1
00:00:01,000 --> 00:00:04,559
Speaker 1: We're all owned by the Syndicate, body and soul, or

2
00:00:04,599 --> 00:00:06,360
should I just say Bunny.

3
00:00:10,839 --> 00:00:16,640
Speaker 2: Hello? Filthy movie lovers, Something Weirdos and anti criterion Bros.

4
00:00:17,280 --> 00:00:21,399
To the twenty sixth episode of The Sin Syndicate, the

5
00:00:21,480 --> 00:00:25,120
only podcast that knows candlewax and candy bars are the

6
00:00:25,120 --> 00:00:28,399
way to a woman's heart and every staircase should be

7
00:00:28,480 --> 00:00:32,679
checked for tripwire before descending. My name is Gentry Austen,

8
00:00:32,799 --> 00:00:35,759
writer and researcher, and I'm here with my co host,

9
00:00:35,799 --> 00:00:40,399
adult film historian Casey Scott. And in this week's episode,

10
00:00:40,439 --> 00:00:44,679
we will be submitting to a nineteen sixty nine psychological

11
00:00:44,799 --> 00:00:50,039
sex film starring a pre porno pre Sarno, Miss Jennifer Wells,

12
00:00:50,719 --> 00:00:56,039
director Alan Savage's New York shot dreamlike thriller submission.

13
00:01:03,880 --> 00:01:12,079
Speaker 3: There's amission, a study of warm, a desire to submit

14
00:01:14,040 --> 00:01:22,760
the secrets of an orgy, the symbols of perversion. They

15
00:01:22,799 --> 00:01:30,599
are here for all desires, a wheel passions that consume,

16
00:01:32,319 --> 00:01:37,319
emotions that ooze outward bearing the vitals of life.

17
00:01:46,680 --> 00:01:51,760
Speaker 2: But first, a couple quick updates from the Exploitation News Desk.

18
00:01:52,400 --> 00:01:55,480
We know how people like to be teased. I think

19
00:01:55,519 --> 00:01:59,200
we could comfortably tease a few things that are in

20
00:01:59,239 --> 00:02:00,599
the pipeline, right, Casey.

21
00:02:01,560 --> 00:02:04,079
Speaker 4: I think so it's the nature of the genre it

22
00:02:04,200 --> 00:02:06,599
to tease, So I don't see what we also would not.

23
00:02:07,239 --> 00:02:10,560
Speaker 2: Yeah, so the first is a release that we will

24
00:02:10,599 --> 00:02:14,240
be heavily involved in. I believe it's going to be

25
00:02:14,439 --> 00:02:19,560
announced next month, right Casey? Is that correct? What do

26
00:02:19,599 --> 00:02:20,120
you think?

27
00:02:21,240 --> 00:02:23,400
Speaker 4: No, the one that we the one that we did

28
00:02:23,400 --> 00:02:26,719
a comment to our first commentary for Yes, it'll be

29
00:02:26,719 --> 00:02:29,680
announced in January. Yes's perfect because it's one of those

30
00:02:29,759 --> 00:02:34,400
that basically they don't announce it until the month that

31
00:02:34,439 --> 00:02:37,400
it's available the month, so they'll announce it in January.

32
00:02:37,520 --> 00:02:39,759
That might give you people in him at What's what studio?

33
00:02:39,800 --> 00:02:42,680
It is what boutique label? It is one of those.

34
00:02:42,800 --> 00:02:47,439
Speaker 2: Yes, what else? We've got other some other stuff in

35
00:02:47,479 --> 00:02:51,960
the works. Hopefully we can talk to Lisa next month

36
00:02:52,680 --> 00:02:57,360
involved which is one of the projects. Hopefully we can

37
00:02:57,360 --> 00:03:01,159
talk more about that next month with her. But other

38
00:03:01,240 --> 00:03:04,039
than that, I would also say keep an eye on

39
00:03:04,199 --> 00:03:07,199
Keen Oliber. You know, if you've been paying attention, they've

40
00:03:07,240 --> 00:03:10,520
been doing a lot of nudy qtis stuff lately, and

41
00:03:10,719 --> 00:03:15,120
I think they've exhausted all the Forbidden Fruit series. I'm

42
00:03:15,159 --> 00:03:18,400
not sure, but I think that they're done with the fifties.

43
00:03:18,960 --> 00:03:21,439
I think that they're getting into the sixties here. You know,

44
00:03:21,639 --> 00:03:23,759
we know of a few that are coming down the pipeline,

45
00:03:23,840 --> 00:03:26,719
so uh yeah, hopefully we'll be involved with some of

46
00:03:26,719 --> 00:03:27,479
that stuff.

47
00:03:27,759 --> 00:03:30,080
Speaker 4: I think Forbidden for It's going to keep going. Is

48
00:03:30,080 --> 00:03:33,240
they're just finally branching out. Yeah, I mean there's so

49
00:03:33,439 --> 00:03:37,719
many films that they could do restorations for on those

50
00:03:37,759 --> 00:03:42,000
black and white like roadshow movies. Okay, yeah, I'm not

51
00:03:42,039 --> 00:03:44,639
sure that's done. I think they are finally doing the

52
00:03:44,680 --> 00:03:46,879
sixties once we saw mister Peters Pets come out, So

53
00:03:46,960 --> 00:03:51,319
now they're finally exploring nudy, qutis and beyond. So I

54
00:03:51,360 --> 00:03:53,840
think that's kind of what we have to look forward

55
00:03:53,840 --> 00:03:55,919
to in that regard for sure.

56
00:03:56,439 --> 00:03:59,360
Speaker 2: Yeah. So that's our little tease. We'll leave it there.

57
00:04:00,280 --> 00:04:03,080
What else do we have, Casey for updates?

58
00:04:03,879 --> 00:04:08,439
Speaker 4: Well, the first one I had to so dol Land

59
00:04:08,479 --> 00:04:12,879
where continues. The big update for this is, you know,

60
00:04:12,919 --> 00:04:17,480
I took all some Puritan's Dream Gentry posted you know,

61
00:04:17,560 --> 00:04:21,199
images and video on the on our Instagram of Pureitan's Dream,

62
00:04:21,279 --> 00:04:25,839
and then I posted additionals on the something We're Facebook

63
00:04:25,879 --> 00:04:29,120
group and something that I did take with screenshots of

64
00:04:29,160 --> 00:04:31,920
all of the credits of the movie, including all the

65
00:04:31,959 --> 00:04:35,279
fake cast names, but there were some real crew names

66
00:04:35,319 --> 00:04:38,720
in there. So one of the crew names was cinematographer

67
00:04:38,759 --> 00:04:43,800
Ivan Spain. So Mike McCollum, God Love, Mike did just

68
00:04:43,839 --> 00:04:46,720
a quick search on Ivan Spain. Ivan Spain is his

69
00:04:46,759 --> 00:04:49,600
real name. He was He was a photographer in New

70
00:04:49,680 --> 00:04:52,040
York and he captured straight life in the sixties and seventies.

71
00:04:52,120 --> 00:04:55,399
But he's also based in San Francisco and did photography

72
00:04:55,399 --> 00:04:58,920
out there too. He's still alive. He's eighty eight, so

73
00:04:59,000 --> 00:05:02,680
another person I have to all. He's had different kinds

74
00:05:02,680 --> 00:05:04,920
of shows of his work pop up in the last

75
00:05:04,920 --> 00:05:08,519
several years, of like portraits of people on the streets

76
00:05:08,560 --> 00:05:12,360
of New York. And Mike believes that the photographer studio

77
00:05:12,600 --> 00:05:18,680
in In Hot Blood might be his photography studio, but

78
00:05:19,040 --> 00:05:23,040
we and he thinks just based on comparing the photography

79
00:05:23,040 --> 00:05:24,800
that he did in the sixties with In Hot Blood,

80
00:05:24,839 --> 00:05:26,800
which he watched for the first time, he thinks that

81
00:05:26,879 --> 00:05:29,439
it's probably a safe bet to say that Ivan shot that.

82
00:05:29,439 --> 00:05:30,000
Speaker 2: That would make it.

83
00:05:30,319 --> 00:05:33,279
Speaker 4: Fluctuation has two other people on it that were real people,

84
00:05:33,680 --> 00:05:35,879
so that was not Ivan. I think by that time

85
00:05:35,920 --> 00:05:42,439
he might have relocated to San Francisco. But he also

86
00:05:42,480 --> 00:05:45,120
became an actor in his seventies for a movie called

87
00:05:45,120 --> 00:05:48,199
All of Me Sex Over seventy, which was, you know,

88
00:05:48,240 --> 00:05:51,360
discussing how seniors citizens have sex. And he kind of

89
00:05:51,480 --> 00:05:53,160
did a tour with that little movie. I think it

90
00:05:53,199 --> 00:05:56,040
might have been just a doc. But I'm interested in

91
00:05:56,040 --> 00:05:58,360
speaking to him obviously, because I think he's one of

92
00:05:58,439 --> 00:06:01,879
the only people around who worked with Joel on any

93
00:06:01,959 --> 00:06:04,360
of his films that I can actually get a hold

94
00:06:04,399 --> 00:06:04,839
of now.

95
00:06:05,519 --> 00:06:09,000
Speaker 2: And if he hangs up on you, then Joel is

96
00:06:09,040 --> 00:06:10,600
definitely in witness protection.

97
00:06:11,920 --> 00:06:14,120
Speaker 4: I know, right, It's like, wait a minute, what's the deal.

98
00:06:15,000 --> 00:06:18,680
I yeah, I'm just I'm crossing my fingers that somebody will.

99
00:06:18,800 --> 00:06:20,560
I mean, I never I still never heard back from

100
00:06:20,560 --> 00:06:24,079
the brother's partner or the actress that he you know,

101
00:06:24,160 --> 00:06:26,720
went around to parties with and stuff. I need to

102
00:06:26,720 --> 00:06:29,720
actually call them. The issue is just finding the time

103
00:06:29,759 --> 00:06:33,560
to do that, especially easier to send emails while I'm

104
00:06:33,560 --> 00:06:36,879
working and stuff. So so that was the big one,

105
00:06:37,120 --> 00:06:38,720
and actually the other piece of news I have on

106
00:06:38,759 --> 00:06:41,000
here I don't think we need to discuss I in

107
00:06:41,120 --> 00:06:44,600
that much detail. I will just say the sex negativity

108
00:06:44,639 --> 00:06:47,240
around sex films these days, this is really getting to me.

109
00:06:47,600 --> 00:06:50,720
So I've been haunting a few comments sections. There was

110
00:06:50,759 --> 00:06:53,399
a screening of an adult film in Los Angeles last

111
00:06:53,399 --> 00:06:56,639
week and some other reviews were driving me up the wall,

112
00:06:57,160 --> 00:07:00,199
and I'd had a few drinks and I put some

113
00:07:01,040 --> 00:07:07,240
instagrim story that you know, in all of my years

114
00:07:07,279 --> 00:07:10,480
of screening adult films in New York and the experiences

115
00:07:10,480 --> 00:07:12,959
of going to other adults film screenings in New York,

116
00:07:13,199 --> 00:07:15,920
never had anything like this happen. Never had anybody say, well,

117
00:07:15,959 --> 00:07:17,279
I wanted to go see an adult movies so I

118
00:07:17,279 --> 00:07:21,199
could laugh at it. And yeah, nobody goes to see

119
00:07:21,199 --> 00:07:22,920
these movies to laugh at them, like, oh my god,

120
00:07:22,959 --> 00:07:25,000
this is terrible. We can laugh at this. Everyone wants

121
00:07:25,079 --> 00:07:28,639
like a room experience with like seventies porno when you're

122
00:07:28,639 --> 00:07:32,199
watching of Roger Watkins movie. That is never going to

123
00:07:32,240 --> 00:07:35,680
be the case. Even Pink Ladies is very dark. I mean,

124
00:07:35,720 --> 00:07:39,160
it's funny, but it's also very dark. So the fact

125
00:07:39,160 --> 00:07:41,000
that you go into an adult movie made by the

126
00:07:41,040 --> 00:07:43,639
guy who made Last House on Dead End Street thinking

127
00:07:43,680 --> 00:07:49,160
you're gonna get some chuckles is deranged. Uh So I

128
00:07:49,199 --> 00:07:50,680
had a few people say, well, I don't know why

129
00:07:50,680 --> 00:07:52,959
you're saying it's an LA thing. I had at least

130
00:07:53,079 --> 00:07:56,639
twelve messages from twelve different people say oh, yeah, LA

131
00:07:56,759 --> 00:07:59,279
is like this, And that reminded me of our conversations

132
00:07:59,279 --> 00:08:02,399
with Dakota and Chris last week where they had issues

133
00:08:02,439 --> 00:08:06,399
with a screening of a pink film in LA where

134
00:08:06,439 --> 00:08:08,839
they picked a comedy, so it was it went down easier,

135
00:08:09,120 --> 00:08:13,160
but they expressed hesitation to show a lot more in

136
00:08:13,319 --> 00:08:16,680
LA because there's something about the audiences there that don't

137
00:08:16,720 --> 00:08:20,000
react to sex films the way audiences in Chicago and

138
00:08:20,040 --> 00:08:21,639
New York do. And I don't know what it is

139
00:08:21,680 --> 00:08:26,519
about that California Sunshine that has has done that. I

140
00:08:26,560 --> 00:08:27,439
don't understand that.

141
00:08:28,839 --> 00:08:32,039
Speaker 2: I don't think it helped that it was screened at

142
00:08:32,159 --> 00:08:38,320
you know, Quentin Tarantino's Knew Beverly, where they yeah, they

143
00:08:38,360 --> 00:08:42,559
attract a certain type of bro. I think I've heard

144
00:08:42,559 --> 00:08:46,120
that before, So it is what it is.

145
00:08:46,840 --> 00:08:49,679
Speaker 4: LA film brows are very different from New York film bros.

146
00:08:50,320 --> 00:08:53,080
I mean, both are different kind of insufferable, but they're

147
00:08:53,120 --> 00:08:57,480
different types of insufferable. And I guess I'm a New

148
00:08:57,519 --> 00:08:59,240
York film bro, but not as much as I used

149
00:08:59,240 --> 00:09:03,360
to be. Just this morning, somebody decided to complain about

150
00:09:03,639 --> 00:09:06,559
the fact that there was a young child in the

151
00:09:06,600 --> 00:09:10,720
Fireworks Woman the title card for Fireworks Woman on Reddit,

152
00:09:10,799 --> 00:09:12,879
and I was like, well, take it up with Craven

153
00:09:13,360 --> 00:09:15,720
and I believe it was his daughter and he's in

154
00:09:15,799 --> 00:09:19,000
the scene. It's a non sexual scene with a child

155
00:09:19,440 --> 00:09:21,519
in an adult film. And I think there are so

156
00:09:21,600 --> 00:09:23,799
many other adult films that have children in them. Is

157
00:09:23,840 --> 00:09:27,720
because the actors are playing adult characters and guess what,

158
00:09:27,799 --> 00:09:29,879
some of them have children, so you're gonna have scenes

159
00:09:29,919 --> 00:09:31,480
with them being parents.

160
00:09:32,240 --> 00:09:32,480
Speaker 1: You know.

161
00:09:32,679 --> 00:09:35,639
Speaker 4: It's like, and these scenes aren't included to tatilate an

162
00:09:35,639 --> 00:09:37,480
adult film audience, like, oh my god, there's a kid

163
00:09:37,480 --> 00:09:39,600
in here. I can't wait to jerk off. I think

164
00:09:39,639 --> 00:09:42,919
it's just holding these adult films to higher standards, like well,

165
00:09:42,919 --> 00:09:44,679
it's a sex film, there should never be kids in here.

166
00:09:44,919 --> 00:09:48,320
It's like, well, it's a film first, so like then

167
00:09:48,399 --> 00:09:51,240
maybe you should say that about every film. Maybe there

168
00:09:51,240 --> 00:09:52,960
shouldn't be kids in here if it's an R rated

169
00:09:53,039 --> 00:09:54,759
movie with a lot of sex in it. But they

170
00:09:54,759 --> 00:09:56,639
will never do that. So that was fun to wake

171
00:09:56,720 --> 00:09:59,720
up to this morning too. Yeah, complaining about a dead

172
00:09:59,720 --> 00:10:02,960
man and including his daughter shirtless at like six years

173
00:10:03,000 --> 00:10:05,879
old and fireworks woman, and it's scene that he's in

174
00:10:06,360 --> 00:10:11,320
having fireworks with his kids. Very crazy and weird. Yea,

175
00:10:11,759 --> 00:10:14,279
So I was like and then I watched abmission and

176
00:10:14,279 --> 00:10:17,799
I was like, oh, he feels so much better. I

177
00:10:17,799 --> 00:10:19,519
was like, yeah, sex.

178
00:10:19,279 --> 00:10:22,600
Speaker 2: Film, right, straight up sex film.

179
00:10:22,639 --> 00:10:25,759
Speaker 4: Yeah, it is all right. I was like, it's there's

180
00:10:25,759 --> 00:10:29,000
something wrong with sex on film. I really wish people

181
00:10:29,000 --> 00:10:32,480
would kind of embrace seeing sex in film.

182
00:10:32,720 --> 00:10:35,240
Speaker 2: Last thing about, you know, the corruption screening that we're

183
00:10:35,240 --> 00:10:38,919
alluding to, is I was wondering if anybody had introed it,

184
00:10:38,960 --> 00:10:41,360
did you ever hear anything back about anybody that was

185
00:10:41,360 --> 00:10:41,600
at the.

186
00:10:41,600 --> 00:10:46,840
Speaker 4: Show, Which is strange to me because when we screened it,

187
00:10:46,919 --> 00:10:52,200
we had Lara Ravine, Michael de Torre, and Kelly Nichols.

188
00:10:52,240 --> 00:10:56,200
We flew out from California. She's still there in Los Angeles,

189
00:10:56,279 --> 00:10:59,639
so I don't think anybody called her. So we had

190
00:10:59,639 --> 00:11:03,679
a Q and intro and everything on there, which I

191
00:11:03,679 --> 00:11:07,480
think is probably probably says a lot compared to It's

192
00:11:07,480 --> 00:11:10,080
a good comparison to how those two screenings went. One

193
00:11:10,360 --> 00:11:14,279
was respectful and historical and the other was I don't

194
00:11:14,279 --> 00:11:14,480
know what.

195
00:11:15,320 --> 00:11:17,480
Speaker 2: Yeah, based on what I've read about it, some people

196
00:11:17,480 --> 00:11:19,759
didn't even know what they were getting into. They were

197
00:11:19,799 --> 00:11:21,080
just like, oh, I thought this was going to be

198
00:11:21,080 --> 00:11:24,759
a horror movie. So clearly they didn't do a good

199
00:11:24,919 --> 00:11:26,360
job advertising this.

200
00:11:27,120 --> 00:11:29,440
Speaker 4: No, I mean, I don't know if they wanted to

201
00:11:29,480 --> 00:11:31,679
show a horror X rated movie. I think Through the

202
00:11:31,720 --> 00:11:34,279
Looking Glass did that just screen there? I don't remember,

203
00:11:34,399 --> 00:11:37,559
but that's available to book on thirty five milimeter. We

204
00:11:37,600 --> 00:11:41,279
screened it on thirty five millimeter, So sex wishes available

205
00:11:41,279 --> 00:11:45,000
that would have gone over way worse probably actually, so

206
00:11:46,000 --> 00:11:48,519
there are hardcore horror movies that are available. I think

207
00:11:48,559 --> 00:11:50,679
they screened Hot Summer in the City, and the other

208
00:11:50,759 --> 00:11:53,440
reactions to that were not great either, because I remember

209
00:11:53,840 --> 00:11:55,840
going to letterbox and checking after a friend told me

210
00:11:55,879 --> 00:11:59,360
they screened that, and I was like, oh, yeah, not good.

211
00:11:59,399 --> 00:12:02,039
I think people. Yeah, people are weird about sex and

212
00:12:02,120 --> 00:12:03,519
movie movies these days.

213
00:12:03,759 --> 00:12:22,960
Speaker 2: That's the story of our life. Yeah, m hm, m

214
00:12:23,159 --> 00:12:39,360
hm hm, let's get into it. Yeah, because this was

215
00:12:39,399 --> 00:12:43,200
a rewatch for me. How many times have you seen Submission?

216
00:12:43,840 --> 00:12:46,279
Speaker 4: Oh? Wow, I think like probably twelve.

217
00:12:46,799 --> 00:12:50,240
Speaker 2: Oh wow, Okay, yeah.

218
00:12:49,600 --> 00:12:52,960
Speaker 4: It's not. I mean, it's I really love it because

219
00:12:52,960 --> 00:12:56,600
it's more of an it's such an experience. Yes, it's

220
00:12:56,639 --> 00:12:58,639
a it's such a really interesting it just kind of

221
00:12:58,759 --> 00:13:02,519
washes over you. And there's such a distinct lack of

222
00:13:02,960 --> 00:13:05,919
lack of plot, which is fine, I mean, but it

223
00:13:05,960 --> 00:13:09,639
really is just more like a visual and a visual

224
00:13:09,799 --> 00:13:13,759
audio experience. It's like it's very art filmy. Really, it's

225
00:13:13,840 --> 00:13:16,360
kind of what Fluctuations was trying to do, but very

226
00:13:16,840 --> 00:13:19,720
Fluctuations is way worse. Like there's yeah there, you can

227
00:13:19,759 --> 00:13:21,840
see that this is trying to be like an artsy

228
00:13:21,919 --> 00:13:23,399
underground movie a lot of the time.

229
00:13:23,840 --> 00:13:26,399
Speaker 2: Yeah, I think so too. Well, let's start with the

230
00:13:26,600 --> 00:13:31,360
release history. So produced in sixty nine but actually released

231
00:13:31,360 --> 00:13:33,200
in seventy. Is that what I'm hearing?

232
00:13:33,879 --> 00:13:37,559
Speaker 4: Yeah? Okay, My Chancellor Films our favorite. So we're lucky

233
00:13:37,600 --> 00:13:38,399
we have this at all.

234
00:13:38,559 --> 00:13:40,440
Speaker 2: Yeah, one of those we have a negative.

235
00:13:40,159 --> 00:13:43,840
Speaker 4: And we have deleted scenes from a NA forum on

236
00:13:43,879 --> 00:13:49,879
the DVD. Shockingly, we have a good quality Chancellor Films title.

237
00:13:50,080 --> 00:13:53,759
Speaker 2: And if you guys remember this is by Alan Savage,

238
00:13:53,879 --> 00:13:57,200
who was a director of our number one. Well, I

239
00:13:57,200 --> 00:14:00,759
should say number one, but are you a miss pick

240
00:14:00,919 --> 00:14:04,120
for the film that we would most like to see

241
00:14:04,480 --> 00:14:08,000
bound in our Lost in Limbo series that we did,

242
00:14:08,559 --> 00:14:12,559
so they both star. Yeah, Weekend with Strangers was the.

243
00:14:12,519 --> 00:14:14,960
Speaker 4: Pick also from Chancellor too. Yeah.

244
00:14:15,080 --> 00:14:19,159
Speaker 2: Yeah, so that Chancellor doesn't survive that we know of yet,

245
00:14:19,279 --> 00:14:22,759
but this one, yeah does, so that's that's a treat.

246
00:14:23,360 --> 00:14:25,759
Speaker 4: Yeah, it's interesting. They both have Jennifer Wells too, so

247
00:14:25,799 --> 00:14:29,080
they most must have. Yeah, they must have really been

248
00:14:29,120 --> 00:14:32,039
taken with her. And then she changes her name for

249
00:14:32,120 --> 00:14:35,960
Weekend with Strangers. She's Lisa Duran in here, so yeah,

250
00:14:36,080 --> 00:14:38,000
she made one Lisa Duran movie with them, and then

251
00:14:38,000 --> 00:14:39,840
she made one Jennifer Wells movie with them.

252
00:14:40,320 --> 00:14:42,759
Speaker 2: Yeah, that is funny that she would change.

253
00:14:42,799 --> 00:14:46,320
Speaker 4: And she's brunette in one and then blonde in the other.

254
00:14:47,039 --> 00:14:49,039
One's in black and white and one is in color.

255
00:14:49,279 --> 00:14:52,360
So it really is just like such an interesting in

256
00:14:52,440 --> 00:14:53,240
less than a year.

257
00:14:53,440 --> 00:14:55,399
Speaker 2: Yeah. I was gonna say, it's not like it was

258
00:14:55,440 --> 00:14:56,960
a big span a time either.

259
00:14:57,120 --> 00:14:59,360
Speaker 4: Yeah. No, it's less than a year, so it's just

260
00:14:59,480 --> 00:15:02,440
kind of like, Okay, so they did well with this,

261
00:15:03,120 --> 00:15:05,240
and then they just took this and made a complete

262
00:15:05,240 --> 00:15:08,480
transformation in terms of their star and also their production

263
00:15:08,679 --> 00:15:11,919
and in the production. I mean, yeah, it's it's, it's

264
00:15:11,960 --> 00:15:13,879
it's interesting to note the two just based on the

265
00:15:13,879 --> 00:15:15,919
trailer that exists a Weekend with Strangers.

266
00:15:16,159 --> 00:15:19,440
Speaker 2: Yeah. I should also mention this is streaming on Cult

267
00:15:19,440 --> 00:15:23,840
Pics if you have a subscription there, so sign up

268
00:15:24,000 --> 00:15:27,759
check it out. Alex also pointed out that the ad

269
00:15:27,799 --> 00:15:32,840
campaign for The Debauchers and Submission are nearly identical. All right,

270
00:15:33,759 --> 00:15:35,360
I don't know. I think they do not.

271
00:15:35,399 --> 00:15:36,279
Speaker 4: Look that way to me.

272
00:15:36,720 --> 00:15:40,440
Speaker 2: I can Yeah, maybe I shouldn't say nearly identical, but

273
00:15:40,480 --> 00:15:42,039
they're similarly.

274
00:15:42,720 --> 00:15:46,039
Speaker 4: If you mean by everything is crowded together on the

275
00:15:46,120 --> 00:15:48,960
right side of the post for sure. But yeah, I don't.

276
00:15:49,000 --> 00:15:52,720
I don't see the similarities that he sees. They're They're

277
00:15:52,759 --> 00:15:56,440
also very different films. And I think there was a

278
00:15:56,440 --> 00:16:00,440
suggestion they used the same designer and agency, but I

279
00:16:00,440 --> 00:16:04,480
don't know who Sam Lake used for Debauchers, But Chancellor

280
00:16:04,519 --> 00:16:06,320
I think had their own people in house, did they not?

281
00:16:06,600 --> 00:16:07,440
So I'm not sure.

282
00:16:07,720 --> 00:16:09,679
Speaker 2: Yeah, we'll throw that in the show notes. You can

283
00:16:09,720 --> 00:16:12,120
take a look and judge for yourself.

284
00:16:12,399 --> 00:16:15,279
Speaker 4: Yeah, because I can't see it, but maybe my eyes

285
00:16:15,320 --> 00:16:18,440
haven't been trained to notice similarities and advertising campaigns. It's

286
00:16:18,440 --> 00:16:21,120
not as similar as like like The Witch who Came

287
00:16:21,120 --> 00:16:23,799
from the Sea, that artwork is stolen from like a

288
00:16:23,840 --> 00:16:27,440
paperback or no, or like Shock. Yeah, the poster for

289
00:16:27,559 --> 00:16:30,600
Mario Bother Shock is stolen from like a paperback of

290
00:16:30,679 --> 00:16:33,559
a Shirley Jackson book. Like it's a little it's not

291
00:16:33,639 --> 00:16:36,559
as obvious when it's photos we're talking about compared to

292
00:16:37,639 --> 00:16:39,480
like art artwork.

293
00:16:39,320 --> 00:16:44,159
Speaker 2: Yeah, or Lucio Fulci's the Psychic that art with the

294
00:16:44,360 --> 00:16:48,200
skull with the serpent coming through. I've seen that on

295
00:16:48,320 --> 00:16:50,360
a few other films, So.

296
00:16:50,120 --> 00:16:52,639
Speaker 4: Yeah, exactly, So it's sort of yeah, I mean that's

297
00:16:52,840 --> 00:16:55,440
very yes exactly. I think it's more of an artwork

298
00:16:55,480 --> 00:16:58,919
thing that's easier to replicate than like photographs, especially when

299
00:16:58,919 --> 00:17:01,200
none of the cast members are the same in these movies.

300
00:17:01,720 --> 00:17:07,079
It's like, yeah, it's I'm not seeing it, Alex seeing it,

301
00:17:07,160 --> 00:17:10,119
my love. But we'll talk.

302
00:17:10,680 --> 00:17:16,920
Speaker 2: Yeah. Synopsis for submission from the Something Weird Video triple feature,

303
00:17:17,079 --> 00:17:20,599
which was the Times Square triple feature, which we just

304
00:17:21,119 --> 00:17:25,559
talked about a couple episodes ago. With fluctuations we did.

305
00:17:26,039 --> 00:17:29,640
I will read that quickly. A psycho sex fiend keeps

306
00:17:29,640 --> 00:17:34,400
his infantile girlfriend Vicky in Submission with candy bars, toys,

307
00:17:34,480 --> 00:17:37,720
and yes, hot wax. But when they plan on killing

308
00:17:37,759 --> 00:17:41,839
a wealthy lesbian, Vicky discovers she likes a woman's touch

309
00:17:41,880 --> 00:17:46,039
and plans a nasty surprise for her boneheaded boyfriend. I

310
00:17:46,079 --> 00:17:48,480
think that that gives away a little bit. I don't

311
00:17:48,480 --> 00:17:51,440
know if I would have gone that far with the

312
00:17:52,039 --> 00:17:52,680
something weird.

313
00:17:52,720 --> 00:17:54,759
Speaker 4: I think when it comes to films like this, they

314
00:17:54,880 --> 00:17:58,079
have to spoil it. It's like toy Box where, because

315
00:17:58,119 --> 00:18:01,039
we're dealing with people who aren't able to put things

316
00:18:01,039 --> 00:18:04,079
together on their own when they're watching these movies. No

317
00:18:04,200 --> 00:18:07,720
shade viewers, but some of y'all aren't able to piece

318
00:18:07,759 --> 00:18:11,480
things together through visual or audio clues. This one is

319
00:18:11,480 --> 00:18:13,200
a little tough to follow, but I think they have

320
00:18:13,240 --> 00:18:15,039
to do that to kind of at least let people

321
00:18:15,039 --> 00:18:18,839
know once they've seen it, oh that's what happened. Yeah,

322
00:18:18,960 --> 00:18:19,240
you know.

323
00:18:21,240 --> 00:18:24,480
Speaker 2: I can see that because I was reading Iron Cupcake,

324
00:18:24,559 --> 00:18:27,480
our Friendetta on Letterbox her review of Submission, and she

325
00:18:27,519 --> 00:18:29,160
was like, yeah, I didn't really know what was going

326
00:18:29,200 --> 00:18:31,759
on till the last ten minutes of this film, and

327
00:18:31,839 --> 00:18:34,359
it was kind of like, oh, yeah, I guess they don't. Really,

328
00:18:35,039 --> 00:18:37,839
it's not made Some of these plot points are not well,

329
00:18:37,880 --> 00:18:40,440
there isn't too much plot, but it's not made explicit,

330
00:18:40,640 --> 00:18:43,799
like who this lady is that they're going to work for.

331
00:18:44,359 --> 00:18:49,119
Speaker 4: Right, even though the flashbacks, which are flashbacks, you're not

332
00:18:49,160 --> 00:18:51,440
necessarily sure how they fit into the narrative, so you

333
00:18:51,480 --> 00:18:54,359
have to piece that together yourself. Like Sheiba Britt is

334
00:18:54,400 --> 00:18:58,359
one of their previous targets of you know, of blackmail

335
00:18:58,400 --> 00:19:01,799
and fleecing and you know, and the boyfriend is shown

336
00:19:01,799 --> 00:19:04,319
to be advan by like raping a girl in a

337
00:19:04,359 --> 00:19:07,079
park or in the woods, and yeah, no, no, it's

338
00:19:07,319 --> 00:19:09,240
it's you. Kind of in their flashbasters, you have like

339
00:19:09,279 --> 00:19:12,160
that squirrel camera edit effect, but sometimes you don't. So

340
00:19:12,200 --> 00:19:14,279
it's kind of like, Okay, so is this just is

341
00:19:14,279 --> 00:19:16,640
this going out at the same time as the narrative

342
00:19:16,680 --> 00:19:19,680
that we're experiencing, or is this a flashback to how

343
00:19:19,680 --> 00:19:24,160
they you know, what they're what they're kind of gig

344
00:19:24,400 --> 00:19:25,839
is in fleecing people.

345
00:19:26,240 --> 00:19:30,240
Speaker 2: Yeah, the Sheba Brit thing is funny because I mean,

346
00:19:30,319 --> 00:19:33,079
is there mo o that they're going after older women?

347
00:19:33,480 --> 00:19:37,039
So is Sheba supposed to be an older woman? Because

348
00:19:37,079 --> 00:19:42,640
in Marcie, which stars Uta Eriksson and Sheiba Britt. Sheba

349
00:19:42,759 --> 00:19:45,000
I think is also supposed to be the older woman

350
00:19:45,119 --> 00:19:49,039
in that relationship, so it's always funny that she's I

351
00:19:49,039 --> 00:19:52,039
don't I never really saw her as like an older woman.

352
00:19:52,519 --> 00:19:55,759
Speaker 4: Oh, definitely at that point, especially we consider that she

353
00:19:55,759 --> 00:19:57,559
she started around the time at the same time Marcia

354
00:19:57,680 --> 00:20:01,759
Jordan did sixty two, So by sixty nine, she's been

355
00:20:01,759 --> 00:20:05,160
doing these movies for seven years, like Marcia Jordan, Like,

356
00:20:05,799 --> 00:20:10,240
that's that's older. So yeah, Sheiba Britt anything after after

357
00:20:10,279 --> 00:20:12,839
a certain point, she's gonna be older than all of

358
00:20:12,839 --> 00:20:16,960
her co stars. So whether she's you know, I think,

359
00:20:17,240 --> 00:20:19,079
I think there's that thought of like, well, if she's older,

360
00:20:19,079 --> 00:20:20,759
she's supposed to be matronly, and it's like, well, it's

361
00:20:20,759 --> 00:20:23,400
not necessarily the case. Like Marsha Jordan was never matronly.

362
00:20:23,960 --> 00:20:25,400
Who's the other older woman.

363
00:20:25,200 --> 00:20:25,799
Speaker 5: That I love?

364
00:20:27,039 --> 00:20:31,920
Speaker 4: Bella Donna also older, not sometimes casses matronly, but then

365
00:20:31,960 --> 00:20:36,240
she lets her hair down, she's you know, stunning. Yeah, exploitation,

366
00:20:36,279 --> 00:20:39,240
you can't really do matronly. That's in the nature of

367
00:20:39,240 --> 00:20:41,759
the genre. Nobody wants to see someone matronly take their

368
00:20:41,799 --> 00:20:44,119
clothes off. You know, unless it's a nice surprise session

369
00:20:44,160 --> 00:20:45,640
said that they're not matronly.

370
00:20:46,039 --> 00:20:48,240
Speaker 2: Well, yeah, we'll talk about Chiba later.

371
00:20:48,519 --> 00:20:50,960
Speaker 4: But yeah, I have a lot of good stuff about Siva,

372
00:20:51,160 --> 00:20:54,759
who I need to call. Uh, yeah, we'll talk about that.

373
00:20:55,519 --> 00:21:00,039
Speaker 2: Yeah. The production this is S and J Films, so

374
00:21:00,079 --> 00:21:04,680
obviously Savage and someone named Jay with the last name Jay.

375
00:21:05,519 --> 00:21:08,559
Speaker 4: I wonder if it's Gary Juden, to be honest, the

376
00:21:08,200 --> 00:21:10,599
lea the lead. I'm thinking it might be because this

377
00:21:10,720 --> 00:21:14,880
really he's like the only man who has most of

378
00:21:14,920 --> 00:21:19,319
the sex in this other than Joel Fernandez. And he

379
00:21:19,920 --> 00:21:21,759
might have been Donald Stanley, the co writer for all

380
00:21:21,799 --> 00:21:23,359
I know, that might have been a pseudonym, because when

381
00:21:23,400 --> 00:21:26,119
I researched Gary Juden, I found that he had co

382
00:21:26,160 --> 00:21:28,960
written a bunch of other scripts with a writer comedian

383
00:21:29,680 --> 00:21:32,559
named Michael Premenger, who I think people if they know

384
00:21:32,640 --> 00:21:34,160
him at all now, is because he wrote the movie

385
00:21:34,200 --> 00:21:37,200
Nothing in Common, the Tom Hanks Jackie Gleeson movie, and

386
00:21:37,200 --> 00:21:39,559
then he also wrote a TV movie called Gleason about

387
00:21:39,599 --> 00:21:42,559
Jackie Gleeson, so he has like the comedian Gleason connection.

388
00:21:43,039 --> 00:21:47,000
So Gary already was writing, and he was in New

389
00:21:47,079 --> 00:21:50,960
York with Premonger I emailed Preme Manger to see what

390
00:21:51,000 --> 00:21:53,400
he remembered about him, because try as I might, can't

391
00:21:53,400 --> 00:21:56,079
find one thing more about Gary Juden. That name is

392
00:21:56,160 --> 00:21:59,599
impossible to trace. But that's the Jay that I thought of.

393
00:22:01,400 --> 00:22:06,599
Speaker 2: Yeah, that does sound like it's highly likely. Director co

394
00:22:06,680 --> 00:22:12,599
writer Savage. He was born in thirty six. Another mysterious

395
00:22:12,720 --> 00:22:16,640
kind of figure, kind of like our Joel landwere a bit.

396
00:22:17,519 --> 00:22:20,519
Speaker 4: Yeah, not as mysterious because he has a lot. He

397
00:22:20,519 --> 00:22:24,400
has a very large footprint in New York. In Boston.

398
00:22:24,680 --> 00:22:28,519
So Allen was the director, the executi producer was Arthur

399
00:22:29,119 --> 00:22:32,519
and so they were twin brothers that were from Boston.

400
00:22:32,839 --> 00:22:36,720
They were both involved with theater in the Boston area.

401
00:22:36,960 --> 00:22:39,720
They both went to Emerson College. They were very all

402
00:22:39,799 --> 00:22:44,160
with children's theater in Boston, and eventually they moved to

403
00:22:44,359 --> 00:22:47,000
New York and got involved with doing off Broadway plays

404
00:22:48,279 --> 00:22:51,039
sometime in the mid sixties, and it was around that

405
00:22:51,119 --> 00:22:55,559
time that they did Submission and then later Weekend with Strangers.

406
00:22:55,960 --> 00:22:58,880
So that's where the brothers split. After Weekend with Strangers,

407
00:22:58,920 --> 00:23:03,960
they split up. Allen stayed in New York and became

408
00:23:04,000 --> 00:23:10,240
a very beloved and very popular acting coach. So he

409
00:23:10,240 --> 00:23:13,200
he took his his you know, background in directing and

410
00:23:13,279 --> 00:23:15,279
oh that's something else in terms of children's theater. They

411
00:23:15,319 --> 00:23:17,880
ran a children's theater company. But also Alan was a

412
00:23:18,039 --> 00:23:23,240
children's acting teacher in Boston, so he already was doing

413
00:23:23,480 --> 00:23:27,000
teaching acting, teaching with children in the sixties before he

414
00:23:27,039 --> 00:23:29,839
came to New York. So Alan just transitioned that into

415
00:23:29,880 --> 00:23:32,440
dealing with mostly adults in New York. So he stayed

416
00:23:32,440 --> 00:23:35,559
in New York. Arthur went back up to Boston and

417
00:23:35,640 --> 00:23:40,119
became more established there as a local theater director, and

418
00:23:40,160 --> 00:23:43,440
so he did that, you know, well into the eighties.

419
00:23:43,480 --> 00:23:46,240
As far as I can tell, he came back. Arthur

420
00:23:46,279 --> 00:23:49,960
came back to New York and did an off Broadway

421
00:23:50,119 --> 00:23:53,480
play that was it was like a it was a

422
00:23:53,599 --> 00:23:55,799
it was a revival of an art of an Ira

423
00:23:55,920 --> 00:23:58,400
Levin play called Veronica's Room because the two of them

424
00:23:58,400 --> 00:24:01,960
were friends. And that played and that was in nineteen

425
00:24:01,960 --> 00:24:04,759
eighty one, and it was executive produce wise by his wife, Barbara,

426
00:24:04,960 --> 00:24:08,519
who is still alive. So Arthur and Barbara are involved

427
00:24:08,559 --> 00:24:13,480
in theater. But also Alan's wife, Leonor was an actress

428
00:24:13,480 --> 00:24:16,559
with him as Lee Savage. So we have these you know,

429
00:24:16,599 --> 00:24:20,920
these two twins with wives who are both wives are

430
00:24:20,960 --> 00:24:23,359
also involved in the theater, the theater world.

431
00:24:23,640 --> 00:24:26,839
Speaker 2: Yeah, just theater. Though they never did any film making.

432
00:24:27,119 --> 00:24:30,160
Speaker 4: The actresses no, yeah, yeah, no. The actresses, as far

433
00:24:30,200 --> 00:24:32,440
as I could tell, never did any Their wives never

434
00:24:32,480 --> 00:24:36,400
did any any film. They were not involved with either film. So,

435
00:24:36,680 --> 00:24:39,000
but they were with they were married to them at

436
00:24:39,039 --> 00:24:41,200
the time that both of them made this film on

437
00:24:41,240 --> 00:24:43,759
Weekend with Strangers. So the fact that both wives are

438
00:24:43,759 --> 00:24:47,640
still around and both brothers are not means that I

439
00:24:48,119 --> 00:24:50,799
kind of want to reach out to the wives at

440
00:24:50,799 --> 00:24:54,200
some point. But I've said before, I tried reaching out

441
00:24:54,240 --> 00:24:57,799
to the savages for years, both of them, Alan and Arthur.

442
00:24:58,000 --> 00:24:59,640
Speaker 2: You've been trying for a long time.

443
00:24:59,680 --> 00:25:00,920
Speaker 4: I've been I was trying for a long time. I

444
00:25:00,920 --> 00:25:03,759
even wrote them letters and I never got a response.

445
00:25:04,400 --> 00:25:07,119
So they either were intercepted or they didn't want to talk.

446
00:25:08,359 --> 00:25:10,359
I think Alan probably would have been more receptive. I

447
00:25:10,440 --> 00:25:13,680
was going after Arthur Moore. I don't know why. I'm

448
00:25:13,720 --> 00:25:17,359
not sure why I went after Arthur Moore, probably because

449
00:25:17,400 --> 00:25:19,880
it easier to find the phone book. But every time

450
00:25:19,920 --> 00:25:24,480
I called, I got Arthur's son, and Arthur's son would

451
00:25:24,480 --> 00:25:26,680
tell me, well, yeah, my dad was involved with theater.

452
00:25:26,759 --> 00:25:29,279
But you're calling about films. My dad didn't make any films,

453
00:25:29,880 --> 00:25:32,160
so that conversation has to end because that means he

454
00:25:32,200 --> 00:25:35,680
didn't tell his children that he made to sexploitation movies

455
00:25:36,039 --> 00:25:42,000
before he got more involved with theater. So unfortunately, Arthur

456
00:25:42,039 --> 00:25:44,599
died in twenty sixteen, so he was in New York.

457
00:25:45,319 --> 00:25:48,400
He came back to New York. After he came back

458
00:25:48,440 --> 00:25:51,000
in New York to do the Veronica's Room play in

459
00:25:51,119 --> 00:25:54,240
eighty one, and then I think he stayed. He would

460
00:25:54,240 --> 00:25:56,240
go back and forth between Boston and New York and

461
00:25:56,440 --> 00:25:59,680
you know, handle productions in Boston and New York. He

462
00:25:59,720 --> 00:26:03,920
died twenty sixteen, unfortunately, and I said he was survived

463
00:26:03,920 --> 00:26:07,319
by his brother, Alan, so Alan was still alive until

464
00:26:07,960 --> 00:26:12,559
December of last year. Unfortunately, he died December twenty twenty four,

465
00:26:13,920 --> 00:26:17,200
which is terrible. This keeps happening where I keep finding

466
00:26:17,400 --> 00:26:19,519
people and I'm like, oh, great, they're here, and then

467
00:26:19,960 --> 00:26:23,839
I will discover oh, they died literally months ago, so

468
00:26:24,039 --> 00:26:28,599
I can't speak to them now. But Alan, it's interesting.

469
00:26:28,599 --> 00:26:30,440
I was able to confirm that it is the Alan

470
00:26:30,519 --> 00:26:33,079
Savage that we would want to be looking for. Because

471
00:26:33,079 --> 00:26:34,960
he was interviewed in the New York Daily News in

472
00:26:35,039 --> 00:26:39,319
nineteen seventy three about Mayor Lindsay not running for reelection,

473
00:26:39,400 --> 00:26:41,519
and there's a picture of him, so we know what

474
00:26:41,599 --> 00:26:44,559
Alan looks like and Arthur. I don't know if Arthur

475
00:26:44,720 --> 00:26:47,559
was a identical twin or just a fraternal twin, So

476
00:26:47,640 --> 00:26:52,960
I don't know if Arthur looked like Alan, okay, But

477
00:26:53,279 --> 00:26:58,880
Alan's picture matches all of the videos and memorial photos

478
00:26:58,920 --> 00:27:02,480
and things that his acting pupils shared of him after

479
00:27:02,519 --> 00:27:05,799
he died, so that definitely was him, and he is

480
00:27:05,880 --> 00:27:09,359
unfortunately no longer with us, and it sucks because that

481
00:27:09,480 --> 00:27:12,079
means the weekend with strangers, we have absolutely no one

482
00:27:12,119 --> 00:27:14,960
to talk to you because everyone involved with that is

483
00:27:14,960 --> 00:27:17,480
gone now, every single person that we know that was

484
00:27:17,519 --> 00:27:21,119
involved is gone and submission. There's a few people that

485
00:27:21,160 --> 00:27:24,119
are left who I'm trying, who I am actively trying

486
00:27:24,119 --> 00:27:27,119
to reach out to, but unfortunately both of the Savage

487
00:27:27,119 --> 00:27:29,880
brothers are no longer with us, which because there anything

488
00:27:29,920 --> 00:27:32,519
that came from a theatrical background. When you watch this movie,

489
00:27:33,200 --> 00:27:36,160
it is so not what you would expect from someone

490
00:27:36,160 --> 00:27:37,359
who comes from theater.

491
00:27:37,519 --> 00:27:39,440
Speaker 2: There's very little dialogue because.

492
00:27:39,279 --> 00:27:41,799
Speaker 4: You have a lot of those directors. Yes, there's very

493
00:27:41,799 --> 00:27:45,000
little dialogue. The acting is not there's no big show

494
00:27:45,000 --> 00:27:50,000
about acting moments. It's not like Asarno or like a

495
00:27:50,079 --> 00:27:52,480
Michael miol has tucked me in where he came from theater.

496
00:27:53,839 --> 00:27:55,920
It's not like a Braslav where he also came from

497
00:27:55,960 --> 00:28:00,960
like theater and and performance. It's very visual. It's about

498
00:28:00,960 --> 00:28:03,720
telling the story through visuals. So it's really like they

499
00:28:03,839 --> 00:28:07,480
hired the right people technically to make this movie and

500
00:28:08,359 --> 00:28:11,240
they weren't really weren't concerned about like a script or

501
00:28:11,400 --> 00:28:15,440
about about performance moments as you think they would be.

502
00:28:15,720 --> 00:28:18,799
Speaker 2: Well, now that they're both gone, it almost makes me

503
00:28:18,920 --> 00:28:22,480
wonder if you should call again. I don't know how

504
00:28:22,480 --> 00:28:25,839
you would word it, but you know, maybe through them

505
00:28:26,079 --> 00:28:29,880
passing away, they went through their stuff and maybe they

506
00:28:30,000 --> 00:28:33,279
found out about these movies and maybe it's not us

507
00:28:33,359 --> 00:28:34,960
possible surprise anymore.

508
00:28:35,279 --> 00:28:38,640
Speaker 4: Right, Well, that's why I think reaching out to and

509
00:28:38,680 --> 00:28:40,799
I'll mention him again because I love him. Sean does

510
00:28:40,839 --> 00:28:44,680
this a lot. Sean Langrick, who we've discussed, will reach

511
00:28:44,720 --> 00:28:48,960
out to family members of deceased film personnel, and he's

512
00:28:49,200 --> 00:28:51,480
he's pretty good at it. He's pretty good at approaching

513
00:28:51,519 --> 00:28:55,119
people and in the right way so that they're able

514
00:28:55,160 --> 00:28:57,279
to either say, well, this is new to me and

515
00:28:57,359 --> 00:28:59,720
i'm I'm mentioned in helping you, or yeah I knew

516
00:28:59,720 --> 00:29:02,200
about it, it wasn't something that person was proud of whatever.

517
00:29:02,640 --> 00:29:05,880
So I definitely want to reach out to both both wives.

518
00:29:07,319 --> 00:29:11,200
The one Barbara is still in Massachusetts where Arthur died,

519
00:29:11,440 --> 00:29:13,960
and then Lee is still here in New York where

520
00:29:14,039 --> 00:29:16,640
Alan died. So the wives are still alive. And also

521
00:29:16,680 --> 00:29:19,720
they had children. They're like, you know, Arthur had the son,

522
00:29:20,240 --> 00:29:25,759
Alan had a daughter, So yeah, they have wives and

523
00:29:25,839 --> 00:29:29,319
children that I can contact, which I'm very I yeah,

524
00:29:29,319 --> 00:29:31,279
because they are just like a lot of these films,

525
00:29:31,319 --> 00:29:34,200
there are just questions that I have, like, we don't

526
00:29:34,240 --> 00:29:36,720
know why they decided to make this film. Was it money?

527
00:29:37,119 --> 00:29:39,119
It feels like if it was a cash grab, it

528
00:29:39,119 --> 00:29:41,519
could have been something cheap and ugly, like in Hot Blood,

529
00:29:42,200 --> 00:29:45,839
and it's not. It's something that's like really technically skilled.

530
00:29:46,039 --> 00:29:49,480
It's incredibly well edited and photographed like it it feels

531
00:29:49,519 --> 00:29:53,000
like it's some kind of statement or some kind of

532
00:29:53,079 --> 00:29:57,480
like experiment, And so the backstory of that is what

533
00:29:57,559 --> 00:29:59,960
intrigues me the most. And then Weekend with Strangers when

534
00:30:00,079 --> 00:30:05,839
going by that trailer, completely different story, acting, more locations,

535
00:30:05,880 --> 00:30:09,400
like they expanded in color. So like I wanted, I

536
00:30:09,480 --> 00:30:13,000
would really like to know what that what that journey

537
00:30:13,079 --> 00:30:17,079
was like, going from something that was so obviously low budget,

538
00:30:17,200 --> 00:30:20,319
you know, focused on technical skill over story and acting,

539
00:30:20,359 --> 00:30:22,720
and then moving to something else which was more expensive,

540
00:30:23,359 --> 00:30:27,400
which was focused on like a script and story beats.

541
00:30:28,319 --> 00:30:31,200
Speaker 2: I wonder if submission was always planned as like the

542
00:30:31,240 --> 00:30:35,640
film to fund Weekend with Strangers possible.

543
00:30:35,279 --> 00:30:40,119
Speaker 4: That's possible, that's possible. You never I mean you never know. Yeah,

544
00:30:40,160 --> 00:30:43,200
it's just yeah, I mean as as much interesting stuff

545
00:30:43,240 --> 00:30:45,839
I found about the Savage brothers and I was, I mean,

546
00:30:46,079 --> 00:30:49,039
very impressive careers for both of them outside of these films,

547
00:30:49,079 --> 00:30:51,839
and there's a big footprint that they left in like

548
00:30:51,880 --> 00:30:55,039
the theater world in New York and Boston. But then

549
00:30:55,119 --> 00:30:58,480
also I found that interesting interesting article about the arrest

550
00:30:58,559 --> 00:31:02,200
while this was being produced where they interviewed Alan and

551
00:31:02,480 --> 00:31:03,519
I don't know if you want to go over that

552
00:31:03,559 --> 00:31:05,319
now or when we go over Gary.

553
00:31:05,240 --> 00:31:08,359
Speaker 2: Yeah, let's go into in a little bit. But okay,

554
00:31:08,400 --> 00:31:11,200
also back to you know, it would be nice to

555
00:31:11,240 --> 00:31:14,279
talk to someone that knows a little bit about this

556
00:31:14,680 --> 00:31:20,319
because the music is my biggest mystery. I agree, who

557
00:31:20,960 --> 00:31:25,039
this mus who is ninety one? They composed it's such

558
00:31:25,440 --> 00:31:27,079
and performed this music.

559
00:31:27,440 --> 00:31:29,519
Speaker 4: It's such an important part of the movie and it

560
00:31:29,680 --> 00:31:33,240
really it really And that's why I've seen it twelve times,

561
00:31:33,279 --> 00:31:35,880
because either I've been sitting watching it or I've had

562
00:31:35,920 --> 00:31:40,200
it on because I just like the overall ambion experience.

563
00:31:39,599 --> 00:31:40,640
Speaker 2: Of the movie.

564
00:31:40,920 --> 00:31:45,880
Speaker 4: And Yeah, that soundtrack is just really incredible. I want

565
00:31:45,880 --> 00:31:48,000
to know who it was. It kind of I wonder

566
00:31:48,039 --> 00:31:51,079
if it was Manny Durant, which was Liza, which was

567
00:31:51,079 --> 00:31:54,160
Lisa Durant's husband at k Jennifer Wells's husband. He did

568
00:31:54,160 --> 00:31:57,000
the music for Weekend with Strangers too. Oh, so it's

569
00:31:57,039 --> 00:31:59,640
possible because he was a jazz musician and there's that

570
00:31:59,759 --> 00:32:03,519
jazz jazz piano and things and little pieces in there,

571
00:32:03,599 --> 00:32:06,720
so it's possible that he was a member of this

572
00:32:06,799 --> 00:32:12,279
mysterious ninety one that's credited for the music score. Unfortunately,

573
00:32:12,319 --> 00:32:15,559
he's no longer with us either, But that was the

574
00:32:15,599 --> 00:32:18,079
first person I thought of, was like, maybe Manny was

575
00:32:18,119 --> 00:32:23,279
involved with this because Lisa or Jennifer Jennifer Wells, Lisa

576
00:32:23,319 --> 00:32:26,359
was touring with his married name as an exotic dancer

577
00:32:26,400 --> 00:32:29,799
throughout the sixties, so like he was with her that

578
00:32:29,839 --> 00:32:32,839
whole time. He was very aware of her sexploitation career,

579
00:32:33,240 --> 00:32:35,480
and as we see what Weekly with Strangers, was actually

580
00:32:35,519 --> 00:32:39,240
involved with some of the films that she made. So

581
00:32:39,319 --> 00:32:40,279
that's a possibility.

582
00:32:40,400 --> 00:32:44,119
Speaker 2: Yeah, that's funny because Joel Reid remembered when they were

583
00:32:44,119 --> 00:32:48,480
working on Career bed Jennifer's. He said, boyfriend was there

584
00:32:48,599 --> 00:32:51,079
and he was like strumming the guitar in the background.

585
00:32:51,160 --> 00:32:52,240
Speaker 4: Yeah, that's Manny Duran.

586
00:32:52,400 --> 00:32:55,680
Speaker 2: That must have been Manny Okay, because yeah Duran. I

587
00:32:55,680 --> 00:32:58,480
had heard that he was a trumpeter, but I always forget, like, look,

588
00:32:58,559 --> 00:33:01,359
these jazz musicians they can do everything, you know, they're

589
00:33:01,400 --> 00:33:04,160
not just a trumpeter. So he could have played all

590
00:33:04,200 --> 00:33:06,920
the music on this or he could have been part

591
00:33:06,920 --> 00:33:09,000
of this a collective group.

592
00:33:09,400 --> 00:33:12,200
Speaker 4: Yeah right, Well that's funny because there is something like

593
00:33:12,920 --> 00:33:16,240
that I've found. Well, well, I guess go over it more.

594
00:33:16,279 --> 00:33:18,920
But yeah, there was an interview with Lisa where she was,

595
00:33:19,279 --> 00:33:21,519
you know, she was azotic dancers. She was interviewing a

596
00:33:21,559 --> 00:33:24,680
newspaper article where she said that she was used to

597
00:33:24,759 --> 00:33:27,839
dancing in her numbers, so like Latin beats, and so

598
00:33:27,880 --> 00:33:30,599
when she had to tour and there were like house

599
00:33:30,640 --> 00:33:33,119
bands at these strip clubs that couldn't play Latin music,

600
00:33:33,359 --> 00:33:36,039
she had to adjust her act because she couldn't do

601
00:33:36,119 --> 00:33:41,240
any kind of Latin dancing. So you know, it's interesting

602
00:33:41,240 --> 00:33:44,440
because yeah, it just ties into like Manny where he

603
00:33:44,519 --> 00:33:46,759
was involved with like jazz and Latin music and things.

604
00:33:46,799 --> 00:34:05,000
So m hm.

605
00:34:07,759 --> 00:34:19,559
Speaker 6: H m hm.

606
00:34:22,440 --> 00:34:39,800
Speaker 2: M hm. Well let's cruise through some more important crew

607
00:34:39,840 --> 00:34:43,599
members here before we get to the cast. Kemper Peacock,

608
00:34:43,760 --> 00:34:49,119
that's another big Camper. Yes, speaking of sing guy, Yes.

609
00:34:49,119 --> 00:34:52,000
Speaker 4: He was basically with Sarno's go to editor for a

610
00:34:52,039 --> 00:34:56,239
lot of his best stuff. Kemper is interesting. Kemper is

611
00:34:56,239 --> 00:34:58,400
someone I haven't talked to in like a long time,

612
00:34:58,480 --> 00:35:01,000
I think like fifteen years, and I was very happy

613
00:35:01,000 --> 00:35:03,239
to find that he is still alive. I just need

614
00:35:03,239 --> 00:35:07,440
to call him again because I had I have his number.

615
00:35:07,440 --> 00:35:09,280
I was going to call him before we started recording,

616
00:35:09,320 --> 00:35:12,280
but I got sidetracked into other stuff. But so he

617
00:35:12,320 --> 00:35:14,800
came from a theater background too initially, so he went

618
00:35:14,840 --> 00:35:17,039
to Bard College and he got a degree in theater arts.

619
00:35:17,559 --> 00:35:19,800
And I found a thing at Bard College, where his

620
00:35:20,119 --> 00:35:23,519
senior project was directing two plays, No Exit, which we

621
00:35:23,599 --> 00:35:26,719
all know, and The Tinker's Wedding, which is very different,

622
00:35:26,800 --> 00:35:28,920
so like a drama and a kind of a comedy.

623
00:35:29,280 --> 00:35:30,800
Then he went to the Army and he got involved

624
00:35:30,800 --> 00:35:33,440
with industrial film in New York and that's where he

625
00:35:33,559 --> 00:35:37,639
got his you know, experience in editing. So he was

626
00:35:37,679 --> 00:35:40,199
working in industrial film editing in New York, and then

627
00:35:40,239 --> 00:35:42,920
he kind of stumbled into sexploitation through a friend of

628
00:35:42,960 --> 00:35:46,800
his who worked at a bank and was financing sex films. So,

629
00:35:47,840 --> 00:35:51,000
like a lot of New York filmmakers who we've seen

630
00:35:51,039 --> 00:35:52,760
this all the time in New York, whether they have,

631
00:35:52,880 --> 00:35:56,639
there's an industrial film industry here, and so those people

632
00:35:56,719 --> 00:35:59,480
who are working on these like very boring projects will

633
00:35:59,480 --> 00:36:01,400
want to do some a little more exciting and with

634
00:36:01,599 --> 00:36:04,119
for a little more money, and sex films are a

635
00:36:04,159 --> 00:36:09,039
good opportunity to do that. So yeah, Kemper did edited

636
00:36:09,480 --> 00:36:12,039
oh gosh, how many I don't remember how many. So

637
00:36:12,119 --> 00:36:15,079
he did sex, he edited Sex Cycle, Wild, Pink, Coarse, Skin,

638
00:36:15,159 --> 00:36:18,320
Deep in Love, Love, Rebellion, My Body, Hunger, Scarford, Missdya,

639
00:36:18,400 --> 00:36:20,599
Satin Deep Inside. But then he was also on the

640
00:36:20,679 --> 00:36:24,119
set of Love, Merchant, and the lost film Step Out

641
00:36:24,119 --> 00:36:26,039
of Your Mind, which was never released, which was like

642
00:36:26,079 --> 00:36:28,840
the rock and roll movie that he did, so he

643
00:36:28,960 --> 00:36:29,880
was very Sarno.

644
00:36:30,280 --> 00:36:34,800
Speaker 2: Yes, sadly a lot of those are lost Sarnos Yes, unfortunately.

645
00:36:35,480 --> 00:36:38,039
Speaker 4: He also edited She's Doing It Again for Victor Bertini,

646
00:36:38,079 --> 00:36:40,760
which I really want to cover this on this podcast

647
00:36:40,800 --> 00:36:45,119
because that's like the probably my favorite Uda Eriksson movie.

648
00:36:45,159 --> 00:36:48,239
I think it's the best perform she ever gave. Yes,

649
00:36:48,320 --> 00:36:51,719
it's absolutely incredible. Bella Donna's in it and she's great too.

650
00:36:51,960 --> 00:36:54,320
It's so good and I wish more people would see it.

651
00:36:54,840 --> 00:36:57,760
He edited Behind Locked Doors for Braslov, which we love.

652
00:36:58,639 --> 00:37:01,079
He directed a Hot Erotic Dream from Mort Schumann, which

653
00:37:01,119 --> 00:37:02,960
is very good, and then he made Meeting on sixty

654
00:37:03,079 --> 00:37:08,440
ninth Street, which unfortunately Kemper I don't like and I

655
00:37:09,639 --> 00:37:12,320
it just it just is not up to up to

656
00:37:12,400 --> 00:37:14,360
snuff with a lot of the other films of that era.

657
00:37:15,119 --> 00:37:17,239
He was in the Sarno doc you can see him.

658
00:37:17,280 --> 00:37:21,960
He appears in that as himself, but after Sexploitation kind

659
00:37:21,960 --> 00:37:24,199
of fizzled and he stopped doing those. He had a

660
00:37:24,239 --> 00:37:27,079
major career in ABC as a sports as an editor

661
00:37:27,119 --> 00:37:30,800
of sports and news footage. So his big thing was

662
00:37:30,880 --> 00:37:34,079
he did I think mostly college football highlight reels and

663
00:37:34,119 --> 00:37:37,079
coverage of the seventies, So he was involved with, you know,

664
00:37:37,239 --> 00:37:40,760
doing all of this coverage, nationwide coverage where it had

665
00:37:40,800 --> 00:37:42,960
to be sent in flown in so that he could

666
00:37:43,000 --> 00:37:45,039
edit it all together really quickly in a space of

667
00:37:45,079 --> 00:37:47,679
like eight hours so that it could be then shown

668
00:37:47,719 --> 00:37:49,400
on the news the next night. Yeah.

669
00:37:49,440 --> 00:37:54,480
Speaker 2: I can't imagine like how stressful editing sports footage would

670
00:37:54,480 --> 00:37:56,599
have been in the pre digital age.

671
00:37:56,840 --> 00:37:59,599
Speaker 4: Yeah, yeah, because it had to be timely too, so

672
00:37:59,639 --> 00:38:01,239
it's like you have to shoot all this shit really

673
00:38:01,320 --> 00:38:03,920
quickly and then cut it all together and have it ready.

674
00:38:04,000 --> 00:38:07,639
I found an article where he edited football a highlight

675
00:38:07,679 --> 00:38:12,519
reel together for like in nineteen seventy three, and the

676
00:38:12,559 --> 00:38:14,960
sports media was mad because there was a certain athlete

677
00:38:14,960 --> 00:38:18,119
that wasn't included, and so they were trying to blame

678
00:38:18,239 --> 00:38:20,440
all these people for not including this major athlete, and

679
00:38:20,519 --> 00:38:23,800
Kemper is quoted as saying, like, I'm just work with

680
00:38:23,800 --> 00:38:25,719
what I'm given. I wasn't giving any footage of this

681
00:38:25,760 --> 00:38:28,480
guy because they're like, well, what is the editor's fault. Nope,

682
00:38:28,519 --> 00:38:30,880
not the editor's fault. He works with what he's given.

683
00:38:30,920 --> 00:38:33,119
You never gave me any footage of this guy, so,

684
00:38:33,800 --> 00:38:37,639
you know, very interesting guy. He bought a historic in

685
00:38:37,639 --> 00:38:40,480
in Dover, New York, which he ran for several years

686
00:38:40,480 --> 00:38:42,920
with a girlfriend of his until I think she bought

687
00:38:43,000 --> 00:38:45,639
him out, and then she sold it. She sold it

688
00:38:45,679 --> 00:38:48,519
to some some hedge fund guy who let it, you know,

689
00:38:48,960 --> 00:38:52,079
run into the ground. He's no longer in New York.

690
00:38:52,239 --> 00:38:56,280
He's in North Carolina. And yeah, I might call him

691
00:38:56,280 --> 00:38:58,400
after we're done recording, just because I haven't talked to

692
00:38:58,440 --> 00:39:01,840
him in so long. I always really helpful to Bowen

693
00:39:01,960 --> 00:39:05,199
and his Sarno research, and yeah, he's He's always been

694
00:39:05,320 --> 00:39:08,159
very accessible because with that name, how could you not be.

695
00:39:08,360 --> 00:39:10,519
There are very few Kemper Peacocks in the world. And

696
00:39:10,519 --> 00:39:12,639
it's funny that's not even his full name was Bryant

697
00:39:12,800 --> 00:39:17,119
Kemper Peacock, so Kemper Peacock is really technically his real name.

698
00:39:17,159 --> 00:39:19,400
But yeah, he was very easy to find on like

699
00:39:19,639 --> 00:39:22,760
MySpace and Facebook. He'd answer anybody whoever reached out to him,

700
00:39:22,760 --> 00:39:24,639
and he didn't really have that many people reach out

701
00:39:24,639 --> 00:39:27,679
to him, which is crazy considering how important he is

702
00:39:27,719 --> 00:39:30,599
in New York's exploitation. I think most people forget how

703
00:39:30,599 --> 00:39:33,320
important editors are here, and you can see how good

704
00:39:33,320 --> 00:39:36,800
his work is in submission, in shaping that narrative. That

705
00:39:36,880 --> 00:39:38,960
candy bar scene is wild, you know.

706
00:39:39,159 --> 00:39:41,320
Speaker 2: Yeah, that's like the one that stands out the way

707
00:39:41,360 --> 00:39:44,199
that it's like triple edited. Yeah, it's it's and it's

708
00:39:44,239 --> 00:39:47,159
not the same. It's a different take each.

709
00:39:47,039 --> 00:39:50,400
Speaker 4: Time for all different takes. Yeah, yeah, which is great,

710
00:39:50,400 --> 00:39:52,079
which interesting because and then it kind of makes it

711
00:39:52,119 --> 00:39:54,239
look like, well, we couldn't pick a favorite take, but

712
00:39:54,360 --> 00:39:57,840
instead I think it really it creates like a weird

713
00:39:57,920 --> 00:40:01,280
kind of time loop. Yeah, it's another way that the

714
00:40:01,320 --> 00:40:06,360
film messes with like time and a narrative really in

715
00:40:06,360 --> 00:40:07,239
an interesting way.

716
00:40:07,559 --> 00:40:09,679
Speaker 2: I need to go back and rewatch the Sarno doc

717
00:40:09,760 --> 00:40:12,880
because I don't remember him. Do you remember what he

718
00:40:13,000 --> 00:40:15,119
said about Sarno? Was it?

719
00:40:15,519 --> 00:40:17,440
Speaker 4: I don't. I don't remember if it was a sit

720
00:40:17,519 --> 00:40:19,519
down interview or if it was a situation where like

721
00:40:19,559 --> 00:40:21,920
he was visiting or at a screening and was talking

722
00:40:21,960 --> 00:40:25,199
to him, because not everybody in that dock did a

723
00:40:25,239 --> 00:40:28,400
sit down interview. Sometimes it was just them in public

724
00:40:28,519 --> 00:40:32,360
at screenings that he went to, or meetings with different people,

725
00:40:33,480 --> 00:40:35,079
but he's definitely in it because he was in New

726
00:40:35,159 --> 00:40:36,239
York at the time that was made.

727
00:40:36,440 --> 00:40:38,760
Speaker 2: Yeah, that's called The Life and Dirty Pictures. I think

728
00:40:38,800 --> 00:40:40,559
we haven't said that yet, but yeah, it's a great

729
00:40:40,599 --> 00:40:44,480
doc that just came out on physical so you can

730
00:40:44,639 --> 00:40:46,199
you can purchase that, but I think.

731
00:40:46,119 --> 00:40:47,599
Speaker 4: It's also on I Do Need Together.

732
00:40:47,679 --> 00:40:50,199
Speaker 2: I think I watched it on Film Movement when it

733
00:40:50,320 --> 00:40:52,920
was originally put on there a while back.

734
00:40:53,480 --> 00:40:55,679
Speaker 4: It's been ten years since that thing came out. I'm

735
00:40:55,800 --> 00:40:58,920
very surprised at that time flies because I remember when

736
00:40:58,920 --> 00:41:01,320
they came out and I was so excited because it

737
00:41:01,599 --> 00:41:03,199
was it was spoke, it was set in like the

738
00:41:03,239 --> 00:41:05,840
early two thousands because he was shooting. Part of the

739
00:41:05,880 --> 00:41:07,639
focus of that doc is him trying to make his

740
00:41:07,639 --> 00:41:10,639
comeback movie from Mike Rozo, and that was like two

741
00:41:10,639 --> 00:41:14,880
thousand and six or seven. So yeah, like by the

742
00:41:14,880 --> 00:41:17,719
time the movie came out, I think he'd been he'd

743
00:41:17,760 --> 00:41:20,079
already gone. He wasn't around anymore. I think I.

744
00:41:20,039 --> 00:41:22,960
Speaker 2: Remember that doc in the doc when he's talking about

745
00:41:23,000 --> 00:41:27,760
making that movie and his his he was still in

746
00:41:27,800 --> 00:41:33,159
that like seventies exploitation mold up. He wrote the script

747
00:41:33,159 --> 00:41:36,440
and even Peggy was like this script, it's it's not.

748
00:41:36,639 --> 00:41:39,840
Speaker 4: Well, it's very like it's like making movies in Florida.

749
00:41:39,920 --> 00:41:42,519
It's like you're giving you're given a cast of actors.

750
00:41:42,599 --> 00:41:45,360
He was given like the Seduction Cinema girls. Yeah, and

751
00:41:45,400 --> 00:41:49,119
those girls aren't actresses. So and he used to be

752
00:41:49,119 --> 00:41:51,519
able to work wonders with people that couldn't act, like

753
00:41:52,000 --> 00:41:54,239
I think Tina Tina Russell is a big example, but

754
00:41:54,280 --> 00:41:56,039
there are other people that he worked with that he

755
00:41:56,119 --> 00:41:58,400
was able to bring something out of. I think by

756
00:41:58,440 --> 00:42:02,000
that time, years after he had really been at his peak,

757
00:42:02,280 --> 00:42:04,400
I think there's only so much attention he could give

758
00:42:04,480 --> 00:42:07,239
to getting performances out of these actors. And so it's

759
00:42:08,280 --> 00:42:10,079
did you ever see the movie he made, the Suburban

760
00:42:10,119 --> 00:42:14,320
Secrets thing? I was quoted in promotional material for that

761
00:42:14,639 --> 00:42:16,480
because they sent me a screener it. At that time,

762
00:42:16,559 --> 00:42:19,400
I was chummy chummy with that company before they we

763
00:42:19,440 --> 00:42:22,800
had a falling out over a few things. But yeah,

764
00:42:22,800 --> 00:42:26,880
they quoted me in in promotional materials saying like Casey

765
00:42:26,920 --> 00:42:31,079
Scott TVD drive in and yeah, little quotes. I didn't

766
00:42:31,159 --> 00:42:32,800
love it, but I liked it enough and I wanted

767
00:42:32,800 --> 00:42:34,920
it to do well, so that was one of the

768
00:42:34,920 --> 00:42:37,480
only times that I ever really kind of, you know,

769
00:42:37,599 --> 00:42:40,639
bit my lip and tried to do positive promotion for

770
00:42:40,719 --> 00:42:42,239
something that I didn't really believe in.

771
00:42:42,639 --> 00:42:46,559
Speaker 2: Yeah anymore two hour one. It's really long, isn't it.

772
00:42:46,559 --> 00:42:47,719
Speaker 4: It's yeah, it's not good.

773
00:42:48,119 --> 00:42:50,119
Speaker 2: It's not good, I remember.

774
00:42:49,920 --> 00:42:52,000
Speaker 4: And disappointing because it is similar to a lot of

775
00:42:52,039 --> 00:42:54,440
his earlier films. But it's like and he wanted to

776
00:42:54,440 --> 00:42:56,599
shoot on film, and I think that was an issue

777
00:42:56,639 --> 00:42:59,239
because it was expensive and yeah, like he had these

778
00:42:59,280 --> 00:43:01,960
actors who were not good and because they were all

779
00:43:02,000 --> 00:43:05,440
seduction cinema girls instead of getting actual actors, and the

780
00:43:05,519 --> 00:43:08,079
then are gross in it. Yeah, no, it's you know,

781
00:43:08,159 --> 00:43:10,760
if you have to see it, it's a step up

782
00:43:10,760 --> 00:43:14,320
from like his awful, awful, awful eighties and nineties adult

783
00:43:14,400 --> 00:43:16,239
videos that he was doing for a paycheck. Like you

784
00:43:16,239 --> 00:43:19,039
can tell that he wanted to make this good, but

785
00:43:19,119 --> 00:43:23,679
he's working against Mike Razo and that whole seduction cinema

786
00:43:23,719 --> 00:43:26,960
thing where there's a limit to what they would allow

787
00:43:27,079 --> 00:43:29,079
him to do, and there's a limit to what they

788
00:43:29,119 --> 00:43:32,159
would actually help him with as well, and so it's

789
00:43:32,360 --> 00:43:36,159
it's it's an interesting failure yeah, I'll put it that way.

790
00:43:37,000 --> 00:43:38,760
Speaker 7: Oh, excuse me, I didn't know.

791
00:43:38,840 --> 00:43:39,920
Speaker 4: I thought you were sleeping.

792
00:43:40,920 --> 00:43:42,679
Speaker 8: I was so hot and just died from the trip.

793
00:43:42,719 --> 00:43:48,840
Speaker 4: I thought, I, oh, I got stuff in my ass

794
00:43:48,880 --> 00:43:49,760
and say, well would.

795
00:43:49,599 --> 00:43:49,960
Speaker 6: You have that?

796
00:43:50,079 --> 00:43:52,480
Speaker 4: Tell sure here?

797
00:43:57,920 --> 00:43:59,239
Speaker 6: That thought you weren't good?

798
00:43:59,639 --> 00:44:01,360
Speaker 5: Oh about Dusty from the Trip?

799
00:44:02,800 --> 00:44:03,519
Speaker 6: Is his marvel?

800
00:44:04,519 --> 00:44:10,119
Speaker 4: Fred Murphy, Yes, very important cinematographer, made this when he

801
00:44:10,199 --> 00:44:14,239
was twenty twenty six, twenty seven years old, and uh,

802
00:44:14,320 --> 00:44:16,280
yeah he's still around it still. I think he's in

803
00:44:17,039 --> 00:44:20,079
I think he's in the Hamptons in New York. Uh.

804
00:44:20,119 --> 00:44:22,119
He just showed up at Lincoln Center for a screening

805
00:44:22,119 --> 00:44:23,280
of Hoosiers, which he shot.

806
00:44:23,360 --> 00:44:25,559
Speaker 2: Okay, so this is the same Fred Murphy, because when

807
00:44:25,559 --> 00:44:26,760
I was looking at homography, the.

808
00:44:26,760 --> 00:44:27,599
Speaker 4: Same Fred Murphy.

809
00:44:27,920 --> 00:44:30,760
Speaker 2: This could be one of those IMDb screw ups where

810
00:44:30,760 --> 00:44:32,920
the name is just so similar his name got.

811
00:44:32,760 --> 00:44:35,840
Speaker 4: Attached to read his interviews. His interviews, he doesn't talk

812
00:44:35,880 --> 00:44:38,719
about this movie specifically, but yeah, he was a Brooklyn boy.

813
00:44:38,920 --> 00:44:41,400
He was working on industrial films, just like Kemper was.

814
00:44:42,039 --> 00:44:44,599
So yeah, it's yeah, he was in New York at

815
00:44:44,639 --> 00:44:47,039
the time shooting stuff and this is definitely him.

816
00:44:47,360 --> 00:44:51,159
Speaker 2: Okay, but he hasn't ever mentioned this movie that you

817
00:44:51,199 --> 00:44:51,440
know of.

818
00:44:51,480 --> 00:44:54,199
Speaker 4: I don't know if anyone's asked except for me. I

819
00:44:54,920 --> 00:44:56,920
just emailed him. I don't know if I'm going to hear.

820
00:44:56,840 --> 00:44:59,360
Speaker 2: Back from him, but better better late than ever.

821
00:44:59,440 --> 00:45:03,440
Speaker 4: Yeah. I Well, I expressed to him that because both

822
00:45:03,480 --> 00:45:06,639
of the directors are gone and there are very few

823
00:45:06,639 --> 00:45:09,400
people around who still worked on the movie, it's kind

824
00:45:09,400 --> 00:45:13,599
of imperative that we get a story of the production

825
00:45:13,719 --> 00:45:16,320
of this for posterity. So I tried to put it

826
00:45:16,360 --> 00:45:20,000
that way, because he also shot What October Sky with

827
00:45:20,119 --> 00:45:23,559
Jay Gillenhall, which was a big movie. His Yeah, his

828
00:45:23,800 --> 00:45:26,800
his resume is nuts, and this was the first first

829
00:45:26,800 --> 00:45:28,599
thing he ever shot, and then he went back to

830
00:45:28,639 --> 00:45:32,400
industrial films until like the early seventies. So yeah, very

831
00:45:32,599 --> 00:45:35,039
very interesting guy. He still does interviews. The fact that

832
00:45:35,039 --> 00:45:36,920
he's in the Hampton's makes me nervous because that means

833
00:45:36,960 --> 00:45:39,800
he's like he's got money. Then he really doesn't have

834
00:45:39,840 --> 00:45:42,360
any reason to talk about this this movie. But I

835
00:45:42,360 --> 00:45:45,000
mean it's also a movie that I could see someone

836
00:45:45,039 --> 00:45:48,159
like him putting on a reel. You know, there's enough

837
00:45:48,199 --> 00:45:50,000
good stuff in this that I think he could he

838
00:45:50,000 --> 00:45:53,159
would put on a reel, like Joanel Fernandez put stuff

839
00:45:53,159 --> 00:45:55,239
from his Delmiano films on his reel when he went

840
00:45:55,280 --> 00:45:58,159
to Hollywood. You know, I think any cinematographer knows that

841
00:45:58,159 --> 00:46:01,000
they're doing good work would always, regardless if it was

842
00:46:01,119 --> 00:46:03,519
X rated, would put stuff on a reel if it

843
00:46:03,559 --> 00:46:06,440
was from sex films too. I know several filmmakers who

844
00:46:06,480 --> 00:46:06,880
have done that.

845
00:46:07,400 --> 00:46:10,360
Speaker 2: Mm hmm. Yeah, you could definitely edit this into a

846
00:46:10,400 --> 00:46:12,199
classy looking clip.

847
00:46:12,400 --> 00:46:12,679
Speaker 1: Yeah.

848
00:46:12,800 --> 00:46:15,039
Speaker 4: I mean Joe Autron did that. He had scenes from

849
00:46:15,039 --> 00:46:17,320
Devil and Miss Jones on his on his reel, yeah,

850
00:46:17,400 --> 00:46:20,199
and story of Joanna on his reel yeah, and Miss

851
00:46:20,239 --> 00:46:23,119
Aggie too. Yeah, he definitely had And I think Larry

852
00:46:23,159 --> 00:46:25,760
Ravine did the same thing, like, yeah, if you're if

853
00:46:25,760 --> 00:46:27,760
you're proud of your work and you're you're able to

854
00:46:27,800 --> 00:46:30,639
show what you're able to do with lighting and you know,

855
00:46:30,719 --> 00:46:33,599
framing and stuff, but you definitely would include that stuff

856
00:46:33,960 --> 00:46:34,559
on your reel.

857
00:46:34,880 --> 00:46:37,360
Speaker 2: So we don't really know exactly how he got involved

858
00:46:37,360 --> 00:46:41,400
with the Savages. We just know he was a young cinematographer, right.

859
00:46:41,800 --> 00:46:44,480
Speaker 4: He was industrial just like Kemper, So it's possible that

860
00:46:44,519 --> 00:46:48,559
he knew Kemper from from that. Uh, possibly he got

861
00:46:48,559 --> 00:46:52,079
involved because Kemper brought him to the production It's possible. Yeah, yeah,

862
00:46:52,119 --> 00:46:54,880
we don't know, but I mean that makes more sense.

863
00:46:55,119 --> 00:46:57,400
That's kind of like we we kind of know how

864
00:46:57,559 --> 00:47:02,760
The production manager got involved another weirdly also Boston based.

865
00:47:02,800 --> 00:47:05,199
So Grant Willis is the production manager on this. He

866
00:47:05,320 --> 00:47:09,079
was a He was an Air Force cadet who graduated

867
00:47:09,119 --> 00:47:11,280
from the American Academy of Dramatic Arts in New York.

868
00:47:11,440 --> 00:47:14,559
And when he was working after he graduated, and he

869
00:47:14,599 --> 00:47:18,400
graduated in like sixty eight I believe, and he got

870
00:47:18,400 --> 00:47:21,199
a job in the program department at ABCTV, which is

871
00:47:21,199 --> 00:47:24,519
where Kemper was working. So I feel like that makes

872
00:47:24,559 --> 00:47:26,039
the most sense of how he got involved with this,

873
00:47:26,079 --> 00:47:28,199
and also the fact that he's from Boston probably helped

874
00:47:28,440 --> 00:47:31,239
if the Savages, you know, wanted to have another New

875
00:47:31,239 --> 00:47:34,239
Englander on their set. He pursued acting and only got

876
00:47:34,239 --> 00:47:37,599
a few little roles. He was not in submission, but

877
00:47:37,639 --> 00:47:40,880
then he pursued a law degree at Brooklyn Law School

878
00:47:40,880 --> 00:47:44,199
and then became an attorney. He went back to Massachusetts

879
00:47:44,280 --> 00:47:48,559
and he also died December last year. Unfortunately. So the

880
00:47:48,599 --> 00:47:51,440
production manager, who also is somebody that I would want

881
00:47:51,480 --> 00:47:54,119
to talk to on any film because they're the ones

882
00:47:54,159 --> 00:47:57,840
who put it all together. Yeah, he's gone too, unfortunately.

883
00:47:58,159 --> 00:48:02,000
Speaker 2: Yes, we won't ever probably know what the house was

884
00:48:02,039 --> 00:48:03,960
that they shot this and where that was.

885
00:48:04,880 --> 00:48:05,880
Speaker 4: Must Fred say something?

886
00:48:05,960 --> 00:48:08,360
Speaker 2: Yeah, yeah, Brad, answer your email.

887
00:48:08,679 --> 00:48:10,840
Speaker 4: I know, Fred, you need to answer me. And also

888
00:48:10,920 --> 00:48:13,639
you hear in New York are like you need to.

889
00:48:13,119 --> 00:48:15,920
Speaker 2: Just corner him, corner him at the next screening that

890
00:48:15,960 --> 00:48:16,880
he should he was.

891
00:48:17,000 --> 00:48:19,039
Speaker 4: If I'd known he was going to Hoosiers in August

892
00:48:19,039 --> 00:48:20,639
of this year, I would have gone and been like,

893
00:48:20,760 --> 00:48:23,599
I need to talk to you about submission please. I

894
00:48:23,639 --> 00:48:26,239
have people that link, I have people at Lincoln Center

895
00:48:26,239 --> 00:48:28,079
who would have helped me out there. Okay, I would

896
00:48:28,079 --> 00:48:31,119
have been like, so well, actually, in situations like that,

897
00:48:31,320 --> 00:48:35,159
I always I always ask, and then I exchanged cards

898
00:48:35,239 --> 00:48:39,280
business cards, and then you follow up later like putting

899
00:48:39,320 --> 00:48:41,199
someone on the spot and saying give me answers now

900
00:48:41,280 --> 00:48:43,199
is never the move. So but if you're able to

901
00:48:43,199 --> 00:48:45,280
be like, if you're able to establish that you're asking

902
00:48:45,880 --> 00:48:48,760
with good intentions and not with ill intentions of trying

903
00:48:48,760 --> 00:48:51,079
to ruin someone's life by bringing up their softcore porn

904
00:48:51,119 --> 00:48:53,719
they made or whatever, but you have make it clear

905
00:48:53,800 --> 00:48:56,119
you want to do it for historical reasons, then they

906
00:48:56,199 --> 00:48:58,000
just generally will be like, yeah, sure, no, I'll talk

907
00:48:58,039 --> 00:49:00,559
to you. That's fine. Yeah, yeah, it's happened to me

908
00:49:00,599 --> 00:49:03,880
several times, but yeah, not on the spot. I wouldn't

909
00:49:03,920 --> 00:49:05,400
be like, I'm gonna talk to you about the Savage

910
00:49:05,400 --> 00:49:09,280
Brothers because I don't know if you'd remember them.

911
00:49:09,119 --> 00:49:11,360
Speaker 2: By name, but well, you'd be like, well, do you

912
00:49:11,400 --> 00:49:14,679
remember Jennifer Wells you worked with her or you know,

913
00:49:14,800 --> 00:49:15,639
he'd probably remember that.

914
00:49:15,760 --> 00:49:19,760
Speaker 4: He probably would have remembered her actual name, which Lisa

915
00:49:19,840 --> 00:49:23,639
Duran right right, Or the fact that he actually photographed

916
00:49:23,639 --> 00:49:27,760
a future cinematographer, fellow cinematographer and fellow member of the

917
00:49:27,840 --> 00:49:31,639
a s C Joel Fernandez, who I'm sure he's run

918
00:49:31,679 --> 00:49:35,639
into at meetings of that of that union because they

919
00:49:35,639 --> 00:49:40,159
are both active members. So that's kind of interesting. Tony Fessa,

920
00:49:40,159 --> 00:49:41,840
I'm still trying to confirm that this is the Tony

921
00:49:41,840 --> 00:49:45,639
Fessa that's based in Florida. It was based in Florida.

922
00:49:45,639 --> 00:49:48,800
I think he's in California now, but later became a

923
00:49:48,840 --> 00:49:53,920
member of Domiano's crew, so he did sound on Teeny

924
00:49:53,960 --> 00:49:58,360
Tulip and changes. So I'm trying to determine if that's

925
00:49:58,400 --> 00:49:59,280
the same guy.

926
00:49:59,480 --> 00:50:02,840
Speaker 2: But he had an easy job on this one. I think, Yeah, really,

927
00:50:03,000 --> 00:50:04,559
there's not that much to mic up.

928
00:50:05,320 --> 00:50:07,559
Speaker 4: I mean there is. But see, that's the thing we

929
00:50:07,599 --> 00:50:10,280
don't know. I don't know how much more was I

930
00:50:10,280 --> 00:50:12,239
don't know how much more live sound is recorded and

931
00:50:12,360 --> 00:50:13,079
just not used.

932
00:50:13,320 --> 00:50:13,559
Speaker 6: Right.

933
00:50:13,719 --> 00:50:15,800
Speaker 2: I was thinking as well, yeah, we don't know what

934
00:50:15,840 --> 00:50:19,000
happened in the edit, like it could have been very

935
00:50:19,039 --> 00:50:23,039
different when they were shooting it. Yeah, right, right.

936
00:50:22,920 --> 00:50:24,559
Speaker 4: But yeah, I just I mean it's interesting. Maybe went

937
00:50:24,599 --> 00:50:26,599
on to work with Domiano and the Well, it's also

938
00:50:26,679 --> 00:50:31,599
because Teeny Tulip was shot in Florida, so he went

939
00:50:31,679 --> 00:50:34,440
down to Florida with Domiano, and then it would track

940
00:50:34,519 --> 00:50:36,840
that he's the Tony Foresta that had a film company

941
00:50:36,880 --> 00:50:39,920
in Florida. He just stayed in Florida. But I don't know.

942
00:50:40,239 --> 00:50:42,559
I have to, I have to. I've sent my feelers

943
00:50:42,599 --> 00:50:44,760
out to that guy too to see what looks up.

944
00:50:45,119 --> 00:50:49,199
Speaker 2: Yeah, and we mentioned the music is credited to A

945
00:50:49,760 --> 00:50:55,159
ninety one. Very mysterious, and I mean the film opens

946
00:50:55,199 --> 00:50:58,079
with like I think it's almost eight minutes of just

947
00:50:58,559 --> 00:51:04,280
instrumental kind of a soft jazz number. And then the

948
00:51:04,320 --> 00:51:06,559
rest of the music is kind of like a I

949
00:51:06,559 --> 00:51:09,400
don't know, there's like heavy flanger on, kind of like

950
00:51:09,440 --> 00:51:10,599
a woozy droning.

951
00:51:11,039 --> 00:51:11,599
Speaker 4: I don't know how you.

952
00:51:11,559 --> 00:51:14,000
Speaker 2: Would describe it. I wouldn't call it jazz, but it's

953
00:51:14,119 --> 00:51:16,760
experimental music, so exactly jazz.

954
00:51:17,480 --> 00:51:19,880
Speaker 4: Yeah, I assume this is at all with jazz and

955
00:51:20,000 --> 00:51:20,719
ends with jazz.

956
00:51:21,039 --> 00:51:26,360
Speaker 2: Yeah, this is all. This is all ninety one. We're assuming. Yeah, yeah,

957
00:51:26,400 --> 00:51:30,320
so who knows. When I was watching it again, I

958
00:51:30,400 --> 00:51:33,440
was thinking about trying to clip everything and like put

959
00:51:33,440 --> 00:51:36,840
it together as like an album almost and upload it

960
00:51:36,880 --> 00:51:39,599
to YouTube. But we'll see if I go through with that,

961
00:51:40,559 --> 00:51:42,880
because that's great. Like we both said, the music is

962
00:51:43,000 --> 00:51:45,559
a huge part of this movie, and it's it's part

963
00:51:45,559 --> 00:51:48,280
of what makes it so rewatchable, whether or not you're

964
00:51:48,679 --> 00:51:52,400
actively participating in the viewing or not. Like you said,

965
00:51:52,400 --> 00:51:55,079
it's like a great background movie just because the music

966
00:51:55,119 --> 00:51:59,079
is so good. Anything else to add about the music, Nope,

967
00:51:59,480 --> 00:52:01,960
it's good. Yeah, it's great, but nothing else.

968
00:52:02,000 --> 00:52:04,760
Speaker 4: We don't know anything. So if I don't know anything,

969
00:52:04,960 --> 00:52:08,119
nothing to say, yeah, because I'd rather not say anything

970
00:52:08,159 --> 00:52:09,760
because if I don't know anything, I don't need to.

971
00:52:09,679 --> 00:52:14,199
Speaker 2: Talk about Yeah, do you want to talk about lighting designer?

972
00:52:14,519 --> 00:52:17,480
Have we ever talked about a lighting designer before?

973
00:52:17,639 --> 00:52:19,519
Speaker 4: Consider if you look at this movie, the lighting designer

974
00:52:19,559 --> 00:52:21,880
is very important. But also I think it's I mean,

975
00:52:21,880 --> 00:52:23,880
it's important to note the lighting designer because the lighting

976
00:52:23,920 --> 00:52:27,559
designer is also still around in California. And lighting designer

977
00:52:27,840 --> 00:52:30,880
worked with Ron Sullivan on this as an electrician and

978
00:52:30,920 --> 00:52:33,800
then they both moved over to do Putney Swape the

979
00:52:33,840 --> 00:52:38,199
same year with the Robert Downey Senior. So and also

980
00:52:38,559 --> 00:52:41,039
I think, yeah, if you're if you're doing like any

981
00:52:41,559 --> 00:52:44,280
movie with this kind of photography, the lighting is so important.

982
00:52:44,280 --> 00:52:46,760
So obviously this is something that somebody that Fred Murphy

983
00:52:46,840 --> 00:52:50,239
worked with. He gets a special credit underneath Fred Murphy

984
00:52:50,280 --> 00:52:53,480
in the credits. It goes camera Fred Murphy lighting Norris Eisenbray.

985
00:52:53,960 --> 00:52:59,039
So obviously very important guy, you know. So yeah, and

986
00:52:59,079 --> 00:53:01,039
also a very unique So that's why I was able

987
00:53:01,039 --> 00:53:04,760
to find him. Yeah, so I need to call I

988
00:53:04,800 --> 00:53:07,000
need to call him too. And it's possible he worked

989
00:53:07,000 --> 00:53:08,840
on other Ron Selement stuff And I just don't know

990
00:53:09,159 --> 00:53:11,199
whether you name like that. You would think you'd get

991
00:53:11,199 --> 00:53:13,320
more credits, but those are the only two credits he has.

992
00:53:13,480 --> 00:53:16,199
Considering how good he was at lighting, I'd be surprised

993
00:53:16,199 --> 00:53:20,519
if he didn't continue doing it. Still photographer who we

994
00:53:20,599 --> 00:53:25,599
just we talked about him on Renter Girl. Ye yeah, big, big,

995
00:53:25,639 --> 00:53:28,880
still photographer and very important figure in the world of expectation.

996
00:53:29,840 --> 00:53:31,760
So yeah, I mean he's the one who was able

997
00:53:31,760 --> 00:53:34,760
to capture all those stills that we love of Jennifer

998
00:53:34,760 --> 00:53:39,679
Wellson in black and White no longer with us. He

999
00:53:39,760 --> 00:53:42,679
was the last person to photograph Betty Page. He managed

1000
00:53:42,760 --> 00:53:45,440
different New York City strippers and dancer, so he might

1001
00:53:45,480 --> 00:53:47,800
have been involved with casting more than we know. I

1002
00:53:47,840 --> 00:53:50,599
need to find more interviews with him, which just because

1003
00:53:50,599 --> 00:53:52,360
he went out to California and did this, he worked

1004
00:53:52,360 --> 00:53:55,480
on a lot of porno sets and so yeah, very

1005
00:53:55,480 --> 00:53:56,119
interesting guy.

1006
00:53:57,000 --> 00:54:02,119
Speaker 2: Yeah, still photographer. I think modern movie audiences don't understand

1007
00:54:02,320 --> 00:54:06,639
maybe how important that part that role was in the

1008
00:54:06,719 --> 00:54:09,880
you know, the pre digital era and the era of

1009
00:54:10,440 --> 00:54:12,440
you know, like these big press books that we're always

1010
00:54:12,440 --> 00:54:16,320
talking about, like they took all those photos on the sets,

1011
00:54:16,320 --> 00:54:18,840
and sometimes those are all that exist of some of

1012
00:54:18,880 --> 00:54:22,480
these lost films we have is the still photos that

1013
00:54:22,480 --> 00:54:25,119
we get from the set, and sometimes these movies that

1014
00:54:25,159 --> 00:54:29,360
haven't been restored well, yet the still photos look better

1015
00:54:29,440 --> 00:54:33,199
than the sort of like VHS rip we're looking at,

1016
00:54:33,239 --> 00:54:36,239
you know what I'm saying. So you can sometimes get

1017
00:54:36,239 --> 00:54:39,000
a better picture of what the movie looked like through

1018
00:54:39,000 --> 00:54:42,800
the still photos than the existing print that we're watching.

1019
00:54:42,960 --> 00:54:47,000
So we love our still photographers, yes, absolutely, Well else

1020
00:54:47,000 --> 00:54:47,559
we got.

1021
00:54:48,119 --> 00:54:52,360
Speaker 4: Ron Sullivan, So Ron was so basically he was the

1022
00:54:52,360 --> 00:54:56,480
electrician on this, working with Norris Eisenbrae, and then he

1023
00:54:56,599 --> 00:55:00,599
then somehow managed became the production manager and Weekend with Strangers.

1024
00:55:00,800 --> 00:55:03,159
I do feel like that could have been a Jennifer

1025
00:55:03,199 --> 00:55:08,599
Wells connection because of Scorpio seventy because he directed her.

1026
00:55:08,920 --> 00:55:12,480
That was the first Jennifer Wells movie with Scorpio seventy,

1027
00:55:12,800 --> 00:55:15,239
and he directed that for Sam Lake because she was

1028
00:55:15,239 --> 00:55:17,760
credited as other people. She was credited as Liza Durant

1029
00:55:17,840 --> 00:55:20,800
or Lisa Durant or I think Elizabeth o'beer is her

1030
00:55:20,840 --> 00:55:23,280
other name. I'm Good to Bad the Beautiful. Her first

1031
00:55:23,360 --> 00:55:26,480
Jennifer Wells movie was Scorpio seventy and he directed that.

1032
00:55:26,880 --> 00:55:29,719
So I feel like that would be a good connection

1033
00:55:30,000 --> 00:55:32,199
to place him on the set of weakn with Strangers

1034
00:55:32,239 --> 00:55:36,559
with the Savages as a production manager, not just an electrician. Yeah,

1035
00:55:36,679 --> 00:55:38,960
because by that point he'd been a director. Yeah. No,

1036
00:55:39,000 --> 00:55:41,760
I miss Ron and I never I never thought to

1037
00:55:41,760 --> 00:55:45,119
ask him about that Jennifer Wells because, as I've said before,

1038
00:55:45,360 --> 00:55:48,159
not a big Jennifer Wells person, So I really didn't

1039
00:55:48,159 --> 00:55:49,199
have any questions about her.

1040
00:55:50,440 --> 00:55:53,639
Speaker 2: Which leads me to ask you, what did you have

1041
00:55:53,760 --> 00:55:57,480
you seen the Ron Sullivan early years? That new package

1042
00:55:57,519 --> 00:55:58,239
that came out.

1043
00:55:58,199 --> 00:55:59,880
Speaker 4: Now, yet I still need it sent to me. I

1044
00:56:00,719 --> 00:56:03,519
last Weekend is not good, and I love the Bizarre ones,

1045
00:56:03,719 --> 00:56:06,320
but I have never seen Scorpio seventy, So I need

1046
00:56:06,360 --> 00:56:08,400
to get that sent to me on my next comp

1047
00:56:08,480 --> 00:56:10,440
package for Meliciny.

1048
00:56:11,039 --> 00:56:13,400
Speaker 2: Yep, that's kind of a blind spot for me as well.

1049
00:56:13,440 --> 00:56:15,719
I haven't seen that. Dakota was asking me about it

1050
00:56:15,760 --> 00:56:17,519
as well, and I was like, oh, I haven't seen

1051
00:56:17,519 --> 00:56:17,920
that yet.

1052
00:56:17,960 --> 00:56:21,559
Speaker 4: I need to get And it was very well distributed,

1053
00:56:21,800 --> 00:56:24,320
it was very well promoted. Yeah, that kind of made

1054
00:56:24,360 --> 00:56:27,280
her a star overy night with Scorpio seventy. I think

1055
00:56:27,280 --> 00:56:30,719
that's much more and that's more important in developing hers

1056
00:56:30,760 --> 00:56:33,920
into the star that we know then we kind of

1057
00:56:33,920 --> 00:56:35,920
give a credit for because it wasn't available for years.

1058
00:56:37,400 --> 00:56:41,920
But I have found so much promotional material on that,

1059
00:56:42,079 --> 00:56:43,920
Like they really went nuts promoting this.

1060
00:56:44,199 --> 00:56:48,039
Speaker 2: That iconic you know, poster your art at one sheet

1061
00:56:48,079 --> 00:56:53,440
for it with her face on the scorpion, right right, Yeah,

1062
00:56:53,480 --> 00:56:54,079
it's so good.

1063
00:56:54,239 --> 00:56:55,440
Speaker 4: Yeah, I still need to see it.

1064
00:56:57,480 --> 00:57:00,079
Speaker 2: Last but not least sistent.

1065
00:57:00,679 --> 00:57:03,159
Speaker 4: Gail Porter. Yeah, so I was like, well, this is interesting.

1066
00:57:03,199 --> 00:57:05,400
You have a woman a being assistant editor on this movie.

1067
00:57:05,440 --> 00:57:07,159
She was also the script girl on the set, which

1068
00:57:07,199 --> 00:57:10,079
I also find interesting. So the only other thing I

1069
00:57:10,079 --> 00:57:13,039
could find about her, which IMDb is accurate here, was

1070
00:57:13,039 --> 00:57:15,280
that she co directed this film called Tales with these

1071
00:57:15,719 --> 00:57:18,480
these three of the women directors. I'm trying to find

1072
00:57:18,480 --> 00:57:21,159
a copy of this and screened anthology film archives several

1073
00:57:21,280 --> 00:57:23,360
years ago, and I was not I was not aware,

1074
00:57:23,440 --> 00:57:26,280
so I missed it. Yeah, Jill Godmilo was one of

1075
00:57:26,280 --> 00:57:28,639
the co directors of that, and she just died like

1076
00:57:29,000 --> 00:57:32,400
in September of this year. So I was trying to

1077
00:57:32,400 --> 00:57:35,920
find more about Gail Porter because that's such it's it's

1078
00:57:35,920 --> 00:57:37,599
just interesting to me whenever I see a woman on

1079
00:57:37,639 --> 00:57:41,320
the crew with these well, yeah, would know her name

1080
00:57:41,360 --> 00:57:45,639
is shockingly to common. Kemper would definitely know because it

1081
00:57:45,760 --> 00:57:48,119
was as assistant editor he would have worked with her. So, yeah,

1082
00:57:48,159 --> 00:57:49,719
I'm going to ask her. I'm going to ask him

1083
00:57:49,840 --> 00:57:51,599
what he remembers about her. Yeah.

1084
00:57:51,639 --> 00:58:00,760
Speaker 6: Interesting, I'd like to talk to you, mister Miles about

1085
00:58:00,840 --> 00:58:01,840
you and your wife.

1086
00:58:01,559 --> 00:58:02,360
Speaker 2: Staying on here?

1087
00:58:03,000 --> 00:58:06,639
Speaker 6: Hasn't h our work and satisfactory?

1088
00:58:06,719 --> 00:58:10,000
Speaker 8: Yeah, don't you uh like his mistake?

1089
00:58:10,440 --> 00:58:11,119
Speaker 1: Yeah?

1090
00:58:11,239 --> 00:58:11,679
Speaker 2: What is it?

1091
00:58:11,840 --> 00:58:14,960
Speaker 4: Just me? What do you mean?

1092
00:58:15,920 --> 00:58:18,320
Speaker 6: It's not exactly a secret. You're not particularly attracted to me,

1093
00:58:19,519 --> 00:58:21,039
as a matter of fact, if I didn't know better?

1094
00:58:21,480 --> 00:58:22,119
Speaker 4: What do you mean?

1095
00:58:24,320 --> 00:58:28,639
Speaker 6: But that would be such a waste mistakele You're a

1096
00:58:28,719 --> 00:58:32,639
very attractive woman, very very attractive.

1097
00:58:33,679 --> 00:58:37,599
Speaker 2: Well, let's get into the the juiciest part of this movie,

1098
00:58:37,639 --> 00:58:40,880
which is the cast here a couple. I know, we're

1099
00:58:40,920 --> 00:58:42,840
like chopping at the bit to talk about a couple

1100
00:58:42,840 --> 00:58:46,079
of the members of the cast here. Obviously, I think

1101
00:58:46,119 --> 00:58:49,000
we can start with Jennifer Wells under her Lisa Durant's

1102
00:58:49,000 --> 00:58:52,880
pseudonym here. So this is I'm trying to understand. I mean,

1103
00:58:52,920 --> 00:58:57,119
the timeline is so short. So she had done how

1104
00:58:57,119 --> 00:59:01,400
many movies for Henry uh Bouchard, A Scorpio, She.

1105
00:59:01,400 --> 00:59:05,639
Speaker 4: Did this Sporting House, which was Eliza Durant, And I

1106
00:59:05,679 --> 00:59:07,599
think that was it she'd only done the one for

1107
00:59:07,719 --> 00:59:10,920
him that wasn't Jennifer Wells, Okay, Eliza Durant. She only

1108
00:59:10,920 --> 00:59:13,719
did a handful of movies with e Liza or Lisa Durant.

1109
00:59:13,760 --> 00:59:16,400
She only did a handful of movies under that name,

1110
00:59:16,639 --> 00:59:18,440
under that under those names, and the.

1111
00:59:18,400 --> 00:59:21,119
Speaker 2: Two movies she did with Joel Reid Career Bed in

1112
00:59:21,400 --> 00:59:24,119
Sex by Advertisement. I know Career Bed was first, and

1113
00:59:24,280 --> 00:59:28,519
Sex by Advertisement came pretty hot on the heels, right,

1114
00:59:29,199 --> 00:59:32,360
And is this actually in the middle between those? I'm

1115
00:59:32,400 --> 00:59:35,440
not sure. I know that's somehow sometimes how it's presented.

1116
00:59:35,800 --> 00:59:38,599
Speaker 4: Yeah, yeah, I don't know. I never tried to pinpoint

1117
00:59:38,840 --> 00:59:42,079
that exact chronology because it's kind of yeah, yeah for

1118
00:59:42,159 --> 00:59:44,719
any actress, I like, I don't ever try to. Yeah,

1119
00:59:44,840 --> 00:59:48,639
I don't need the exact chronology. Just whatever year was released,

1120
00:59:48,920 --> 00:59:49,840
that's what I'll go by.

1121
00:59:50,480 --> 00:59:53,039
Speaker 2: Yes, yeah, I'm like trying to find the shooting date.

1122
00:59:53,079 --> 00:59:57,079
Speaker 4: But yeah, it's like, dude, good luck, that's not gonna happen. Like,

1123
00:59:57,119 --> 00:59:59,360
I don't know what was first. I have no idea

1124
00:59:59,440 --> 01:00:05,760
what was for Yeah, not a clue. Yeah, but you know,

1125
01:00:06,320 --> 01:00:09,360
the name that she was touring under was Lisa Durant,

1126
01:00:09,639 --> 01:00:13,559
which was I believe her real married name, and then

1127
01:00:13,639 --> 01:00:17,039
that became Liza duran on Career Bed and Sex by Advertisement,

1128
01:00:17,639 --> 01:00:20,239
and there was something else she used Liza durant on,

1129
01:00:20,239 --> 01:00:23,480
maybe the Sporting House. But yeah, all I know. A

1130
01:00:23,480 --> 01:00:25,719
Scorpio seventy was the first Jennifer Wells and then Weakened

1131
01:00:25,760 --> 01:00:29,360
with Strangers was the second. Okay, yeah, and Week of

1132
01:00:29,360 --> 01:00:31,960
My Strangers was the first blonde Jennifer Wells. She was

1133
01:00:32,039 --> 01:00:35,639
a brunette and everything until Weakened with Strangers, which is

1134
01:00:35,679 --> 01:00:37,880
funny because she waited and tel color to become a

1135
01:00:37,920 --> 01:00:41,400
blonde because she only did black and white as a brunette.

1136
01:00:41,480 --> 01:00:44,559
And I feel like maybe there was some kind of

1137
01:00:44,599 --> 01:00:48,079
situation where someone told her, well, you'll be taking more

1138
01:00:48,119 --> 01:00:52,119
seriously as an actress if you're a brunette. So she

1139
01:00:52,199 --> 01:00:56,119
became a brunette because I mean, her roles in her

1140
01:00:56,199 --> 01:00:59,039
sixties films are much more substantial and interesting than her

1141
01:00:59,119 --> 01:01:01,280
roles in hardcore. Her roles and hardcore are not that

1142
01:01:01,320 --> 01:01:03,039
great and they don't really give her much to do.

1143
01:01:03,840 --> 01:01:07,800
So yeah, I prefer the brunette Jennifer Wells era.

1144
01:01:08,280 --> 01:01:10,960
Speaker 2: I do too, So that's the funny thing too. I

1145
01:01:11,280 --> 01:01:14,360
don't know how. I feel like most people approach her

1146
01:01:14,480 --> 01:01:18,639
career through the hardcore stuff. That's probably what they know

1147
01:01:18,840 --> 01:01:21,000
her for or for see her, And yeah, I probably

1148
01:01:21,119 --> 01:01:25,519
I had always known her from the Sarno's first, and

1149
01:01:25,559 --> 01:01:27,760
then I went back to the Black and Whites, and

1150
01:01:27,800 --> 01:01:30,599
then I've seen some of her hardcore stuff, So.

1151
01:01:31,719 --> 01:01:33,679
Speaker 4: It's it's kind of interesting.

1152
01:01:33,760 --> 01:01:38,199
Speaker 2: It is interesting for me because it's like there's a

1153
01:01:38,239 --> 01:01:42,360
lot of sexploitation actresses that never did I'd say the

1154
01:01:42,400 --> 01:01:46,320
majority of them didn't go into hardcore, So seeing them,

1155
01:01:46,760 --> 01:01:47,199
I don't know.

1156
01:01:47,719 --> 01:01:52,480
Speaker 4: Before a certain point, yes, after nineteen seventy, not really. Yeah,

1157
01:01:52,519 --> 01:01:55,480
Like there's very few that didn't do hardcore after hardcore

1158
01:01:55,559 --> 01:01:56,079
came around.

1159
01:01:56,440 --> 01:01:59,679
Speaker 2: Yeah, So it's always weird to me to see someone

1160
01:01:59,719 --> 01:02:04,039
that I I first knew doing softcore that actually went

1161
01:02:04,039 --> 01:02:07,360
into hardcore. Part of me doesn't like it because it's

1162
01:02:07,440 --> 01:02:09,280
kind of rue. I don't know, it kind of breaks

1163
01:02:09,320 --> 01:02:12,119
some of the magic, you know what well that russ Meyer.

1164
01:02:11,920 --> 01:02:14,079
Speaker 4: Always said he didn't like it when one of quote

1165
01:02:14,119 --> 01:02:17,599
unquote his girls did hardcore because he thought it ruined

1166
01:02:18,159 --> 01:02:21,119
their image that he had created of them, because because

1167
01:02:21,159 --> 01:02:23,199
you know, it was his He's the reason that anyone

1168
01:02:23,280 --> 01:02:26,559
kne who they were in his mind, so it was yeah,

1169
01:02:26,599 --> 01:02:29,039
it was totally hit. They should have asked him first,

1170
01:02:29,360 --> 01:02:34,880
as you know, his misogynistic ass would have probably thought yeah.

1171
01:02:34,920 --> 01:02:38,800
But actually, not even that many russ Meyer girls did hardcore.

1172
01:02:38,840 --> 01:02:41,519
It was like Sharon Kelly Kitten, which he was really

1173
01:02:41,519 --> 01:02:44,960
pissed about in Edie Williams, his ex wife, maybe a

1174
01:02:45,000 --> 01:02:47,760
few others. That's interesting that you got into Jennifer Wells

1175
01:02:47,800 --> 01:02:53,679
through the Sarno stuff, because I she's definitely a memorable

1176
01:02:53,719 --> 01:02:56,679
part of the Sarno stuff, but she's always for me anyway,

1177
01:02:57,199 --> 01:03:00,559
outshone by other cast members and all of those films.

1178
01:03:00,920 --> 01:03:04,480
In my opinion, Abigail Leslie really belongs to like Mary

1179
01:03:04,519 --> 01:03:08,719
Mendem and Chris Jordan American Housewife Mary Mendem, Chris Jordan,

1180
01:03:09,280 --> 01:03:12,960
Nissy Mary Mendem, So like I think casting her with Mary,

1181
01:03:13,639 --> 01:03:16,840
casting her with Mary Mendem is really not doing Jennifer

1182
01:03:16,840 --> 01:03:19,719
Will's any favors, because I think Mary Mendem is also

1183
01:03:19,760 --> 01:03:23,280
a better actress and a Sarno film that's kind of important.

1184
01:03:23,840 --> 01:03:29,280
So I understand her appeal. But it wasn't until I

1185
01:03:29,280 --> 01:03:31,480
started seeing her softcore stuff that I was like, Oh,

1186
01:03:32,079 --> 01:03:36,920
I really she was great. I don't know what happened there.

1187
01:03:36,960 --> 01:03:40,079
I feel she became a worse actress in the seventies

1188
01:03:40,079 --> 01:03:42,519
than she was in the sixties. Yeah. I don't know

1189
01:03:42,559 --> 01:03:43,159
why that is.

1190
01:03:43,559 --> 01:03:46,360
Speaker 2: Yeah, yeah, I think it's just yeah, seeing her next

1191
01:03:46,440 --> 01:03:51,800
to some of these stronger performers. Yeah, but I think, yeah,

1192
01:03:51,840 --> 01:03:56,199
the roles that she was given going forward further in

1193
01:03:56,239 --> 01:04:00,920
her career were maybe less interesting than earlier. Drew agree.

1194
01:04:01,599 --> 01:04:03,840
Speaker 4: I think. So we don't know about her touring in

1195
01:04:03,920 --> 01:04:07,159
theater though not as an actress. I think her touring

1196
01:04:07,320 --> 01:04:08,440
was as a dancer.

1197
01:04:08,880 --> 01:04:11,360
Speaker 2: Yeah, she was like not an actress.

1198
01:04:10,840 --> 01:04:13,159
Speaker 4: But I mean she said she like, really she wasn't

1199
01:04:13,159 --> 01:04:16,360
touring with ballet either. I mean she had a background

1200
01:04:16,360 --> 01:04:18,719
in ballet. Sure if she's said if she wants to

1201
01:04:18,719 --> 01:04:20,480
say she did summerstock, that's fine.

1202
01:04:20,599 --> 01:04:22,000
Speaker 2: Yeah, I haven't.

1203
01:04:22,239 --> 01:04:24,599
Speaker 4: I haven't found any evidence of that. I have found

1204
01:04:24,639 --> 01:04:26,599
all the evidence in the world that she had a

1205
01:04:26,719 --> 01:04:32,679
very well loved exotic dancing style that made her very

1206
01:04:32,719 --> 01:04:36,800
popular in Roanoke, Virginia, and she toured all over the place.

1207
01:04:36,920 --> 01:04:38,800
But an article that said that she'd been to Vegas

1208
01:04:38,800 --> 01:04:40,760
and was successful, I found no evidence she was ever

1209
01:04:40,760 --> 01:04:44,519
in Vegas, so like, yeah, I mean that's kind of

1210
01:04:44,519 --> 01:04:46,599
an interesting thing. There's all this apparently there's you know,

1211
01:04:46,639 --> 01:04:49,079
these revelations about her through interviews that have been done

1212
01:04:49,079 --> 01:04:51,079
with her. I can't find any evidence of a lot

1213
01:04:51,159 --> 01:04:54,280
of that, So, you know, I think a lot of

1214
01:04:54,400 --> 01:04:57,639
I think there are definitely actresses that will kind of

1215
01:04:57,639 --> 01:05:00,239
try to not rewrite history, but they have the own

1216
01:05:00,360 --> 01:05:03,519
version of things. Sure, And I don't know. Yeah, I

1217
01:05:04,880 --> 01:05:08,039
know that she studied acting, which you can tell because

1218
01:05:08,039 --> 01:05:10,440
I think you can see that she's trying a lot

1219
01:05:10,639 --> 01:05:13,960
in some of her performances. But then yeah, I think

1220
01:05:14,000 --> 01:05:19,000
she came for mostly like a dancing background for sure. Yeah. Yeah,

1221
01:05:19,039 --> 01:05:21,800
she's not like a Patty McNair or a Peggy Stephans. No,

1222
01:05:21,920 --> 01:05:25,119
they're definitely coming from an acting background. And they did

1223
01:05:25,159 --> 01:05:27,840
Summer Stock and they did Off Broadway, Like she didn't

1224
01:05:27,840 --> 01:05:32,559
do off Broadway or stuff in New York Theatrically, that

1225
01:05:32,599 --> 01:05:34,159
would have been kind of where I've been like, well,

1226
01:05:34,159 --> 01:05:37,159
if you're an actress, then exercise that craft on the stage,

1227
01:05:37,239 --> 01:05:39,079
And I don't think she ever did that. From what

1228
01:05:39,199 --> 01:05:42,039
I can tell, she was in like Minsky's burlesque Pollies,

1229
01:05:42,079 --> 01:05:44,719
but that's also not acting. It's dancing again. Right.

1230
01:05:45,079 --> 01:05:49,000
Speaker 8: So the year was nineteen sixty five and in southeast Roanoak,

1231
01:05:49,119 --> 01:05:51,880
the owner of a nightclub called Papa Joe's brought in

1232
01:05:51,960 --> 01:05:54,960
a couple of topless go go dancers strippers.

1233
01:05:54,960 --> 01:06:00,480
Speaker 6: Was getting old and saw so much publicize on topless goes,

1234
01:06:00,519 --> 01:06:01,559
and we decided to bring.

1235
01:06:01,400 --> 01:06:04,599
Speaker 4: Him in tramp. Anybody else in Virginia done this year?

1236
01:06:04,800 --> 01:06:07,320
Speaker 3: Not yet, Susie, what do you what do you think

1237
01:06:07,320 --> 01:06:07,760
of this new.

1238
01:06:07,719 --> 01:06:08,119
Speaker 1: Kind of act?

1239
01:06:08,159 --> 01:06:08,679
Speaker 2: Do you like it?

1240
01:06:09,119 --> 01:06:09,320
Speaker 9: Oh?

1241
01:06:09,400 --> 01:06:09,840
Speaker 4: Yeah?

1242
01:06:10,320 --> 01:06:15,360
Speaker 7: What what was the reaction when you started it last night? Oh?

1243
01:06:15,400 --> 01:06:16,000
Speaker 9: It was okay.

1244
01:06:16,039 --> 01:06:17,880
Speaker 7: Everybody liked it, seemed to like it.

1245
01:06:18,000 --> 01:06:21,320
Speaker 4: Yeah, Well how about you? Do you do you prefer

1246
01:06:21,400 --> 01:06:22,119
this to stripping?

1247
01:06:22,440 --> 01:06:22,679
Speaker 5: Yes?

1248
01:06:22,719 --> 01:06:22,920
Speaker 2: I do?

1249
01:06:23,239 --> 01:06:23,880
Speaker 4: Why is that?

1250
01:06:25,079 --> 01:06:26,480
Speaker 1: I've always been a go go fan.

1251
01:06:27,000 --> 01:06:29,920
Speaker 8: Some Roanoke residents were outraged by what they had heard

1252
01:06:29,960 --> 01:06:33,519
about the show when they stormed city council chambers to complain.

1253
01:06:33,920 --> 01:06:37,840
Speaker 1: Decent people don't go to that place, Respectable people don't

1254
01:06:37,880 --> 01:06:42,159
go to that place, and the men told such horrible

1255
01:06:42,280 --> 01:06:47,159
tales about these load down. Sorry, Jezbels, I don't believe

1256
01:06:47,199 --> 01:06:51,480
a nice Christian lady. We'll hang around places like can

1257
01:06:51,719 --> 01:06:53,639
I don't believe a gentle want to hang around.

1258
01:06:54,239 --> 01:06:57,000
Speaker 7: And Mayor I like to say that today that when

1259
01:06:57,079 --> 01:07:00,280
men go out and commit crime, well they are ready

1260
01:07:00,320 --> 01:07:02,840
to jail. And could you tell me that men would

1261
01:07:02,880 --> 01:07:07,280
go to where they and get intoxicated with alcohol and

1262
01:07:07,320 --> 01:07:11,840
then see necklace women talkless women, and then they get

1263
01:07:11,880 --> 01:07:13,760
that lust in them, and then they come out, go

1264
01:07:13,800 --> 01:07:16,119
out and commit crimes such as adultery, in which we

1265
01:07:16,280 --> 01:07:19,440
know if our city allows such things as going in

1266
01:07:19,480 --> 01:07:22,320
this and we're supposed to be a Christian nation, we

1267
01:07:22,440 --> 01:07:25,519
do know that rape and murder is going to increase.

1268
01:07:26,039 --> 01:07:28,000
Speaker 5: And I think that if we should should as a

1269
01:07:28,079 --> 01:07:31,880
Christian nation and preachers today, the Bible said that he

1270
01:07:31,960 --> 01:07:34,320
shall make you as bold as a lion. I think

1271
01:07:34,360 --> 01:07:37,079
that we should cry out against sin and not in

1272
01:07:37,079 --> 01:07:39,480
fight this thing, because we know that this thing comes

1273
01:07:39,519 --> 01:07:40,840
from the boish pits of hell.

1274
01:07:41,559 --> 01:07:45,639
Speaker 2: Yeah, see you alluded to that Roanoak tell us about

1275
01:07:45,719 --> 01:07:46,840
so she is.

1276
01:07:46,840 --> 01:07:49,800
Speaker 4: So beloved and ronok, I find all these all these

1277
01:07:49,800 --> 01:07:51,960
things like she They held her over and then they

1278
01:07:51,960 --> 01:07:53,679
brought her back and then they interviewed her in the

1279
01:07:53,760 --> 01:07:59,159
Roanoke Times about her about her showstopping, you know, audiences

1280
01:07:59,519 --> 01:08:04,480
packing performances, and she was a blonde, which is also

1281
01:08:04,519 --> 01:08:07,000
crazy because she was a blonde as a dancer when

1282
01:08:07,039 --> 01:08:09,519
she toured and then she went to brunette to become

1283
01:08:09,559 --> 01:08:14,000
an actress. It's just very interesting. I wonder for acting

1284
01:08:14,000 --> 01:08:15,400
teacher in New York was like, you need to be

1285
01:08:15,400 --> 01:08:18,119
a brunette to be taken seriously because you're too voluptuous

1286
01:08:18,479 --> 01:08:21,399
and you'll maybe it was like the Marrilyn neual fact,

1287
01:08:21,399 --> 01:08:23,359
where like people won't take you seriously if you're a blonde,

1288
01:08:24,279 --> 01:08:26,359
So dye your hair be brunette.

1289
01:08:26,680 --> 01:08:29,720
Speaker 2: What let me ask you about the voluptuousness, because I've

1290
01:08:29,760 --> 01:08:33,199
also heard that she had augmentation. But I don't know.

1291
01:08:33,199 --> 01:08:37,199
Speaker 4: If I don't think so, I can't. We've we've talked,

1292
01:08:37,239 --> 01:08:38,119
we have talked about this.

1293
01:08:38,279 --> 01:08:39,319
Speaker 2: I don't want to get me.

1294
01:08:39,359 --> 01:08:41,960
Speaker 4: You really want me to talk about breast agutation any

1295
01:08:42,079 --> 01:08:44,880
chance I get, because I'm a big not fan of that.

1296
01:08:45,720 --> 01:08:47,479
But no, I don't think so.

1297
01:08:47,800 --> 01:08:48,520
Speaker 2: I don't either.

1298
01:08:48,760 --> 01:08:52,159
Speaker 4: I would definitely be able to tell because you like

1299
01:08:52,359 --> 01:08:56,439
Dolly Sharp that early on. The only another actress over

1300
01:08:56,479 --> 01:08:58,399
that time in New York who got it was Dolly

1301
01:08:58,479 --> 01:09:01,640
Sharp and deep throat other things, you can definitely tell

1302
01:09:01,680 --> 01:09:04,119
that she's had breast augmentation. But yeah, like if you

1303
01:09:04,239 --> 01:09:06,319
look at like a baby Allen or Renne Bond, or

1304
01:09:06,359 --> 01:09:09,720
a Jane Centis or Sandy Carey or even like Anita

1305
01:09:09,760 --> 01:09:12,239
Strindberg over in Italy, like we've talked about it was

1306
01:09:12,279 --> 01:09:15,279
around that time, I'm not seeing any evidence of any

1307
01:09:15,319 --> 01:09:19,439
augmentation on her. Yeah. I think she was just vava voom,

1308
01:09:19,720 --> 01:09:21,399
you know, yes, good for her.

1309
01:09:21,760 --> 01:09:24,159
Speaker 2: Do we want to talk about her personal life, you know,

1310
01:09:24,399 --> 01:09:26,760
her disappearance, that kind of stuff.

1311
01:09:27,119 --> 01:09:29,920
Speaker 4: I don't know if you want, Yeah, if you want to, sure,

1312
01:09:30,439 --> 01:09:32,560
because I think you probably know about you know about

1313
01:09:32,640 --> 01:09:35,159
know more about it than I do. Because I've never Yeah,

1314
01:09:35,239 --> 01:09:38,479
like I've said, I've never been a diehard Jennifer Wells person.

1315
01:09:38,640 --> 01:09:40,680
I found her story interesting, but not interesting enough for

1316
01:09:40,720 --> 01:09:41,479
me to dive into.

1317
01:09:41,840 --> 01:09:45,239
Speaker 2: Well that's why I well, that's why I hesitate, because i've,

1318
01:09:45,520 --> 01:09:49,039
like you said, I don't I haven't like confirmed some

1319
01:09:49,119 --> 01:09:52,359
of the things she's she has said to certain people,

1320
01:09:53,479 --> 01:09:56,199
And like you said, she I don't know how much

1321
01:09:56,359 --> 01:10:00,960
she's molding these stories to fit the truth she wants

1322
01:10:01,000 --> 01:10:02,079
to tell about herself.

1323
01:10:03,079 --> 01:10:06,079
Speaker 4: But because that's something that I encountered to where you know,

1324
01:10:06,119 --> 01:10:07,720
I'll talk to someone, they'll tell me one thing, and

1325
01:10:07,720 --> 01:10:09,680
they'll talk to somebody else and they'll be like, well,

1326
01:10:10,199 --> 01:10:11,840
I don't know why she remembers it that way. She

1327
01:10:11,960 --> 01:10:14,960
or he remembers it that way. But in her case,

1328
01:10:15,399 --> 01:10:18,520
it's tough to find people to corroborate her story. So

1329
01:10:18,600 --> 01:10:20,600
you just go with you just go with what she's

1330
01:10:20,640 --> 01:10:25,600
saying is accurate. So if she says that, I'll believe her.

1331
01:10:25,520 --> 01:10:27,399
Speaker 2: Well we can. Yeah, so we can say. You know,

1332
01:10:27,520 --> 01:10:32,960
she has said she basically married a fan, you know, after.

1333
01:10:32,800 --> 01:10:35,439
Speaker 4: Sherry Candy Samples, which Candy Samples did too.

1334
01:10:35,800 --> 01:10:39,039
Speaker 2: After she divorced Manny, which.

1335
01:10:39,159 --> 01:10:41,640
Speaker 4: Which is funny because I don't think she divorced Manny,

1336
01:10:41,680 --> 01:10:45,479
because Manny doesn't remember ever officially divorcing her old vamoose

1337
01:10:45,600 --> 01:10:48,720
and left him. M hmm, yeah, because he was I

1338
01:10:48,800 --> 01:10:51,159
think he spoke about it briefly in like the early

1339
01:10:51,239 --> 01:10:54,119
two thousands and was like, yeah, we were married one

1340
01:10:54,199 --> 01:10:56,079
day and then I woke up and she wasn't there.

1341
01:10:56,520 --> 01:10:58,119
Speaker 2: Oh okay, she left.

1342
01:10:58,399 --> 01:11:01,600
Speaker 4: She just ran off and left New York, left everybody,

1343
01:11:01,640 --> 01:11:04,319
and I think that was yeah, So I don't think.

1344
01:11:04,359 --> 01:11:06,000
I don't know if they were ever officially divorced.

1345
01:11:06,359 --> 01:11:08,640
Speaker 2: Yeah, I wonder. I don't know how different states divorce

1346
01:11:08,720 --> 01:11:10,680
laws work. If he could have done that on his

1347
01:11:10,760 --> 01:11:13,199
own without her being there, like filed the paperwork.

1348
01:11:14,159 --> 01:11:14,880
Speaker 4: Yeah maybe.

1349
01:11:15,079 --> 01:11:17,880
Speaker 2: But anyways, Yeah, it sounds like she, Yeah, she married

1350
01:11:17,920 --> 01:11:21,239
a fan and he wanted her to quit, and so

1351
01:11:21,279 --> 01:11:25,520
she basically just quit everything, cut ties with everybody, kind

1352
01:11:25,520 --> 01:11:28,600
of at his behest, and kind of lived a life

1353
01:11:28,600 --> 01:11:31,039
of luxury for a little bit. I think she. I mean,

1354
01:11:31,079 --> 01:11:34,319
she readily said she was basically like in a gilded cage,

1355
01:11:34,359 --> 01:11:36,840
you know, hair and nails every day, that kind of thing.

1356
01:11:36,880 --> 01:11:40,800
And I think she eventually was kind of working with

1357
01:11:41,039 --> 01:11:44,680
her husband, like on the executive side. But yeah, I

1358
01:11:44,720 --> 01:11:48,600
don't remember how exactly she got involved with horse training

1359
01:11:48,680 --> 01:11:53,520
and horse breeding, but yeah, eventually she yeah, I was

1360
01:11:53,600 --> 01:11:57,880
off the grid doing horse breeding and said she had

1361
01:11:57,920 --> 01:12:01,199
no running water, no electricity, and so that's why it

1362
01:12:01,239 --> 01:12:03,920
was so hard for people to find her. Yeah what else,

1363
01:12:04,479 --> 01:12:08,880
So yeah, she's she was. She died a what year,

1364
01:12:10,319 --> 01:12:11,199
twenty seventeen.

1365
01:12:11,319 --> 01:12:15,439
Speaker 4: Yeah, yeah, it was a while ago. And I remember

1366
01:12:15,520 --> 01:12:18,159
that Steve Moore was dister Picks was devastated because he

1367
01:12:18,199 --> 01:12:19,960
was trying to get a hold of her for years.

1368
01:12:20,199 --> 01:12:22,359
Speaker 2: I think she was one of those people where it

1369
01:12:22,680 --> 01:12:25,640
was pretty late in her life when she came around

1370
01:12:25,680 --> 01:12:29,039
to being open to talking about this stuff. Yeah, the

1371
01:12:29,159 --> 01:12:32,199
interviewed that I've heard from her, she didn't really I

1372
01:12:32,239 --> 01:12:34,720
don't know if Steven should be too bummed because she

1373
01:12:34,760 --> 01:12:38,079
didn't really have many great memories of I should say

1374
01:12:38,079 --> 01:12:40,920
not great memories. She didn't have a great memory about

1375
01:12:40,960 --> 01:12:45,520
her sexploitation years, right, Like, she just had nothing really

1376
01:12:45,560 --> 01:12:48,159
to say about Sarno. She just said he was let

1377
01:12:48,199 --> 01:12:51,680
her do what she wanted and wild.

1378
01:12:52,359 --> 01:12:55,279
Speaker 4: Yeah. So see, I was at the Sarna stayed in

1379
01:12:55,319 --> 01:12:57,239
touch with her, which is why the whole thing about

1380
01:12:57,239 --> 01:12:58,840
her going off the grid was so strange to me

1381
01:12:58,920 --> 01:13:01,239
because I thought they ate in touch with her. I

1382
01:13:01,319 --> 01:13:04,600
thought because I thought that Michael Bowen had connected with

1383
01:13:04,640 --> 01:13:09,640
her through them through Peggy. I might be wrong about that, yeah, Joe,

1384
01:13:10,079 --> 01:13:13,119
I mean because they see in touch with like Marie Forsa,

1385
01:13:13,359 --> 01:13:16,800
who nobody has talked to. And yeah, they stayed in

1386
01:13:16,800 --> 01:13:19,720
touch with like everybody that they could, because I think

1387
01:13:19,800 --> 01:13:22,039
everyone had a good That's why it always it's very

1388
01:13:22,039 --> 01:13:23,840
strange when he's like, oh, yes, Sarana was fine. I

1389
01:13:23,880 --> 01:13:27,000
was like, I mean, you were you did more than

1390
01:13:27,000 --> 01:13:29,119
one movie with him. He was part of his go

1391
01:13:29,159 --> 01:13:32,119
to repertory. Yeah, I know group in the seventies. So

1392
01:13:32,159 --> 01:13:35,279
I just think it's strange that there aren't really any memories.

1393
01:13:35,479 --> 01:13:37,960
Maybe they all flow together because they were all kind

1394
01:13:37,960 --> 01:13:40,319
of shot around the same time and a lot of

1395
01:13:40,319 --> 01:13:42,680
the same different locations. So you're not gonna remember like

1396
01:13:42,840 --> 01:13:45,000
your characters that you played necessarily because you've paid a

1397
01:13:45,039 --> 01:13:47,840
lot of the same characters in those things too. Yeah.

1398
01:13:47,880 --> 01:13:50,560
Speaker 2: Well, and the funny thing is, yeah, the character that

1399
01:13:50,600 --> 01:13:55,439
she plays in Confessions, she's the housewife getting getting kind

1400
01:13:55,439 --> 01:13:58,640
of corrupted, as opposed to do in Submission. She's doing

1401
01:13:58,720 --> 01:14:02,000
the I mean, is she doing the corrupting. It's debatable.

1402
01:14:02,039 --> 01:14:04,960
Speaker 4: I think you know she's the one being corrupted in that.

1403
01:14:05,159 --> 01:14:06,760
Speaker 2: Yes, yeah, I know. That's that's what I was going

1404
01:14:06,800 --> 01:14:09,720
to say, Like, I think the older woman in Submission

1405
01:14:09,840 --> 01:14:11,319
is actually corrupting her.

1406
01:14:11,479 --> 01:14:14,159
Speaker 4: Yeah, well, I don't even know if it's corruption. It

1407
01:14:14,199 --> 01:14:18,399
gets more, she's been corrupted by the boyfriend. The older

1408
01:14:18,439 --> 01:14:21,840
woman is opening her up to the idea of what

1409
01:14:21,920 --> 01:14:27,000
like actual love can be. Yeah, it's not homophobic in

1410
01:14:27,039 --> 01:14:29,159
that way. Yeah, it's not like, well, no, yeah, this

1411
01:14:29,359 --> 01:14:33,560
this lesbian actually took took her over and corrupted her.

1412
01:14:33,600 --> 01:14:35,600
It's not like that at all. Other films are like that,

1413
01:14:35,720 --> 01:14:39,359
for sure, but this one isn't because you are never

1414
01:14:39,520 --> 01:14:43,720
against her and you're always against the guy, which is

1415
01:14:43,760 --> 01:14:45,760
great because he's terrible.

1416
01:14:46,079 --> 01:14:48,439
Speaker 2: Yeah, and the and the final shot is Yeah, the

1417
01:14:48,439 --> 01:14:52,520
way it's framed, it's not it's very I would say optimistic.

1418
01:14:52,600 --> 01:14:56,479
You know, the two girls kind of walking away arms

1419
01:14:56,840 --> 01:14:58,560
hand in hand, you know what I'm saying.

1420
01:14:58,720 --> 01:15:02,520
Speaker 4: It's actually kind of ill again ending.

1421
01:15:02,880 --> 01:15:04,920
Speaker 2: Just because someone like falls down the stairs.

1422
01:15:05,319 --> 01:15:08,399
Speaker 4: It reminds me of seeds or ghastly ones. Yeah, where

1423
01:15:08,399 --> 01:15:12,000
it's like, Okay, they survived and they will be fine.

1424
01:15:12,680 --> 01:15:15,319
The true evil has been vanquished, and that is a man.

1425
01:15:15,880 --> 01:15:18,680
Yeah right, it's like and that's not probably another reason

1426
01:15:18,720 --> 01:15:22,039
I like it. It's like, listen, this dude is just trash ladies.

1427
01:15:22,239 --> 01:15:24,720
You don't need him. They really don't need him. He

1428
01:15:24,720 --> 01:15:28,279
doesn't really do anything in the movie. Yeah, he does

1429
01:15:28,319 --> 01:15:30,800
little like chores around the house, but that's really mostly

1430
01:15:30,840 --> 01:15:34,920
what is doing. Yeah, like anybody can do that.

1431
01:15:37,319 --> 01:15:41,279
Speaker 5: Your work schedule, that's why you're here.

1432
01:15:41,159 --> 01:15:41,560
Speaker 7: Isn't it.

1433
01:15:42,119 --> 01:15:44,039
Speaker 9: Yes, ma'am and mister Morrow.

1434
01:15:44,960 --> 01:15:46,760
Speaker 4: I don't expect you to wear a uniform, but I

1435
01:15:46,760 --> 01:15:49,079
would appreciate it if you were a shirt in the future.

1436
01:15:49,640 --> 01:15:49,840
Speaker 5: Yes.

1437
01:15:56,840 --> 01:15:59,880
Speaker 2: Well, last thing about Jennifer's the interview that I listened

1438
01:15:59,880 --> 01:16:02,439
to with her, The one thing I liked that she

1439
01:16:02,520 --> 01:16:05,640
said about the exploitation era for her was that she

1440
01:16:05,840 --> 01:16:11,159
said that those sets were always super comfortable. Nobody was pervy,

1441
01:16:11,760 --> 01:16:14,720
nobody was you know, asking for favors. But she said

1442
01:16:14,840 --> 01:16:17,560
the mainstream jobs that she tried to get, that's where

1443
01:16:17,560 --> 01:16:20,560
she ran into the real sleeves bags.

1444
01:16:21,159 --> 01:16:24,439
Speaker 4: Yeah, I believe that like roof Tube, she had to

1445
01:16:24,439 --> 01:16:26,239
be in a scene with Chevy Chase. You just know

1446
01:16:26,600 --> 01:16:30,880
Chevy Chase was a total disgusting pervert to her. Yeah. Yeah,

1447
01:16:31,199 --> 01:16:33,319
just because their sex movies doesn't mean that everyone involved

1448
01:16:33,439 --> 01:16:35,399
is like trying to is on the make while they're

1449
01:16:35,439 --> 01:16:38,600
making them. It's a business. Yeah, they're making a movie.

1450
01:16:39,039 --> 01:16:43,560
They're acting, they're lighting, they're shooting, they're editing. It's a

1451
01:16:43,600 --> 01:16:47,399
business there, Yeah, it's not. And that's why I think

1452
01:16:47,560 --> 01:16:49,840
when it comes to mainstream stuff, that's why it's easy

1453
01:16:49,880 --> 01:16:51,760
to be pervy when the cameras aren't running, because it's

1454
01:16:51,760 --> 01:16:54,680
like it's just it's not up there, it's not upfront personal.

1455
01:16:54,680 --> 01:16:56,239
It's like we're making a sexy movie. You're gonna be

1456
01:16:56,279 --> 01:16:57,800
naked and it you're gonna pretend to have sex on

1457
01:16:57,920 --> 01:16:59,960
camera and then I'm whn y' all caught and we're done.

1458
01:17:00,520 --> 01:17:01,079
Speaker 2: Yeah.

1459
01:17:01,199 --> 01:17:04,479
Speaker 4: Yeah, I've heard that for years that those sets were

1460
01:17:04,520 --> 01:17:08,399
not largely not terrible. The adult sets are dealing with

1461
01:17:08,439 --> 01:17:12,119
people in studios definitely awful. Where you go in for

1462
01:17:12,239 --> 01:17:14,399
an audition and you're expected to put out because you

1463
01:17:14,479 --> 01:17:17,520
had a background in sex or a model in men's

1464
01:17:17,520 --> 01:17:20,119
magazines and things, and you're expected to do things. Erica

1465
01:17:20,159 --> 01:17:23,920
Gavins talked about that. Yeah, a lot of people have

1466
01:17:23,960 --> 01:17:26,600
talked about that, so that totally makes sense to me. Yeah.

1467
01:17:26,760 --> 01:17:29,840
Speaker 2: Yeah, with the sixties exploitation, the gist I get is

1468
01:17:30,279 --> 01:17:33,880
a lot of these people this was like their the

1469
01:17:34,000 --> 01:17:37,239
crew especially, they're kind of mood lighting from other jobs,

1470
01:17:37,279 --> 01:17:39,159
so this is like their fun job. This is like

1471
01:17:39,199 --> 01:17:40,479
their fun side gig.

1472
01:17:41,439 --> 01:17:43,920
Speaker 4: Right. No, definitely, but that also means that, I mean,

1473
01:17:43,920 --> 01:17:47,199
they're still working it's fun because it is just fun

1474
01:17:47,239 --> 01:17:50,199
because like, yeah, a lot of them are just like yeah,

1475
01:17:50,199 --> 01:17:52,600
it's just like naked ladies running around and you're having

1476
01:17:52,600 --> 01:17:54,760
fun and doing work. It's you know, it is what

1477
01:17:54,800 --> 01:17:57,079
it is, but you're not expecting to like, Okay, when

1478
01:17:57,319 --> 01:17:58,840
it's is dome, We're gonna have a big orgy on

1479
01:17:58,880 --> 01:18:02,039
this set. It's like, well, like, that's not the way

1480
01:18:02,239 --> 01:18:05,439
that works. And it's funny because there aren't there. There

1481
01:18:05,439 --> 01:18:07,920
are a few adult movies that kind of try to

1482
01:18:08,159 --> 01:18:12,640
stoke the fires of that myth. Softcorse Exploitation doesn't really

1483
01:18:13,199 --> 01:18:16,039
do that. If you see something like Starlet, it's like, no,

1484
01:18:16,199 --> 01:18:21,439
this is work. It's hard. It's not the easiest damn

1485
01:18:21,479 --> 01:18:24,079
thing in the world. Blue Money is like that too,

1486
01:18:24,199 --> 01:18:26,640
where it's like, it's not it's difficult. You got the

1487
01:18:26,680 --> 01:18:27,560
lat chasing after you.

1488
01:18:27,960 --> 01:18:32,199
Speaker 2: Yeah, yeah, Blue Money is It's a very specific time

1489
01:18:32,239 --> 01:18:35,039
and place though. Yeah, goal listen to oury episode about that.

1490
01:18:36,520 --> 01:18:38,720
But is there anything else we want to say about

1491
01:18:38,920 --> 01:18:43,520
Jennifer's You Found a whole a bunch of fun Papa

1492
01:18:43,600 --> 01:18:45,520
Joe's advertisements.

1493
01:18:45,880 --> 01:18:50,399
Speaker 4: Yes, Papa Joe's was her big, the Big Roanoke gig.

1494
01:18:50,680 --> 01:18:54,800
She also helped get a place shut down in Lynchburg, Virginia,

1495
01:18:54,880 --> 01:18:58,600
which listen, I'm from Virginia, I'm from northern Virginia, but

1496
01:18:58,640 --> 01:19:02,840
I know Lynchburg. Linsburg is very they have a Christian

1497
01:19:02,880 --> 01:19:05,239
college there now they might have had a Christian college

1498
01:19:05,239 --> 01:19:09,359
there then, So there are this paper got picked this

1499
01:19:09,600 --> 01:19:12,399
story got picked up by the wires and got published everywhere.

1500
01:19:12,800 --> 01:19:16,640
So she described her dancing routine as like a parody

1501
01:19:16,960 --> 01:19:19,960
of like eroticism, and it was like a comedy routine

1502
01:19:20,039 --> 01:19:23,920
or whatever. And then the sheriff sent the sheriff heard

1503
01:19:23,960 --> 01:19:26,000
about this and sent like a deputy or somebody to

1504
01:19:26,039 --> 01:19:28,880
watch the performance and they said that it was, Yeah,

1505
01:19:29,000 --> 01:19:32,760
it was. It was immoral and disgusting, and so they

1506
01:19:32,800 --> 01:19:36,159
shut down the venue the next day. And I was like, well,

1507
01:19:36,239 --> 01:19:40,960
that's that's our Jennifer just shutting down, shutting down southern

1508
01:19:42,159 --> 01:19:46,760
southern venues. The booker, but she traveled everywhere. She was

1509
01:19:46,800 --> 01:19:50,319
a super super busy lady in the sixties. She went everywhere.

1510
01:19:50,560 --> 01:19:53,000
And it's great because you can see ads with some

1511
01:19:53,079 --> 01:19:56,720
of the ads had pictures of her because she had

1512
01:19:56,760 --> 01:19:59,600
like nice stills taken of her with different hairds and things,

1513
01:19:59,640 --> 01:20:02,439
and so so yeah, it's interesting to trace that part

1514
01:20:02,479 --> 01:20:04,079
of her career. And then she came back to New

1515
01:20:04,119 --> 01:20:07,000
York and she toured with Minsky's Broadway Follies, and that

1516
01:20:07,199 --> 01:20:09,000
was based in New York, but then she would also

1517
01:20:09,199 --> 01:20:11,479
go to like New Jersey and Philadelphia and stuff with that.

1518
01:20:11,760 --> 01:20:15,520
So there are reviews that discuss her as like the

1519
01:20:15,520 --> 01:20:18,079
best part of that show. Like the show gets bad reviews,

1520
01:20:18,079 --> 01:20:20,399
but they say she's a memorable part of it. So

1521
01:20:21,000 --> 01:20:23,840
it's interesting that she would parlay this very busy touring

1522
01:20:23,880 --> 01:20:27,159
schedule as a dancer and then decided to settle down

1523
01:20:27,159 --> 01:20:31,920
in New York become an actress and start with I

1524
01:20:32,000 --> 01:20:35,520
guess career beed. Maybe I don't remember what the I

1525
01:20:35,520 --> 01:20:38,359
don't remember what the first one is. Yeah, talking about that,

1526
01:20:38,439 --> 01:20:39,600
but yeah.

1527
01:20:39,279 --> 01:20:41,199
Speaker 2: That is the part of the interview with her that

1528
01:20:41,239 --> 01:20:44,880
I totally believe, which is she says she's she got

1529
01:20:44,880 --> 01:20:47,920
into acting because she was just so tired from traveling

1530
01:20:47,960 --> 01:20:51,359
so much. She wanted to Yeah, she wanted to be

1531
01:20:51,439 --> 01:20:54,279
into schedule. She's like, I was never even in New

1532
01:20:54,359 --> 01:20:56,880
York for more than twenty four hours between stops, so

1533
01:20:56,960 --> 01:20:59,079
I wanted to just settle in New York. I love

1534
01:20:59,199 --> 01:21:00,720
New York, right.

1535
01:21:00,800 --> 01:21:03,760
Speaker 4: But also her husband was there too, Yeah he would.

1536
01:21:03,760 --> 01:21:05,760
I don't think he was necessarily touring with her all

1537
01:21:05,800 --> 01:21:08,319
the time, because that's one of the fun things. You'll

1538
01:21:08,359 --> 01:21:11,640
see her at Papa Joe's, and every single newspaper ad

1539
01:21:11,640 --> 01:21:14,960
for Papa Joe's has a different local band performing, so

1540
01:21:15,039 --> 01:21:18,880
like the Thunderbirds, the Fontanas, the whatever, And so you

1541
01:21:18,920 --> 01:21:20,800
get the idea of her being at this like go

1542
01:21:20,800 --> 01:21:23,680
go joint where she has her number, and then this

1543
01:21:23,840 --> 01:21:28,000
like local garage band does a set like some go

1544
01:21:28,000 --> 01:21:31,039
go dancers, you know. Yeah, So I like that idea

1545
01:21:31,159 --> 01:21:33,920
of like I like the I really am very much

1546
01:21:33,920 --> 01:21:38,119
a sixties Jennifer Wells person. Like she's so good and good,

1547
01:21:38,119 --> 01:21:40,359
the bad, the beautiful. I love her in that she's

1548
01:21:40,399 --> 01:21:43,079
great in career bed like, I really like that part

1549
01:21:43,119 --> 01:21:47,760
of her career as far as hardcore exposed me lovely,

1550
01:21:47,800 --> 01:21:51,079
she's top billed. She's not great in it, she's memorable

1551
01:21:51,119 --> 01:21:53,840
in like honey Pie and Sweetcakes, which is very very

1552
01:21:53,840 --> 01:21:58,199
similar roles as an older woman seducing someone younger and

1553
01:21:58,239 --> 01:22:01,239
inside Jennifer Wells that just came out. That's probably the

1554
01:22:01,279 --> 01:22:04,439
second best of those profile pictures. But it's so long,

1555
01:22:05,199 --> 01:22:07,479
and it doesn't need to be two bloody hours long.

1556
01:22:07,560 --> 01:22:10,119
But I think if you go in knowing that this

1557
01:22:10,239 --> 01:22:11,880
is going to be her last movie, and so you

1558
01:22:11,920 --> 01:22:15,199
want to see a ton of Jennifer Wells. It makes

1559
01:22:15,199 --> 01:22:19,680
sense why they did that. But yeah, the best one

1560
01:22:19,720 --> 01:22:22,479
is still Deep Inside Any Sprinkle, But that's the second

1561
01:22:22,479 --> 01:22:25,760
best one. Also because I think she the camera does

1562
01:22:25,840 --> 01:22:28,600
love her. I will always give her that. I think

1563
01:22:28,640 --> 01:22:33,399
she was always gorgeous and very memorable presence in her movies.

1564
01:22:33,479 --> 01:22:37,920
Even if she doesn't move me as much as other

1565
01:22:37,960 --> 01:22:41,439
actresses do, I still, you know, have to give her

1566
01:22:41,479 --> 01:22:43,920
her props. There's a reason why she was a star

1567
01:22:44,000 --> 01:22:45,640
and why she's still loved today for sure.

1568
01:22:46,600 --> 01:22:49,680
Speaker 2: Yeah, if you want to see Jennifer in a scene

1569
01:22:49,720 --> 01:22:53,760
with Robert Kerman, watch Inside Jennifer Wells.

1570
01:22:54,119 --> 01:22:59,119
Speaker 4: And Carter Stevens too, right, Oh that's glass eye. Yeah

1571
01:22:59,199 --> 01:23:02,479
yeah Stevens with his glass eye. God, I miss Carter

1572
01:23:03,079 --> 01:23:05,119
a what a wild dude. Yeah.

1573
01:23:05,159 --> 01:23:08,119
Speaker 2: Well, so, you know, I watched that movie Blue Nude

1574
01:23:08,520 --> 01:23:09,520
by Luigi.

1575
01:23:09,159 --> 01:23:11,159
Speaker 4: Scatini the other day, which he was involved with.

1576
01:23:11,239 --> 01:23:12,359
Speaker 2: He's a big part of it.

1577
01:23:12,600 --> 01:23:15,000
Speaker 4: Yeah, he was involved with casting so all the adult

1578
01:23:15,039 --> 01:23:18,399
people in that he got involved. Yeah. So Suzanne McBain

1579
01:23:18,560 --> 01:23:21,000
was in Roller Babies and then he got her involved

1580
01:23:21,039 --> 01:23:23,800
with Blue Nude and she's really good in Blue Nude. Yes,

1581
01:23:23,800 --> 01:23:26,840
it really gives you it. Really, she's only ever good

1582
01:23:26,840 --> 01:23:28,760
in anything else. The only other thing she's good in

1583
01:23:28,800 --> 01:23:32,119
his Odyssey for Domiano, because people didn't cast her and

1584
01:23:32,199 --> 01:23:35,319
stuff to act and so you know so, but she's

1585
01:23:35,359 --> 01:23:37,479
she's terrific and I think she's still around too.

1586
01:23:37,960 --> 01:23:41,640
Speaker 2: Well. What about the two Don Walters movies? Do you

1587
01:23:41,680 --> 01:23:44,039
like those? Have you seen those? Little Orphan Sammy?

1588
01:23:44,079 --> 01:23:50,399
Speaker 4: And No, No, I don't look Don Walters. I think Don Walters.

1589
01:23:50,439 --> 01:23:54,600
I love his softcore stuff, especially Anything Once is absolutely incredible.

1590
01:23:55,279 --> 01:23:57,319
The only hardcore movie of his that I like is

1591
01:23:57,359 --> 01:23:59,960
a movie he didn't even direct. He produced Outlaw Lady,

1592
01:24:00,199 --> 01:24:04,039
which is Ron Sullivan's best probably his best movie, which

1593
01:24:04,079 --> 01:24:06,520
is very tough to say actually, because he did so

1594
01:24:06,560 --> 01:24:09,000
many good movies one after the other. That is probably

1595
01:24:09,039 --> 01:24:13,319
his crowning achievement. And he produced that. Okay, and uh yeah,

1596
01:24:13,800 --> 01:24:15,840
Little or from Sammy. I like the theme song, but

1597
01:24:15,880 --> 01:24:20,399
it's just so it's dumb. It's I don't it's so stupid,

1598
01:24:20,479 --> 01:24:22,159
and I don't like the leading man in it. I

1599
01:24:22,159 --> 01:24:25,319
think he's lame as hell. Yeah, it's just not good.

1600
01:24:25,319 --> 01:24:28,560
A little blue box I don't like, it's just yeah,

1601
01:24:28,079 --> 01:24:31,520
I think she got out at the right time because

1602
01:24:31,560 --> 01:24:33,920
she was disappearing in a lot of blonde Velvet is

1603
01:24:33,960 --> 01:24:36,840
not good. Temptations is not good, Like, her hardcore stuff

1604
01:24:36,880 --> 01:24:39,159
is not good. Like, there's very little of it that's

1605
01:24:39,199 --> 01:24:44,359
worth anyone's time unless you're like, unless you're specifically watching

1606
01:24:44,399 --> 01:24:46,960
it for the purpose it was made because you're hot

1607
01:24:46,960 --> 01:24:49,439
for Jennifer Wells. That's why you should watch it. If

1608
01:24:49,439 --> 01:24:53,079
you're watching it to see her act or do anything else,

1609
01:24:53,159 --> 01:24:55,880
you're gonna be very disappointed. Stick to the Sarno's and

1610
01:24:55,920 --> 01:24:57,760
the sixty stuff if you want to see her like

1611
01:24:57,840 --> 01:25:00,439
act and actually do something, because the hardcore stuff just

1612
01:25:00,560 --> 01:25:02,600
is not very good. Uh huh.

1613
01:25:02,680 --> 01:25:05,920
Speaker 2: Yeah. I was telling our friend Alex to watch Little

1614
01:25:06,039 --> 01:25:08,399
Orphan Sammy just so you can see Neil Flanagan. But

1615
01:25:08,439 --> 01:25:11,319
I was like, I was like, I should have warned

1616
01:25:11,399 --> 01:25:15,880
him that the leading man is like an Alstone. He's

1617
01:25:15,960 --> 01:25:18,439
weirdo He's I mean, is he Albino?

1618
01:25:18,560 --> 01:25:22,760
Speaker 4: I don't know, he's just like like he's yeah, he's

1619
01:25:22,840 --> 01:25:25,159
just this gangly ass dude who only made like two

1620
01:25:25,239 --> 01:25:27,399
or three other movies. And there's a reason for that,

1621
01:25:28,119 --> 01:25:30,199
you know. I don't know who else they would have

1622
01:25:30,239 --> 01:25:32,079
cast actually, and who they could have cast in that

1623
01:25:32,800 --> 01:25:35,760
is the guy that the young kid that she's seduced

1624
01:25:35,760 --> 01:25:38,159
in Honey Pie, except he was gay in real life,

1625
01:25:38,159 --> 01:25:41,000
so that would not have worked. Okay, because he did

1626
01:25:41,039 --> 01:25:43,840
so he did a good bunch of gay horn around

1627
01:25:43,880 --> 01:25:49,479
that time too. Yeah, even Jennifer, Jennifer can switch one

1628
01:25:49,520 --> 01:25:52,279
of us, not me, but somebody.

1629
01:26:18,159 --> 01:26:21,880
Speaker 2: Well, Jennifer wells, we are going to bid ad or

1630
01:26:22,000 --> 01:26:25,560
now and talk about I do you think.

1631
01:26:25,399 --> 01:26:29,960
Speaker 4: She's great in this? Actually, Jennifer considering that because any

1632
01:26:30,000 --> 01:26:33,359
of the character is kind of like unknowable. I mean,

1633
01:26:33,479 --> 01:26:36,159
she's kind of like an adult. They describe her as

1634
01:26:36,199 --> 01:26:39,720
like an adult, like a woman child nympho in the

1635
01:26:39,760 --> 01:26:42,880
advertising or something, and she is that. She's very Marcia

1636
01:26:42,960 --> 01:26:46,000
Forbes and toys You're not for children, where she's into

1637
01:26:46,079 --> 01:26:49,760
like playing with dolls and she's obsessed with candy. So

1638
01:26:49,800 --> 01:26:53,640
there's like an innocence to her that feels like it

1639
01:26:53,720 --> 01:26:56,079
might be play acting for their relationship, but it might

1640
01:26:56,119 --> 01:26:58,159
not be. It might just be that she has like

1641
01:26:58,239 --> 01:27:01,119
arrested development or something. It's not me.

1642
01:27:02,119 --> 01:27:05,479
Speaker 2: It very easily could have been played obvious, like one

1643
01:27:05,479 --> 01:27:07,319
way or the other. But she plays it kind of

1644
01:27:07,319 --> 01:27:09,920
down the middle, like where is she really like a

1645
01:27:09,920 --> 01:27:16,000
little baby acting? Is she really mentally you know, stunted

1646
01:27:16,199 --> 01:27:17,359
or is this an act?

1647
01:27:17,880 --> 01:27:21,479
Speaker 4: Is she baby from a Thousand Pleasures? Right? Yeah? Or

1648
01:27:21,520 --> 01:27:22,479
is she just baby doll?

1649
01:27:22,960 --> 01:27:24,039
Speaker 2: Or is she baby doll?

1650
01:27:24,159 --> 01:27:25,359
Speaker 4: Yeah? Right, exactly.

1651
01:27:25,640 --> 01:27:29,039
Speaker 2: I do think that there's what she's doing influenced there.

1652
01:27:29,199 --> 01:27:31,720
Speaker 4: Yeah, a baby Oh absolutely. I mean that movie was

1653
01:27:31,720 --> 01:27:34,680
condemned by the Catholic Church. Anybody who was around in

1654
01:27:34,720 --> 01:27:37,439
fifty six when that came out, they were still remembering

1655
01:27:37,439 --> 01:27:40,159
it like a decade later for sure. Yeah.

1656
01:27:40,239 --> 01:27:41,920
Speaker 2: And I think there even are a couple of shots

1657
01:27:41,920 --> 01:27:45,359
in submission that are kind of you know, lens through

1658
01:27:45,439 --> 01:27:49,279
the slats of a it's not a crib, but it's

1659
01:27:49,319 --> 01:27:52,239
like a you know, a bed with posts, kind of

1660
01:27:52,279 --> 01:27:54,880
in the similar way that the baby doll marketing was.

1661
01:27:56,319 --> 01:27:56,520
Speaker 4: Right.

1662
01:27:56,600 --> 01:28:23,039
Speaker 2: So yeah, yeah, Sheba Britt, Sheila Britt. So yeah, speaking

1663
01:28:23,079 --> 01:28:26,079
about her name, yeah, so I had also I've heard

1664
01:28:26,119 --> 01:28:28,920
Michael Bowen Michael Bowen always calls her Sheba, and I

1665
01:28:28,960 --> 01:28:30,520
was like, why is he calling her Sheba?

1666
01:28:31,079 --> 01:28:34,239
Speaker 4: Well that's her real name, So her real name Michelle Ba.

1667
01:28:35,520 --> 01:28:40,000
Her real name Michelle Ba, but Sheba is the closest

1668
01:28:40,039 --> 01:28:44,720
to what her real name is. Sheba, so I think

1669
01:28:45,199 --> 01:28:48,600
and I think Sheila, yeah, because I think her most

1670
01:28:48,600 --> 01:28:51,239
popular usings are either Sheila Britt or Sheba Britt. But

1671
01:28:51,319 --> 01:28:54,520
her real name Michelle Ba. Now, something I haven't really

1672
01:28:54,560 --> 01:28:57,960
been able to figure out is you know, she has

1673
01:28:58,000 --> 01:29:01,199
this accent or she sounds kind of your but she's

1674
01:29:01,199 --> 01:29:04,159
from the South. She's a Southern girl. Yeah, she's from

1675
01:29:04,199 --> 01:29:08,039
South Carolina. I'm sorry, North Carolina. So I'm not sure.

1676
01:29:08,239 --> 01:29:10,960
Maybe she's a second furderation immigrant. Maybe her parents are

1677
01:29:11,000 --> 01:29:14,760
German and they moved, they came to America and they

1678
01:29:14,800 --> 01:29:17,640
had her. It's very interesting to trace her though, because

1679
01:29:17,720 --> 01:29:20,079
she I mean, she was involved with like dancing and

1680
01:29:20,119 --> 01:29:22,960
singing at a young age. She participated in a local

1681
01:29:23,000 --> 01:29:25,399
beauty pageant in the fifties, you know, when she was

1682
01:29:25,439 --> 01:29:28,960
just out of high school. And she had a good

1683
01:29:29,239 --> 01:29:33,960
theatrical background, so she did local plays. She was recruited

1684
01:29:34,000 --> 01:29:38,279
to join a production of Miranda, which I think most

1685
01:29:38,279 --> 01:29:41,600
people know now because it was made in forty eight

1686
01:29:41,600 --> 01:29:44,039
as a film. I think with David Niven. It's the

1687
01:29:44,039 --> 01:29:47,039
one about the It's a prittish one about a Mermaid,

1688
01:29:47,640 --> 01:29:50,159
and so she was cast in this production that was

1689
01:29:50,159 --> 01:29:53,079
put on in Philadelphia of Miranda as the mermaid in

1690
01:29:53,119 --> 01:29:55,479
the title role of Miranda. It's a big role for

1691
01:29:55,560 --> 01:29:58,000
someone she was like going by her birthday. She was

1692
01:29:58,000 --> 01:29:59,760
twenty two years old when she got that role, so

1693
01:29:59,800 --> 01:30:03,800
she was very young. And that play, that production left

1694
01:30:03,800 --> 01:30:06,880
Philadelphia and went off Broadway. That went to off Broadway

1695
01:30:06,880 --> 01:30:11,119
in New York in nineteen sixty or nineteen fifty nine

1696
01:30:11,159 --> 01:30:15,199
or nineteen sixty, I believe. So from there she kind

1697
01:30:15,239 --> 01:30:18,279
of became a presence in New York. She was doing

1698
01:30:18,319 --> 01:30:22,640
off Broadway plays. She was being quoted in like high

1699
01:30:22,640 --> 01:30:25,840
society columns where she described herself as like a Southern

1700
01:30:25,880 --> 01:30:27,600
girl with a Northern attitude.

1701
01:30:28,720 --> 01:30:28,920
Speaker 2: Yeah.

1702
01:30:29,399 --> 01:30:33,880
Speaker 4: Probably, Yeah, I included them in the show notes.

1703
01:30:34,279 --> 01:30:38,079
Speaker 2: So she's giving her like stats like I'm.

1704
01:30:40,840 --> 01:30:43,960
Speaker 4: I love that, and that's that's in a Pennsylvania paper,

1705
01:30:44,119 --> 01:30:46,680
which is crazy, but that again was picked up by

1706
01:30:46,840 --> 01:30:51,079
the by the by the News circuit and was publishing

1707
01:30:51,079 --> 01:30:53,079
a bunch of different papers around the country. But the

1708
01:30:53,079 --> 01:30:56,000
New York Daily News, she's on the town column where

1709
01:30:56,000 --> 01:30:59,159
she says, I'm an actress and I'm a proud Southern

1710
01:30:59,199 --> 01:31:01,000
girl too. But I'm tend to do some moonlighting in

1711
01:31:01,039 --> 01:31:02,800
the nightclubs. If I do this, I guess the man

1712
01:31:02,840 --> 01:31:05,520
down town will want my fingerprints. Well I've got news

1713
01:31:05,560 --> 01:31:07,319
for him. I will not hold hands with any cop

1714
01:31:07,399 --> 01:31:10,319
until I've met his family. And that was in nineteen

1715
01:31:10,399 --> 01:31:14,560
sixty and then sixty one. She sends some They say

1716
01:31:14,600 --> 01:31:17,800
she wrote a letter in from Darlington, South Carolina, which

1717
01:31:17,840 --> 01:31:20,600
is oddly close to where she is now. She's in

1718
01:31:20,640 --> 01:31:23,279
South Carolina now, but it says my name is Sheba Britt.

1719
01:31:23,279 --> 01:31:25,880
I'm thirty eight, twenty three fifty five. Do you think

1720
01:31:25,880 --> 01:31:28,359
my southern accent and northern view will be misleading if

1721
01:31:28,359 --> 01:31:30,159
I come up to your neck of the woods. I've

1722
01:31:30,159 --> 01:31:32,199
been reading about moonlighting and I feel like I could

1723
01:31:32,199 --> 01:31:33,920
be a good moonlighter. But does that mean I have

1724
01:31:33,960 --> 01:31:36,479
to date were wolves? I have no idea what that means.

1725
01:31:36,920 --> 01:31:40,520
I know, oh yeah, But the point is this, You

1726
01:31:40,600 --> 01:31:43,079
get your name in the papers and people are going

1727
01:31:43,119 --> 01:31:46,439
to say, oh, Sheba Britt with measurements. Yeah, she's some

1728
01:31:46,479 --> 01:31:49,640
southern girl, some blonde girl with attitude. So that I

1729
01:31:49,840 --> 01:31:52,560
without a doubt. I'm sure that led to her getting

1730
01:31:52,600 --> 01:31:56,000
casts in the Seducers, which was her film debut. All

1731
01:31:56,039 --> 01:31:59,920
the newspaper ads saying introducing the sensational Sheiba Britt. She's

1732
01:32:00,000 --> 01:32:04,000
spotlighted in the advertising campaign the trailer, and you know,

1733
01:32:04,039 --> 01:32:06,520
it seems like it's a Southern Fried kind of like

1734
01:32:06,760 --> 01:32:10,319
you know, melodrama that set out in the woods, which is,

1735
01:32:10,520 --> 01:32:13,560
you know, kind of in keeping with her North Carolina upbringing.

1736
01:32:15,039 --> 01:32:17,319
She does start posing in men's magazines. I've had an

1737
01:32:17,399 --> 01:32:19,039
article where it described her as one of the most

1738
01:32:19,079 --> 01:32:22,800
popular men's magazines in nineteen sixty four. Doesn't interview her,

1739
01:32:22,880 --> 01:32:24,680
but it's names her with a bunch of other models

1740
01:32:24,680 --> 01:32:27,000
who I've never heard of, But it does name her

1741
01:32:27,039 --> 01:32:30,439
as being very a successful pin up girl. That was

1742
01:32:30,479 --> 01:32:33,159
a Newsday magazine of all places. It was like, yeah,

1743
01:32:33,159 --> 01:32:35,840
she rere Brit, very very successful along with these girls.

1744
01:32:36,680 --> 01:32:38,720
Speaker 2: I don't see her as like the pin up type.

1745
01:32:39,399 --> 01:32:39,880
I don't know.

1746
01:32:40,000 --> 01:32:43,600
Speaker 4: I guess I do in that in the early sixties,

1747
01:32:43,640 --> 01:32:47,119
I do, But I think it's because we mostly know

1748
01:32:47,239 --> 01:32:50,920
her because she aligned with Sarno and was actually given

1749
01:32:51,239 --> 01:32:54,239
roles to act. So like I think you and I

1750
01:32:54,479 --> 01:32:56,760
and other people who know she brit will know her

1751
01:32:56,800 --> 01:33:00,000
as an actress because she's really good in her Sarno film,

1752
01:33:00,159 --> 01:33:03,039
she's given good roles, she's given a lot of good dialogue.

1753
01:33:03,319 --> 01:33:07,079
She can spar with Patricia McNair, which is very rare,

1754
01:33:07,680 --> 01:33:10,880
like she is very good in her Sarno films. So

1755
01:33:10,920 --> 01:33:14,800
by the time she's in submission, she's been she's kind

1756
01:33:14,840 --> 01:33:17,279
of had to wallow in some garbage, like she's in

1757
01:33:17,359 --> 01:33:21,359
the inserts to Seeds randomly. Don't know why that is.

1758
01:33:21,479 --> 01:33:23,880
She appears in inserts for lots of stuff. Around that time.

1759
01:33:23,960 --> 01:33:26,239
She was in inserts for like Softskin on Black Silk

1760
01:33:26,880 --> 01:33:30,880
and The Unsatisfied and a few other things. But she

1761
01:33:31,039 --> 01:33:33,399
stayed with Sarno until I think sixty nine, and then

1762
01:33:33,439 --> 01:33:35,960
she stopped. She was in Jerry Denby's Pleasure Plantation, which

1763
01:33:35,960 --> 01:33:39,479
I think was her last film maybe, and then that's it.

1764
01:33:39,640 --> 01:33:41,720
By the time she was in submission, she had married

1765
01:33:41,760 --> 01:33:44,600
Sam Stewart, who she'd work with a murder in Mississippi

1766
01:33:44,600 --> 01:33:49,239
where he sexually assaults her, which is horrible, and she

1767
01:33:49,279 --> 01:33:51,479
had a kid, she had a son. So when you

1768
01:33:51,520 --> 01:33:53,680
see her in Submission where she has this role where

1769
01:33:53,680 --> 01:33:56,760
there's no dialogue, but there's something about her character that

1770
01:33:56,880 --> 01:34:01,640
is mysterious because it's from these two sets characters pass like, Okay,

1771
01:34:01,640 --> 01:34:04,039
what did they do to her? Why do they do

1772
01:34:04,119 --> 01:34:07,119
this to her? By the time, she's like, yeah, she's

1773
01:34:07,159 --> 01:34:09,399
a mom with an infant home. Yeah, when she's not

1774
01:34:09,800 --> 01:34:12,880
cavorting around having sex with Gary Juden on camera.

1775
01:34:12,840 --> 01:34:15,279
Speaker 2: And this is her last year yea in film?

1776
01:34:15,600 --> 01:34:18,000
Speaker 4: Yeah, well I think at that point, Yeah, because Marcy,

1777
01:34:18,119 --> 01:34:22,319
I think was her last Sarno film was Marci and

1778
01:34:22,359 --> 01:34:25,600
then Pleasure Pentation for Jerry Denby, which was shot you know,

1779
01:34:25,760 --> 01:34:28,439
off on location as well, just like Marci was. And

1780
01:34:28,439 --> 01:34:30,760
then that's kind of it. I think she probably saw

1781
01:34:30,800 --> 01:34:33,000
the writing on the wall. She's in Cargo with Love

1782
01:34:33,039 --> 01:34:33,880
at sixty nine two.

1783
01:34:33,920 --> 01:34:37,000
Speaker 2: Also Love Me Please, she's in there.

1784
01:34:36,880 --> 01:34:43,560
Speaker 4: Love Me Please with also was Joel Fernandez and Linda Boyce. Yeah. So,

1785
01:34:43,680 --> 01:34:45,960
like I think you can see if you watch her

1786
01:34:46,000 --> 01:34:48,000
career and you see that she's in these really good

1787
01:34:48,079 --> 01:34:50,159
roles in the Sarrono movies, and then she has to

1788
01:34:50,159 --> 01:34:52,920
be in stuff like Love Me ployees where she's she's

1789
01:34:53,079 --> 01:34:57,279
kind of barely in that and the inserts situations and

1790
01:34:57,319 --> 01:34:59,560
it's just roles that are calling her just be naked

1791
01:34:59,600 --> 01:35:02,640
and roll. That's such a start contrast to like the

1792
01:35:02,720 --> 01:35:04,520
swap and how they make it, which I think she's

1793
01:35:04,600 --> 01:35:11,840
terrific in. Yeah, yeah, she's still alive. She's she's old,

1794
01:35:12,000 --> 01:35:14,880
she's eighty nine years old. She lives in South Carolina.

1795
01:35:15,079 --> 01:35:18,000
We'll leave it at that, And I do feel like

1796
01:35:18,039 --> 01:35:20,279
I need to call her because I feel like times

1797
01:35:20,319 --> 01:35:23,800
running out. I think we confirmed that Michael Bowen had

1798
01:35:23,840 --> 01:35:27,600
spoken to her and interviewed her, which is promising because

1799
01:35:28,079 --> 01:35:29,600
I think she should be proud of her work for

1800
01:35:29,640 --> 01:35:32,920
SARG not because I think she's so good in that stuff,

1801
01:35:33,119 --> 01:35:34,840
you know. And if we're not gonna hear from Patriilla

1802
01:35:34,920 --> 01:35:38,279
McNair unfortunately, I'll be happy to hear from Shiba.

1803
01:35:38,680 --> 01:35:43,479
Speaker 2: Yeah. Yeah, I rewatched The Deep Inside again the other night.

1804
01:35:43,359 --> 01:35:45,840
Speaker 4: And she still hasn't seen it.

1805
01:35:45,960 --> 01:35:48,439
Speaker 2: She's really great in that. Yeah, she's the you know,

1806
01:35:48,640 --> 01:35:52,600
conflicted lesbian part, and yeah, it's really fun.

1807
01:35:53,239 --> 01:35:54,560
Speaker 4: I love that I saw you to watch it. I

1808
01:35:54,600 --> 01:35:56,880
still need that Lost Picture show. I don't have it yet.

1809
01:35:57,199 --> 01:35:58,880
There's so many good people in that. But you did

1810
01:35:58,880 --> 01:36:02,439
post the picture Particia Air and that war crime of

1811
01:36:02,560 --> 01:36:07,319
Wig that is I don't know why she would so

1812
01:36:07,479 --> 01:36:09,119
actively sabotage herself.

1813
01:36:09,359 --> 01:36:12,239
Speaker 2: She always was wearing ridiculous wigs.

1814
01:36:13,199 --> 01:36:16,119
Speaker 4: No, she has a series of good wigs. This one,

1815
01:36:16,399 --> 01:36:18,920
I don't know what the hell she's thinking. I'm like, Pat,

1816
01:36:19,000 --> 01:36:20,680
is it because you're on your way out? Because she

1817
01:36:20,680 --> 01:36:22,880
didn't make that many more movies after that. I'm just like,

1818
01:36:22,920 --> 01:36:25,319
are you just doing this because you're you just feel done?

1819
01:36:25,960 --> 01:36:26,159
You know?

1820
01:36:27,119 --> 01:36:29,840
Speaker 2: I don't know Uda Erickson. I don't think she well, no,

1821
01:36:29,920 --> 01:36:32,880
she did wear a few wigs for Findlay, I think you.

1822
01:36:33,359 --> 01:36:35,960
Speaker 4: But usually it was like her hair there was just

1823
01:36:35,960 --> 01:36:39,239
done up pretty well, but that little it was usually

1824
01:36:39,279 --> 01:36:41,880
like that little not like a not like a Lulu,

1825
01:36:41,960 --> 01:36:44,039
not like a Louise Brooks, but it was kind of

1826
01:36:44,840 --> 01:36:46,600
not even like a helmet hair. I don't know how

1827
01:36:46,600 --> 01:36:47,239
to describe it.

1828
01:36:47,520 --> 01:36:48,359
Speaker 2: Yeah, I know what you mean.

1829
01:36:48,720 --> 01:36:49,760
Speaker 4: It was short, shorter.

1830
01:36:50,000 --> 01:36:56,079
Speaker 2: Yeah, anyways, we're getting off topic. What else can we

1831
01:36:56,079 --> 01:36:57,159
say about Chila? Anything else?

1832
01:36:57,199 --> 01:36:57,399
Speaker 1: Yeah?

1833
01:36:57,439 --> 01:37:00,359
Speaker 2: I mean, I just want to hear Bowen get that

1834
01:37:00,359 --> 01:37:02,159
book out. I want to I want to hear from

1835
01:37:02,199 --> 01:37:05,880
these people. I know you've talked to them, you're hoarding

1836
01:37:05,960 --> 01:37:07,560
this information from us.

1837
01:37:08,039 --> 01:37:12,079
Speaker 4: But if you recorded the interviews, I kind of wish that. Well,

1838
01:37:12,359 --> 01:37:15,000
now we can't even I would say when the next

1839
01:37:15,000 --> 01:37:17,399
TVD Net Blueward comes out, but God knows when that's

1840
01:37:17,399 --> 01:37:19,000
going to be. But I kind of wish they had

1841
01:37:19,000 --> 01:37:21,520
been included in some of those where we had had

1842
01:37:21,600 --> 01:37:24,159
some of the audio interviews. If he recorded them, I

1843
01:37:24,199 --> 01:37:27,000
don't care if they don't sound that great, Like my

1844
01:37:27,000 --> 01:37:29,079
my Tlie Cochran interview doesn't sound great, but it has

1845
01:37:29,119 --> 01:37:31,800
good stuff in it. So Viniger Cinder mused.

1846
01:37:31,600 --> 01:37:36,960
Speaker 2: It, Well, Submissions hasn't had a new release since the

1847
01:37:37,039 --> 01:37:41,279
DVD days, so that is a negative is still there? Yep,

1848
01:37:41,399 --> 01:37:44,800
that is one that I think is I mean, it's

1849
01:37:44,840 --> 01:37:47,960
a it should be high in the priority list if

1850
01:37:47,960 --> 01:37:52,199
they if they're looking at this stuff, I think it's

1851
01:37:52,319 --> 01:37:54,079
an easy slam dunk.

1852
01:37:54,359 --> 01:37:57,960
Speaker 4: Yeah, what would you pair it with? It wouldn't do

1853
01:37:58,039 --> 01:37:58,600
by itself.

1854
01:37:58,920 --> 01:38:02,079
Speaker 2: Well, do you want to recreate the Times Square double

1855
01:38:02,159 --> 01:38:04,239
triple feature? I know you don't know.

1856
01:38:04,760 --> 01:38:06,079
Speaker 4: Vibrations is already out.

1857
01:38:06,199 --> 01:38:07,560
Speaker 2: Yeah, Vibrations is already out.

1858
01:38:07,600 --> 01:38:09,840
Speaker 4: But and I don't want fluctuating, don't and you don't

1859
01:38:09,880 --> 01:38:11,800
want to fluctuations. It should be shoved on an in

1860
01:38:11,840 --> 01:38:14,000
hot blood double feature. That's the only way it works.

1861
01:38:14,479 --> 01:38:14,760
Speaker 6: Yep.

1862
01:38:15,960 --> 01:38:17,640
Speaker 4: I mean, if we had a weekend with Strangers, it

1863
01:38:17,680 --> 01:38:19,880
should be put out with submissions, so that that should

1864
01:38:19,880 --> 01:38:20,079
be that.

1865
01:38:20,359 --> 01:38:22,920
Speaker 2: But yeah, well if they could do love Me Please,

1866
01:38:23,279 --> 01:38:26,800
you could do that because it's got one and I would.

1867
01:38:26,600 --> 01:38:29,439
Speaker 4: Agree with that, except it's in color I don't like.

1868
01:38:29,600 --> 01:38:31,479
I typically don't like a black and white and the

1869
01:38:31,560 --> 01:38:35,760
color together, I know, just because uh yeah, I don't

1870
01:38:35,760 --> 01:38:39,720
know what I put submission with, probably another twisted sex title. Yeah,

1871
01:38:39,760 --> 01:38:41,399
the Good, the Bad, and Beautiful would have been great,

1872
01:38:41,560 --> 01:38:44,880
but AC already put that out as a bonus feature,

1873
01:38:45,239 --> 01:38:45,800
so I don't know.

1874
01:38:45,960 --> 01:38:47,640
Speaker 2: That should have been the main on that disc.

1875
01:38:47,760 --> 01:38:50,920
Speaker 4: Don't don't get was that on the Love after Death?

1876
01:38:51,359 --> 01:38:51,720
Speaker 2: Yes?

1877
01:38:52,319 --> 01:38:54,119
Speaker 4: I love both of those. I know you like.

1878
01:38:54,840 --> 01:38:56,199
Speaker 2: I don't like Love after Death.

1879
01:38:56,560 --> 01:38:59,479
Speaker 4: Oh I love it. It's so great, It's so crazy, and no,

1880
01:38:59,600 --> 01:39:01,159
it's in it. It's also made by like a group

1881
01:39:01,199 --> 01:39:02,960
of Puerto Rican filmmakers in New York, so it has

1882
01:39:03,000 --> 01:39:05,840
a very distinctive point of view that I think is

1883
01:39:05,960 --> 01:39:06,560
very interesting.

1884
01:39:07,039 --> 01:39:10,279
Speaker 2: Yeah, I'll give it another shot, definitely should.

1885
01:39:10,520 --> 01:39:11,680
Speaker 4: It's fun. I love it.

1886
01:39:13,079 --> 01:39:14,600
Speaker 2: What's next.

1887
01:39:15,520 --> 01:39:16,119
Speaker 4: Fernandez?

1888
01:39:16,319 --> 01:39:20,239
Speaker 2: Yeah, well let's talk about your boy Juan Fernandoz.

1889
01:39:20,479 --> 01:39:24,399
Speaker 4: Yeah, who I think might have gone back to Brazil.

1890
01:39:24,640 --> 01:39:26,600
I think his wife just passed away, and I think

1891
01:39:26,640 --> 01:39:28,840
he moved back to Brazil. But this We've talked a

1892
01:39:28,840 --> 01:39:31,720
little bit about him previously, so I thought, now for

1893
01:39:32,319 --> 01:39:34,560
his hardcore work, what's that. Oh, well, he's very.

1894
01:39:34,520 --> 01:39:36,560
Speaker 2: Hot, one of the rare, Yeah, one of the rare,

1895
01:39:37,319 --> 01:39:40,439
like handsome and I mean he did he was a

1896
01:39:40,520 --> 01:39:43,600
crew and a performer, right well.

1897
01:39:43,439 --> 01:39:45,680
Speaker 4: He started as an actor and then he got into

1898
01:39:45,880 --> 01:39:51,239
Crewe through Victor Pretresvage. He did Love Me Please, which

1899
01:39:51,279 --> 01:39:53,760
he's in. So I think it was kind of a

1900
01:39:53,920 --> 01:39:55,760
I don't know what came first. It might have been

1901
01:39:55,840 --> 01:39:59,239
this and then no, Love Me Please might have come first.

1902
01:39:59,560 --> 01:40:02,079
I don't know. I know this was released in sixties

1903
01:40:02,159 --> 01:40:04,800
and seventy, so it was probably done late sixty nine.

1904
01:40:04,880 --> 01:40:06,720
I don't remember when Love Me Please was released, so

1905
01:40:06,760 --> 01:40:10,399
I don't know when that production was. But yeah, very sexy.

1906
01:40:10,640 --> 01:40:12,720
I think most people would remember him from this as

1907
01:40:12,720 --> 01:40:16,720
the star of the Amazing Transplant, which is cut on

1908
01:40:16,800 --> 01:40:21,760
Blu Ray. Unfortunately that was a huge oversight on Agfast part,

1909
01:40:22,800 --> 01:40:26,039
missing some good nudity in there too. Actually, now that

1910
01:40:26,079 --> 01:40:31,399
I now I think about it, anything was male well

1911
01:40:31,560 --> 01:40:34,880
both like there's some graphic stuff that's been cut out.

1912
01:40:35,439 --> 01:40:37,680
I guess I didn't put you two and two together

1913
01:40:37,720 --> 01:40:41,640
that he was the guy from Amazing Transplant until I

1914
01:40:41,640 --> 01:40:44,199
think I confronted it with Georgina Spelbin actually because I

1915
01:40:44,199 --> 01:40:46,079
remember that. She said, oh, I had the biggest crush

1916
01:40:46,119 --> 01:40:49,199
on Joane Fernandez. I said, really like a crew member,

1917
01:40:49,239 --> 01:40:50,880
because I never think of the people on the crew

1918
01:40:50,920 --> 01:40:54,159
being attractive because I just don't, or I didn't at

1919
01:40:54,159 --> 01:40:56,319
that time. Now I have lots of crew members i'm into.

1920
01:40:56,760 --> 01:40:59,279
But she said, yeah, well you know he was an

1921
01:40:59,319 --> 01:41:02,680
actor too. I was like what, and I brought up

1922
01:41:02,680 --> 01:41:05,560
a picture from Amazing Transplants said yeah, that's Jawah. I said, what,

1923
01:41:06,159 --> 01:41:08,239
Oh my god. Okay, well then no wonder everyone wanted

1924
01:41:08,279 --> 01:41:10,520
to have sex with this guy. So yeah, like he

1925
01:41:10,640 --> 01:41:14,760
was photographing people as Harry Flex was his big pseudonym

1926
01:41:14,760 --> 01:41:17,199
on the Domiano films, and then he went out to

1927
01:41:17,319 --> 01:41:20,720
LA and I started doing Hollywood films. He did a

1928
01:41:20,720 --> 01:41:23,720
lot of Chuck Norris films. He did Friday the Thirteenth,

1929
01:41:23,720 --> 01:41:29,039
Part four, I believe. Yeah. Yeah, he did the Nesting

1930
01:41:29,279 --> 01:41:33,079
which was arm and Weston. Because he'd done takeoff, He's

1931
01:41:33,079 --> 01:41:36,319
stropped through the looking glass. I mean, the guy really

1932
01:41:36,720 --> 01:41:38,840
learned so much good stuff from Petri Savitch and then

1933
01:41:39,159 --> 01:41:42,520
elevated it, like he became an elevated photographer better than

1934
01:41:42,560 --> 01:41:46,239
Petri Savache ever was no offense victor. But yeah, I

1935
01:41:46,239 --> 01:41:48,199
think for a long time he was the go to

1936
01:41:48,319 --> 01:41:51,520
photographer in hardcore. You knew that he was going to

1937
01:41:51,560 --> 01:41:55,119
bring his A game to everything and then he I

1938
01:41:55,159 --> 01:41:57,640
think Larry Ravine kind of worked not as an apprentice

1939
01:41:57,680 --> 01:41:59,960
under him, but I think he learned a lot from

1940
01:42:00,119 --> 01:42:02,560
Joa because he worked as like still photographer or assistant

1941
01:42:02,640 --> 01:42:06,880
camera on films that Joan made in the adult industry.

1942
01:42:07,199 --> 01:42:10,279
Speaker 2: I mean, did he did Deep Throat and Devil and

1943
01:42:10,319 --> 01:42:10,960
Miss Jones?

1944
01:42:11,039 --> 01:42:13,000
Speaker 4: Two of them he did, but you can't tell those

1945
01:42:13,359 --> 01:42:16,600
by the same guy. Yeah, exactly right. And then Members

1946
01:42:16,600 --> 01:42:19,479
with Miss Aggie, which is much better to look at

1947
01:42:19,520 --> 01:42:22,079
than experience. I think it's an overrated movie, but it

1948
01:42:22,079 --> 01:42:26,000
looks gorgeous. Story of Joanna he shot, I mean, and

1949
01:42:26,079 --> 01:42:28,800
then he went to San Francisco and shot some stuff

1950
01:42:28,800 --> 01:42:32,159
for him Domiano. There. I think he shot didn't issue

1951
01:42:32,199 --> 01:42:36,199
some stuff for oh what's his face? I forget their names,

1952
01:42:36,239 --> 01:42:38,159
Oh Edwin and Summer Brown. I think he shot some

1953
01:42:38,279 --> 01:42:39,399
Edwin and Summer Brown stuff.

1954
01:42:39,439 --> 01:42:39,600
Speaker 6: Too.

1955
01:42:39,600 --> 01:42:41,520
Speaker 2: He did a bunch of Chuck Morris movies.

1956
01:42:42,319 --> 01:42:43,960
Speaker 4: Yeah, and that's what I Yeah, Chuck Norricky did a

1957
01:42:43,960 --> 01:42:46,760
ton of Chuck Norris. Yes, I don't know what I

1958
01:42:46,760 --> 01:42:49,079
said before, but yeah, I think it was Chuck Norris

1959
01:42:49,079 --> 01:42:50,760
and froribably the thirteen point four he did. I think

1960
01:42:50,760 --> 01:42:54,319
he did Envision USA like a lot of stuff. So

1961
01:42:54,359 --> 01:42:57,159
he stayed very, very very very busy, and for years

1962
01:42:57,159 --> 01:42:58,960
he wouldn't do an interview because people always wanted to

1963
01:42:58,960 --> 01:43:01,479
talk him about talking about Deep Throat. So he's not

1964
01:43:01,600 --> 01:43:03,239
in the Inside Deep Throat Dock. He's one of the

1965
01:43:03,239 --> 01:43:05,039
only people that made the movie that isn't in it

1966
01:43:05,479 --> 01:43:07,079
because he said, I don't want to talk about Deep

1967
01:43:07,079 --> 01:43:10,119
Throat because it's not if you're a cinematographer, there's something

1968
01:43:10,119 --> 01:43:12,880
to brag about in that movie. There's nothing technically skilled

1969
01:43:12,920 --> 01:43:14,760
in that movie that if you wanted to talk to

1970
01:43:14,840 --> 01:43:17,960
him about like Devil, Miss Jones, story of Joanna, something,

1971
01:43:18,039 --> 01:43:20,359
you know, members of Miss Aggie. I think he would

1972
01:43:20,439 --> 01:43:22,800
talk and I think he finally did an interview with

1973
01:43:24,279 --> 01:43:26,560
I know Domiano Junior interviewed him for a doc which

1974
01:43:26,600 --> 01:43:29,199
I don't know when that's ever coming out, But now

1975
01:43:29,199 --> 01:43:31,000
I think he's back in Brazil. I think his wife

1976
01:43:31,039 --> 01:43:33,000
passed away, who'd been with for years, and I think

1977
01:43:33,000 --> 01:43:34,960
he went. I think he left California. I think he's

1978
01:43:35,000 --> 01:43:38,319
back in Brazil now, Oh okay, I have to double check.

1979
01:43:38,960 --> 01:43:42,439
We invited him out to the end the Flush series

1980
01:43:42,479 --> 01:43:44,840
because we were showing two movies he shot, we showed

1981
01:43:44,840 --> 01:43:47,640
Through the Looking Glass and take Off. So we offered

1982
01:43:47,720 --> 01:43:51,640
him full round trip tickets for him and his wife,

1983
01:43:52,359 --> 01:43:55,279
tickets to the Broadway show of his choice, a five

1984
01:43:55,319 --> 01:43:59,800
star hotel. We offered him everything. Never responded to us. Wow,

1985
01:44:00,479 --> 01:44:02,920
So I'm a little I'm a little bitter about about

1986
01:44:02,960 --> 01:44:05,560
Joan talking to other people when we offered him like

1987
01:44:05,840 --> 01:44:10,159
a full package, real red cart just real red carpet treatment,

1988
01:44:10,199 --> 01:44:12,880
because how valuable he was to both of those films,

1989
01:44:13,319 --> 01:44:15,960
and we wanted those to be like re premieres of

1990
01:44:15,960 --> 01:44:19,319
those movies, and he made them what they were. But yeah,

1991
01:44:19,319 --> 01:44:22,920
he never responded to our offers, and that was very upsetting.

1992
01:44:23,479 --> 01:44:27,359
Speaker 2: Yeah. Well, like I always say, like people's opinions on

1993
01:44:27,439 --> 01:44:30,920
their work change over the years, so you know, I

1994
01:44:30,960 --> 01:44:32,399
wouldn't take it personally.

1995
01:44:33,560 --> 01:44:35,680
Speaker 4: I just would have accept I would have rather heard

1996
01:44:35,680 --> 01:44:40,159
a know than ignoring me, you know, especially if it's

1997
01:44:40,199 --> 01:44:43,840
something where we're offering a substantial amount of money and goodies,

1998
01:44:44,239 --> 01:44:47,399
which we didn't really, to be fair, didn't offer to everybody,

1999
01:44:48,039 --> 01:44:50,680
just because you know, he was coming out for two

2000
01:44:50,760 --> 01:44:54,560
movies and we knew we hadn't talked before. Yeah, so yeah,

2001
01:44:54,600 --> 01:44:57,479
that was a bummer. And both their screenings look good too.

2002
01:44:57,520 --> 01:44:59,399
He would have really liked seeing those on the big screen.

2003
01:45:00,239 --> 01:45:03,560
Speaker 2: Yeah, too bad, nice clean prints. Well, we hope he's

2004
01:45:03,600 --> 01:45:05,000
doing well in Brazil.

2005
01:45:05,159 --> 01:45:10,640
Speaker 4: I do, I do? Yeah. Fernandez. Oh so he's credited

2006
01:45:10,640 --> 01:45:14,000
as Jan in this, but the credit is Juan and Gloria.

2007
01:45:14,560 --> 01:45:14,640
Speaker 2: So.

2008
01:45:14,800 --> 01:45:19,079
Speaker 4: Gloria is a blonde who is mostly she's known as

2009
01:45:19,119 --> 01:45:22,800
Alison Page. So she was the title star of Felicia

2010
01:45:23,039 --> 01:45:25,560
with Joe Ellen. She was in how many times for

2011
01:45:25,640 --> 01:45:28,079
Don Walter, So she's in this two Don Walter's movies.

2012
01:45:28,600 --> 01:45:31,760
She's in a ton of other District Pick stuff. And

2013
01:45:31,840 --> 01:45:34,560
I need to update her IMDb listing because I have

2014
01:45:34,640 --> 01:45:36,439
so much stuff with her in the press book. But

2015
01:45:36,479 --> 01:45:40,359
she used different names on everything, so she did so

2016
01:45:40,439 --> 01:45:43,800
many more movies and she's instantly recognizable. So when I

2017
01:45:43,880 --> 01:45:45,880
rewatched this, I was just like, wait, I've seen this

2018
01:45:45,920 --> 01:45:47,640
how many times I didn't know this was the girl

2019
01:45:47,640 --> 01:45:50,199
from Felicia. I don't know why I didn't click, Probably

2020
01:45:50,239 --> 01:45:54,319
because I was too focused on Joi, but that's probably why.

2021
01:45:54,680 --> 01:45:55,199
Who is she?

2022
01:45:55,359 --> 01:45:56,119
Speaker 2: Who is she in this?

2023
01:45:56,399 --> 01:45:59,000
Speaker 4: In submission, she's she's in the sex scene with him.

2024
01:45:59,000 --> 01:46:02,079
It's Juan and Gloria is how they're credited. So she's Glory.

2025
01:46:02,319 --> 01:46:04,720
She's the one he's having sex with. That's how they're credited.

2026
01:46:04,960 --> 01:46:06,680
Could have been his girlfriend at that time for all

2027
01:46:06,720 --> 01:46:06,920
we know.

2028
01:46:07,119 --> 01:46:10,359
Speaker 2: Yeah, yeah, there's a couple of girls in this that

2029
01:46:10,520 --> 01:46:13,159
are They just don't stand out to me, and I

2030
01:46:13,199 --> 01:46:15,279
don't know who they are, so it's gonna help me.

2031
01:46:15,359 --> 01:46:19,439
Speaker 4: Well, Susanne Landau, you should definitely know. Yes, Susanne Landau

2032
01:46:19,479 --> 01:46:23,960
is ultimate degenerated kid Zipper flash After the Ball Was Over,

2033
01:46:24,039 --> 01:46:27,199
which is great. I think people know that, but they

2034
01:46:27,199 --> 01:46:30,119
don't know they know that because it was excerpted on

2035
01:46:30,399 --> 01:46:33,680
the Something Weird Satan's Bed Scared Their Pants Off double feature.

2036
01:46:34,079 --> 01:46:37,840
There's like a little mini featurette about like these these

2037
01:46:37,880 --> 01:46:40,640
people trying to scare this heiress to death, And that's

2038
01:46:40,640 --> 01:46:42,640
an abbreviated version of After the Ball Was Over.

2039
01:46:42,960 --> 01:46:46,199
Speaker 2: Which is a distribet title, which is kind of the concept.

2040
01:46:46,239 --> 01:46:48,239
I mean it's it's sort of the concept of this

2041
01:46:48,319 --> 01:46:52,640
movie a little bit. I mean, yeah, they're not scaring her,

2042
01:46:52,760 --> 01:46:57,279
but there's some sort of gaslighting involved in this film. Yeah, yeah,

2043
01:46:57,319 --> 01:46:57,880
a little bit.

2044
01:46:58,199 --> 01:47:01,000
Speaker 4: Yeah, but she did a ton of stuff, like she is,

2045
01:47:02,000 --> 01:47:04,800
a lot of not good stuff either. She appears as

2046
01:47:04,840 --> 01:47:07,840
herself in changes for Dommiano. You can kind of see her.

2047
01:47:08,159 --> 01:47:10,239
They do. There's a behind the scenes like photo shoot

2048
01:47:10,479 --> 01:47:13,039
where she's in that with I forget the other actress,

2049
01:47:13,119 --> 01:47:16,000
but and she Yeah, she was around New York all

2050
01:47:16,039 --> 01:47:19,840
the way up until the very beginning of hardcore. I

2051
01:47:19,880 --> 01:47:22,680
don't believe she did hardcore. She might have been an

2052
01:47:22,760 --> 01:47:27,279
oral generation, but I don't remember now. But she's very

2053
01:47:27,279 --> 01:47:30,079
good and very recognizable. I'm trying to think of celebrity

2054
01:47:30,159 --> 01:47:32,800
she resembles. But yeah, you definitely know her, Kristen Stein,

2055
01:47:32,880 --> 01:47:37,479
you should definitely know. She's the blonde that she's instantly recognizable.

2056
01:47:37,560 --> 01:47:40,800
She's the first blonde that the older woman is with

2057
01:47:41,000 --> 01:47:44,960
in that filmed sequence. Yeah, with her with a bunch

2058
01:47:44,960 --> 01:47:47,920
of lesbians. She's the blonde. She's the star of the Procureur,

2059
01:47:48,119 --> 01:47:49,920
which is I think her biggest role. She's the star

2060
01:47:49,960 --> 01:47:53,399
of The Mind Blowers, which is another New York exploitation,

2061
01:47:53,520 --> 01:47:56,439
Moving and through the Looking Glass. She's the younger version

2062
01:47:56,720 --> 01:47:59,840
of Catherine Burgess. So she has a sequence with j

2063
01:48:00,079 --> 01:48:03,199
Me Gillis where he, you know, molests her. She was

2064
01:48:03,239 --> 01:48:06,159
in Sometimes Susan, which was a sag adult movie. She

2065
01:48:06,239 --> 01:48:09,039
played I think a nurse in that maybe, and then

2066
01:48:09,079 --> 01:48:11,000
there's a few other hardcore movies she did, but she's

2067
01:48:11,000 --> 01:48:14,880
in the Looking She's in Alice in Wonderland, she's in

2068
01:48:14,880 --> 01:48:17,520
that as well. But she's very recognizable. She's like a

2069
01:48:17,520 --> 01:48:20,319
willowy blonde. You'll know her. You know her if you

2070
01:48:20,359 --> 01:48:24,199
see her. And yeah, she's she's very recognizable in this.

2071
01:48:24,600 --> 01:48:28,079
Speaker 2: Yeah. I remember she was listed in the cast for

2072
01:48:28,439 --> 01:48:30,920
Silent Night, Bloody Night. Do you remember that movie? Yes,

2073
01:48:31,279 --> 01:48:34,319
she's inmates, yes, and I remember she stood out.

2074
01:48:34,199 --> 01:48:37,640
Speaker 4: On that one and yeah, yeah.

2075
01:48:37,039 --> 01:48:39,760
Speaker 2: So I remember looking her up after that. Yeah.

2076
01:48:39,920 --> 01:48:42,359
Speaker 4: Yeah, so she's great. I mean, she was very young

2077
01:48:42,399 --> 01:48:44,239
when she did these movies. She was like, she was

2078
01:48:44,239 --> 01:48:46,640
literally eighteen years old when she started doing these movies.

2079
01:48:47,239 --> 01:48:49,680
She was an artist and she still is kind of

2080
01:48:49,720 --> 01:48:51,800
an artist, and she got in graphic she got into

2081
01:48:51,800 --> 01:48:54,680
graphic design. She went to the Pratt Institute in the eighties.

2082
01:48:55,840 --> 01:48:58,960
She was interviewed very briefly in Lei's McNeil's Other Hollywood

2083
01:48:59,239 --> 01:49:01,760
about her time the adult industry, and it was not positive.

2084
01:49:02,079 --> 01:49:04,399
And so I included in the show notes an article

2085
01:49:04,439 --> 01:49:07,840
where she actually sued Bill Milling for an adult movie

2086
01:49:07,840 --> 01:49:10,039
that she made for him, which with the working title

2087
01:49:10,119 --> 01:49:12,199
was Ava. I don't think it ever came out, but

2088
01:49:13,199 --> 01:49:16,399
it was shot in Newark, Newark Airport. There scenes shot

2089
01:49:16,479 --> 01:49:19,520
in Newark Airport. Actually I know exactly what that was.

2090
01:49:19,600 --> 01:49:21,520
They cut the scene out of the movie. I know

2091
01:49:21,600 --> 01:49:25,600
what that was. So she sued him because he was

2092
01:49:25,720 --> 01:49:27,760
She was told that the se the move is going

2093
01:49:27,800 --> 01:49:29,960
to be softcore. She showed up to the set and

2094
01:49:30,000 --> 01:49:32,159
she said, you're gonna have to have set hardcore sex

2095
01:49:32,199 --> 01:49:35,600
with your meal costar. And they threatened her because it

2096
01:49:35,720 --> 01:49:39,000
was a mock finance production. Yes, and they said you

2097
01:49:39,079 --> 01:49:41,600
will do this or will kill you, essentially, and she

2098
01:49:41,680 --> 01:49:45,600
sued them and got and got they the judge ruled

2099
01:49:45,600 --> 01:49:48,039
in her favor because Bill Milling never showed up to

2100
01:49:47,640 --> 01:49:50,000
the court date. So she got like, I don't know

2101
01:49:50,039 --> 01:49:54,920
what did it say in that article. It doesn't yep,

2102
01:49:54,920 --> 01:49:59,319
one hundred and fifty grand because Bill Milling said that

2103
01:50:00,079 --> 01:50:04,119
there wasn't going to be any hardcore in it round.

2104
01:50:04,520 --> 01:50:08,000
Speaker 2: It's just like it's such a stereotypical like story you

2105
01:50:08,000 --> 01:50:08,640
don't want to hear.

2106
01:50:08,720 --> 01:50:12,600
Speaker 4: Yeah, that doesn't help. Yeah, I'm bargained for acting has

2107
01:50:12,640 --> 01:50:16,760
caused her anxiety, mental cruelty, and depression. And the judge

2108
01:50:16,800 --> 01:50:20,680
was a woman, so that definitely helped. And yeah, that

2109
01:50:20,800 --> 01:50:22,560
was the last thing she did. That was in nineteen

2110
01:50:22,600 --> 01:50:24,479
seven January nineteen seventy seven.

2111
01:50:24,319 --> 01:50:26,479
Speaker 2: So I wouldn't worked against six if I just got

2112
01:50:26,479 --> 01:50:29,760
an easy one point fifty. What's that insulated? You know?

2113
01:50:30,640 --> 01:50:32,600
Speaker 4: I don't know. Well, no, I mean she I think

2114
01:50:32,640 --> 01:50:35,000
she used it to invest in maybe her future business

2115
01:50:35,119 --> 01:50:37,119
or whatever. No, actually, I think she maybe took it

2116
01:50:37,159 --> 01:50:38,560
to go back to school, because she went to the

2117
01:50:38,600 --> 01:50:42,199
Pratt Institute later, and then she also went to UCLA

2118
01:50:42,239 --> 01:50:45,199
and got a degree there too. I don't remember in what,

2119
01:50:45,760 --> 01:50:48,479
but she did like other acting in like local theater

2120
01:50:48,720 --> 01:50:51,000
and the New Jersey Theater and things like that. She's

2121
01:50:51,039 --> 01:50:53,319
still around. I've had her phone number for a long time.

2122
01:50:53,319 --> 01:50:56,279
I've just never called her because I don't know how

2123
01:50:56,319 --> 01:50:59,960
receptive she is to discussing. I only want to talk

2124
01:51:00,159 --> 01:51:02,560
the softcore stuff, to be honest, the hardcore stuff. She's

2125
01:51:02,600 --> 01:51:05,560
only in like four hardcore movies and they're all pretty

2126
01:51:05,560 --> 01:51:08,439
good quality except for blow Dry, which is not good. Yeah.

2127
01:51:08,479 --> 01:51:10,720
I want to know about like the procure and the

2128
01:51:10,760 --> 01:51:13,119
mind blowers and you know what it was like to

2129
01:51:13,119 --> 01:51:14,800
be a model. She was in a movie I think

2130
01:51:14,800 --> 01:51:18,000
called Events, which was an R rated movie. I think

2131
01:51:18,119 --> 01:51:21,079
Joy Bang is in it, and that one is lost.

2132
01:51:21,119 --> 01:51:22,800
I've been trying to find a copy of that forever.

2133
01:51:23,960 --> 01:51:27,279
Speaker 2: The movie that she's in that I really want to see,

2134
01:51:27,479 --> 01:51:30,520
which is has some crossover with some of our faves

2135
01:51:30,560 --> 01:51:32,119
here is Wendy's Place.

2136
01:51:32,520 --> 01:51:35,159
Speaker 4: That's good. I mean it's it's a historical interest. That

2137
01:51:35,239 --> 01:51:38,199
was Linda Boyce's last movie, Yeah, in a Terrible Wig,

2138
01:51:38,239 --> 01:51:41,920
before she'd bamboosed and left her casting business to Tally.

2139
01:51:42,000 --> 01:51:44,359
Speaker 2: I think it's one of the last, like Uda Linda

2140
01:51:44,439 --> 01:51:47,159
movies I haven't seen, Yes, because they were kind of

2141
01:51:47,199 --> 01:51:50,079
a kind of a package deal for a little while there.

2142
01:51:50,199 --> 01:51:53,600
Speaker 4: Yes, and I think it was shot in their apartment building. Yes,

2143
01:51:53,640 --> 01:51:59,880
because if I remember correctly, because it's Kamal Harulu. Yes, Yeah, yeah, yeah,

2144
01:52:00,079 --> 01:52:02,119
it's fine. I don't know how you're gonna get ahold

2145
01:52:02,119 --> 01:52:04,199
of it now because the DVD's out of front from

2146
01:52:04,239 --> 01:52:11,039
something from Vinegar Syndrome Patrickson Patrick. Yeah, because because Tally

2147
01:52:11,199 --> 01:52:13,600
and he were in New York. Yeah, yeah, I mean

2148
01:52:13,640 --> 01:52:15,159
he had he was in a lot of sex scenes

2149
01:52:15,159 --> 01:52:16,640
with Linda Boyce and and uh.

2150
01:52:17,119 --> 01:52:20,479
Speaker 2: And uh what was going on and in that in

2151
01:52:20,560 --> 01:52:23,520
that apartment that they lived in build them to hear

2152
01:52:23,560 --> 01:52:24,239
the stories.

2153
01:52:24,640 --> 01:52:26,479
Speaker 4: Well, Tally has some good stories.

2154
01:52:26,479 --> 01:52:30,560
Speaker 2: But yeah, yeah, yeah, all right, put that on the

2155
01:52:30,600 --> 01:52:31,479
table for now.

2156
01:52:33,520 --> 01:52:59,159
Speaker 6: Okay, she's gone.

2157
01:53:00,479 --> 01:53:01,000
Speaker 5: I like her.

2158
01:53:01,039 --> 01:53:07,039
Speaker 6: I don't think we should cut it, Dona.

2159
01:53:08,239 --> 01:53:09,720
Speaker 4: Oh, we need to talk about the arrests.

2160
01:53:10,479 --> 01:53:12,840
Speaker 2: Yeah, tell me about this. Yeah, So who was in Okay,

2161
01:53:12,880 --> 01:53:15,439
first of all, there's a scene in submission where they

2162
01:53:15,439 --> 01:53:18,960
are in the park, uh, a sex scene. Who is

2163
01:53:18,960 --> 01:53:19,600
the girl?

2164
01:53:19,720 --> 01:53:22,079
Speaker 4: It's like a flashback the girl in that scene. I

2165
01:53:22,079 --> 01:53:24,319
don't know what name she was on the movie. She's

2166
01:53:24,359 --> 01:53:28,199
credited as Samantha Siegel in the press book, but not

2167
01:53:28,399 --> 01:53:30,880
in the film. She's not credited. If she's credited on

2168
01:53:30,920 --> 01:53:33,359
the film, I don't know which. With the pseudonyms, is

2169
01:53:33,399 --> 01:53:37,000
her her real name? According to this article is Sally

2170
01:53:37,199 --> 01:53:42,560
Ann Siegel. I researched her. I found her. She lived

2171
01:53:42,560 --> 01:53:45,359
two She lives two streets away from me in Astoria.

2172
01:53:46,239 --> 01:53:51,319
So you better believe I'm knocking on that door. No,

2173
01:53:51,520 --> 01:53:53,199
I'm not gonna knock on the door, but I am

2174
01:53:53,199 --> 01:53:56,279
calling the phone. Also, she had a very long career

2175
01:53:57,000 --> 01:53:59,800
as a local dominatrix, because I have found ads for

2176
01:54:00,119 --> 01:54:08,520
her on like old you know, singles sex ad websites

2177
01:54:08,680 --> 01:54:11,000
with pictures of her, and I've confirmed with that scene

2178
01:54:11,159 --> 01:54:14,319
it is her. Okay, I don't know if she did

2179
01:54:14,319 --> 01:54:17,279
any other films. I didn't recognize her. If she did,

2180
01:54:17,359 --> 01:54:20,079
I don't know what pseudonym she used. That's something that

2181
01:54:20,119 --> 01:54:22,960
I will ask her when I call. But so the

2182
01:54:23,079 --> 01:54:26,319
arrest occurred because they shot the scene in Englewood, New Jersey.

2183
01:54:27,000 --> 01:54:29,640
So I'll just read this bits. It says sally An

2184
01:54:29,720 --> 01:54:32,479
Siegel and Gary Juden, both of New York City, were

2185
01:54:32,479 --> 01:54:36,079
cavorting in the buff in Alison Park yesterday afternoon when

2186
01:54:36,079 --> 01:54:40,520
two startled law for Law officers happened along. They were

2187
01:54:40,640 --> 01:54:42,720
on a routine patrol near the park when they spotted

2188
01:54:42,760 --> 01:54:45,279
the couple going through their paces for a cameraman and

2189
01:54:45,399 --> 01:54:50,199
producer not fifty feet from a path at city Hall. Okay,

2190
01:54:50,199 --> 01:54:53,439
they put their clothes back on. Alan Savage, the producer

2191
01:54:53,479 --> 01:54:55,800
and a part owner of S and G Films, a

2192
01:54:55,840 --> 01:54:58,720
recently formed company, called Monday to ask if it was

2193
01:54:58,760 --> 01:55:01,960
all right to film in the park. He conceded when

2194
01:55:02,000 --> 01:55:04,399
I called, I didn't say what kind of movie we

2195
01:55:04,399 --> 01:55:06,720
were making, so he didn't say they were going to

2196
01:55:06,800 --> 01:55:09,399
make a sex movie. After hearing the tale from actor

2197
01:55:09,479 --> 01:55:13,920
and actress whose heads were boud and proper contrition, they

2198
01:55:14,039 --> 01:55:15,880
pronounced the sentence, and I think they had to pay

2199
01:55:15,920 --> 01:55:19,279
a fine. Yeah, five dollars each for open ludness and

2200
01:55:19,319 --> 01:55:22,000
another ten dollars for court costs. So fifteen bucks for

2201
01:55:22,039 --> 01:55:25,479
getting caught in the nude in Allison Park in Englewood,

2202
01:55:25,520 --> 01:55:26,119
New Jersey.

2203
01:55:26,640 --> 01:55:28,600
Speaker 2: At least didn't confiscate the footage.

2204
01:55:28,720 --> 01:55:31,680
Speaker 4: They no, because it's in the movie, right, A Savage said.

2205
01:55:31,680 --> 01:55:33,960
On his way out of the courtroom, he commented on

2206
01:55:34,000 --> 01:55:36,039
the way his company had been treated. Everybody was so

2207
01:55:36,159 --> 01:55:37,720
nice to us. He said, we'd like to come to

2208
01:55:37,880 --> 01:55:41,880
Inglewood again. So that's way better than you know. Robert

2209
01:55:41,880 --> 01:55:44,439
of Findley and Jack Bradman's arrests in New Jersey when

2210
01:55:44,479 --> 01:55:47,680
they made all in the Sex Family. Literally two years later,

2211
01:55:48,720 --> 01:55:50,960
you know, they were all arrested, all of the cast

2212
01:55:51,119 --> 01:55:54,319
was arrested, you know, and that was one of the

2213
01:55:54,359 --> 01:55:56,920
first arrests. They were arrested later in Jersey as well

2214
01:55:57,399 --> 01:55:58,279
for another movie.

2215
01:55:58,560 --> 01:56:03,079
Speaker 2: I've heard several of these stories, you know, of police busts,

2216
01:56:03,079 --> 01:56:05,640
and you never really know where it's gonna go. Like

2217
01:56:05,720 --> 01:56:09,520
I literally just listened to the Sex by Advertisement commentary

2218
01:56:09,600 --> 01:56:13,640
with Jewelry's biographer, and Joel Reed was talking about shooting

2219
01:56:13,800 --> 01:56:17,399
that scene in Sex by Advertisement where he's like whipping

2220
01:56:17,399 --> 01:56:19,960
a girl on a tree in the park in Central Park.

2221
01:56:20,079 --> 01:56:21,199
Speaker 4: Yeah, cops came.

2222
01:56:21,079 --> 01:56:23,680
Speaker 2: By and he told them what they were doing. They're

2223
01:56:23,680 --> 01:56:26,079
shooting a movie, and they said, well can we watch.

2224
01:56:27,039 --> 01:56:29,119
So it's like, you never know what kind of cops

2225
01:56:29,119 --> 01:56:29,800
you're gonna get.

2226
01:56:30,520 --> 01:56:34,159
Speaker 4: Well, they did that with Venus and Firs. With Bella Donna,

2227
01:56:35,079 --> 01:56:40,279
there's what's his face. Joseph Marzano showed up with Belladonna

2228
01:56:40,760 --> 01:56:43,880
outside the New York Public Library with the Lions and

2229
01:56:43,960 --> 01:56:47,479
had Belladonna and other actress whip their tops off and

2230
01:56:47,640 --> 01:56:52,079
straddle the lions with a cop standing there monitoring the

2231
01:56:52,119 --> 01:56:55,560
scene for safety, so that they fell He didn't want

2232
01:56:55,600 --> 01:56:57,560
them to fall. That was the main concern. It wasn't

2233
01:56:57,600 --> 01:56:59,560
about them being new to public. He didn't want them

2234
01:56:59,560 --> 01:57:02,720
to fall in hurt themselves. That scene only appears in

2235
01:57:02,760 --> 01:57:05,239
a little tiny blip in the finished Venus in Furs,

2236
01:57:05,760 --> 01:57:10,399
But yeah, that was John Lindsay's Mayor Mayor ship. He

2237
01:57:10,600 --> 01:57:12,399
didn't care about that ship in New York. I don't think.

2238
01:57:12,479 --> 01:57:16,680
Speaker 2: Yeah, yeah, that's funny. Okay, So that is confirmed that, Yeah,

2239
01:57:16,680 --> 01:57:20,279
because you'd sent that that newspaper clipping and I was like,

2240
01:57:20,359 --> 01:57:23,880
this must be from that park scene in submission. Yeah,

2241
01:57:23,960 --> 01:57:24,760
there's no other parks.

2242
01:57:24,840 --> 01:57:26,279
Speaker 4: And I don't know what her name is. She's not

2243
01:57:26,359 --> 01:57:28,439
credited on the film, but she is in the press book.

2244
01:57:28,840 --> 01:57:32,000
Speaker 2: So what about that? I mean, she looks like mixed

2245
01:57:32,119 --> 01:57:34,239
race the made in submission.

2246
01:57:34,279 --> 01:57:37,279
Speaker 4: Not a clue. Again, don't know who, no other name,

2247
01:57:37,399 --> 01:57:41,880
no other names, none of those other names registered, Yeah

2248
01:57:41,920 --> 01:57:43,640
in those credits. So I have no idea.

2249
01:57:44,720 --> 01:57:48,399
Speaker 2: I wanted to ask you before we close up on submission,

2250
01:57:48,399 --> 01:57:50,600
what's in the deleted scenes. I haven't seen those.

2251
01:57:51,600 --> 01:57:54,159
Speaker 4: It's a lot of extensions of existing scenes. There's nothing

2252
01:57:54,199 --> 01:57:56,880
new in there, Okay, it's yeah, it's all just like

2253
01:57:56,960 --> 01:57:59,760
alternate takes, and you don't. I don't think you see

2254
01:57:59,760 --> 01:58:02,279
a clue from what I remember, so it's not that

2255
01:58:02,960 --> 01:58:07,000
especially interesting. There's more footage of like Jennifer Wells in

2256
01:58:07,039 --> 01:58:09,880
the bath, there's more scenes of Sheba Britt with Gary

2257
01:58:09,960 --> 01:58:12,439
Juden trying to think of some of the other things.

2258
01:58:12,479 --> 01:58:14,840
Those are the big things that I remember. Okay, it's

2259
01:58:14,920 --> 01:58:18,199
like six or seven minutes, I think.

2260
01:58:18,600 --> 01:58:20,439
Speaker 2: Okay, so it's not bad.

2261
01:58:20,560 --> 01:58:22,319
Speaker 4: I mean, it's just outs.

2262
01:58:21,840 --> 01:58:25,840
Speaker 2: Basically, you just yeah, don't often get those on a

2263
01:58:26,039 --> 01:58:29,800
on a something weird disc back in the no which.

2264
01:58:29,600 --> 01:58:31,720
Speaker 4: Was a nice surprise. But then again, we also don't

2265
01:58:31,760 --> 01:58:35,199
get negatives of Chancellor films either. You really looked out

2266
01:58:35,199 --> 01:58:35,800
with this one.

2267
01:58:36,399 --> 01:58:38,399
Speaker 2: Yeah, what the heck? How do we even get this? Then?

2268
01:58:38,439 --> 01:58:41,479
I wonder what's the story why? I don't know nothing

2269
01:58:41,479 --> 01:58:44,640
else did I don't know. We'll talk with Alex and

2270
01:58:44,680 --> 01:58:46,239
maybe we'll have an update next time.

2271
01:58:46,439 --> 01:58:48,680
Speaker 4: Well, Alex already knows that the Chancellor film stuff was

2272
01:58:48,720 --> 01:58:50,439
kept in a different lab which shuttered and all that

2273
01:58:50,439 --> 01:58:52,720
stuff was trashed, So I really don't know where that.

2274
01:58:52,800 --> 01:58:54,479
I don't know where this came from. I don't think

2275
01:58:54,479 --> 01:58:56,960
it was a movie lab because Chancellor didn't keep their

2276
01:58:56,960 --> 01:59:01,119
stuff at Movie Lab and nless it was something that

2277
01:59:02,199 --> 01:59:04,920
the Savage is kept there. That's the only thing I

2278
01:59:04,920 --> 01:59:06,880
can think of is that the Savage is deposited there

2279
01:59:06,880 --> 01:59:09,680
and just didn't care. And it wasn't it was something

2280
01:59:09,680 --> 01:59:11,600
that they only sub licensed to change the films. But

2281
01:59:11,640 --> 01:59:14,920
that doesn't seem that doesn't seem plausible because that if

2282
01:59:14,920 --> 01:59:17,279
they did submission there, they would have kept Wakening with

2283
01:59:17,319 --> 01:59:19,600
Strangers there too, I would think. And that wasn't there,

2284
01:59:19,800 --> 01:59:22,079
So well, I don't know.

2285
01:59:22,560 --> 01:59:24,800
Speaker 2: Let me say, yeah, if you haven't checked out our

2286
01:59:24,840 --> 01:59:27,399
Patreon yet, we are putting our show notes up there,

2287
01:59:27,640 --> 01:59:32,640
so check it out and subscribe for a measly three bucks.

2288
01:59:32,680 --> 01:59:34,720
I have to put it behind paywalk because sometimes there's

2289
01:59:34,800 --> 01:59:39,920
nudity and Patreon slaps my wrist if I don't so right,

2290
01:59:40,600 --> 01:59:42,119
Oh yeah, go ahead.

2291
01:59:42,159 --> 01:59:43,680
Speaker 4: The show notes have a lot of good stuff on

2292
01:59:43,800 --> 01:59:47,520
here also because I have We include a lot of

2293
01:59:48,039 --> 01:59:53,359
a lot of advertisements for Jennifer Wells's shows with her stills.

2294
01:59:53,399 --> 01:59:58,159
We have a lot of newspaper articles. We have links

2295
01:59:58,199 --> 02:00:01,640
to stuff about where they are different pass and crew.

2296
02:00:02,319 --> 02:00:05,640
Speaker 2: Yep, it's their packed, their media. Check them out and you'll. Yeah,

2297
02:00:05,800 --> 02:00:08,520
you can spend a good couple hours.

2298
02:00:08,159 --> 02:00:11,640
Speaker 4: Digging through all these show notes specifically for this title,

2299
02:00:11,800 --> 02:00:18,439
are this is a thirty four page document, and is

2300
02:00:18,479 --> 02:00:21,760
it for a little idea of what it's like? Gentry

2301
02:00:21,920 --> 02:00:26,359
creates this and it's literally like our show link and

2302
02:00:26,399 --> 02:00:29,159
a few little things, the little comments that's like a

2303
02:00:29,239 --> 02:00:31,199
I don't know. It takes up like a third of

2304
02:00:31,199 --> 02:00:34,479
the page. It explodes to thirty four pages over the

2305
02:00:34,520 --> 02:00:37,560
course of like forty eight hours. When we did, we

2306
02:00:37,640 --> 02:00:41,239
dig into the We dig into the research, Gentry writes

2307
02:00:41,279 --> 02:00:45,640
his intro. We add updates to it, like, yeah, we

2308
02:00:45,640 --> 02:00:48,319
we these show notes. I'm saving copies from myself too

2309
02:00:48,439 --> 02:00:52,960
now at this point, okay, good yeap. So also, so

2310
02:00:53,520 --> 02:00:56,079
part of this I wanted to mention was I found?

2311
02:00:56,279 --> 02:00:59,399
So we found? We also include a ship ton of

2312
02:00:59,439 --> 02:01:02,479
newspaper ads for submission, which, let me tell you, trying

2313
02:01:02,479 --> 02:01:04,520
to find the grass for submission with a one word

2314
02:01:04,560 --> 02:01:08,079
title like that very difficult. Did you use alexaxt or

2315
02:01:08,079 --> 02:01:10,840
three hours? I did, That's what I had to do,

2316
02:01:11,279 --> 02:01:13,439
But I know I missed some because not every newspaper

2317
02:01:13,479 --> 02:01:17,199
ad has that has a tagline. The tagline so the

2318
02:01:17,279 --> 02:01:19,800
earliest one that we found for submission. It was released

2319
02:01:19,840 --> 02:01:23,159
in Awesome, Texas March twenty ninth, nineteen seventy, so that's

2320
02:01:23,199 --> 02:01:25,680
the earliest release date for this film was in Texas.

2321
02:01:27,119 --> 02:01:30,159
And then it did not open in New York until

2322
02:01:30,560 --> 02:01:34,359
much later. Where was that it opened in? It opened

2323
02:01:34,399 --> 02:01:36,319
in LA before it opened in New York. It opened

2324
02:01:36,520 --> 02:01:39,319
opened in the LA area November nineteen seventy at the

2325
02:01:39,319 --> 02:01:42,199
Pussycat Theater, which is pretty substantial. It didn't play the

2326
02:01:42,239 --> 02:01:44,560
Pussycat in New York that I can find, which is

2327
02:01:44,640 --> 02:01:49,199
very interesting. But I also found some ads showing this

2328
02:01:49,199 --> 02:01:51,640
as late as nineteen seventy two, where it was retitled

2329
02:01:51,680 --> 02:01:54,960
as the Love Cult, not to be confused with the

2330
02:01:55,079 --> 02:01:58,760
sixty seven Love Cult or sixty six Love Cult. And

2331
02:01:58,800 --> 02:02:01,279
then the latest that I could fine it showed showed

2332
02:02:01,319 --> 02:02:03,720
it to drive in in Saint Louis in nineteen seventy

2333
02:02:03,720 --> 02:02:06,159
four on the trip at the bottom of a triple

2334
02:02:06,159 --> 02:02:08,720
feature with a little miss in a sense, which is

2335
02:02:08,800 --> 02:02:12,760
the Chris Warfield movie and Cries of Ecstasy Blows of Death,

2336
02:02:12,800 --> 02:02:17,520
which is that that's what Tony Anthony Weber of Sandy

2337
02:02:17,560 --> 02:02:20,479
Carey like sci fi sex movie. Yeah, And then submissions

2338
02:02:20,479 --> 02:02:21,720
at the bottom of the bill.

2339
02:02:22,359 --> 02:02:24,239
Speaker 2: Oh yeah, and it's also with snow bunnies.

2340
02:02:25,479 --> 02:02:27,760
Speaker 4: Yes, it played it with snow bunnies exactly.

2341
02:02:27,880 --> 02:02:28,800
Speaker 2: It's just funny.

2342
02:02:28,880 --> 02:02:31,479
Speaker 4: And then Potpeourrie, which I guess is a bunch of loops,

2343
02:02:31,520 --> 02:02:34,840
but they described that as Triple X, which, as we

2344
02:02:34,920 --> 02:02:38,399
know nineteen seventy two. Looking at this list, none of

2345
02:02:38,399 --> 02:02:41,720
these are Triple X. Snow Bunnies, A softcore submission is softcore.

2346
02:02:41,760 --> 02:02:44,119
Potpourri is probably softcore. Bet is a bunch of loops

2347
02:02:44,119 --> 02:02:44,680
thrown together.

2348
02:02:45,039 --> 02:02:48,920
Speaker 2: Yeah. Yeah, we talked a little bit about that recently.

2349
02:02:48,960 --> 02:02:50,960
I can't remember if it was off or online about

2350
02:02:51,000 --> 02:02:52,760
how triple X.

2351
02:02:53,119 --> 02:02:55,720
Speaker 4: Yeah, I think last episode we did with Alex Yes.

2352
02:02:55,880 --> 02:03:01,520
Speaker 2: Yeah, doesn't necessarily mean hardcore all the time, usually not,

2353
02:03:01,920 --> 02:03:02,880
but sometimes it does.

2354
02:03:03,079 --> 02:03:06,880
Speaker 4: Yeah, it's just a great a great market what's the

2355
02:03:06,920 --> 02:03:10,239
word marketing at right? Right? Exactly?

2356
02:03:23,960 --> 02:03:26,159
Speaker 2: Well, before we go, did you want to do the

2357
02:03:26,279 --> 02:03:27,119
Mount Rushmore?

2358
02:03:27,840 --> 02:03:32,279
Speaker 4: Sure? I only I only realized we were doing this

2359
02:03:32,439 --> 02:03:35,000
near the end. I was like, wait, what is this edition? Now?

2360
02:03:35,039 --> 02:03:37,239
So the fun thing about this is, you know around

2361
02:03:37,279 --> 02:03:40,880
Mount Rushmore only has space for four heads, right, mm hmmm,

2362
02:03:41,600 --> 02:03:44,439
so are you keeping it to four? Yeah? Are you

2363
02:03:44,479 --> 02:03:45,920
just you do ever kept it four?

2364
02:03:47,600 --> 02:03:47,760
Speaker 7: Oh?

2365
02:03:47,800 --> 02:03:49,840
Speaker 4: You amended it? That's what it was. I was like,

2366
02:03:49,920 --> 02:03:54,279
oh wow, okay, yeah, I'm intrigued. I haven't thought. I

2367
02:03:54,720 --> 02:03:57,600
kept mine to myself until I announced them live.

2368
02:03:57,720 --> 02:04:00,680
Speaker 2: But yeah, okay, Well, because this is my Rushmore, this

2369
02:04:00,720 --> 02:04:05,560
isn't ranking, this is just four favorites, yes, of course, yes,

2370
02:04:05,600 --> 02:04:08,479
and well this was brought about because Alex and I

2371
02:04:08,520 --> 02:04:12,079
were talking and we both wanted to put Jennifer Wells

2372
02:04:12,079 --> 02:04:16,279
on our on our Mount Rushmore. So Jennifer Wells is

2373
02:04:16,319 --> 02:04:18,359
on mine. I know. That's why I want to hear this.

2374
02:04:20,680 --> 02:04:23,479
I have Jennifer Wells. Oh this is okay, Mount Rushmore

2375
02:04:23,479 --> 02:04:25,479
of sixties sexploitation?

2376
02:04:26,159 --> 02:04:28,119
Speaker 4: What only New York apparently.

2377
02:04:29,119 --> 02:04:30,560
Speaker 2: Stop, you'll have your chain.

2378
02:04:30,680 --> 02:04:32,520
Speaker 4: I can't believe, and I can't believe neither you put

2379
02:04:32,600 --> 02:04:36,079
any California women considering how many California women there are

2380
02:04:36,119 --> 02:04:36,760
in the genre.

2381
02:04:37,880 --> 02:04:39,840
Speaker 2: I was just, what, you're not put.

2382
02:04:39,680 --> 02:04:42,199
Speaker 4: This person on here? Oh you're saying it was first?

2383
02:04:42,239 --> 02:04:43,159
It was immediately, I'm not.

2384
02:04:43,800 --> 02:04:45,760
Speaker 2: I didn't. I'm not trying to overthink it. I don't

2385
02:04:45,800 --> 02:04:46,680
know if Alex did.

2386
02:04:46,920 --> 02:04:49,720
Speaker 4: See I'm a classic overthinker. Immediately it was like what

2387
02:04:50,079 --> 02:04:50,600
I don't know.

2388
02:04:50,920 --> 02:04:55,239
Speaker 2: Okay, so mine is Jennifer Wells. Gotta put my girl,

2389
02:04:55,319 --> 02:05:03,319
June Roberts, Gretchen Rudolph, and gig Dar. That's my Mount Rushmore. Wow,

2390
02:05:03,640 --> 02:05:06,760
all right, go ahead.

2391
02:05:07,039 --> 02:05:09,760
Speaker 4: Let's see. Okay, So Mount Rushmore. Do you want me

2392
02:05:09,800 --> 02:05:11,319
to stick to New York? You want me to do come?

2393
02:05:11,520 --> 02:05:13,079
Speaker 2: I want you to do whatever you want to do.

2394
02:05:13,119 --> 02:05:15,359
And so I also want to say, like, when I

2395
02:05:15,399 --> 02:05:20,359
was thinking about it, I also in my stipulation or

2396
02:05:20,600 --> 02:05:23,439
I don't know, my qualifier was also like someone who's

2397
02:05:23,479 --> 02:05:26,600
been in you know, at least more than three or four.

2398
02:05:26,640 --> 02:05:28,520
You know, I was thinking about Kathy Crowfoot as well,

2399
02:05:28,560 --> 02:05:31,159
but I'm like, oh, she was only in like four movies.

2400
02:05:31,399 --> 02:05:32,880
Speaker 4: So yeah, she wasn't in that many.

2401
02:05:33,079 --> 02:05:36,880
Speaker 2: I have to have a significant presence, That's what I mean.

2402
02:05:36,920 --> 02:05:38,840
Speaker 4: I'm thinking in terms of like, but also I want

2403
02:05:38,840 --> 02:05:41,680
to think of like impact. Yeah.

2404
02:05:40,840 --> 02:05:44,560
Speaker 2: I I considered impact a little bit, but not maybe

2405
02:05:44,560 --> 02:05:46,359
as much as you might, yeah, because then it would

2406
02:05:46,359 --> 02:05:48,279
be tough for me to put like took me to

2407
02:05:48,279 --> 02:05:51,479
put like Uta Erickson because that she didn't even use

2408
02:05:51,520 --> 02:05:52,760
that name on like one movie.

2409
02:05:53,319 --> 02:05:59,279
Speaker 4: Okay, So my Mountain Rushmore of sixties exploitation actresses. I'm

2410
02:05:59,279 --> 02:06:02,399
going to stick to York for my peace of mind. Yeah,

2411
02:06:02,520 --> 02:06:05,199
that's why i'd be like, what the fuck am I thinking? Okay,

2412
02:06:05,439 --> 02:06:10,600
my mount Russmore of New York actresses, GZ Darlene, I'll

2413
02:06:10,600 --> 02:06:14,880
go chronological Gji Darlene Janet bans it because I think

2414
02:06:14,920 --> 02:06:19,119
she made I think the most movies of anybody in

2415
02:06:19,239 --> 02:06:23,560
New York at that time, Linda Boyce and Patricia McNair.

2416
02:06:24,159 --> 02:06:28,319
I believe, Sorry Uta, I worship the grand Utah walks On,

2417
02:06:28,399 --> 02:06:30,720
but I think Linda Boyce is more important because she

2418
02:06:30,760 --> 02:06:34,720
was an actress and an agent. Protessa McNair I think

2419
02:06:34,800 --> 02:06:37,880
is the most important Sarno actress of that era if

2420
02:06:37,880 --> 02:06:40,800
it wasn't gonna be Peggy Stephans. But also Peggy's different

2421
02:06:40,800 --> 02:06:44,680
because she also worked behind the scenes. Know what, I'm

2422
02:06:44,720 --> 02:06:47,880
swapping them out, Britrisa McNair are swapping out for Peggy Stephens.

2423
02:06:48,399 --> 02:06:51,399
So GJ Darlene because I think you have to make

2424
02:06:51,439 --> 02:06:54,600
an important impact. For Michael Findley to ask in an

2425
02:06:54,600 --> 02:06:58,680
opening credits graffiti, whatever happened to JGI Darlene? That means

2426
02:06:58,680 --> 02:07:00,960
that people in the end street who didn't ever even

2427
02:07:00,960 --> 02:07:04,600
work with her, are familiar with her, right, so that

2428
02:07:04,680 --> 02:07:06,920
I think she was an important the most important New

2429
02:07:07,000 --> 02:07:12,079
York nuty cutie. Sorry Darlene Bennett. That's another one I

2430
02:07:12,079 --> 02:07:13,000
would have mentioned too.

2431
02:07:14,079 --> 02:07:17,000
Speaker 2: Yeah, I also considered putting the Bennett twins together.

2432
02:07:18,560 --> 02:07:22,760
Speaker 4: I only liked Darlene. Sorry Don, Don, I don't like you.

2433
02:07:23,119 --> 02:07:25,720
She was always very gawky and strange and was always

2434
02:07:25,720 --> 02:07:27,720
seemed like she was Darlene always seemed like she was

2435
02:07:27,760 --> 02:07:30,000
having so much fun, and she had like she had

2436
02:07:30,039 --> 02:07:33,520
a very like so there was something very regal posture

2437
02:07:33,520 --> 02:07:35,640
about her, considering she was just like some Jersey girl

2438
02:07:35,720 --> 02:07:36,439
or Brooklyn girl.

2439
02:07:36,880 --> 02:07:39,880
Speaker 2: I always joke that Don's the ugly one, but that's mean.

2440
02:07:42,319 --> 02:07:46,319
Speaker 4: I wouldn't disagree. I wouldn't. I wouldn't say it, but

2441
02:07:46,359 --> 02:07:49,039
I wouldn't disagree. Okay, if I heard it, so you

2442
02:07:49,079 --> 02:07:52,600
can say it, I'll agree with it, which is crazy

2443
02:07:52,600 --> 02:07:57,279
because they were twins. But just Darlene. I don't know.

2444
02:07:57,439 --> 02:08:01,199
Darlene got the good jeans. I have no idea, and.

2445
02:08:01,119 --> 02:08:03,119
Speaker 2: She had she had the aura, as the kids say

2446
02:08:03,199 --> 02:08:04,159
these days.

2447
02:08:04,319 --> 02:08:07,399
Speaker 4: Darling's great. Actually, you know what, let me show me thing?

2448
02:08:07,840 --> 02:08:11,479
Am I changing this? That's fine cause I had to

2449
02:08:11,479 --> 02:08:15,000
have a blonde in there. They're all brunettes, but honestly.

2450
02:08:16,199 --> 02:08:17,680
Speaker 2: Sandy blonde.

2451
02:08:18,479 --> 02:08:20,159
Speaker 4: No, you know what, I changed my mind. This is

2452
02:08:20,159 --> 02:08:26,000
official now, Okay, Darlene Bennett okay, Janea bans It, Linda Boyce,

2453
02:08:27,119 --> 02:08:32,159
and Peggy Stephens okay. And also because it's New York

2454
02:08:33,000 --> 02:08:35,159
and I always think of that as darker anyway, so

2455
02:08:35,560 --> 02:08:40,279
it makes sense for them all to be brunettes for me. Yeah, California.

2456
02:08:40,479 --> 02:08:42,000
Actually most of the women I would think it for

2457
02:08:42,039 --> 02:08:45,239
California are blonde.

2458
02:08:44,840 --> 02:08:46,119
Speaker 2: From Sunshine Blonde.

2459
02:08:46,199 --> 02:08:49,239
Speaker 4: Yea more blondes are in that. Actually, blondes and redheads

2460
02:08:50,199 --> 02:08:51,359
would be my California.

2461
02:08:51,960 --> 02:08:57,319
Speaker 2: All right, So Alex alex is four, is Jennifer wells

2462
02:08:57,560 --> 02:09:01,680
Uda Erickson, Linda Boyce, and Sheila Britt Chiba Britt.

2463
02:09:02,680 --> 02:09:04,520
Speaker 4: I agree with all but one of those.

2464
02:09:04,960 --> 02:09:05,840
Speaker 2: Yep, I know you do.

2465
02:09:06,479 --> 02:09:10,039
Speaker 4: I think she Brit makes sense because she's a big

2466
02:09:10,079 --> 02:09:14,239
Sarno girl. I'm surprised. No, Pat McNair, what the fuck.

2467
02:09:14,640 --> 02:09:17,000
I think she was the best actress that Sarno ever

2468
02:09:17,039 --> 02:09:19,479
worked with in the sixties. Like, I don't think there's

2469
02:09:19,479 --> 02:09:23,279
any competition there except for Peggy. I think he's terrific.

2470
02:09:23,760 --> 02:09:27,600
Speaker 2: Yeah, it was Gretchen or Patty on my list, and right,

2471
02:09:28,159 --> 02:09:29,079
and you go.

2472
02:09:29,079 --> 02:09:31,000
Speaker 4: Over your honorable mentions for everyone.

2473
02:09:31,439 --> 02:09:33,079
Speaker 2: Well, I guess I could.

2474
02:09:33,840 --> 02:09:35,520
Speaker 4: Basically your short list, right, Yeah.

2475
02:09:35,640 --> 02:09:38,640
Speaker 2: Yeah, Judy Adler, I love Judy.

2476
02:09:39,479 --> 02:09:40,000
Speaker 4: She's great.

2477
02:09:40,279 --> 02:09:41,880
Speaker 2: Maria Elise, Yeah, it's.

2478
02:09:41,760 --> 02:09:42,439
Speaker 4: A very good pick.

2479
02:09:42,479 --> 02:09:44,119
Speaker 2: Actually, I'm surprised you didn't.

2480
02:09:45,359 --> 02:09:47,119
Speaker 4: She didn't make that much in New York. That was

2481
02:09:47,119 --> 02:09:52,159
that substantial. Yeah, but I like her better as a director, actually, Yeah.

2482
02:09:53,760 --> 02:09:55,359
Speaker 2: Joanna Mills, it's.

2483
02:09:55,199 --> 02:09:57,439
Speaker 4: A good one too, very good Sarno stuff.

2484
02:09:57,520 --> 02:09:59,960
Speaker 2: Yeah, and then I had the Bennett twins together.

2485
02:10:00,680 --> 02:10:05,359
Speaker 4: Mm hmmm. I feel like that's really giving down a

2486
02:10:05,399 --> 02:10:06,920
lot of grace.

2487
02:10:07,600 --> 02:10:14,239
Speaker 2: Let's leave don alone.

2488
02:10:15,760 --> 02:10:17,600
Speaker 6: I'm gonna get you from that way.

2489
02:10:18,079 --> 02:10:25,560
Speaker 4: A'm gonna get you. I'm gonna get you.

2490
02:10:27,960 --> 02:10:28,760
Speaker 2: I'll end it there.

2491
02:10:29,039 --> 02:10:32,600
Speaker 4: What do you say, Sure, you need to get some Oh,

2492
02:10:32,880 --> 02:10:36,239
we do need to figure out if we should be

2493
02:10:36,439 --> 02:10:40,800
trying to do any merch. I love the idea. I

2494
02:10:40,800 --> 02:10:44,119
love the idea of the shirts. Well listen because you know,

2495
02:10:44,399 --> 02:10:49,520
because you know, we had a listener, ask say, because Dakota.

2496
02:10:49,600 --> 02:10:51,880
The last episode of the Closing, the Close Closing line

2497
02:10:51,920 --> 02:10:55,159
was Bob Krusty's jerking it somewhere, and that was a

2498
02:10:55,159 --> 02:10:58,159
really great closing line. So, you know, a listener, a

2499
02:10:58,159 --> 02:11:00,960
friend of mine reached out and said, uh, if that's

2500
02:11:00,960 --> 02:11:03,279
ever on a shirt, I will buy it. So I

2501
02:11:03,319 --> 02:11:05,319
was like, that's good, since syndicate a good idea for

2502
02:11:05,399 --> 02:11:10,079
since syndicate T shirts are closing lines. So sort of

2503
02:11:10,079 --> 02:11:13,199
like Alex saying, I can't wait to forget these movies. Yeah,

2504
02:11:13,760 --> 02:11:16,720
it's a great line. I don't know if I've had

2505
02:11:16,720 --> 02:11:20,000
any good closing lines. I don't remember, but you know

2506
02:11:20,479 --> 02:11:21,199
other things have.

2507
02:11:21,640 --> 02:11:23,920
Speaker 2: I can't remember them, but I know that I know

2508
02:11:25,199 --> 02:11:29,159
that we Oh, well, one is too long, didn't I

2509
02:11:29,199 --> 02:11:32,680
say something like you can't have two camp icons in

2510
02:11:32,720 --> 02:11:37,760
a movie and consider it lesser russ Meyer common lock Cabin. Yeah,

2511
02:11:38,079 --> 02:11:38,680
it's too long.

2512
02:11:38,800 --> 02:11:41,680
Speaker 4: It's not like it's not quippy and quick like Bob

2513
02:11:41,720 --> 02:11:47,119
Krusty's jerking it somewhere. Well, it's a joke. Whether a

2514
02:11:47,199 --> 02:11:52,720
picture of Bob Kreussey in like the Granny Good, Granny

2515
02:11:52,760 --> 02:11:55,800
Good drag with that quote would be great, I think,

2516
02:11:55,880 --> 02:11:57,720
because then you have to have a shot of him

2517
02:11:57,720 --> 02:11:59,960
like mugging for the camera in the drag to say

2518
02:12:00,079 --> 02:12:02,319
he's hir get it somewhere. I think that's a good idea.

2519
02:12:03,760 --> 02:12:34,239
Speaker 9: I think it's a good idea.

2520
02:12:49,840 --> 02:12:52,680
Speaker 8: Thank you for listening to hear more shows from the

2521
02:12:52,720 --> 02:12:55,079
Someone's Favorite Productions podcast Network.

2522
02:12:55,439 --> 02:13:03,439
Speaker 2: Please select the link in the description. Hello and welcome

2523
02:13:03,439 --> 02:13:06,199
to Tumbleweeds and TV Cowboys. My name is Hunter.

2524
02:13:06,600 --> 02:13:08,680
Speaker 8: In this podcast, I'll be joined by a different guest

2525
02:13:08,720 --> 02:13:11,680
each week to discuss a classic Western movie or TV show.

2526
02:13:12,000 --> 02:13:13,760
Speaker 2: I've been a fan of classic westerns for as long

2527
02:13:13,800 --> 02:13:15,760
as I can remember, and in recent years they've become

2528
02:13:15,880 --> 02:13:19,199
very nostalgic for me. I love the esthetic, the tropes,

2529
02:13:19,439 --> 02:13:22,479
and I love seeing different filmmakers takes on them at

2530
02:13:22,479 --> 02:13:25,880
their best. They're incredibly entertaining, rewatchable, and some of my

2531
02:13:25,920 --> 02:13:27,560
all time favorite movies are Westerns.

2532
02:13:27,840 --> 02:13:30,520
Speaker 8: We'll mostly focus on Western movies made in Hollywood, but

2533
02:13:30,520 --> 02:13:32,880
we'll also be covering spaghetti westerns and one thing I'm

2534
02:13:33,000 --> 02:13:35,479
very excited to get into our Western TV shows.

2535
02:13:35,640 --> 02:13:39,199
Speaker 2: I've got some amazing guests coming on the show, film professors, historians,

2536
02:13:39,199 --> 02:13:42,439
and podcasters. And Tumbleweeds and TV Cowboys is part of

2537
02:13:42,479 --> 02:13:45,800
the Someone's Favorite Productions podcast network, and many guests on

2538
02:13:45,840 --> 02:13:48,199
the show will be from other shows on the Network,

2539
02:13:48,399 --> 02:13:49,239
thanks for listening,