X-Rated: The Greatest Adult Movies of All Time Page #7

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AND BROAD IN ITS SCOPE, AND

I THINK ANDREW BLAKE WAS MORE

ABOUT INSTANCES.

HOME VIDEO BECAME SUCH

A POPULAR FORMAT FOR PORN THAT,

BY THE MID-90'S, ADULT THEATERS

WERE ESSENTIALLY A THING

OF THE PAST.

PRODUCERS TRADED NEW YORK AND

SAN FRANCISCO FOR SUNNY L.A.,

AND THE SAN FERNANDO VALLEY

BECAME THE UNDISPUTED CAPITAL

OF THE ADULT BUSINESS.

VHS AND THE INDUSTRY SEEMED LIKE

A MARRIAGE THAT WOULD LAS FOREVER.

BUT PROGRESS NEVER STANDS STILL.

AND A POWERFUL NEW FORMAT WAS

ABOUT TO BRING NEW OPTIONS AND

WHY ARE YOU GOING THROUGH

MY PURSE?

TO FIND YOUR BADGE.

YOUR FIREMAN I.D.

YOU'RE THE KIND OF GIRL WHO

TAKES OUT PERSONAL ADS.

"OH, HOT-BLOODED BLONDE

IT WAS SHORTLY AFTER

"BACKDRAFT," THAT BIG FIREMAN

AND WHEN IT CAME TO

"FLASHPOINT," WHAT WE WERE

TRYING TO DO IS WE HAD KIND OF

STARTED TO ELEVATE OUR ADUL MOVIES INTO WHAT WE THOUGH SEX OUT OF THEM, BECOME KIND OF

LIKE THAT "B" MOVIE VIBE.

I JUST WISH I HAD

IT HAD A STORYLINE.

AND IT HAD REAL ACTING.

FOR ITS TIME, IT WAS A HUGE

MOVIE, AND, UH, AS LUCK WOULD

HAVE IT, I JUST HAPPENED TO MEE A BIG PYROTECHNICS GUY WHO

WORKED IN THE MAINSTREAM.

THEY ACTUALLY WORKED ON

"BACKDRAFT."

WHEN WORKING WITH FIRE,

OF COURSE, THERE'S ALWAYS A HUGE

AMOUNT OF SAFETY PRECAUTIONS

ESPECIALLY WITH THE MAINSTREAM

GUY DOING IT ALL, YOU KNOW,

WE HAD SAFETY MEETINGS

ALL THE TIME.

AT THE TIME, I DIDN'T REALLY

THINK ABOUT HOW HARD IT IS

TO BE A FIREFIGHTER.

SO THEY HAD ME CARRYING

DUMMIES UPSTAIRS.

I THINK A COUPLE OF PEOPLE

STARTED THINKING THEY WERE GONNA

PASS OUT RUNNING UP AND DOWN

STAIRS WITH ALL THE GEAR ON.

STEVENS, WHAT DO YOU THINK

YOU'RE DOING?

SHH!

IF THE CAPTAIN CATCHES YOU,

YOUR ASS IS HISTORY.

I DIDN'T REALLY REALIZE HOW

INCREDIBLY REAL:

THIS WAS GOING TO BE.

WHEN YOU'RE HAVING SEX BEHIND

FIRE, YOU DON'T REALLY REALIZE

THE FEAR THAT YOU'RE

GONNA BE FEELING.

WE REALLY ONLY HAD ONE HUGE

FIRE DAY, AND HE HAD A HUGE CREW

IN THERE TO MAKE SURE EVERYBODY

KNEW WHAT THEY WERE DOING.

AND REALLY HAD A GRASP OF WHA THE ISSUES WERE WHEN IT CAME TO

SAFETY AND ANY, UH-- AND KEEPING

THE ACTORS OUT OF DANGER.

I REALLY THINK THAT WE--

WE ACCOMPLISHED SOMETHING

REALLY BEAUTIFUL AND SOMETHING

TO BE HONEST WITH YOU,

I DIDN'T EXACTLY INHERI MY FATHER'S SIN...

IT WAS NO A HIGH-BUDGET MOVIE.

OVER FIVE DAYS FOR 70 GRAND.

SO 2-1/2 DAYS, $35,000...

IT'S NOTHING FOR FILM.

TO ME, IT WAS A BIG DEAL

BECAUSE THIS WAS ANOTHER ONE--

YOU KNOW, THE FILMS WERE HERE

AND THERE, JUST FEW AND FAR

DIDN'T YOU APPLY A THE SHERIFF'S OFFICE IN COUNCIL

BLUFFS OR SOMETHING?

YEAH, I GOT ACCEPTED, TOO,

BUT I'M NOT READY TO LEAVE YET.

THE ACTORS THAT CAME ON

REALLY TOOK IT SERIOUSLY AND

REALLY, YOU KNOW, I GOT GOOD

PEOPLE WITH ACTING CHOPS.

SHANNA McCULLOUGH WHO,

YOU KNOW, LATER WON AN AWARD

FOR IT FOR BEST ACTRESS.

THIS WAS A FILM NOIR

AND IT WAS A DETECTIVE STORY

AND HE WANTED ME TO STAR IN IT.

IT'S A STORY OF TWO DETECTIVES

AND THIS WOMAN:

WHO'S A FEMME FATALE KILLER.

AND SHE'S, YOU KNOW, SEDUCING

MEN AND THEN KILLING THEM.

AND SHE'S BEEN STALKING

MY PARTNER.

APPARENTLY, HIS FATHER DEAL WITH THIS ALSO FEMME FATALE

IN HIS CAREER AS A POLICEMAN.

AND HE THINKS IT'S THE SAME

WOMAN AND SHE'S STILL AROUND

AFTER 50 YEARS.

AND I SAID, "NO, IT MUS BE HER DAUGHTER."

THE LOOK OF "LOOKER" IS VERY

GRITTY AND NOIR INSPIRED

AND THIS IS NO ACCIDENT.

I WANTED TO DO A MOVIE THA COULD'VE BEEN SHOT IN THE 30s.

HE WAS A REAL SLAVE DRIVER.

HE LITERALLY WOULD WORK

A 24-HOUR DAY IF THAT WAS WHA WAS NECESSARY BECAUSE HE WAS

A PERFECTIONIST AND HE WANTED

EVERYBODY ELSE TO BE.

WHEN WE SHOT THAT MOVIE, WE

KNEW WE HAD SOMETHING SPECIAL.

WE PUT A LOT OF HEART INTO I AND NIC PUT A LOT OF HEART INTO

IT, AND WE DIDN'T GE AN OPPORTUNITY TO DO THAT MUCH

ANYMORE SO IT REALLY FELT GOOD

THAT IT WAS RECOGNIZED FOR WHA WE REALLY WANTED IT TO BE.

EARLY ON IN THE SHOW,

SHANNA WON FOR BEST ACTRESS.

AND WE WERE LOOKING AT EACH

OTHER LIKE, "COULD THIS BE?"

AND THEN JUST THE FLOODGATES

JUST OPENED UP AND WE WON BES FILM DIRECTOR FOR ME, BEST FILM,

ART DIRECTION, SCRIPT, EDITING.

I MEAN, TRIFECTA, SWEEP.

SO IT WAS ONE OF THE BETTER

DOGS LICK.

MEN F***ING EAT P*SSY.

EAT MY P*SSY.

"SEVEN DEADLY SINS" WAS

THE OBVIOUS CANDIDATE FOR

THE VIGNETTE STYLE OF SHOOTING.

I WANTED TO BE ABLE TO HAVE

EVERYTHING DISTINCTLY,

UH, REPRESENTED

BY THE SIN ITSELF.

WHERE AM I?

YOU STUPID B*TCH.

THE BASIC STORY IS A CRISIS

OF THIS WOMAN WHO'S IN LOVE

WITH THE REAL JANINE.

AND SHE'S BEEN TOLD THAT SHE

ACTUALLY KIND OF LOOKS LIKE

JANINE, BUT OF COURSE, WE HAVE

A REALLY DOWDY VERSION OF HER.

SO THE CHALLENGE WAS HOW DO WE

IT WAS A STRETCH, YOU KNOW,

IT WAS, UH...

I WAS JUST KIND OF... IT'S HARD

NOT TO JUST EMBRACE HER.

SO, UH, TO TAKE MYSELF OUT OF

THAT SITUATION AND BE LIKE,

"YEAH, IT'S ME AND IT'S ME,"

YOU KNOW, THERE WERE CERTAIN

THINGS THAT WE HAD TO HIDE.

WHEN YOU'RE TRYING TO SHOOT AND

BE SOMEBODY, AND YOU CAN'T SHOW

YOUR FACE OR YOU'RE TRYING TO

IT WASN'T EASY.

THAT I CAN TELL YOU.

YOUR A WHINY, DRIED-UP

OLD MAID.

SHUT UP!

THAT NOBODY WANTS.

SHUT UP.

THERE WAS A LOT OF FOOD.

THERE WAS AN ABUNDANCE OF--

(GIGGLING)

IT'S A PERFECT SCENE IF YOU'RE

A FOOD FETISH KIND OF GUY.

WE HAD TO BUILD SUPPORTS

FOR THESE-- I THINK THEY WERE

TEN-FEET TALL--

AND WE DID AN ARC AROUND THAT.

AND THEN SET THAT IN

A STAGE THAT, AT THE TIME,

I THINK WAS BLACK.

SO WE COULD, YOU KNOW--

AND THEN WE ACTUALLY GOT A

TURNTABLE FOR THEM TO HAVE SEX

ON SO THAT COULD REVOLVE, SO THE

IMAGE BEHIND IN ALL THE MIRRORS

WAS REVOLVING AT THE SAME TIME.

IT HAD A VERY, YOU KNOW, KIND OF

A SURREAL DEPARTMENT STORE

HEY, WATCH THE TEETH,

SWEETIE.

SORRY, FORCE OF HABIT.

"DARK ANGELS" CAME OUT--

SCOTT TAYLOR, THE OWNER

OF NEW SENSATIONS.

HE GOES, "I'VE ALWAYS REALLY

KIND OF LIKED HORROR MOVIES AND

STUFF AND VAMPIRE-TYPE STUFF."

AND I SAID, "WELL, WE CAN DO

YOU LOOKING FOR SOMETHING

SPECIAL TONIGHT?

IT DEPENDS, YOU A COP?

YOU SEE A BADGE, SWEETHEART?

WHEN I CONCEIVED THE WHOLE

STORY AND WAS WRITING THE SCRIP AND EVERYTHING, MIKE HORNER WAS

ALREADY CAST IN MY HEAD.

WE HAD TO SPEND MORE TIME

PREPPING AND SETTING UP FOR THE

BLEEDING SCENE THAN WE DID ON

THE ENTIRE SEX SCENE, BECAUSE I TOOK SEVERAL HOURS FOR THEM TO

THEY HAD TO CLEAN THE CAR ONE

TIME FROM ALL THIS BLOOD--

ALL OVER THE WINDOWS.

IT JUST DIDN'T WORK FOR

I WAS JUST GETTING TO THAT.

WE DIDN'T GET STARTED DOING

THAT SCENE UNTIL ABOUT MIDNIGHT.

AND WE WENT TILL LIKE

4:
00 IN THE MORNING,

5:
00 IN THE MORNING.

WE GOT OUT OF THERE JUST IN TIME

FOR THE SUNRISE.

WHEN I APPROACHED SYDNEE TO

DO THE MOVIE, I SAID,

"ALL RIGHT, I DON'T KNOW IF

YOU'VE DONE SOMETHING LIKE THIS

BEFORE, WE'RE GONNA DO, LIKE,

YOU KNOW, FULL-BODY CAS OF YOU, PROSTHETICS."

'CAUSE THAT'S HER IN THE MONSTER

SUIT AT THE END.

AND, YOU KNOW, AND YOU'RE GONNA

BE WEARING CONTACTS

AND ALL THIS.

AND, YOU KNOW,

WOULD YOU COMMIT TO THIS?

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