The “redeeming social value” in Night Moves was the political statement made by having a peeping-Tom pervert wear a Nixon mask. But, to my girlfriend, Night Moves had a whole different importance: The SCENE.
Large Photo: Lilly Marlene and Shanna McCullough. Small Photos: (left to right) Cindy Carver, Robyn Everett, Carrie Bergman, Courtney
It starred the ever-reliable Mike Horner and two hot ladies: that sexual predator Lilly Marlene and the intense Robyn Everett.
It was a typical night game at Candlestick Park, the stadium from Hell Frozen Over. The infamous icy winds had once blown pitcher Stu Miller off the mound in the midst of his windup. They were now turning hotdog wrappers, napkins, Giants caps and anything else not clutched in numb fingers into crazed satellites, making the rounds of our seating section.
Wrapped in a blanket, Shelly and I sat huddled together, arms around each other. It was so cold that Shelly’s favorite San Francisco Giant, Chili Davis, ignored his standard post-strikeout ritual of breaking his bat over his knee; he ran back to the dugout. The Giants were behind by five runs.
We were more excited from shivering, hugging and rubbing together under the blanket than from the events on the diamond. Shelly said, “I’m getting horny as an old cat. Let’s go home, turn on The Scene and trounce around.”
The Scene, in Night Moves, was Shelly’s favorite video stimulant. It came at 3067 on the digit counter of the Panasonic VCR in the bedroom. We always shuttled the tape back to that point after we were finished.
What really made that section of videotape come alive was the chemistry between Mike, Lilly and Robyn.
When taping the scene, there was no need for the “hurry up and use the erection before it goes away” approach. I let Horner and the two blonde actresses take their time.
There was lots of caressing, kissing, tonguing and fondling, more like real life than structured screen sex. The intensity built to a frenzy, and when Mike pulled out of Robyn–to be taken in Lilly’s waiting hand–he produced such volume that she exclaimed, “So much come!”
He had plenty left. We were disassembling the gear when Mike and Robyn started up again. I grabbed a camera and taped her fast, cowgirl position bouncing and Mike’s second orgasm. Then Mike and Robyn took a shower together–and had sex yet again.
During the long drive from Candlestick Park to San Rafael, the anticipation was an aphrodisiac. Shelly and I were still “trouncing around” long after the tape had ended.
Then we caught the late news: “The Giants’ six-run ninth inning rally was capped by Chili Davis’s three-run homer in a dramatic come-from-behind victory…”
“Oh no!” Shelly exclaimed. “Look what we missed! It’s all my fault!”
I gave her a kiss. “We didn’t miss a thing.”
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During 1983-84, Joe Farmer and I felt that we had the formula for shooting hot sex on videotape all to ourselves. (That would soon change as every sex-shooter and his bastard brother began cranking out crap videos–as described in Chapter 11: The Smut Glut.)
For that brief, glorious period, Superior Video went for the gold.
Next: Superior Video Shoots Its Wad: Part 2: Running Wild. Does Porn Go Better with Pot?
Barbara Dare came running down the sidewalk barefooted, a spike-heeled pump in each hand. “I wanna ride in the Corvette!” As she fumbled with the shoes and the door handle, I realized that I’d been about to commit what any red-blooded American auto buff would consider an unnatural act: let one of the most beautiful women who ever bared all before a camera scrunch into a production assistant’s beat-up Falcon, loaded with reflectors and camera gear, instead of inviting her to settle into the black leather of my yellow Stingray. But after a morning of non-stop friction with Dare on the set of E.X., I would’ve consigned her to ride in a garbage truck—and not in the cab section. (Passages from SKINFLICKS are in italics.)
The auburn-curled beauty was not yet the sensation she would become in 1986, but already she acted the prima donna. “What girl ever works with three people in one day?” I rattled of a list of those who had, including Traci Lords. In response, Dare blurted, “But Traci likes fucking!” I knew then it would be a tough shoot.
A previous post related Rick Savage thanking Shanna McCullough for making his screen cherry scene so pleasurable that he continued his porn career. On the E.X. shoot, the opposite happened. Dare consented to a three-way with Billy Dee and a man making his porn debut, as long as everything with the new guy was simulated. I agreed to her terms; new guys usually can’t get it up anyway. But he surprised us, to Dare’s consternation. When he tried to touch her breasts, she pushed him away…After that debut, the new guy decided he didn’t really want a porn career after all. His last words before leaving: “She thinks her shit don’t stink.”
New guy, Dare, Billy Dee. From E.X.
Dare’s refusal to follow any directions that weren’t yelled at her was giving me a headache.
Some pornographers like to act tough, to enforce their commands. That wasn’t my style. I sat staring into space, trying to make a decision. I could either spend the rest of the shoot snarling and threatening to manhandle her, or I could cancel the shoot and pay everyone except Dare for a half-day. She saw that I was at the breaking point. Like most seasoned bitches, Dare knew when she’d pushed too far. “You don’t seem to like my New Jersey sense of humor,” she laughed. “If New Jersey humor means making a complete cunt out of yourself, you’re right.”
That exchange marked a turning point: Dare lackadaisically followed directions, and I decided to settle for her perfunctory performance. The next day’s E.X. finale—without Dare—went beautifully, and I appreciated even more the pleasure of working with those great ladies Lilly Marlene and Nina Hartley.
With her abrasive chutzpah, Barbara Dare attained porn success. She signed an exclusive with Select/Essex, claiming she got $10,000 for each of her movies. She maintained a six-figure annual income over her porn career, making no more than a dozen movies a year and negotiating top dollar on the dance circuit. She even managed to do some acting, winning the 1988 AVN Best Actress award. Talk Radio monologist Eric Bogosian gushed, “Barbara Dare, in her effusive, bubbling orgasmic womanhood is the purest antidote to pin-headed porn haters, Left and Right.” Yes, she knew how to fool her fans.
Regardless of the demand for the actress, I told her agent Jim South, “Jim, if I ever shoot Barbara Dare again, it won’t be with a camera.”
Lisa DeLeeuw described one of her worst experiences. Working for Svetlana (“Sweatlana”) Marsh, spending 20-hour days shivering in an unheated sound stage, living on “stale donuts, coffee and hot dogs,” the voluptuous redhead came down with a bad cold and conjunctivitis—“pink eye.” (Passages from SKINFLICKS: The Inside Story of the X-Rated Video Industry are in italics.) By the fifth day, “I just couldn’t go on like that. All of a sudden, I passed out. For half an hour. When I came to, Svetlana says, ‘You just sit there in the corner…you’re background. Fine. “Well, I’m doing that and all of a sudden Jamie (Gillis) comes over and decides to pull me into the scene, grabbing my arms and yanking me in. So I’m playing the scene and Jamie has this stupid cattle whip that he’s holding in the middle so the handle is on one end and the cat-o’-nine-tails on the other. And he’s slinging it like a double pendulum and he catches me—WHACK—right across the bridge of my nose, which he breaks. I just freaked! I blew up and grabbed the whip and started yelling, ‘I’m gonna kill you!’ And the cameraman is up above us on a beam, and he goes, ‘Oh, this is great! Keep goin’!’”
When a woman enters porn she faces two kinds of challenges: those on the set and those away from it. On the set, a porn starlet quickly learns that what the male wants is gospel. If she interrupts a scene because her leg is cramping, she risks causing a lost erection. If it can’t be retrieved, the blame is hers. Once the stud has delivered, the director wants to hurry on to the next scene, regardless of how turned on an actress might be. (Rather than be left high and wet, stars like Annette Haven and Lilly Marlene recruited crew members to help them “finish up.”) Then there are the directors whose grandiose visions of sizzling sex push women beyond their limits.
“Whatever your natural inclinations are, they play on them,” said an anonymous actress in a 1980 Adam Film World interview. The graphic details she added are recounted in SKINFLICKS. Serena’s forced retirement came after a shoot that almost killed her. After a filmed contest to see if she could handle more men than Mai Lin, Serena not only took on more than forty studs but also their microbes. “My doctor said the germs ganged up,” Serena told me. “My belly swelled up like I was pregnant.” Delirious from septic shock, she spent months hospitalized with severe pelvic inflammatory disease…The filmmaker didn’t even send a get-well card.
After enough unpleasant surprises, actresses come to regard all directors as exploiters. Some play the game of balking at every request and negotiating every detail. And directors come to expect actresses to be lazy whores, out to get maximum dollar for minimal effort…”The nicer you treat the performers,” observed porn historian Holliday, “the more likely they are to shit on you.”
New ladies were afraid to balk at pornographer’s directions for fear of being called “difficult.” Compounding the physical rigors were the non-stop months of serial 14-hour days needed to build a six-figure nest egg. In Adult Video News, director Bruce Seven complained, “By the time they get to me, a lot of the performers are half-dead from overwork.” He followed that statement with a graphic description of what he meant.
One way for ladies to cope with the demands was through cocaine, which became epidemic in the frenzy of video shoots during the 1980s. Stressed-out actresses often find that on a porn set, things do go better with coke, at first. It dulls pain, creates euphoria, gives a feeling of boundless energy, and—many ladies claim—makes them horny. They can work longer hours, earn more money, and chase off all the bad feelings waiting in ambush after the action ends.
The poster girl for cocaine addiction was the late Shauna Grant. Her whispered nickname “Applecoke” was a play on her real surname, Applegate. Whether her death was a suicide, as porn critics claim, or murder by drug dealers, hers was a worst-case scenario of life away from the porn set, where a whole new world of challenges awaited.
Kristara Barrington said former high school friends in Illinois now called her a slut. On finding out Ginger Lynn was a porn star, her bank manager stopped treating her as a respected customer and even refused to validate her parking. Locals pasted sex magazine photos of Shauna Grant on her former high school locker. Relatives and spouses of porn stars become resigned to receiving anonymous packages with hate messages scrawled on pictures of the star. I delivered a script to Lilly Marlene and was reviewing its highlights with her when something crashed against the back door. “It’s those kids again,” she sighed. They’d bang on the door and leave obscene messages.
If porn haters weren’t bad enough, there were the porn lovers. Lisa DeLeeuw described her first unplanned public encounter with porn fans. “I was in the frozen food section. I’m trying to decide whether it will be fish sticks tonight or pizza, and suddenly some little Jewish guy comes running up and goes, ‘Oh, I saw you last night on the video. You were fucking Jamie Gillis!’ And all these little old Jewish ladies—the store is right in the heart of a Jewish neighborhood, Ralph’s Market on Sunset—they all drop their matzo balls and go ‘What?’ And they follow me all around the store and I hear, ‘Oh, I really like you!’ ‘I watch you very week!’” Those were the nice fans. There was also the kind that the late porn historian Jim Holliday called “the Toad Patrol.”
Porn fame meant gross encounters of the worst kind: Grandpa (Al Lewis) Munster posing for photos at a trade show and–to quote AVN—“goosing the smut starlets.” An inmate sent Debi Diamond a plastic baggie of semen. Someone posing as a cop called porn companies, trying to get the address of Kelly O’Dell…these fans stalk starlets from one club date to the next, steal their purses at trade shows, whisper lewd comments as they sign autographs, grab flesh and later brag to their friends that they actually bedded the star they hunger after. Who’s to disprove them?
In the SKINFLICKS account of Juliet Anderson’s premier party for Educating Nina, a drunken neighbor, braying for sex, kept returning after being turned away,. I finally told him that one of the guests was a former Green Beret interrogator who would subject him to “…involuntary unleashing of bladder and bowel functions.” That statement made him stay home; he turned out to be innocuous. More diabolical was a rock band whose album Love Letters to Joanna Storm included the romantic .38 Caliber Kiss. The band kept pestering porn people to give them Ms. Storm’s address.
Having ruminated over the nature of porn fans, I came to the following conclusion: There are contradictions in the American male’s attitude toward the porno queen: his frustrated lust for her versus his impulse to condemn her; his desire to meet her and impress her versus his fear of her scorn for his inadequacies. He hides his conflicts behind rough, macho swagger.
Porn fans can be avoided (or at least relegated to limited exposure), but there are some people whom porn princesses can’t escape: their significant others. Porn agent Jim South described a malady he called “boyfriendinitis.” Its sobbing victims would call him to cancel shoots due to black eyes and chipped teeth. A rock musician, quoted in the Bay Area magazine, Spectator, said, “Strippers and porn stars are a lot like rock n’ roll groupies…They don’t have a lot of self-esteem. Treat ‘em good and they’ll walk all over you; treat ‘em like shit and they’ll worship the ground you walk on.” His statement notwithstanding, there’s a simpler reason for “boyfriendinitis” violence.
Kristara Barrington lamented, “When I come home to my boyfriend and we make love, I think of it as work almost.” Musing over why industry love affairs were so short, Juliet Anderson said, “When you drive a bus ten hours a day, you don’t want to spend your vacation on a Greyhound.” Picture the poor boyfriend, squirming with desire while waiting for his porn queen girlfriend to return from work. He can’t understand why his exhausted lover won’t give him the attention he thinks he deserves. Not noted for their compassionate sensitivity, porn stars’ boyfriends often react with fists.
Pursuing porn’s promise of wealth, many actresses would echo Samantha Strong’s declaration upon signing a 15-picture contract with Western Visuals: “I do not have, nor do I want, a personal life right now.” Alice Springs put it simply: “I don’t have a boyfriend, thank God.”
Most ladies find X-rated stardom a lonely road, strewn with broken relationships, leering fans, hostile media, angry relatives, menacing cops, back-stabbing competitors and exploitive agents, managers and producers. They suffer the smirks, snickers, and sermons of a society quick to condemn, slow to forget. Behind their tough-girl act of demands, tantrums, vendettas and lawsuits, many of these “prima donnas,” barely into adulthood are terrified.
Not surprisingly, many porn actresses decided to give up on a lucrative career. On page 20 of the September ’84 issue of Adult Video News, Desiree Lane was hailed as a new starlet with “the potential to become the new Seka”; on page 22 of the same issue, Ron Jeremy’s column announced her retirement. Adult Video News sarcastically noted the comings and goings: “Samantha Strong…saw agents and producers, got booked solid, then decided to quit every other month.” “Erica Boyer, from all reports, has met another guy and is out of the biz once again. Gentlemen place your bets.”
Leaving the business behind becomes especially frustrating when women find that a past porn career becomes like a stink that won’t wash off. After dating Michael (“Batman”) Keaton for two years, Serena Robinson told him of her past porn career as “Rachel Ryan.” Keaton subsequently dumped her. There are ongoing debates about whether Megan Leigh and Alex Jordan actually committed suicide. Was Leigh shot to death? Was Jordan’s hanging an autoerotic experiment gone wrong? One thing both had in common was that they were soured on porn. There is no question that superstar Savannah (Shannon Wilsey) killed herself. The temperamental porn queen (Her infamous shoot-stopping declaration: “I’m on break—NOW!”) known for romps with rock stars, Slash and Axl Rose, was being hounded by the IRS. She had wanted to break into “legit” show business like Traci Lords (who used her “child victim” plea) had done, but feared her porn career prevented that. On July 11, 1995, her drunken ride in her Corvette ended in a crash. Then, in the garage of the Universal City home she had paid cash for, Savannah put a 9-millimeter slug through her head.
Despite the potholes in porn’s road to riches there are women who prospered in porn, proud of their careers. Part 3 of Starlets or Harlots? will examine what it takes for success without apologies. I will discuss my all-time favorites, such as Nina Hartley, Shanna McCullough and Lilly Marlene. I’ll include my worst directing experience ever, with a woman who became one of the biggest stars of the late 1980s.
Skinflicks 
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