Shooting ALL THE KING’S LADIES Part 4: Screw-ups and Sizzle

flyers and book cover 014
Serena (left), Rhonda Jo Petty (right), Legs in pants: Michael Morrisson

The 1981 production of All the King’s Ladies, “the first big-budget erotic extravaganza shot entirely on videotape,” was both maddening and marvelous.

First, the screw-ups:

I made a package deal to use impresario Perry Mann’s lavish Marin County estate as a location and himself as an actor.  At least the property part  worked out–the location was gorgeous.

Mann, co-producer of that voyeur’s delight, the annual Exotic-Erotic Ball, couldn’t get erect, even with the exotic-erotic Mai Lin.

And his allegedly coke-addled memory retained dialogue like a sieve holds rain. Porn star Juliet Anderson, making her debut as a director, had to feed him his lines.

Juliet: Your soft, downy pussy gives me spasms of ecstasy.

Mann: Your soft, downy pussy…what?

Juliet: Your soft, downy pussy…

Mann: Your soft, downy pussy…

Juliet: …gives me spasms of ecstasy.

Mann: me…ecstasy.

Juliet: OK. that’s good enough, Perry.

Next screw-up:

Our snide little snot of an engineer was one of the few local technicians familiar with the new Ikkis (Ikegami HL-79 cameras). To him, working on a porno was like slumming.

He neglected to clean the Sony BVU 110 VCRs, causing a head clog that wiped out the first twenty minutes recorded on one of the decks. A bad audio line rendered all the tapes from the other VCR soundless.

As the second day went into overtime, the little engineer left to catch a flight to an out of town shoot. He assured me the gear was working fine; we should have no trouble. Right after he left, one of the Ikkis (Ikegami HL-79 cameras) went out of phase.

So, what went right?

The really important thing: Sex! 

(Note: Scenes described  below are more intimately detailed in SKINFLICKS. )

First, I had packed the cast with female stars: Sharon Mitchell, Holly McCall, Mai Lin, and the winner of a Farrah Fawcett-Majors look-alike contest, Rhonda Jo Petty. These ladies took pride in their craft.

b & w pictures from authorhouse 003
Serena Blaquelord in ALL THE KING’S LADIES

At  director Juliet Anderson’s behest, Serena had come out of retirement for the movie. She had quit porn after a scene that almost killed her.  A callous director had immersed the masochistic star in a brutal gang-bang that flooded her with enough germs to rival an ER in Afghanistan. Serena was hospitalized with septic shock.

I, too, used her in an S and M scene (what, me exploitive?).  Crude cowboy Michael Morrison whipped her like a mule. (I cut out most of the skit to avoid going to jail.)

The big lesson I learned was that video was tailor-made for porn. In spite of the equipment hassles, we shot ten sex scenes in two days.

“I used to struggle to complete three sex scenes a day,” I told Joe Farmer.  “And those were little more than loops, nothing like the feature story we just shot.”

Joe smiled. “Television production techniques will revolutionize the shooting of sex. Remember, you heard it here first.”

Everything was different from shooting “film style,” which I’d done on earlier video productions.

The director would sit at a console, watching monitors, and give instructions to the cameramen through a microphone feeding the headsets they wore: “Camera One, you’re ’hot,’ hold on her face. Camera Two, get a medium penetration shot–tell him to move his knee to his right. OK…get ready Camera Two…you’re hot. Camera One, pull back for a long shot…”

Switching between cameras, a director could “edit” the scene as it was taking place–live–capturing the spontaneity, saving hours of expensive post-production time.

Without the constant interruptions to change film magazines and batteries and to wait for the camera operator to line up each shot, performers could build momentum–and stay hard.

There was no need for a “fluffer,” an off-camera lady whose job was to suck the men up for each shot.

The final orgy scene, which would have suffered an epidemic of penis limpus if shot in film, went as slick as a pornographer’s wet dream.

Jon Martin, Michael Morrisson, Mike Horner, Don Fernando, newcomer Paul West and Ed Lincoln–son of veteran porn director, the late Fred Lincoln–all spouted spectacularly.

The sizzle reached its climax–so to speak–in a rooftop scene with Sharon Mitchell and Mike Horner.


Miss Sharon Mitchell–as porn’s grande dame wants to be called after more than fifteen years as a performer–wouldn’t let a spent Mike Horner leave the rooftop set in All the King’s Ladies, even as the crew was packing the gear after shooting Miss M.’s forty-second status orgasmus (sustained female orgasm).

With leftover videotape, we interviewed the porn Hall-of-Famer:

She related the story of going into a theater to watch one of her films for the first time and unzipping the pants of an elderly gentleman next to her. When the startled patron saw that the lady going down on him was the same one as on the screen, he suffered a seizure. As he was being wheeled to the ambulance he croaked, “Thank you, Miss Mitchell.”

Despite “creative editing” to cover up All the King’s Ladies‘ technical difficulties, Adam Film World’s 1987 X-Rated Movie Handbook listed the feature among “The 500 Best Adult Movies of All Time.”

“I sure hope we can maintain the level of quality we established in All the King’s Ladies,” I said to Joe.

“If things go right,” he replied. “All the King’s Ladies should be the worst movie Superior Video ever makes.”

Next post: Shooting PHYSICAL: Letting It All Hang Out in a Best-Seller




Shooting ALL THE KING’S LADIES Part 3: Ripoffs


The “Rabbit ripoff” episode was the first of the misfortunes that would make the production of “The First Big-Budget Erotic Extravaganza Shot Entirely on Videotape” seem jinxed.

On the day before shooting started, the production company renting me cameras and recorders cancelled out; their client, Bank of America, had threatened to drop them if they got involved with porno.

Only one other outfit in the Bay Area owned the Ikegami HL 79 cameras that Joe and I insisted on using. Compared to other broadcast portables of the time, the “Ikki 79” was like a Mercedes among Mavericks.

Specializing in shooting rock concerts, this outfit had no compunctions about porn. They agreed to rent their gear for the standard one day rate for a full weekend. But when Joe and I arrived for the equipment early Saturday morning, the owners demanded two days rental–paid in advance.

The male leads pulled a similar ripoff. Looking like the obese southern sheriff I’d always imagined casting him as, Michael Morrisson splayed his cowboy-booted feet, hooked his thumbs in his belt and drawled, “Me and Jon only agreed to work a HALF day for $500, not a full one.”

Even porn’s top male, John Leslie, didn’t charge more than $750 for a full day, and these guys weren’t stars.

(Note: In 1981, $750 per day was top pay for a male star.)

Morrisson’s expanding gut was getting big enough to block penetration, threatening his porn career. He’d been feasting on the excellent cooking of the porn actor who shared his new Mill Valley home, skinny Jon Martin, who looked to me like a butch Rosanna Arquette. Some referred to the duo as “porn’s Laurel and Hardy.”

Voices rose, anger flared. Morrisson turned to his sidekick and snapped his fingers, “C’mon Jon, we got a house to paint.”

flyers and book cover 014
Ladies between legs: Serena (left) Rhonda Jo Petty (right). Legs in pants: Michael Morrisson (his fat gut not shown).

Martin hesitated. He seemed perfectly willing to accept $500 for a day of sex with beautiful women, but he followed his partner.

It was too late to find replacements. I gave in to their demands and frantically rewrote the script during breaks, so the two studs would be out in half a day.

Next: Shooting ALL THE KING’S LADIES Part 4: Screw-ups and Sizzling Sex


Shooting Peach Fuzz, Chained and The Awakening of Emily: Beyond the Boundaries

One of the Murphy’s Laws states that whatever you aren’t prepared for will happen.  So I was prepared.

(Excerpts from SKINFLICKS are in italics.)

I had backups for every light, cable, and connector; extra tools, tapes, head and lens cleaners; and written plans for every foul-up I could anticipate.

I strained the rental shop manager’s patience, rehearsing the details of equipment operation until I could white-balance the Hitachi SK-80 cameras and align their color tubes in my sleep. The video gods rewarded my preparation with the only shoot I’ve ever been on that didn’t have a single technical problem.

But you can’t prepare for the human factor.  Especially when that human is making her porno debut.

The Memorial Day, 1979, shoot began with a “wet shot” of a
different kind: Convinced that Joe’s minor suggestions during the
opening scene of her porn career meant that she was screwing
up, Stephanie Bonds dissolved into tears. Playing both director
and father figure, my partner conceded that his l9-year-old love
slave “might be a tad sensitive for this business.”

Like so many newcomers, the Berkeley math prodigy was
nervous only about the acting; once the sex began, she relaxed.
Our “docudrama” Chained , about a neophyte guided through her
S and M fantasies by an experienced friend, was a scenario that
turned her on.

The chubby Texan, Michael Morrisson, was fascinated with
Stephanie’s pendulous, milk-white breasts. Like a huge hairy
baby with new toys, he kneaded, pinched, slapped and bit them.
He stung them with a cat o’ nine tails, leaving criss-crossed red

As detailed in SKINFLICKS,  the sadistic Morrisson and the nervous, masochistic Bonds performed the most multi-orgasmic porn scene I ever shot.

With no equipment hassles, the shoot sped through six sex scenes per day.  Compared to film, video was liberating.

The only cast hassle was Lysa Thatcher. The prima donnaish
star of American Pie refused to go into Montclair village for
a box-cover shot at a bus-stop bench. Instead, we had to haul one
of Joe’s benches into his driveway for a shot of Billy Dee trying
to peek up Lysa’s skirt as she ties a shoelace.

flyers and book cover 008Despite skimpy stories and production values, our new features Chained, Peach Fuzz, and The Awakening of Emily were among the first adult videotapes with broadcast camera video quality.

“The fact that this was shot on video makes you feel like you’re sitting right next to the porn stars,” wrote a reviewer in Video magazine. “Don’t be surprised if your glasses steam up.”

I worried aloud about legal heat after Al Goldstein wrote that in Peach Fuzz Lysa Thatcher “looks more like a 15 year old high school baton twirler than a porn star.” But “Supertoad” Jackson said, “You should be celebrating. In my sales pitch, that line will be money in the bank.”

Next Post: Shooting All the King’s Ladies: Erotic Extravaganza or Error-Plagued Ego Trip?