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October 31, 2005

Kill Girl Kill 3 release party


Speaking of Eon McKai, he's throwing a DVD release party for Kill Girl Kill 3 this Thursday, November 3, in Hollywood, and you're invited! The night also promises a preview of Eon's Neu Wave Hookers, as well as "free drinks for sluts," and VCA DVD giveaways all night long! That plus a chance to meet stars Joanna Angel, Tiger, Katrina Kraven and Serena Sin, and the night promises to be a memorable one.

Joseph's Café
1775 N Ivar Avenue
Hollywood, CA

You must RSVP by 3pm Thursday for admission.

October 21, 2005

Eon McKai: Art School Smut

While the casual viewer might argue that all roads in the adult entertainment business have been explored, there are still some trailblazers in the business trying to make things interesting again. Chief among them is Eon McKai [web site], kingpin of the nascent alt.porn genre. As Jonathan Marlow interrupts him in the midst of editing his latest, Neu Wave Hookers, the two discuss the history of the industry and the introduction, only twelve months ago, of a whole new style of adult filmmaking.

You have a film degree, which is unusual in this business. Where did you go to school?

I'll never say!

It's a secret.

It's a secret. I've got a master's degree in film from a real film school. I also went to art school, too.


Which was, at least in part, an inspiration for your first adult feature, Art School Sluts. There are a few scenes in the film that were inspired by real incidents?

There's a lot of real stuff in there. There's also a send up of filmmaker and artist Morgan Fischer - that scene where she was taking photographs and then you're watching them develop. I guess you kind of insert your personality in-between the sex scenes when you make a feature.

You came to VCA with this idea?


What made you decide to go with them?

I've always been interested in adult film and it just seemed like an interesting way to have a job and do something fun. I know that's really basic, but that's just how I'm feeling right now. I ask myself, too, "Why did I start doing this?" I guess it's a lot of fun. It really is. With VCA, I snuck in at a time when things were in turmoil and some people gave me a shot - Wit Maverick and Antonio Passolini, and I got a help from Jane Hamilton (Veronica Hart) and Jim Malibu. I got to hang out on their sets and see how they did it. Now I'm coming up with my own way to do it but that was basically my way into VCA. They were pretty nervous about the idea at first. You know, alt.porn hadn't really been tried on video. You had goth stuff, that's all anybody knew. Their only frame of reference to anything I was doing was goth. I would just kind of nod and say, "Just trust me." It seemed to work, though.

Was music also pushing you in this direction? In addition to a different look for your actors, the sound in your film is obviously quite distinct. You use emo, drum and bass...

Yeah, absolutely. I have a lot of experimental stuff, a lot of breakcore and higher caliber stuff from real people. In Neu Wave Hookers, we're getting an almost all electro soundtrack with people like Dirty Sanchez and Electrocute, Gold Chains - you're from San Francisco, are you familiar with Gold Chains?


Gold Chains is on the soundtrack. Topher [Lafata] was actually one of the first people I approached because he made records with dirty lyrics. Gold Chains was by himself just talking about ass and pussy in an ironic, hip-hop way. Then, when he started doing stuff with his backup singer, Sue Cie, their last record they did together was all about being in a relationship and sex and stuff like that. I thought it was pretty interesting, so it'd be good to put into a porno movie.

I read your piece with Joanna [Angel] where she said we were such buddies. We really are good friends. We stuck together through some shit during the last year and we think the same way. I believe there will be more and more people who'll get into what we do, the more we fly the flag that we're making these kind of movies.

Ideally it won't immediately attract folks that crassly co-opt the space.

I think that you can tell the difference. What's happening right now, there is this misnomer that you have to be super hip or some kind of brainiac to get into these movies. That's just not the case. I think certain people are starting to feel a little threatened because they don't have an eye for it. You know, I don't watch tranny porn. I'm not really threatened by the fact that it's there. I would like all porn to have a place on the shelf, a place for my movie to be among other movies like it. That's what we're fighting now, but we're getting a little bit of that. Like, "Oh, alt.porn doesn't exist. You guys are a bunch of..." You know. It's really been interesting. You work with GameLink, so you know. The distributors are really starting to respond to the titles positively.

You've created your own cottage industry.

I just wish I was getting rich off of it but I can't say that's the case.

It will come in time.

I hope so. I hope that I still have some good ideas later when I have a little bit more of the cut!

Before you made Art School Sluts, you made other films while you were in school - non-adult films.

Absolutely, yes. When I'm not Eon McKai, I've definitely done other things. I enjoy being an alias, too. I think if I went back and made a purely art film, it would probably be about the concept of identity. People have really reinvented themselves online and a lot of people who watch my movies are pretty savvy, too. They're pretty social online.

How did you cast Art School Sluts? How did you find these people to star in your film?

With Art School Sluts it was mostly through the internet. I met Keiko through the internet, I met Brooklyn through the internet, this guy Dominic, and some other people. I had to fill it out. I'm always riding that edge of who I want to have in my movies. I'm trying to make a really conscious choice. You know, I generally don't shoot girls with fake boobs. I try to find something in the girl that's got an alt style to her and try to work with that. You know how it is in this business. I'm not saying that I don't like anybody in any of my movies, but you're always riding that edge and your voice as a pornographer is who you decide to put in the movie and why. I work really hard on it. I'm constantly talking to girls on myspace. This week I talked to an insanely hot-looking girl, but she's in Canada. So it's starting to be these girls who know they probably couldn't do normal porn but they'll get a lot of exposure through my stuff. You know, also being friends with Joanna, I've met a lot of the Burning Angel girls. Brooklyn still is a model on Joanna's site.

And Jezebelle Bond, from Kill Girl Kill 2.

That's right! I forget about Jezebelle Bond because I met Jez first as a porn star. Actually, when I met her, I thought that she was super cute and I was trying to get her in Art School Sluts. She was really unavailable about doing scenes at that time, but she'd been in the business. Now that I'm here, she's kind of sporty now. We shot her and her boyfriend and they were really nice. It was a really cool scene. And Buff Monster - I don't know if you're familiar but he did a room in San Francisco in some hipster hotel where all the different rooms are painted by different artists.

The Hotel des Arts.

So Buff Monster, he did that room [in KGK2].

To date, all of your work is set in Los Angeles, right?

Yeah, we shot everything here. I would like to go anywhere though.

You've got to make a movie in San Francisco. Think of the history of the business...

Well, I would agree. But it's harder. Here's the thing... I definitely could do something in San Francisco, but I know Joanna and Joe Galant have harder times doing things in New York because here, if you're set up to shoot one day and somebody doesn't show up...

You can always fall back on these agencies. You know what I mean? That's when it becomes such a product. I think that's why I like some of that stuff that's made out there. Maybe I should go to San Francisco.

How did you end up using James Deen in... Well, he's been in everything so far.

I put him in his first scene. Art School Sluts, that's his first. I saw him on the Jim South site and, when Art School Sluts was just beginning, I was struggling for what guys I could put in my movie. Some of that backfired. That guy Dominic was supposed to perform and I had to get someone else to come in and perform instead. You know, making your first porno movie, you want some guys who you know can perform. I had an older character in the movie so I could cast an older porn star since I was sure that would work. But with James Deen, I saw him and something just told me I should give him a shot. I put him in his first scene and now he's become one of my best performers.

He's almost become your alter ego.

My alter ego...

You know, the Marcello Mastroianni to your Federico Fellini.

I've never thought of it like that! We've kind of built a little bit of a family and I'd say that James is a part of that. I remember him calling me from New York when he was doing Joanna's Angels. He was like, "Man, it's all your fault they're dressing me up like a hipster!" He's become really in demand. He works every day. His rates are going up and he deserves it. The girls really like him. He's a really nice person, so I'm really happy I brought somebody really nice into the business. I haven't had so much luck with bringing guys into the business since then.

Well, it's tough.

It's totally tough. I'm considering shooting more couples. To anyone that has been in the business, it's like, "Warning, warning!" But some of these couples are hot. The girls are really cute and the guys are real. These are the guys that the girls are really dating, so... We're starting to cross that bridge soon.


Now, with Art School, you're doing a narrative with something that you're relatively familiar with, but with Kill Girl Kill, it's essentially a collection of scenes. Where'd the idea for the series come from?

VCA was in a really weird spot when Kill Girl Kill started. Obviously, VCA had been picked up by Hustler. That was at the time when no one was shooting so they gave me money just to go shoot a scene. You know, when a company stops production for a minute, it's really depressing in the office. You feel like they're on a sinking ship. So we found a way to get some money out of the company to just start shooting something and we shot that first scene with Veronica [Jett] on Kill Girl, just to kind of keep spirits up. "Hey, look, the kids are shooting. All the other features might not be happening but at least something's going on." We got more money to finish the movie. People were already talking about Art School Sluts but it hadn't really pushed enough units at the time, so we were still trying to prove ourselves.

That's when I picked up the camera and started shooting and learning more about shooting a sex scene. Literally, we were just going head-forward into it; we would just show up at a place. We made a lot of mistakes on the first one, but we managed to cut it together into something kind of cool. And we got a bunch of cool people involved in it. Every scene would be like some other day where we would all get together and go shoot someplace. It's really kind of our beginnings of learning how to do it by ourselves. By that, I mean, people like Alice Suicide, Malachi Ecks and Vena Virago. Malachi and Vena have actually started shooting, too, so even more people, even just from my crew out here, are going to start making films.

They're both directing now?

Yeah, Malachi did something. It's kind of on the down low. He just started shooting something this weekend, both him and Vena Virago, separately. Vena Virago [director of Nietzsche Bangers] is the art director on Neu Wave Hookers, and on Art School Sluts, and she art directed the first scene on Kill Girl Kill 2. I don't know if you've seen that one where Deja [Daire] has a bloody nose...

Kill Girl Kill 2 and the first one both start in an odd way.

Yeah, with Kill Girl Kill we literally go someplace and we just start putting stuff together. We just rent a place that we think is cool. We show up, we move some stuff around and I have some vague ideas. We'll buy props and we'll load a bunch of stuff into the location. Literally, we're just kind of building each scene. So I'm always just looking for something to happen. For some reason, that's what happened that day. We just put a bloody nose on Deja and sat her down and, I don't know, something weird was going on with her…

It just seemed right. I was definitely going to hell as I was shooting that scene, though. I felt like I was doing something very bad.

Putting the image of Christ on the lamp...

Christ, yeah. The whole mood of that scene... We had to wait around a long time for paperwork reasons. It was tough. By the time we shot, things were really dark. It was a really dark scene. Neu Wave Hookers is cute, though. It's not a remake, just so you know.

We'll get to that. I'm trying to take this somewhat chronologically, not that it makes any difference whatsoever. It's "a year in the life," from November 2004, when Art School Sluts came out, to November of this year, when Kill Girl Kill 3 is scheduled to be released.

Yeah, I didn't really crank them out this year, but I did okay.

That's still pretty good. Quality takes time.

It does. Everybody's just making a lot of money making a lot of things. I've got to figure it out.

If you were back when the adult business was beginning, when the rules were somewhat different, and you were able to do more with the material, is there anything that you would like to do that you are not able to do in the Kill Girl Kill trilogy?

A lot, narrative-wise. There's a lot I would like to show. I'd like to show situations that are a little bit more real. And I'm not talking about anything violent. It's just pure story stuff. That's probably a big part of why it's hard to take a lot of these films seriously because they can't have certain things happen in them. It's really disappointing. If I wanted to make a movie about street kids who got into drugs and sex, it would be really hard to show everything and talk about everything in the way you would to make a serious movie. Have you ever seen Christiane F.?

Years ago.

So if that was a porno movie, there would be a couple of problems. One, obviously, is that Christiane and her hustler boyfriend were underage. They've probably had sex, you know. They were doing heroin, they were probably having sex. Depicting underaged kids having sex and doing heroin, you couldn't make a porno movie. You would have to remove the drugs and the age. Maybe you could make a movie about an older girl who had a junkie, hustler boyfriend. I look at a movie like that and that's kind of what's holding us back. We can't totally say what we want to say. You look at Deja Daire in that scene [in KGK2] and you have to imagine what's going on with her.

You're asking the audience to fill in the blanks.

I think that's the only way. It seems like gonzo sex is moving at such an accelerated rate. What's the new frontier? Maybe something like Jack the Zipper's Squealer. It just came out on Hustler and it's a beautiful movie. At times, it's kind of creepy and moody. I've thought of doing creepy things. Just kind of inject something else in there that's hardcore besides, I don't know, vomiting. Yeah, it bugs me a little bit.

It's asking you to be creative.

Yeah. You kind of have to dance around it, right?

VCA is currently giving you a lot of flexibility to do what you want?

Absolutely. Over the last year, they've really warmed up to the fact that I have opened a market. Peter Reynolds, who's the head of Sales there, really understands my product. If they didn't get it, I probably wouldn't still be making movies.

That goes back to something we talked about last week. At the Adult Entertainment Expo in January, you and Joanna were trying to get the alt.porn thing going but a lot of the people that you met in Las Vegas have since disappeared from the business.

Well, hopefully they'll come back. There are people like Benny Profane, he did three in a series called Psychocandy. He was shooting real alt girls and goth girls from the clubs out here. A lot of the goth stuff that happens in regular porno movies, it's just, "Okay, let's throw some clothes on some chick." It doesn't really work. If you really want goth girls, you've got to go to something like Gothsend or something like Benny was making. He stopped producing them this year because of financial problems. There were other people at the party this year that just didn't get it together. I'd like to meet up again. I think we'll have a bigger voice than we did last year.

Hopefully we can, now that people are paying a little attention. My whole goal is that we just need a shelf. Distributors just need to know where to put it. Then we're all going to be good. Our customers will know where to get it and we'll know where to sell it.

BlueCine's building the "virtual shelf" and we're not going to shut up about it. People will figure it out.

There's just going to be more and more movies and hopefully they'll be really genuine. Some of them won't but that's how porn is. If something becomes successful, somebody will crank them out. Hopefully there'll be some cute girls in there! Of course, I'm trying to connect with everybody in this market that's making this stuff. Even people that are starting to do stuff on the web, I'll get in touch with them. I end up talking to everyone in the scene because it's still so small.

I get the impression that some scenes from Kill Girl Kill 3 were shot while you were doing Kill Girl Kill 2.

I shot them back to back, but at different times. A month apart...


Who stars in the latest one?

Joanna Angel flew out. It was her first non-Burning Angel sex scene ever and she performed with James Deen. If you want to see people have sex who really want to have sex with each other... it's a pretty crazy scene. Probably the most heat, pure couples heat, ever. Tiger is in this one and Nyomi Zen and Katrina Kraven, Rob Rotten, Kurt Lockwood was back for this one, and Serena Sinn from Bad Ass Models. I don't think she's around much. I think she's back in Florida or something. She did a cool scene with James Deen, too. This girl Tiger, beautiful black girl, emailed me and said, "I love your stuff." I started to talk to her and she really wanted to have sex with Kurt Lockwood. It's her first sex scene and she was so into getting fucked by Kurt Lockwood. You know, Kill Girl Kill was good for me. It really taught me how to put some good sex scenes together before I went back to making features.

You've talked elsewhere about your interest in the work of Gregory Dark and Alex de Renzy. Gregory made some of the best of the original New Wave Hookers series, and now you've done, not a sequel as you note, but a new version entirely.

VCA lets me do a lot of what I want and I needed to come up with something. I wanted to make another feature. I didn't want to make Kill Girl Kill forever. Even though the hardcore "rain coaters" weren't huge fans of Art School Sluts, I think it totally found its audience. I get so many emails about all the stuff that's in that movie and all the references and whatnot. I felt like I needed to go back and do a feature. I tried to come up with an idea that I knew would work for VCA. New Wave Hookers was kind of a known name that would get some attention. I started out with the idea of, basically, playing with the company's history, in a movie. VCA has become so abstract at this point. It's like there was this VCA of some other time that I've only talked to people about and then there's the VCA of more recent time, where Michael Ninn put out a lot of his best early stuff, and then it transformed into just a company that kind of cranked out features. They have a staff with directors, they had Jim Holliday... there are many faces of VCA and I think a lot of people forgot how interesting some of that early stuff is, especially to the people who weren't there the first time.

It's a good pitch - "Hey, I'm going to make a movie based on one of your lines and hopefully distributors will perk up to that name while, the whole time, I'll promote the idea of the back catalog." Selling the back catalog as I'm selling a new movie. It's like I'm sucking their dick and I'm massaging their balls at the same time! They gave me the biggest budget for a movie that I've ever done. High def. I got to shoot for more days and it was just more of everything. That's how I came to it. We just started researching fun stuff about New Wave Hookers. Sean Carney, who does all my PR now, has actually got a file from VCA of the original chromes and we read through some of the original PR that was done for the first New Wave. It was like opening this weird time capsule and, one of the things we noticed was that the Dark Brothers kind of beat the drum the way that we beat the drum. It's like, "Here we come, this movie looks cool, it has cool music in it." There were some really funny stories in there that they would write from the point of view of the dog that they'd send out to the press. We dug some of that stuff up and shot some of the old, fake stories about the Dark Brothers. We shot some of that for the movie. It's a lot about VHS. It fetishizes VHS because, that whole time, VHS movies were quite the thing. Also, the fact that a certain underage performance has been cut out of the original movie.


Those are all really interesting things to think about. I wasn't there at that time of VCA, of course, but it's interesting to me. It's hard to describe all the elements of Neu Wave, but it's really just riffing on the history of the company.

It's a perfect subject for you. That's part of the reason you went with VCA in the first place.

I definitely thought that VCA had a really interesting past and they distribute some of the best old movies. I hate to sound like a salesman, you know, but if you're looking for old porno movies, VCA has got a lot of classic titles, even early John Leslie stuff, too. It just kind of goes and goes. They've got a big collection and some of it hasn't even come out yet.

What's interesting to me is that you have your film coming out and recently a new Devil in Miss Jones was released. It seems like the time is ripe to mine the classics, as it were.

Yeah. I think so. VCA has kind of had a history of it. Veronica Hart did Barbara Broadcast Too! Those movies were successful for them, although they're not as big of a budget as the Devil in Miss Jones remake. I have to realize that I'm not going to have the budget to do something like that so I just really need to have fun with it. Maybe it's just a theme I felt so much more as a kid, compared to some people who have just been in the business longer. I'm not working with as many resources, or as big a push as that, so I didn't elect to remake the movie in any way like that.

You revisioned it.

I revisioned it. Everybody's so much into that time anyways, into the 80s fashions, so many kids are dressing like that. It's just a good time to connect to that.

When will Neu Wave Hookers be released?

Neu Wave comes out on the 17th, which is right after the convention. Riley Mason, the star, is going to be signing [at AEE]. Burning Angel is going to have a booth and Joanna Angel is going to be signing. I'm talking to Joanna about doing some version of the party we did last year. Literally, we were just running around the convention with flyers in our hands. Basically, anybody we could kind of see from talking to them or by the way they looked, we tried to get them together and that's kind of how we all found each other last year.

Have you bothered to read The Other Hollywood?

I've read it like you'd read any Legs McNeil book, in parts. I'll think of somebody and I'll go to it, like a reference book...

The book sets itself up as an alternative to the media's usual portrayal of the industry riddled with violence and drug use. Then the book goes on to illustrate the history of violence and drug use in the industry! It seems that the definitive book on the history of the business still needs to be written.

One of the better historians of this business, Jim Holliday, died. When I met him, he was really fun and crazy but he'd already seemed to forget a lot of stuff. He was already kind of fried. I don't know who would definitively go back. Inside Deep Throat just came out [on video] and there are just many, many stories. I think you could write a book just about the laws involving making adult film.

Perhaps that's the issue with The Other Hollywood. It's too expansive.

It's pretty broad and I guess they're going for the dirt sometimes. When I opened it up, it started with Bunny Yeager. I was like, "Wow, so we're really going back." We're not just starting with loops. I just had dinner with Constance Penley, who teaches a porn class at UCSB. She's in the Center for Film, Television and New Media out there, and I asked, "What do you teach in your class?" She said that they teach the history and the aesthetics and how they've changed. The Other Hollywood went from when to when?

From the late 1950s to not quite the present. It pretty much ends with John Stagliano, pre-Fashionistas.

When I asked Constance what the scope of her class was, she starts with [Eadweard] Muybridge.

You can't go much further back than that.

Yeah, that's square one. I think somebody has got to specialize. I think there are a lot of stories to tell and they're not all sad. Some of the people I've gotten to know since going to VCA, like Veronica Hart - she's a great family woman, director and producer. She's still acting in mainstream TV and movie stuff. To me, that's a real success.

You've been very vocal about your appreciation of the classics. If someone was exploring adult movies for the first time, what would you recommend?

Definitely Rinse Dream's Café Flesh. Black Throat. The first two New Wave Hookers [and 2], The Opening of Misty Beethoven. Those are movies you want to own. Friends come over and you can show those films to them. Right now, things like Joanna's Angels, which just came out.

You're name-dropping now. You've got to mention your friends. I see how it is.

She'll be pissed if I don't give her props. We have to hold hands through these fucking interviews on your web site! Right now, if I'm looking for new stuff, I really only know my friends' stuff. I was over at Shane's World and they gave me the new Nerdz movie. I thought that was really cute.


Regardless of the legal constrictions of what you can and can't do, the industry has essentially painted themselves into a corner. You know the sequence of everything that's going to happen.

A lot of the movies that I'm talking about have narratives. I don't know if I'm ever really following the narrative in those movies or if I'm just looking at the people and what they're wearing, and the girls are really hot and beautiful. If you look at Misty Beethoven, they're beautiful, natural girls in there. It's the aesthetics that have gotten so... The big movies are really, really beautiful to look at but just totally unwatchable from a narrative point of view. That's why, in Art School Sluts, I'll let the whole scene fall apart in the movie because we'll actually get to see a little bit of the personality of the people who are performing. I don't know how to explain it, but I'll just shoot. I have such disrespect for the narrative in some of my features. I'm just shooting and looking for them to mess up, like I'm going to carve something out of that. That's a lot of what I'm doing in the new movie, too. That's also what was so powerful about gonzo. You'd sit there and you'd look at the girl and you'd learn some stuff about her. There's just something really weird about that, like knowing something real.

Even when it's fake.

Even when it's fake. If it's played off good, it can be really interesting.

When Neu Wave is finished, do you have a project in mind for your next film?

I'm going to make a feature. I'm not going back to do anything like Kill Girl Kill, as far as I know, anytime soon. I want to make a low budget feature and I don't want to say too much about it yet. I've been thinking a lot about movies like River's Edge or Over the Edge. I've always been kind of drawn to those movies. I wouldn't mind shooting somewhere in the suburbs. Not the valley, but somewhere where they're building new houses. Something's drawing me to that, but I don't know what I'm going to do, exactly. I have to finish cutting Neu Wave and turn in a budget for something new. You know those movies, like River's Edge?

Absolutely, yeah. And Suburbia.

Yeah. I think those movies influenced stuff like Gummo, in a way.

Gummo definitely is an extension of something like River's Edge, except a bit more fucked up.

It's a lot more fucked up, a lot more heightened.

So now you're going to take it one step further...

...and they'll have sex. Those characters travel in a time and place. Obviously, because of porn, it has to be adult, but before you have to get a job. You have to make adult decisions but yet you don't have to fully take a major job. Rent's cheap, you party every night. There's something interesting about that time and place. Something interesting about where you go and what you do.

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October 12, 2005

Pirates Premieres in Hollyweird

by Re Pete



On a recent Monday evening, all the excessively pretty people poured into Hollywood's storied Egyptian Theater for a much-anticipated premiere. The movie, Pirates, shot entirely in high-definition by easygoing wunderkind and techno-sexual adventurer Joone, already had a lot of industry people talking. After all, it starred some of the sexiest women on Earth - including Jesse Jane, Janine Lindemulder, Carmen Luvana, Teagan Presley and Jenaveve Jolie. And it had been heralded as one of the biggest (read: most expensive) adult productions yet made (though opinions on this vary).

That's right - the Egyptian was the site for a XXX movie premiere, the likes of which haven't been seen since the bowchickabowchicka bygone days of the seventies. Replace the oversaturated blue of those grimy times with new-millennium high-def depth, and you've got porno chic with bigger production values (not to mention breasts), red carpets, puffy pirate shirts, scabbards, and the crisp, clean smell of money. Strange days, even for an old, permanently warped industry town like Hollywood.

Does this mean that the mainstreaming of adult entertainment has taken yet another step forward, along with Porn Queen Jenna Jameson's New York Times-bestselling memoir "How to Make Love Like a Porn Star: A Cautionary Tale" and the numerous Hollywood acting credits for adult actors like Gina Lynn and Nina Hartley, not to mention the black-inked porn profit centers for big ole' American corporations like News Corp., Time Warner, and Paris "The Heiress" Hilton's namesake hotel chain (not to mention her own "underground-style" porno, 1 Night in Paris)? (Well, not quite: as part of the unofficial "War on Porn," the current Presidential administration has enlisted the help of the FBI, whose Washington Field Office just began recruiting for a new anti-obscenity squad. As if they don't have enough to do right now.)

But never mind about that. I recently talked with Joone about Pirates, which will almost certainly set sales records for Digital Playground - the entertainment company that produced the movie in association with longtime adult fixture Adam and Eve - as well as across the entire industry. Here are some excerpts from the interview, condensed for easy reading.

How did the premiere at the Egyptian go?

It was phenomenal. A great turnout, over 600 people. The place was packed.

The costumes and set design looks fantastic. What inspired you to make the movie and to really go for broke on Pirates?

We shot a little side movie during the filming of Island Fever 3 in Tahiti and Bora Bora with Evan Stone as a pirate. It was so much fun, and we thought we had something, so we decided to do a full-length feature.

Was it shot on location?

We shot in Florida and Los Angeles. We did all the ship scenes in Florida.

You're known for using cutting-edge digital technology in your films. Did you use any new gadgets for Pirates?

This time around we went with two high-definition cameras instead of one. I really wanted to capture the best possible performance, which two cameras enabled us to do.

When it came to shooting, did you have a favorite performer?


I actually wrote the screenplay with the actors in mind. Evan Stone, Jesse Jane, Tommy Gunn, they all had distinct roles. Evan plays the wild-eyed comic pirate, who balances nicely with Tommy, who plays a mean, savage pirate.

Considering where we are now, with Pirates receiving a premiere at the Egyptian, is adult entertainment mainstream?

Well, I look at Digital Playground as an entertainment company. We create entertainment for adults, and we include subject matter that traditional Hollywood won't touch. But it appeals to a lot of people, from all over the world. For Pirates, the sex isn't secondary -- it's all motivated by the story. The sex scenes aren't separate from the story.

Where is adult entertainment headed? It seems like interactive is one possible frontier. What's next?

I'm interested in exploiting technology through sexuality. As for what's next, I'm excited about mobile, and the new HD players coming out next year. It will open up a lot of new ways for people to enjoy adult-oriented entertainment.

Would you ever consider doing a comedy? A full-fledged, scripted, hardcore comedy?

Pirates is a comedy, and an action-adventure. It's got it all. At the premiere, everyone laughed in all the right places.

Featured Titles

Featured Pirates People:

October 6, 2005

"Pin-Up or Shut Up."

"SuicideGirls is the Wal-Mart of alt-porn," Molly Crabapple - who has posed twice for the site - tells José Ralat Maldonado in a cover story for the New York Press. The gist: "The bloom, it seems, is off the rose."

Also in the NYP: "I've been talking to Savanna [Samson] about The New Devil in Miss Jones for about two years now - it may set the record for post- production in porn," writes JR Taylor. He also gets a word or two with director Paul Thomas, "the John Cassavetes of porn."

Meanwhile, the LA Weekly has a tip on the Tiki, an old school porn theater in L.A. that is undeniably a dive: "But that's the point: Go here if you want to face the realities of sex again, where sexuality is discomfiting and not made up of a notion in which an individual's desires are as clean or right-page-aligned with yours."

October 5, 2005

Anime 18 Hentai: Video-on-Demand

nurseme.jpg We've got new Hentai from Anime 18, and it's on demand! That's right, you can watch Behind Closed Doors, Masquerade, Night Shift Nurses, Nurse Me, and the first two Urotsukidoji, anytime you want, via our rapidly expanding Video-on-Demand service.

AnimeOnDVD called Urotsukidoji "the defining titles of the erotic horror genre...and as such actually have a really great story behind all the sex." A reviewer on epinions.com thought Urotsukidoji I: Legend of the Overfiend in particular a "dark but amazing anime," while Hentai Neko said of its follow-up, Urotsukidoji II: Legend of the Demon Womb: "This is the first hentai I have ever seen, and it remains my favourite. Its dark adult themes resonate." And for more on Urotsukidoji, we highly recommend this list by GreenCine member NLee.

behindcloseddoors.jpg "Imagine that! Hentai with a plot!" wrote a reviewer on Anime News Network of Masquerade (episode 1 and 2). Plus, "the animation is just superb. Clean lines and smooth animation coupled with truly excellent design and layout make this show a pleasure to watch simply on aesthetic levels... And of course, there's plenty of sex, and unlike most hentai sex scenes (which tend to either be boring or creepy), it's quite entertaining."

Other Anime 18 titles newly available for streaming: the bondage-themed Behind Closed Doors (episodes 1, 2 and 3), and - hold on to your stethoscopes - the medical role-playing fantasies Night Shift Nurses (episodes 1 and 2) and Nurse Me (episodes 1 and 2).

Featured Titles from Anime 18

Recommended Anime 18 Hentai Titles:

October 4, 2005

Whoops: Adored by Mormons?

Corey Eubanks of Wolfe Releasing pointed out this amusing little tidbit straight outta Utah:

A family-friendly Mormon DVD called Sons of Provo (from Halestorm Entertainment) was accidentally sent out from the replicator with the Wolfe title Adored: Diary of a Porn Star on it, much to the surprise of many Mormon families. A Wolfe press release emphasized "the mistake was made by the third-party company contracted to do the DVD replication for both films. Neither Wolfe (the distributor of Adored) nor Halestorm Entertainment (the distributor of Sons of Provo) was aware of the mistake until customers began to complain about the mix-up." Also important to note is that the film in question is not pornographic, although it does contain sexual situations and centers around a gay porn star.

[The entire article on Deseret News (October 4, 2005 edition).]

We don't know about you, but we're actually a little more afraid of (but also amused by) a movie about a band called Everclean with lyrics like this: "Everclean, cleaner than Listerine/Mellower than Dramamine/Not even close to obscene."