X-Rated: The Greatest Adult Movies of All Time Page #6

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"OF MICE AND MEN."

AND I THINK THAT THAT'S

REALLY DIFFEREN FOR A PORN MOVIE.

HOW TO BE A MAN.

AND "LOVE'S FOR SUCKERS,"

HE'S TEACHING ME.

AND I FALL IN LOVE,

AND I WANNA MARRY.

HAVE YOU EVER LOVED SOMEBODY?

NO.

HAVE YOU EVER WANTED

TO LOVE SOMEBODY?

NO.

I THINK THAT THERE IS PARTS

OF THIS MOVIE THAT YOU CAN

JERK-OFF TO.

SLOW AND DEEP.

AS LONG AS YOU'RE INTO

JOHN LESLIE.

ONE OF THE SCENES IN THERE

HAS SOMETHING FOR MOST PEOPLE TO

JERK OFF TO.

OH, JACK!

I'M NOT SURE YOU CAN JERK OFF

TO THE RICHARD PACHECO SCENE.

NONE OF THE WOMEN THAT HAD

COME BY FIT WHAT SAM WANTED TO

COME OUT OF THAT CHARACTER.

AH!

WHY DON'T YOU WATCH WHERE

YOU'RE GOING?!

SHE WAS PERFECT.

THE SEX SCENE BETWEEN RICHARD

AND CHELSEA WAS MY FAVORITE.

IT WAS SO REAL.

I SORT OF GOT MY--

SOME SPITTLE ON MY FINGER AND

PLAYED WITH HER NIPPLE AND...

"NO, NO, NO,

WHAT ARE YOU DOING?

LENNY WOULD NEVER DO THAT!"

SEE?

OH, IS THAT A RUBBER?

HOW'D YOU KNOW?

I SAW ONE IN:

MY BROTHER'S DRAWER.

I'VE NEVER SEEN THAT IN

A PORN MOVIE BEFORE WHERE THEY

ACTUALLY STOP THE SEX TO PUT ON

A CONDOM, AND THEY TALK ABOU PUTTING ON THE CONDOM AND HOW

SHE'S NEVER DONE THAT BEFORE,

AND IT JUST-- IT WAS SO,

SO REAL. I LOVED IT.

THERE'S A GREAT AWKWARDNESS

AND PLAYFULNESS ABOUT WINNING

THIS, ABOUT PUTTING ON THE

CONDOM 'CAUSE IT'S PLAYED,

PLAYED REALISTICALLY.

SPINELLI PLAYED THE OWNER

OF A HOT DOG STAND.

YOU DON'T FOOL ME.

YOU DON'T WANNA STOP BEING

A MOTHER AND A FATHER, RIGHT?

HE AND JOHN HAVE A LONG SCENE

WHERE THEY TALK ABOUT, YOU KNOW,

"YOU'RE JUST JEALOUS

IS WHAT IT IS."

YOU'RE GONNA LOSE THE KID.

WHEN AVN DID THEIR FIRST AWARDS,

THEY GAVE ME BEST ACTOR FOR

"IRRESISTIBLE", AND THEY ALSO

GAVE ME BEST SUPPORTING ACTOR

FOR "NOTHING TO HIDE."

THAT PROBABLY WAS THE

FOR SEVERAL MONTHS, I'VE BEEN

WRITING STORIES, NOT FOR

PUBLICATION BUT FOR A VERY

CURIOUS MAN,

A PRIVATE CLITEROTICA.

JANINE AND I BECAME BES FRIENDS WHEN WE WERE

18 AND 19 YEARS OLD.

AND I DON'T THINK EITHER OF US

REALLY KNEW WHAT TO BE

TOTALLY PREPARED FOR.

I THINK SHE'D DONE SOME...

SHE'D BEEN A "PENTHOUSE" PET SO

SHE'D DONE SOME "PENTHOUSE"

VIDEOS, BUT NOT EXACTLY THE

HARDCORE WE WERE ABOUT READY

TO GET INVOLVED IN.

WORKING WITH ANDREW BLAKE,

HE'S, UM... HE'S VERY

UNDERSTATED, YOU KNOW, QUIE GUY, BUT HIS WHEELS ARE ALWAYS

ANDREW BLAKE IS THE

QUINTESSENTIAL ARTIST.

I MEAN, HE'S QUIRKY.

HE'S INTERESTING.

SOMEWHAT INTROVERTED.

BIT OF A RECLUSE, UH, EXCEPT FOR

WHEN HE'S FILMING, AND I THINK

THAT'S KIND OF WHEN IT ALL

I HIRED THIS GUY TO MAKE

THESE-- HE MADE, LIKE,

AND BOY, AT THE BEGINNING,

THERE'S SOME MIGHTY HEFTY ONES.

THEY WERE QUITE BIG.

AND WHEN HE ARRIVED ON THE

SET, HE WAS BLOODY, AND HE HAD

CUT HIMSELF, AND HE NEEDED TO GO

TO THE HOSPITAL.

AND HE DROPPED OFF THE D*LDOS,

AND, YOU KNOW, I NEVER HEARD

FROM HIM AGAIN.

(CHUCKLING)

AND, OF COURSE, BY THE TIME

WE WERE DONE,

WE WERE COMPLETELY NUMB.

I DIDN'T KNOW ANYTHING ABOU THE ADULT INDUSTRY.

AT THAT TIME OF MAKING "HIDDEN

OBSESSIONS," I HAD NEVER

HEARD OF VIVID.

I KNEW NOTHING ABOUT THE

BIG-BUDGET CONTRACT GIRLS

AND WHAT HAVE YOU.

I MEAN, BASICALLY, I'M ONE TO

FLY UNDER THE RADAR.

THAT WAS THE WRONG FIRST SCENE

TO EVER DO.

I'M THE LAST MAN STANDING,

UH, STILL SHOOTING FILM.

WHEN I'M 80, AND I'M STILL

SHOOTING SOME 19-YEAR-OLD GIRL,

AND I WANNA KEEL OVER, AND MY

BOLEX GOES INTO HER P*SSY.

THAT'S WHAT I ENVISION FOR

WELL, I GUESS THESE ARE FOR

IF YOU'RE LONELY AT NIGHT AND,

UH, NEED SOMEONE TO TALK TO.

YEAH.

I TOOK THE IDEA OF "JUSTINE"

FROM A FRENCH FILM BY, UM,

A DIRECTOR NAMED LOUIS MALLE.

IT'S ABOUT A FATHER WHO

FALLS FOR HIS SON'S GIRLFRIEND.

I SAID, I'VE SEEN IT.

AND HE SAID, "WHAT'D YOU THINK?"

AND I SAID, "I HATED IT."

HE SAID, "YOU HATED IT, WHY?"

I SAID, "BECAUSE OF THE MORALITY

THAT THIS MAN WOULD DESTROY HIS

SON AND HIS WIFE FOR THE SAKE OF

IT WAS AN EVENT OF MY...

SORT OF... HAVING A SON WHO'S IN

SOME WAYS MORE GROWN-UP THAN ME.

HE'S TELLING ME, YOU KNOW,

WHY DON'T YOU TELL ME WHA YOU'RE THINKING.

I'M THINKING ABOUT MY FATHER.

YOUR FATHER?

IN "DAMAGE", UH, JEREMY IRONS

IS THE FATHER.

HE KNEW THAT THIS WAS HIS SON'S

GIRLFRIEND.

HE DIDN'T CARE.

BUT IN OUR MOVIE,

THE FATHER WOULD NOT DESTROY

HIS SON.

HE WOULD GIVE UP THE GIRL

BECAUSE HIS SON IS HIS SON.

MMM.

WOULD YOU LIKE A TASTE?

I LIKE OUR VERSION BETTER.

ROXANNE BLAZE HAD A SERIES OF

ENDLESS ORGASMS FROM A WATER

HOSE I WAS SPRAYING HER WITH.

AND THAT WAS VERY REAL,

IT WAS VERY INTERESTING.

SHE'S ONE OF HIS GIRLS,

HE WOULD LOOK AND-- AND SAY,

"WHAT'S A NICE GIRL LIKE YOU

DOING IN A PLACE LIKE THIS?"

WHY'D YOU COME BACK, HMM?

BECAUSE I SHOULDN'T HAVE.

BECAUSE YOU'RE DANGEROUS FOR ME.

WE REALLY FEL WHAT WE WERE DOING--

YOU KNOW, WE KNEW IT WAS

ONLY PORN.

BUT WE WANTED TO MAKE IT THE

BEST PORN WE COULD POSSIBLY

MAKE IT.

"JUSTINE" DOES QUALIFY AS ONE

OF THE BETTER MOVIES MADE, UH,

UH, BOTH IN THE HISTORY OF PORN,

BUT IN MY PERSONAL HISTORY

WORKING.

IT WOULD BE IN MY TOP TEN

MY CRIME WAS TO SHARE THESE

VISIONS WITH YOU.

THE TRUTH.

AND FOR THIS, I HAVE BEEN

"LATEX" WAS VERY INEXPENSIVE

BUT THEN THERE WAS ABOU 12 MONTHS OF POST MAKING ALL OF

THIS STUFF, SO THAT MIGHT'VE

THIS IS A WHOLE MOVIE FULL OF

COMPUTER-GENERATED EFFECTS.

THIS WAS SO FAR BEFORE ANYBODY

EVER THOUGHT TO DO ANYTHING LIKE

THAT FOR PORNO, YOU KNOW?

EVERYBODY WHO WORKED ON

A MICHAEL NINN FEATURE KNEW THEY

WERE IN FOR A RIDE.

THIS IS SOMETHING THAT YOU'RE

NOT GONNA WALK IN AND BE OUT OF

THERE IN AN HOUR.

UH, MORE OFTEN THAN NOT, I MIGHT TAKE YOU A COUPLE OF HOURS

JUST TO GET YOUR MAKEUP ON.

HE SAYS THAT YOU CLAIMED TO BE

ABLE TO "SEE INSIDE OF PEOPLE."

DID YOU SAY THAT?

YES.

I'D CALL THAT E.S.P.,

WOULDN'T YOU?

I WOULD CALL IT SEEING

JON DOUGH REALLY TOOK HOLD OF

THAT ROLE AND CREATED THAT ROLE

ALMOST ON HIS OWN.

UM, MICHAEL NINN MADE IT INTO

VISUALLY POWERFUL MOVIE AND

TECHNICALLY FAR SUPERIOR THAN

MOST EVERYTHING ELSE THAT HAD

BEEN MADE BEFORE THAT.

YOU'RE ASKING ME TO EXPLAIN

SOMETHING THAT I DON'T REALLY

UNDERSTAND MYSELF.

HE WAS SO DEEPLY DEDICATED TO

WHAT WAS GOING IN THERE, MORE

THAN I EVER SAW HIM

IN ANY MOVIE.

THERE WAS ONE SET,

THE KITCHEN SET WITH ZACK

AND SUNSET THOMAS.

THAT'S THE ONLY SET WE SHOT ON.

EVERYTHING ELSE WAS SHO AGAINST GREEN SCREEN, WHICH

MEANS EVERYTHING ELSE IN THE

MOVIE HAD TO BE MANUFACTURED

I'M IN THE KITCHEN, YOU KNOW,

LATEX GLOVES ON.

AND THERE'S THESE BIG, WHITE

AND I WAS IN THE DRESSING ROOM.

I WAS JUST ALL UPSET BECAUSE

I WAS SO USED WEARING THESE

LITTLE SKIMPY UNDERWEAR.

I SAID, "MIKE, I CANNOT WEAR

THESE GRANNY UNDERWEAR."

MICHAEL NINN SEEMS TO DEAL

MORE WITH, UM, BROAD SYMBOLISM,

LIKE, SYMBOLIC STORIES.

THEY WERE HUGE STORIES THA TALKED ABOUT BASICALLY

GOOD AND EVIL.

THERE'S ALWAYS THE INNOCENCE

THAT GETS CORRUPTED.

THERE'S THE, THE SOCIETY THA CHURNS UP THE INNOCENTS IN ITS

GEARS, IT'S-- IT'S VERY SYMBOLIC

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