I Guest-Directed a Porn Shoot

Written by Jonathan Ames on . Posted in Miscellaneous, Posts.


The
Pop

My Dad and I Visit a Porn Set

 


Author’s Note:
Vivid Video, Hollywood’s leading producer
of porn, wanted some publicity, and so I was flown out to L.A. to
be guest-director of one of their videos, the idea being that I would
write about the experience. I didn’t understand, though, why
a porn company would want an amateur to screw up the screwing. It
turned out that my role wasn’t really guest-director, but guest-gadfly,
like a UN peace observer, which was fine with me. I didn’t feel
qualified to direct porn: I can hardly take pictures with a throw-away
camera. So the following is my report from the frontlines of porn,
where I was joined for a few hours by my father, a porn fan and a
senior citizen, who happened to be visiting L.A. at the same time.

Day
1, Dec. 4, 2001

The
Setting: A soundstage in Chatsworth, CA–the Valley. The stage
is the size of a warehouse and divided into small, fake rooms, primarily
bedroom sets.

8:20
a.m. Conversation with Robby D, the director, who is a short, powerfully
built fellow with a glistening shaved head, tattooed arms and a prankster’s
smile.

 

"So,
as you know, I’m supposed to be guest-director," I say, shyly.
"I understand that’s to be a loose term."
"I’ll probably mostly observe," I say, immediately capitulating.

"That’s
a good idea," he says.

"But
if it’s all right I’ll ask you questions, and sort of follow
you around."

"Fine,
ask whatever you want."

"So
what does a director do?" I ask, stupidly, but you have to start
somewhere.

"Fuck
the chicks."

"Really?"

"Nah,
you think I want to fuck these girls after they’ve been getting
fucked all day? What do I do? A director has to know who to put on the
bottom and who not. You have to know that this one guy, if he gets on
his back, he loses wood. You have to know what people can do."

We
are in the lounge, which has a table filled with snacks. Robby D eats
a pop tart.

"There
are some things in the scripts I was wondering about that don’t
make sense," I say. I had read the screenplays–two movies
are going to be shot in three days–on the plane ride out. Robby
D cowrote them with a porn-writer named Beth Ann Rafael.

"That’s
because it’s porn," he says. "I purposely leave holes
in the script. Better to let the guy at home wonder what’s going
on, fill in the spots himself. If you make it too clear, they don’t
get it."

Synopses
of the two films, C-Men: Pussies in Heat and C-Men 2: Bush
Piggies
.

 

In
the first film, three superheroes are under attack from four female
villains who look like cats. If a regular man makes love to one of these
"bad pussies" he’s turned into a stuffed animal. The
superheroes don’t get turned into stuffed animals, though, because
of their superpowers, but they are in danger, and so they make
all the bad pussies disappear when they ejaculate on them, and then
in the film’s climax they make the bad pussy’s leader, Kitty
Kat, blow up when one of the superheroes farts on her. In the second
film, there are again villainous women, and in this one they look like
pigs. After a man makes love to one of these pig-women, she aims her
ass at him and his head blows up. The superheroes don’t blow up
immediately–because they’re superheroes–but they get
Tourette’s-like symptoms and eventually their heads will
blow up unless they use their super-semen and superpowers to make the
evil women, led by Panting Patty, turn into smoke.

8:50
a.m. Conversation in the lounge with Eric Masterson, porn actor, who
bears a striking resemblance to the actor Matthew Perry. Many people
in porn seem to be the double of someone in the other Hollywood. It’s
an alternative universe–Hollygetwood.

 

"How’d
you get into porn?" I ask. "My wife, Wendy Divine, got
into it. So I was like if you’re doing it, I’ll do it."
"Is this industry hard on you and your wife?"

"We
just care about each other so much that we make it work. She leaves
in the morning or I leave and we know what the other person is going
to be doing–having sex with somebody else–and we say, ‘Have
a good day.’ We’re just really in love."

"Do
you ever work together?"

"Yeah."

"How’s
that?"

"Good
and sometimes not good. Good because we get into it, but then sometimes,
like if I know she’s sore, I’ll feel bad about us having to
do it, whereas with another girl, though I wouldn’t want to hurt
her, I’m more like, ‘Well, this is what we have to do.’
But I feel bad if it’s my wife."

"Do
you like doing porn?"

"For
a guy it’s not easy. You have to be able to get wood when they
tell you to get wood. But I get paid to get off, so I can’t complain."

"Do
you worry about STDs?"

"We
all get tested for HIV every 30 days. And for the bigger companies,
like Vivid, it’s condom only. So I try to work mostly with places
like Vivid… But sometimes someone will come up HIV-positive. So then
they do a family tree to figure out who the person was with. And if
you were with the infected person, you get quarantined and can’t
work until the tests are all clear."

Mark
the Saint, the skinny, rough-looking but kindly production assistant,
walks up to us. "What are you guys talking about?"

"STDs,"
says Eric.

"We’ve
all got ’em," says Mark. "I got one right here."
He doesn’t indicate where, but it’s a good joke.

9:15 a.m. Conversation
in dressing room with April, who will act in the first sex scene of
the day. The makeup woman is putting on April’s pig-face.

 

April
is 23, been in the business three years and has done hundreds of porn
films. "I stopped counting after 200," she says. She has a
beautiful lean body and a pretty face, though she has bad skin, but
the makeup covers her acne pretty well.

"What
do you think of today’s script?" I ask.

"Haven’t
read it," she says, "but it should be easy. I only have a
love scene."

My
heart breaks a little when she says "love scene."

Robby
D comes in the room and tells the makeup woman that April can’t
have pigtails–they’re too suggestive of a young girl, which
is illegal. The pigtails are undone and Robby has April try on her pig-snout.
Pigtails: not okay. Pig-snout: okay.

"I
look silly," she protests. "I can’t wear this."

"You
have to wear it," Robby says. "It’s your character. You’re
a bush piggy."

Robby
D leaves the room; I follow him. He says to me, "The things you
can get these girls to do."

"You
mean put a pig nose on?"

"And
take a dick in the ass."

Robby
likes to be gruff, to shock, but mostly he’s joking around, playing
a part–a coarse porn director.

10 a.m. Sex scene,
Eric and April, a shabby, cheap-looking apartment set.

 

Eric
is in a superhero outfit–blue and white cape, white tights and
a blue tunic. April is wearing 6-inch heels and a fishnet body stocking–her
fat pink nipples protrude through the fishnet and there’s a large
hole cut out for her pussy. She’s wearing her snout and her pink
pig makeup. She looks very sexy.

April
says to Robby, "You using my favorite filter?" This must be
a filter that doesn’t show the bumps on her face.

"Yeah,
but you’re looking better. Just don’t pick your skin,"
he says sweetly. Then he feels her pussy to see if she’s wet.

April
gets on the bed and has "pretty girl" pictures taken. These
are still photos that are done before the girl’s makeup or hair
is messed up or she has come on her. The photos are used for the video
boxes, magazines, posters, etc.

Eric
opens a small toilet case and pops a Tic-Tac. In the case are condoms,
lube, Tic-Tacs, desensitizing cream and other items, probably some Viagra.
It’s his kit that he takes on all shoots. He’s very professional.

The
sex begins. Eric and April kiss. Then Eric goes down on April’s
pussy; he’s still in costume.

"Give
me some oinks," Robby D says to April. He’s manning the camera,
which is propped on his shoulder. Several lighting crew guys stand around.
Mark the Saint hovers with paper towels. Jim, a big building of a man,
watches the action on a monitor, letting Robby know if things are in
focus.

"I
don’t know how to oink," she says.

Eric
keeps eating her pussy.

"You
have to oink," Robby says. "And put your fingers in your pussy
and then in your mouth." She makes some good oinks and fingers
herself while Eric licks her.

For
a few minutes they shoot Eric eating her pussy at "soft" angles–for
the softcore release of the film, which goes to Playboy and other outlets,
so you only see the back of Eric’s head or April moaning; no genitals
in soft. Then they shoot it for hardcore, with a big lamp, held by Jim
Fillmore, the head of lighting, shined right on April’s pussy and
the camera zooming in so you see everything–pink lips, clit, juice,
saliva, Eric’s tongue.

"Open
her up," Robby D tells Eric. "Let’s see the meat."

They
finish the pussy-eating and Eric has to get out of his costume. April
sits on the bed waiting. Robby D farts a couple of times. Everybody
laughs. The farting aspect to C-Men 2, it occurs to me, is perhaps
partly autobiographical.

Eric
is struggling with his costume. April is bored.

"Jonathan,"
Robby D, says to me. "Go keep April’s pussy wet."

Everybody
laughs. April smiles at me. If only. Then Robby D asks me, "What
position do you want them in?" He’s playing along at my being
a guest-director, but I’m at a loss.

"Well,
I think it would be hot if they’re doing missionary and her arms
are above her head and he could gently hold her wrists down."

"Can’t
do it," Robby D says. "Can’t show a woman being restrained.
And at that angle we wouldn’t get penetration. This isn’t
like the sex you have at home. You have to know the laws and you have
to think of camera angles."

Eric
gets out of his costume. April gives him a blowjob. He doesn’t
wear a condom for the blowjob. Robby shoots at hard and soft angles.
Eric’s cock is pretty big, but not too big, which I find reassuring.
Robby D asks April for a stringer–a line of spit that runs from
her mouth to Eric’s cock.

After
the blowjob, Robby D tells April to do a "reverse cowgirl."
This means she sits on his cock with her back to him. Eric puts on a
condom and lubes it up. April sits on him and I watch his cock slide
right in her, no resistance.

After
a few minutes of this, they go to doggie-style, but April has to stop.

"It
hurts," she says.

"You
sound like my wife," says Shylar. He’s a skinny, longhaired,
unshaven fellow.

"How
is Catherine?" Jim, the monitor guy, asks Shylar.

"Her
back is fucked up," says Shylar.

Mark
the Saint brings April some lube. Eric remounts her. They keep shooting.
Then Robby D tells Eric to do a FIP–a fake internal pop–for
the softcore sequence, which means he pretends to come inside April.
Then Robby tells him for the hard to pull out and "jack and pop
on her back and ass." Eric pulls out, struggles with the condom,
but then successfully jacks and pops on April’s ass. The photographer
takes a few quick pictures of the come, then Mark the Saint gives Eric
a paper towel. Eric cleans himself and April, which seems very
nice to me.

Then
they have to do some dialogue from the script. This is when April is
supposed to aim her ass at Eric and give him Tourette’s. Robby
D instructs April: "You’re a villain. Be animated."

"I
can’t," says April.

"Yes,
you can," says Robby D.

"I’m
a porn star, not an actress," says April.

"Just
be animated."

"I
don’t know what animated means."

I’m
not sure if April is joking or not. They shoot the scene.

Afterward
I ask April if she enjoyed the sex.

"It
was all right," she says. "I like sex with my boyfriend better.
I like to grind. But for the camera you can’t grind. You have to
show penetration and sometimes the angles hurt."

"What’s
your boyfriend think of you being in porn?"

"He’s
a mainstream actor. He doesn’t like it. We don’t talk about
it."

I ask
her how much longer she wants to stay in the business. She says five
years and then she wants to start a family. She goes to take a shower
and Mark the Saint says to me, "This is your first time on a porn
set, right?"

"Yes."

"Did
you have to leave when they were fucking?"

I figure
that he thinks I might have needed to vomit, like someone going to a
morgue for the first time–it was strange to see another
man’s cock sliding in and out of a pussy. And the pussy looked
so vulnerable–stretched open, punctured. "No, I didn’t
have to leave," I say.

"I
can’t believe you didn’t get wood," he says and walks
away.

Oh,
that’s what he meant
, I think. I wonder if something is wrong
with me that I didn’t get wood. The sex didn’t affect me at
all. I just felt bad for April. There was nothing erotic about it for
me. But if it was my penis going in April, then that would have
been erotic. Then I would have gotten wood. At least I hope so.

12:10 p.m. Parking
lot. Conversation with Marty Romano, who will be in the next sex scene
with the star of C-Men 2, Cheyenne, who is on the cover of
December’s Penthouse. Marty is a big, tough-looking guy
in his 30s–he’s a biker with dark brown hair, a goatee and
many tattoos.

 

"Do
you like working in porn?" I ask. "Hell yeah,"
he says, smoking a cigarette. "I get to have sex and I get paid
for it. Women hardly sleep with me in the real world, but here I get
to fuck somebody like Cheyenne."

"Do
you ever worry about not being able to perform?"

"Nah,
I love sex. And if I need to I can always take a Viagra. But with Cheyenne
I won’t need shit. Some guys shoot cayberjack in their dicks. If
I did that I could fuck the whole crew."

"What’s
cayberjack?"

"This
shit that makes your dick hard."

"How
do you spell it?"

"I
don’t know." (It’s actually calledcaverject.)

"Are
your friends like, ‘I can’t believe you’re a porn star’?"

"I’m
not a porn star."

"You’re
a porn actor?"

"Yeah."

"How
come you’re not a star?"

"I’m
not good-looking, I’m out of shape, I don’t have a big dick
and I’m covered in tattoos."

12:30 p.m. Lunchtime.

 

Shylar,
the production manager, has a sex toy: a white, plastic dildo with a
viewer and a light–a periscope that you can put up a girl. He’s
a shaggy-haired, unshaven fellow and he’s walking around the lounge
with the thing. He’s a little depraved, but also sweet. He spots
April.

"Hey,
April, I want to look inside you," Shylar says.

"No
way," says April. "That’s gross."

"Come
on, I give you work all the time," whines Shylar–he hires
the actors and the crew.

April
goes with Shylar to the bathroom and Robby D joins them. They don’t
fully close the door. I see Robby D kneeling in front of April and looking
in the viewer. He sees me spying on him from between her legs and closes
the door. On a porn set it’s hard, I imagine, for girls to complain
about sexual harassment; it would be a kind of oxymoron.

Later,
I spot Shylar. "What it look like inside April? Pink?"

"Yeah,
but I couldn’t see much. But I can put that thing on eBay now and
make some money if I wanted, especially with her pussy-juice on it."

1 p.m. Sex scene
with Marty and Cheyenne.

 

Cheyenne
is a wholesome, pretty brunette. They’re on a set meant to look
like an auto shop. The auto shop is where Cheyenne and her evil bush
piggies hang out. Marty is just a guy who comes to the shop; he’s
not a superhero; after he has sex with Cheyenne he will blow up.

Marty
and Cheyenne are on a couch doing reverse cowgirl. Shylar comes alongside
me.

"Watch
Robby D," he says, "he’s got a bad habit. He always grabs
his dick."

Robby,
while hoisting the camera with one hand, is massaging his dick with
the other. It must be the way he stays interested.

Shylar
and I watch Cheyenne move up and down on Marty, who doesn’t seem
to have any balls.

"Is
Marty castrated?" I whisper to Shylar.

"I
don’t know," says Shylar. "There are a couple of guys
in the industry with no balls."

Marty
and Cheyenne switch to doggie-style and one of the crew whispers that
Marty has acne scars on his ass. Poor Marty. He and Cheyenne keep fucking.
Mark the Saint is sitting on the floor, his back against the wall–he’s
sleeping.

Cheyenne
is really screaming and moaning. Then Robby stops filming. Blood is
pouring down Cheyenne’s leg. She’s having her period. Somebody
wakes up Mark the Saint and he rushes over to her with a paper towel.
Somebody says that towel could go for a lot on eBay.

I hear
Cheyenne say to Marty, "You made me come and that opened things
up, that’s why the blood came out." She has the same speaking
voice as the actress Geena Davis. She goes to the bathroom to put in
a new sponge. I learn that a lot of the girls, like Cheyenne, have orgasms.
It’s not just the guys who enjoy the sex.

Cheyenne
and Marty resume doggie-style. It’s time for the pop, but Marty
can’t do it. The whole crew is waiting for him to come. The pop
is kind of holy–the set always goes silent for the pop. Marty’s
really struggling. Cheyenne tries to help him. She blows him, jacks
him. At one point he just hugs her. He needs some tenderness.

The
still photographer takes some pictures; he’s kneeling by Marty
and Cheyenne. Robby D farts explosively on the squatting photographer’s
head and the guy leaps up like he’s been electrocuted. Everybody
laughs and moans, "Robbbbyyyyy…"

"I
parted your hair with that one," Robby says.

"Fucking
burned off my hair," says the photog.

Finally,
after about 40 minutes, Marty’s ready. Robby D tells him to shoot
on Cheyenne’s left ass-cheek and tells Cheyenne to arch her ass
and give him a good target. Marty explodes. There’s a hell of a
lot of sperm, which seems to make up for the delay. I figure that Marty
must have balls somewhere to come that much.

Summary
of the rest of Day 1.

 

Cheyenne,
despite having her period and being sore, has sex scenes with two more
guys and has several orgasms, she tells me. One of the guys, T.J. Cummings,
is a young blond fellow. "I always play the delivery boy,"
he says.

Everyone
badmouths T.J. behind his back because supposedly he’s appeared
in gay porno films. "It’s just not socially acceptable to
do gay films and straight films," says a cast member, who asks
to not be identified.

Cheyenne’s
other sex scene is with a big, burly fellow named Steven St. Croix,
who laments that his porn career has ruined his chance to do mainstream
work. Hours before their sex scene, Steven keeps going down on Cheyenne
while they are shooting some dialogue. Robby D, who has been trying
to set up the action, says, "What are you doing? Do you know how
many dicks have been up there today?"

The
whole crew laughs at Steve, but he smiles and keeps licking her. I happen
to be standing right behind Cheyenne and can’t see her face, but
from her posture she doesn’t seem offended by Robby D’s remark.
Then Dale DaBone, one of the superhero porn stars, who looks just like
Rob Lowe, says, "That’s why he keeps eating her pussy. He
really wants to suck cock."

The
whole day’s shooting lasts 14 hours. Around 9 p.m., Mark the Saint
asks me again if I got wood. I lie and say that I did.

Day
2

9:10
a.m. Today they are shooting C-Men; same superheroes, but new
female villains. Conversation in the dressing room with Fujiko, Mikotan
and Mina, the three "bad pussies."

 

Fujiko,
bad pussy #1, is a Japanese porn actress. I’ve been told that she’s
only recently arrived in the U.S. She’s quite lovely, with a gorgeous
oval face and very large, natural breasts. She’s wearing high heels
and a fishnet body-stocking, and her cat makeup is already on.

"How
long have you been in the U.S.?" I ask her.

"Two
months. I have visa."

"I
have a Citibank Visa," quips Mikotan, bad pussy #2, who is Asian-American,
very beautiful, and is having her cat makeup applied. Mina, #3, sits
quietly in another chair, waiting her turn.

I laugh
at Mikotan’s remark, but keep talking to Fujiko. "How do you
like doing porn here in the States?"

"Having
so much fun here," she says, in her accented, more or less fluent
English. "Japanese dick is purple. I like pink. Caucasian is pink.
I can smell the difference between black, Caucasian, Asian."

"What
do they smell like?" I ask.

"White
like butter. Japanese–soy sauce. Korean–kimchi. Chinese–miso.
Black like baby powder. I smell under the balls."

Then
she says to me, pointing at my white eyebrows, "You’re so
blond."

"It’s
good for jogging at night," I say. "Natural reflector strips."

"But
what color are you down there?" she says.

"Orange,"
I say.

All
the girls shriek. Fujiko leaves the room. I ask Mikotan if I can interview
her.

"Okay.
But I don’t have to suck your cock. Unless I want to see your orange
pubes."

I feel
some wood developing, but I press on with my questions.

"So
are you Japanese?"

"Half
Japanese, quarter Chinese, quarter Samoan."

"How
old are you?"

"Twenty-four."

"How
long have you been in porn?"

"Three
years part-time. I’m really a computer programmer. Java, e-commerce,
normal Asian girl stuff. Yada yada yada."

"Do
you enjoy doing porn?"

"Yeah,
I’m divorced and I don’t feel like dating, but I like to get
laid once in a while, so if I’m going to have mindless sex, I might
as well get paid."

Mikotan
leaves the room and I’m left with Mina, who is very petite, less
than 5 feet. She is adorable. She has full round breasts from implants,
but they look good on her.

"How
long have you been in the business?"

"This
is my first film since 1995," she says.

"Why
did you drop out?" I ask.

"It
was very hard on my system, because I’m so small down there. I
had lots of yeast infections–all that thrusting gets all the bacteria
up there. So I only do girl-girl now."

"What
have you been doing the last few years?"

"Just
being married."

"Does
your husband mind you doing porno?"

"No,
he likes to watch me."

11:30
a.m. My dad comes to the set.

 

My
dad shows up and I introduce him to the three bad pussies. He gets his
picture taken with Mikotan and she puts his hand on her breast. He’s
smiling broadly. He’s 73 years old, has a white beard like Hemingway’s
and he’s wearing his dirty, yellowed baseball cap with pins from
all the places he’s visited. With his hand on Mikotan’s breast,
he says, "You’re warm."

"I’ve
been working," she says.

We
go and watch Kira–the star of C-Men–have sex with T.J.
on a medical gurney. My dad is very quiet and respectful. It doesn’t
seem too weird to be with my father–the sex is so clinical, impersonal.

Robby
D is on a ladder above T.J. and Kira.

"Open
up…say ahhh," Robby tells Kira, indicating she should spread
her legs more and expose more of her vagina.

"Stop
fucking like a pussy," he tells T.J. Everybody picks on T.J. His
face is beet red. Probably from Viagra.

"I
like girl-on-girl," my dad whispers to me.

Damn,
I think, my dad likes what everybody likes. How typical.

"He
should touch her breasts," my dad whispers.

"Yeah,"
I say. Kira’s breasts are unnaturally large from implants. She
looks like the actress Tia Carrere.

Later,
when they’re done, my dad says, "I’m exhausted just from
watching. Your mother told me not to come home with any strange ideas."
He sits down on the bed where Eric screwed April the day before.

I introduce
my dad to Jim Fillmore, the head of lighting who could be Kris Kristofferson’s
twin–he has iron-gray hair tied in a ponytail. "If anybody
asks," Jim says to me, "tell them your dad is senior correspondent."

This
gives me an idea: my dad should also write something about being on
a porn set. I suggest this to him and he agrees to give it a try. "It’s
role reversal," I say to my dad and Jim. "Father comes with
son to work."

"Yeah,
father comes with son," my dad says, and Jim laughs.

Later,
my dad gets his picture taken with all three bad pussies. Mikotan says
to the other girls, "He’s a married man. We can’t get
him in trouble."

"Get
me in trouble," says my dad. "Get me in trouble."

My
dad comes away with a Polaroid of him and the girls. I walk him out
to the parking lot. He’s going to make color xeroxes of the picture
and send them to all his buddies in New Jersey. He calls my mom on his
cellphone. "I’m all worn out," he tells her, "but
I’m still alive. There were a lot of cables I could have tripped
on."

4:20
p.m. Fujiko’s sex scene with Steven St. Croix.

 

Fujiko
is giving the most incredible blowjob to Steven. She spits on it, rubs
it up and down, twists it, just really goes at his cock with incredible
gusto, and Steven is writhing in a chair, trying not to come. Robby
D is playing with his cock vigorously the whole time. When it’s
over he says to Fujiko, "What are you doing the rest of your life?"

"I’m
available," she says, and wipes spit off her chin.

"Where’d
you learn to suck cock like that?" Robby asks.

"In
school. We train in Japan. I paid 400 American dollars to learn how
to do this."

"I
would have taught you for free," says Robby.

"Maybe
she can teach Cheyenne," says Steven.

For
the rest of the day everybody talks about Fujiko’s blowjob, and
I think it’s interesting how in Japan they train their porn stars
the way they train sushi chefs or sumo wrestlers–all very Zen.

Day
3

3:30
p.m. Conversation with Shylar while Kira has sex with Cheyne Collins,
a big beefy guy, who will turn into a stuffed animal when they’re
done.

 

After
oral sex, Kira refuses to do anal with Cheyne, says he’s too big.
Robby films them having regular intercourse.

"It’s
in her contract to do anal every movie," Shylar tells me, "but
she backs out almost every time. She’s only done two out of eight.
So next year she’ll owe six anals, but you can’t force a girl.
She’s got her own mind."

"How
would you characterize the girls in the business?"

"All
different kinds. All fucked up in the head, they have to be. Half are
on drugs, a quarter have fucked-up childhoods, a quarter are normal
and just like sex, but what’s normal? They get $800 for a boy/girl
scene and $1000 for anal… These Asian girls are great, though, real
slutty."

"Your
percentages are low," says Jim the monitor guy, listening to us.
"Seventy percent are fucked up from childhood, 20 percent are on
drugs, 10 percent are normal."

Shylar
nods in agreement with Jim’s adjusted tally.

"What
about the guys? Are they fucked up?" I ask him.

"Yeah,
they’re sex addicts. But we’re all fucked up in this business.
We have to be. We’re all undedicated filmmakers. If we weren’t
crazy we’d be in the mainstream. We’re right in Hollywood.
We could be making good money… But I do like porn. You don’t
have to be anal, you can be yourself, let it all hang out… Last night
it got crazy, though. Steven was getting another blowjob from Fujiko
and Dale was fucking Mikotan and Mina. And we weren’t even shooting.
That usually doesn’t happen. I saw Mina’s husband looking
for her. I tried to run interference. But he said he was going to watch
Dale fuck his wife. He wanted to watch."

5 p.m. Sex scene
with Dale DaBone (the Rob Lowe lookalike) and Anne Marie.

 

This
scene really gets to me. Anne Marie is 20 years old and has only been
in the business a few months. She looks like she’s 16. She’s
utterly angelic–a beautiful, sweet face, large brown eyes, soft
lush hair, olive skin and one of the prettiest, most perfect bodies
I’ve ever seen. She’s a Latina from the Valley, just over
the mountains from where we are shooting. She told me she wants to stay
in the business a year, pick up some good money and then quit. She’s
a bush piggy in C-Men 2.

"Do
your parents know you do porn?"

"My
mother knows. But what can she do? I’m on my own. My dad doesn’t
know. He would freak."

"Do
you date?" I ask her.

"Not
really. It’s kind of lonely. Guys freak out. But I like porn. It’s
pretty fun. You go to different locations, meet different people. I
like the acting. And for a couple of hours I make really good money."

"Do
you enjoy the sex?"

"It’s
hard with people watching, but it feels good. And I always wondered
about going with a girl and never would have if it wasn’t for porn."

Anne
Marie tells me all her friends from high school already have one or
two kids, so by comparison she’s not too wild, or at least she
wasn’t in high school when they all started getting pregnant.

Anne
Marie and Dale start their sex scene. They begin with a blowjob. Just
as he turns on the camera, Robby turns to those of us watching and says
in a sad, sincere whisper, "She’s too young. Somebody save
this girl from herself."

I find
it terrible watching Dale’s enormous, 10-inch, dildo-like cock–DaBone–go
in her mouth. Anne Marie keeps gagging on it, but she works hard.

Later,
when her ass is in the air for doggie-style, she looks so beautiful.
While she’s in that position, they have to pause for Robby to put
a new battery in his camera. Dale keeps going in and out of her to stay
hard and she props her face on her forearms, waiting. Sex and her beautiful
body seem sacred and I feel like she’s letting both be destroyed.
A fresh battery in place, Robby does a closeup on her pussy. I look
at it on the monitor; she really does look like an oyster or a flower,
her lips these petals.

When
they’re ready for the pop, Robby wants Dale to come on her face.
Anne Marie says no quietly.

"You
don’t do facials?" asks Robby. "Come on, you can do it."

"All
right, but I don’t want it in my eyes."

Robby
turns to us and says, "Didn’t even have to debate that one."

I’m
dying.

"I
can’t beat off on her face if the kid doesn’t want it,"
says Dale.

"Come
on, tell him how much you want it," says Robby.

"It’s
all right," Anne Marie says in a very small voice.

"Don’t
worry," says Dale. "It won’t go in your eyes. I came
once today." Dale looks at us watching and winks. He has no idea
if it will go in her eyes.

For
some reason, though, they end up doing the pop on Anne Marie’s
ass and I’m relieved. Robby tells Dale, just before he comes, "Let’s
see the DNA… Let’s see what your kids look like."

6 p.m. Conversation
with Jim Fillmore after Anne Marie’s scene.

 

"How
do you deal with watching these pretty girls having sex?" I ask.
Jim has been working on porn sets for 20 years.

"If
you wave a steak in front of a dog and never give the dog the steak,
he learns that he can’t have it. It always looks good but he can’t
have it. It’s like that. Crew and talent never mix. But if you’re
a director you can get a blowjob–they all do."

"What
do you think of the girls in the business?"

"Girls
come and go, but guys, if they can do it, last forever. A girl has maybe
10 years. Then they leave, get a millionaire. A sugar daddy. Or they
go into dancing, some good money there. But thank God for porno. At
least they’re treated nice here. Somewhere else where they’d
be taken advantage of they don’t get lunch. At least here they
get lunch."

"What’s
your opinion of the guys in the business?"

"We’re
all, guys and girls, just a bunch of harmless criminals. We like to
think we’re bad but we’re not. And people here can talk about
anything. It’s a refreshing crowd that way."

"What
do you think of Anne Marie? She’s so pretty. Sweet."

"Too
sweet. Some girls come in here so wholesome it’s unnerving. But
it won’t last long. The face changes. They get this whore face.
A face that’s seen too much."

6:45.
The End.

 

Robby
very kindly wants to have me be an extra in C-Men. They set up
a bar and I’m in there with several other extras, all of whom look
like they were found on skid row. Robby has me sit at the bar next to
Mikotan. I’m supposed to come on to her, but then Dale DaBone,
in his yellow superhero outfit, will tell me to get lost and he’ll
pick her up.

These
are my last minutes on the porn set. I’ve been on the inside of
an industry designed, primarily, to give men something to masturbate
to, and I’ve had a very good time. It has been like hanging around
a circus troupe. Mark the Saint had told me that working on a porn movie
is like going on a camping trip: you get close to one another. I agree
with him. I will miss these porn people. They’ve been generous
to me, welcoming to me.

We
begin shooting the bar scene and I talk to Mikotan. She encourages me
to feel her breasts, to stroke her thighs. I happily obey her orders
and then I lightly pinch her large brown nipples through the holes of
her fishnet top. I feel them get erect between my fingers. Her nipples
get wood! And there’s a chain reaction–I get wood! I get wood!
She smiles at me. I cup her breasts. I like this business. I tell her
she’s beautiful. Then Dale DaBone strides over in his superhero
outfit, his super-weapon in his shorts, and he tells me to get lost.
I don’t want to leave Mikotan, but I have a role to play. So, grimacing
like a loser for the camera, hamming it up, I make my exit and my career
in porn comes to an end.

And
yet I have finally arrived. I got wood.


Going
to Work with My Son
by Max
Ames

 

All
my life I have been attracted to porn, starting when I was about 17
years old. My first exposure was a black & white film shown at a
party held in honor of a fellow who returned from a tour of service
in France after WWII. The returning GI regaled us with stories of communal
toilets and amorous adventures in French brothels.

As
the years went by various films came into my possession–but the
hard part was borrowing an 8-mm movie projector on which to show them.
I remember once when I was babysitting at my sister’s home and
my grandfather came in, took one look at the screen, turned around and
said, "Fooey!" I am probably 15 years older now than my grandfather
was then.

I continued
to acquire films, and when I chanced on one in color I was truly hooked.
When I was single, I would enjoy hosting a party of mixed couples to
view what I termed "training" films. And although my memory
is clouded, I recall having dallied with a young lady or two who was
turned on by one of my films.

Recently,
I had an opportunity actually to watch the filming of a modern porn
film when my son offered to have me accompany him to a set. I was impressed
by the voluptuousness of the female leads and by the staying power of
the males. I always thought that they made these films in segments,
because I could not believe how the male leads could tarry as long as
they do. I will say that part of me hoped I might see a film that at
least attempted to portray romance; instead I found anything but. It
was more like a tv documentary on horses being serviced. Where was the
least bit of gentleness, of lips brushing lips or a hand tenderly cupping
a breast? But regardless, I found it interesting and entertaining to
watch.

When
I was a little boy my father would take me to work with him, and I can
truly say that going to work with my son was equally enjoyable. If you
live long enough some of your dreams are fulfilled, and being a guest
on a porn set was one of them for me.

..