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Adult movies, adults only please

jenkins · 68 · 4874

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wilberfan

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Reply #60 on: March 22, 2021, 09:14:54 PM
Hurry:  Listen to the podcast episode before it's optioned by Hollywood! (And let us know if you find a copy of the finished film online somewhere.)

‘Centurians of Rome’ (1981): The Behind-The-Scenes Story – Podcast 105
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jenkins

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Reply #61 on: March 22, 2021, 09:41:07 PM
<3


wilberfan

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Reply #62 on: April 14, 2021, 01:38:03 PM
I don't know if this film meets the Jack Horner "film to remember me by" standard, but Jesus, the production values!  It looks like they spent more on the title sequence alone than Jack spent his entire career.

https://www.eroti.ga/heavenly-desire-1979-watch-uncut/
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jenkins

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Reply #63 on: May 14, 2021, 06:39:43 PM


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A raucous and revealing oral history of the birth of the adult film industry, The Other Hollywood peels back the candy coating to let the true story be told -- by the stars, movie makers, and other industry players who lived it. And what a story it is: Through hundreds of original interviews, contemporary newspaper accounts, police reports, court testimony, and more, Legs McNeil and coauthors Jennifer Osborne and Peter Pavia trace today's billion-dollar industry from its makeshift, mob-connected origins to the Internet age. Along the way we encounter porn stars such as Linda Lovelace, John Holmes, Traci Lords, and Savannah -- along with countless mainstream stars, politicians, FBI agents, and more.

Epic, hilarious, and moving, The Other Hollywood contributes to the porn industry the one thing missing in all previous accounts: a vivid, tragicomic, irresistible humanity.


wilberfan

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Reply #64 on: May 14, 2021, 07:43:40 PM
 :yabbse-thumbup:  :yabbse-cool:
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WorldForgot

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Reply #65 on: May 14, 2021, 08:03:41 PM
whata buncha nerdz!!!
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wilberfan

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Reply #66 on: May 16, 2021, 03:41:14 PM
In an otherwise hair-raising interview on the personal proclivities of Jamie Gillis, he mentions the origin of what became the inspiration for "On the Lookout" in Boogie Nights.

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So what motivated you to make your ‘private tape’ series?

Jamie Gillis: I wanted to do something entirely different. By the late 1980s, I was dividing my time between L.A. and San Francisco, wherever film work called me, but I was generally getting more bored with the state of the adult film business.

What frustrated you about it?

I was jaded. I’d seen it all.

I’d started out in New York doing loops for Bob Wolfe in his basement studio twenty years earlier. I’d made one-day wonder features, sex instructional films, and films with big budgets. And each step of the way, the films seemed to get further away from real sex… further away from pornography. At least, further away from what I thought pornography should be. I didn’t like that.

How so?

When you make a sex film… the more money you have, and the more people that are involved, and the more you have to focus on selling a product to a mass audience… then the less spontaneous, and therefore the less real, the sex becomes. And who the hell wants to see a sex film where the sex isn’t real…?

And your ‘private tapes’ were a reaction against that?

Sure. When the video boom started in the early 1980s, I was optimistic: finally here was a way of capturing real sex, dirty sex, in an easy and spontaneous way. You could literally do it yourself.

But it didn’t turn out that way. All we got was shittier movies.

When did the idea of doing something different first come to you?

I was working on a film being directed by my good friend, Allan Shustak, who was better known as Duck Dumont.

It was another terrible, boring, scripted porn film. Everyone was thinking, “How quickly can we finish fucking, so we can go home?”

It was disappointing: we started out as pioneers, as revolutionaries, then we became boring filmmakers, but we ended up as whores.

I said to Allan, “This is ridiculous. Here’s a better idea: Why don’t we just throw a girl in a car, take her outside, and find someone who really wants to have sex with her – and film that”. I’m not even sure if I was serious, but Allan casually replied, “Ok, let’s do it, but let’s use a limo to give it a little class.”

And that resulted in the On the Prowl series?

Yes. We had no real idea what we were doing or what it would be called – we just rented a limo and took off into the San Francisco night.

I wasn’t happy about the limo idea. I dreamed of raunchy, sleazy sex, without any Hollywood gloss, but I figured it wasn’t a big deal.

How well did ‘On the Prowl’ do for you?

It made a little money. Not much, but I did ok.

What I loved about it was that I could set up all the sex scenes and do all of the filming myself.

What I hated was that I had to do all the business side too. That was a pain in the ass. I love sex, and I hate to see what happens when money gets involved.
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jenkins

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Reply #67 on: May 16, 2021, 04:16:19 PM
nice

I’d made one-day wonder features

VS has released samples of these in their Storefront Theatre Collection, which series has been discontinued according to the cover designer. these were generally movies made by the theater to be shown in the theater

although Dirk Diggler being a character in a series of films is undoubtedly inspired by Bob Chinn's  Johnny Wadd series with John Holmes, just today I happened to run into QT talking about the director who inspired Jack Horner,  it's from 2019

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“I think Burt Reynolds is fantastic in the movie,” Tarantino said. “Me and Paul have talked about this, though. I actually think there is a slight flaw in ‘Boogie Nights,’ and the flaw is the perception of the Burt Reynolds’ character. Paul can say he’s not based on the director Gerard Damiano, who directed ‘Deep Throat,’ but he obviously is. He looks exactly like him, and Damiano has a very unique look. Burt Reynolds doesn’t look like that, so you actually have to go out of your way to make him look like Damiano. That’s not Burt Reynold’s look, that is Gerard Damiano’s look.”

Tarantino’s gripe with “Boogie Nights” is that it positions Reynolds as a Gerard Damiano stand-in but does not stick true to the pornographic director’s mentality. The flaw occurs when Reynolds’ director Jack Horner is working on his cop-themed porn movie and says it’s the best work he’s ever done.

“The [cop porno] film looks like a piece of shit. It looks horrible,” Tarantino said. “Believe me, I’ve seen more porno movies than Paul has because I worked at the porno theater. I saw a lot of movies that were crappy like that. But he has Burt’s character say, and he says it in a full-on moving close-up, ‘I think this is my greatest work yet. I think this is my finest work yet.'”

Tarantino said “Damiano was a better director than that,” and thus Jack Horner should’ve been a better director than that. “Damiano was a good enough filmmaker to know the difference between ‘Oh wow, this is the best movie I’ve ever done’ and ‘Oh, this one has a little bit of a story,'” Tarantino said. “It’s a cheap line because the character would know the difference, that the work is not the best work he could possibly do.