN GIRLS ARE LOVELY 3004 01:31:51,125 --> 01:31:52,250 CREATURES. 3005 01:31:53,917 --> 01:31:53,959 >> ILSA, TIE HER UP! 3006 01:31:56,583 --> 01:31:57,667 >> DON'T YOU COME IN ME, 3007 01:31:57,667 --> 01:32:01,125 YOU AMERICAN SWINE. 3008 01:32:01,125 --> 01:32:01,834 >> YOU'D NEVER GUESS WHAT THESE 3009 01:32:01,834 --> 01:32:03,792 SEXY YOUNG LADIES IN THE 3010 01:32:03,792 --> 01:32:06,583 FUNNY-LOOKING UNIFORMS 3011 01:32:06,583 --> 01:32:08,083 DO FOR A LIVING. 3012 01:32:08,083 --> 01:32:09,333 >> GARAGE GIRLS, GOOD MORNING. 3013 01:32:09,333 --> 01:32:11,542 >> WATCH AS THESE GORGEOUS 3014 01:32:11,542 --> 01:32:13,500 GARAGE GIRLS MIX BUSINESS 3015 01:32:13,500 --> 01:32:16,667 AND PLEASURE AS THEY CLIMB 3016 01:32:16,667 --> 01:32:18,750 THEIR WAY TO THE TOP. 3017 01:32:18,750 --> 01:32:19,792 >> HERE SHE COMES, 3018 01:32:19,792 --> 01:32:20,792 THE INCREDIBLE, VOLUPTUOUS 3019 01:32:20,792 --> 01:32:23,750 LESLIE BOVEE IN HER MOST 3020 01:32:23,750 --> 01:32:24,834 ELECTRIFYING ROLE AS 3021 01:32:24,834 --> 01:32:26,834 "THE SENATOR'S DAUGHTER." 3022 01:32:26,834 --> 01:32:28,834 CO-STARRING THE FABULOUS 3023 01:32:28,834 --> 01:32:30,750 JOHN HOLMES. 3024 01:32:30,750 --> 01:32:32,667 >> YOU ARE AN EROTIC 3025 01:32:32,667 --> 01:32:35,458 FILM STAR NOW LACKING 3026 01:32:35,458 --> 01:32:37,000 AN ESSENTIAL MEMBER, 3027 01:32:37,000 --> 01:32:39,291 BUT WE CAN REBUILD IT. 3028 01:32:39,291 --> 01:32:40,959 >> "THE SENATOR'S DAUGHTER" 3029 01:32:40,959 --> 01:32:43,792 COMING TO THIS THEATER SOON. 3030 01:32:49,667 --> 01:32:52,709 (MAN LAUGHING) 3031 01:32:55,166 --> 01:32:55,792 >> I'M STILL SORE HERE FROM WHAT 3032 01:32:55,792 --> 01:32:58,291 THE DEVIL DID TO ME. 3033 01:32:58,291 --> 01:33:00,041 HE EVEN MADE IT TALK. 3034 01:33:00,041 --> 01:33:02,000 >> IN THIS CASE, CURIOSITY 3035 01:33:02,000 --> 01:33:03,458 DIDN'T KILL THE CAT. 3036 01:33:03,458 --> 01:33:04,500 >> DO YOU WANT TO FIND OUT 3037 01:33:04,500 --> 01:33:06,208 WHAT LOVE IS ALL ABOUT? 3038 01:33:06,208 --> 01:33:07,834 >> HONEY, I'M ALMOST READY. 3039 01:33:07,834 --> 01:33:10,166 >> I'M GETTING READY. 3040 01:33:10,166 --> 01:33:12,667 >> DON'T MISS 3041 01:33:12,667 --> 01:33:15,333 "HERE COMES THE BRIDE." 3042 01:33:15,333 --> 01:33:17,041 >> COMING SOON TO THIS THEATER, 3043 01:33:17,041 --> 01:33:17,917 "THE PLEASURE PALACE." 3044 01:33:17,917 --> 01:33:20,500 THE NEWEST X-RATED FILM 3045 01:33:20,500 --> 01:33:21,875 FROM CARTER STEVENS. 3046 01:33:21,875 --> 01:33:24,125 THE MAN WHO GAVE YOU SUCH FILMS 3047 01:33:24,125 --> 01:33:25,959 AS "LICKITY-SPLIT", "THE LOVE 3048 01:33:25,959 --> 01:33:27,917 COUCH," AND "TEENAGE TWINS." 3049 01:33:27,917 --> 01:33:30,959 >> SUZIE SUPERSTAR. 3050 01:33:30,959 --> 01:33:32,583 >> ♪ BABY TAKE OFF ♪ 3051 01:33:32,583 --> 01:33:35,291 ♪ YOUR CLOTHES ♪ 3052 01:33:35,291 --> 01:33:38,625 ♪ MAKE LOVE TO ME ♪♪ 3053 01:33:38,625 --> 01:33:40,125 >> GOD DAMN IT, YOU KNOW HOW 3054 01:33:40,125 --> 01:33:40,834 HORNY I GET WHEN I SING. 3055 01:33:40,834 --> 01:33:43,000 >> FIND OUT WHAT HAPPENS WHEN 3056 01:33:43,000 --> 01:33:45,166 TWO SEXY 16-YEAR-OLD GIRLS 3057 01:33:45,166 --> 01:33:45,709 TAKE THEIR PARENTS CAR 3058 01:33:45,709 --> 01:33:48,458 AND GO AWAY FOR THE WEEKEND. 3059 01:33:48,458 --> 01:33:49,542 >> THIS IS EXCITING. 3060 01:33:49,542 --> 01:33:50,083 I'VE NEVER BEEN TO AN ORGY 3061 01:33:50,083 --> 01:33:51,792 BEFORE. 3062 01:33:51,792 --> 01:33:52,834 >> NEITHER HAVE I. 3063 01:33:52,834 --> 01:33:54,291 WHAT'S AN ORGY? 3064 01:33:54,291 --> 01:33:55,709 >> "NAKED AFTERNOON" IS MORE 3065 01:33:55,709 --> 01:33:56,917 THAN EXPLICIT DRAMA. 3066 01:33:56,917 --> 01:33:59,500 IT IS THE REAL STORY OF 3067 01:33:59,500 --> 01:34:01,333 A GENUINE HONEST-TO-GOD 3068 01:34:01,333 --> 01:34:01,917 WOMAN-CHILD. 3069 01:34:01,917 --> 01:34:04,291 >> HOLLYWOOD IN THE 30s 3070 01:34:04,291 --> 01:34:05,750 IN A BIG, BRIGHT, AND BUBBLING 3071 01:34:05,750 --> 01:34:07,625 BLOCKBUSTER OF A MOVIE. 3072 01:34:07,625 --> 01:34:10,750 YOU'VE NEVER SEEN ANYTHING LIKE 3073 01:34:10,750 --> 01:34:13,500 "PINK CHAMPAGNE." 3074 01:34:17,041 --> 01:34:20,125 YOU GOTTA SEE IT TO BELIEVE IT.