A wild and crazy guy, a reformed alcoholic and drug addict, a veteran performer and dashing gentleman, a broken-hearted lover of another man’s wife and a director of occasionally great slam bam pornos, Buck Adams survived several heart attacks in the fall of 1996.
Inside Buck’s swashbuckling exterior is a vulnerable, sensitive porn star whose rejection by Rebecca Wilde, the ex-wife of Rob King, owner of Las Vegas Video, frequently led him into a sobbing wet bundle curled in the fetal position.
Nikki Charm was Buck’s first porn love, followed by Joanna Storm, Taija Rae and Janette Littledove who he married.
“Buck “Romeo” Adams finally did it,” writes Hart Williams as porn gossip columnist Helen Bed in 1986. “He finally got hitched to newcomer Janette Littledove, who is, according to her agent, pureblood Cherokee. Adams, you may recall, had been floundering through starlets like a mackerel who’s just been tossed on the deck of a tuna boat. Glad to see Buck’s finally an honest man. The “boys” at the talent agencies can’t figure it out, claiming that Littledove is “like f—ing a dead fish”, but on closer inquiry, no one at the talent agencies had bothered to actually f— Littledove. Sounds like sour grapes. Of course, the way things are going Littledove will be just another single mother in a year…”
Adams soon divorced Janette and moved on to K.C. Williams and Rebecca Wild.
Quitting drugs and booze, Buck reformed his life after joining AA. He’s well-liked in the industry, particularly by the ladies who appreciate his gentlemanly ways.
Women in Porn Valley frequently complain that men in the biz are incapable of relating to women on a non-sexual basis. Several women, including writer Wally Wharton, tell of times that Buck rescued them from danger.
Going nowhere with his life as a boxer and bouncer, Buck’s big sister Amber Lynn got him into porn. For months they kept their relationship secret until they were once matched in a scene. Then the truth came out.
Buck’s relationship with Amber bounces between not speaking and friendship.
“Buck Adams was in love with Joanna Storm,” says Jerry Butler. “He was always buying her flowers. One night, a bunch of us were at Reb’s house sleeping on the living room floor. I woke up to the sound of moaning. The TV was still on, and I could see Buck getting a blow job from Joanna in the flickering light.
“Come on guys,” I groaned. “Can’t you keep it down?”
“With that everyone in the room woke up… I saw Buck indicate that I should join them. By the time I moaned “I want to get some sleep,” Joanna had me in her mouth. So there I was, getting a blow job while Buck’s taking her from behind. Every time he pumped, I went further down her throat. I was getting ready to come. I looked at Joanna and she looked at me as if to say, “Please don’t come in my mouth.” But it was too late because I was wedged down her throat. Bam! With a sour face, she swallowed it.”
Adam Film World 1996 Directory: “Tough guy looks, a muscleman physique and a natural ability with dialogue have proved the winning combination that put Buck Adams into around 400 films and videos. His self-assured attitude and ready ridgepole make him the choice of top producers and directors. His award-winning sex scenes with Tori Welles in The Chameleon and Nina Hartley in Peeping Tom showcase his studly abilities. He appears with astonishing regularity opposite Rebecca Wild, making them this year’s [1995] answer to Fred Aistaire and Ginger Rogers.” (Tim Connelly)
Some of Buck’s best performances come in Best Little Whorehouse in San Francisco, Deep Inside Centerfold Girls, Strange Curves, Wild Things and Lethal Passion.
AVN caught up with Buck on the set of Frankenstein. “Buck Adams isn’t your average triple-hat director/screenwriter/actor. One moment he’s Frederick Frankenstein, grandson/heir to the legacy, delivering his self-scripted dialogue in or two effortless takes. But now, to his consternation, Buck is still trying to get a scene in the can, and the repeated wind and airplane interruptions are starting to wear Buck’s nerves producing occasional outbursts of high-powered directorial authority.” (AVN 10/94 p.158)
“Let’s keep it movin’ or there’s no crack [cocaine] for the crew at lunch,” Buck says and the crew cracks up.
“I’m the guy with the helicopters,” says Buck. “I believe the audience wants as much bang for their buck as they can get. I give them explosions, gunfights, action. When we do a production, we start with the easiest stuff first and then build to the hardest stuff.
“I’ve heard a million stories about how Rebecca Wild doesn’t want to do dialogue and won’t say words with more than seven letters. She did say that, but she was kidding. She is one of the best actresses. She showed up on time and knew her lines. And she’s hot. You do scenes that have to do with our romance. You get to the point where when you act out about how much you like them, and their acting is so good they give it right back to you. By the fourth day she had me absolutely mad about her. I couldn’t hold out when I was doing one of my scenes with her. I had to go in the bathroom and blow off a load. I didn’t want to let the crew know because they get down, worrying that they’ve blown a cum shot.
“When I got back out there, she got me up again. After that, we went to a scene with Steve Drake and Asia Carrera. They were not only hot, but their acting was incredible. Sometimes with writers, especially Cash Markman, they want to put drama right in the middle of the action. The action speaks for itself.
“Jerry Butler told me once to decide [as an actor] who your characters are and go with them.” (AVN)
Buck plays bad guys. “I’ve made that niche for myself. I have a couple of things in my life now that mean more to me than anything. My daughter is my first love. Movies are my second love. I’m number three. I’ve come to the point where I’m starting to like myself.” (AVN)
Buck’s forte as a director is his ability to mix sex with action as in 1992’s Lethal Passion.
“Buck Adams plays a gangster who, finding his relationship with the mob has him knowing too much, plots revenge on the family. With the team of Paul Norman producing, cinematographer Jack Remy and Adams writing and directing, this labor of love is the highpoint of Buck’s f— forays into adult action-adventure pictures. Caught in the middle of a crazy Mafia familial struggle, Adams’ character uses their own evils to bring them down. From the wild career performance of T.T. Boy, who murders K.C. Williams in a sadistic drug-induced rage, to the subtle inclusion of Silver, the hottest European starlet in years, this movie will move you. Tracey Adams and Wayne Summers couple for openers; Joey Silvera has a hot threeway with Charisma and Jenna Wells; Ron Jeremy and Nina Hartley throw it down; and Raven and Buck burn in a smoldering encounter. Angel Kelly’s short time on screen is riveting, and the Silver and Buck finale will keep you hard to the finish. Great story, production values, acting and sexing make this one of the best of the year.” (AFW 96D. p.259)
In 1994’s No Motive, Buck places Rebecca Wild in the role of a woman madly in love with him. Buck Adams stars and directs this porn action-adventure film about a psychotic who escapes from prison and goes on a sex and killing spree that starts when he picks up a hitchhiker (Wild).
“No one in the adult movie world comes as close to packing action, adventure and blistering sex into one production as does Buck Adams. Here he captures the twisted head, cold heart and damned soul of his lead character, never failing to project a strong sexual presence that belies his murderous nature. It’s this conflict and the impending face-off with the FBI and police that injects this glossy film with tension, heat and powerful images.” (AFW 96D p. 262)
How does Buck get inside the head of such wild characters? From looking within his own dark side and dark past that includes violence and drug abuse.
Buck’s first directing success was 1990’s Public Enemy. “One of a kind action-adventure porn with car chases, evil drug lords and ball-busting sex that’ll melt your VCR.” (AFW p. 264)
In 1995’s The Savage, Buck directs a great cast and crew to make a silly story enjoyable.
Paul Norman directed Buck in Hunchback of Notre Dame. The ex-boxer plays a deformed janitor who falls in love with a stripper, Aja. AVN notes that the script has “tenderness and sensitivity coming out the ying-yang.”
In 1996’s Beaver & Buttface, Buck and Tony Tedeschi star in a live-action parody of MTV’s Beavis & Butthead. “Director Adams does an admirable job creating a strange cartoon-like world, but to what purpose? The “gee-whiz” quality wears off… and it adds nothing to the heat.” (AFW 97)
In 1997, Buck began directing movies for HBO.
From www.geneross.com 9/15/99: Adams, who filmed the picture [Operation Centerfold] about two years ago in the Santa Clarita area for $299,000, has at least five versions of it in circulation: an R-rated version [titled “Major Rock”]; an unrated version, a cable version, a director’s cut and now the XXX version which comes out October 25. (Part 2 of the XXX film will be released for the CES show.) Of all the projects he’s ever been involved with, you can tell Adams is investing more of his emotions and spare time promoting this one.
“We sent Joe Bob Briggs the unrated version,” says Buck. “He said he would help us all he could to get it on TV. That’s what they’re working on now is the TV cut of this thing.” Adams says Operation Centerfold is proof positive against the slur that porno actors can’t act. “If they’re good enough to get an R-rating, if they’re good enough to get on TV, sorry guys, that old tune about porn actors – kiss my ass. I’ve got at least 20 offers of proof to the contrary. Given the opportunity, the players in this show stepped up to the plate and acted. I thought in some places this was going to be a mess. I had a 119 page script. I’ve got actors coming there because they’re getting a check and getting laid. The girls are all pretty good-looking. I got a lot of these girls before they became contract players, and Nikita hadn’t even done a hardcore scene.” (www.geneross.com)
10/21/99
Buck Adams Heartattack
Buck Adams had a serious heart attack yesterday and had to be revived from the dead.
Buck was goofing around and punching a bag and getting feisty when he suddenly dropped. The folks at Notorious Productions called 9-1-1. Buck appeared dead and had to be revived by paramedics using the equivalent of jumper cables.
“Everyone was upset,” says Lynne L-patin who attended a Jim Lane directed Bukkake fest Wednesday night. “But not so upset that they couldn’t do Bukkake. It was fun. A lady named Serena got all gooey and icky… All these guys pouring spunk on her face, but they gross out if a drop falls on them.
“Buck Adams does not need 300 phone calls. Let him recuperate or whatever you do after you die.”
I hear that Buck is in stable condition. He had a cocaine related heart attack four years ago.
2/14/00
Buck Adams Blows Up
Director Buck Adams blew up on his own set early Sunday afternoon, halting production for five hours.
Around 1 PM, Buck hugged a short busty production assistant named Trisha, who loudly protested in front of about six crew members that Buck was fondling her breasts. Buck blew up and demanded that the production manager and producer, JB, fire all women from the set (three – Trisha, Christiana, the girlfriend of the art director Jonah, and the makeup girl) except the actresses.
JB refused. JB said the women had done nothing wrong. Buck then threatened to walk off his own set. He gathered all copies of the script for his $300,000 movie and called his lawyer. Eventually the lead investor in the film, Tom, known around the porn industry as Buck Adams’ dentist, arrived (4PM) and began talking to the various parties to the dispute. By the time I left (5:30PM), it still had not been solved, though it appeared that there would be scenes shot later today (Sunday evening).
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Christina
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Tyce Bune, Buck Adams
I got some great sound bites from Buck.
JB tells Gene Ross: “Of course the most beautiful thing is that the day Luke comes out is the melt down day. I pull Buck aside when he first gets there. I go that guy over there is Luke F-rd. Anything you say he will print. If he doesn’t have something to print, he’ll make it up.”
Brandy writes: “How are the PA’s troublemakers when it was Buck doing the unwanted touching? I think they have a very good sexual harassment case against him and his backers.”
I arrived on the Calabassas set about 12:30, following a police car. A neighbor had called the cops on the shoot. The policeman looked around the shoot and saw everything was in order. He left.
My arrival provoked a lively discussion. Director of Photography Jack Remy and Buck reminisced about the old days. Buck told me about a “Knute Rockne” type speech Remy gave him on a New York porno (Down and Out in New York City for Essex) back in 1985 that enabled him to finish the shoot.
“I’m going to need another one of those today,” said Buck, a few minutes before his blow up halted production.
Unfortunately, I had my taperecorder on pause and so I missed about 15 minutes of fascinating memories.
Buck was in a verbal mode, walking around asking who needed their ass chewed. The production was clearly his ship. He was the captain. He wanted things done his way. “It’s my way or the highway.”
By the time, my recorder was running correctly (1:10PM), the Incident had already occurred. Nobody realized at the time how serious it was. We thought nothing of it. We thought Buck was just making jokes.
Buck: “I don’t even want female actresses anymore. Dress up men in the parts. No women… I want to go back to the days of Shakespeare where men played women’s parts. If someone has a problem with that, give them an extra $100. Women are way too much trouble. That’s it. Call me when they’re off the set.
“I no longer want to be around women… Fag hags… Everyone has one. Even those men who aren’t gay have fag hags these days…”
Buck and Jack Remy and JB are laughing at this point. People don’t realize how serious Buck is when he says he wants the women off the set. Buck is not hostile directly to the women. He just wants them gone.
Buck walks up to Jack: “What is going to be our first shot? Or are we just going to eat breakfasts, be big shots and talk to reporters?”
Jack: “That’s all we’re going to do. It’s celebrity time.”
Buck: “Just sit down Luke and listen…”
Jack: “We have more stories than a television series could possibly do. It’s called ‘Buck Adams Amazing Stories.'”
Luke: “What’s the name of this movie?”
Buck: “Liquid Blue.”
Luke: “Who’s funding it?”
Jack: “That’s none of your business..”
Buck: “Buck Adams is funding it. I’m spending $291,000 to shoot the movie. As it is going over budget now [this is the third day of the shoot], I think it might crest three.”
Luke: “Who’s going to distribute it?”
Buck: “I am. I am opening my own company called Perfect Pictures. I’m going in conjunction with General Video of America, David Sturman and Kevin Beech. They backed me. They set me up with a really nice distribution. Foreign, Adam & Eve, and I had no choice. I have to take the money. If somebody is going to give me $2.6 million to shoot movies for the rest of the year, and I’ve got a way to sell them, even though I really don’t want to spend the rest of this year shooting porno because I’ve got this big stockcar movie coming up… And I was just so in love with my wife [Aspen Brock], I would’ve signed my life away to anything. I signed the deal and now I’m stuck with it.
“The wife [a porn star, email me the name] is off running around doing some kind of crazy s— and I’ve got to do the deal.
“And the first thing I am going to do is fire all the women on the set. Right now. They’re gone.”
Buck’s voice takes a hard edge and we suddenly realize he’s serious.
Buck tells JB to fire the women and JB refuses. Buck’s in a rage, striding around the house. I stand outside with JB and Trisha and Christina.
Trisha to JB, the production manager: “When do the male talent show up?”
JB to Trisha: “When they want to…”
Trisha: “Why doesn’t that apply to me?”
JB: I expect crew to show up [on time] and do what they’re told.”
Trisha: “f— that… I did more. I went above my duty. I cooked the goddam bacon… I had to go through the spinach…”
Remy’s shooting the movie on 16mm film.
Buck: “We were going to go on 35mm but it is just too expensive for the cameras.”
I talk to Buck in the office of the shooting house.
Buck: “Film’s film. So long as you shoot it in 16mm right, it is going to look like 35mm. I don’t want to be one of those guys who shoots on 16mm but tells everybody it is 35mm, like all the liars of the business do.”
A few minutes later, I hurry after Buck striding around the house. JB’s refused to fire the women.
Buck: “f— women hookers. Hours late on f—ing heroin, on crack, on every kind of glue there is. They can all kiss my f—ing ass. And when my crew people stick up for those f—ing people or for somebody’s girlfriend, then f— them too. The f—ing show is over.”
Buck walks outside to two guys unloading an equipment truck.
Buck to the men: “You might as well not even unload guys because I am gone for the day and this show is over. And I’m the guy who writes the checks.”
Crew guy: “I understand. All right…”
Buck is deadly serious. He’s throwing his weight around.
Luke to Buck: “Do you think women hurt morale on sets?”
Buck: “Are you kidding? I take one of the stars [Amber Sexxxum] home last night. Girl’s been hawking on me for two straight days. She wants to sleep with me. I’m not going to sleep with some chick three weeks after I split up with my wife. Sorry, it is just not going to happen. I don’t care if you are the star of my movie. I’m not going to f— some girl because it is expedient or it is cool.
“Someone to hang out with… Then if you don’t do it, it turns into a big war. Pretty soon the big war comes here [to the set]. This star is going to quit…
“I’m not screaming and yelling at anybody. I just want to go home. I am not going to be usurped in my authority. I’m the cocksucker with the f—ing money. And if anybody [particularly JB] thinks they are my boss, then you’re fired too. I’ll fire everybody. We’ve got some great crew here but I don’t f—ing hire crew members because they are related to another crew member [referencing the hiring of Christina as a PA]. Especially not a crew member who spent three-and-a-half f—ing hours last night not doing a goddam thing on my f—ing payroll chasing around a chick in a pink top [Amber Sexxum?]. Now today he comes to work and he brings his girlfriend with him. f— him and f— her! Fire ’em or I’m gone! I’m going home. He [JB] told me he wouldn’t do it. Fine, I’m going home. Screw him!”
Later, a calmer Buck discusses the time that Matt and Trey Parker served as production assistants for him.
Buck: “They were in the makeup room smoking pot with the girls. I fired them… I walked into the makeup room and they were smoking pot with the makeup artists and the models and I go ‘everybody is fired in here.’ They were f—ing absolute insanity. Trey is a f—ing smart smart motherf—er… Matt is the creative genius. Trey is the guy… I was living in that 33,000 square foot mansion in Simi Valley at the time. They were good guys but heavy potheads. You’re sitting there waiting for your models to come out, and they come out high… Eyes all red, pupils all twisted…”
Buck starts walking around the set.
Buck: “I’ve got to get out of here. The scripts go with me. They’re f—ing mine!
“I thought this up six months ago and the scriptwriter put it in form for me. So nobody can do anything creative without my f—ing permission. They can’t shoot my idea. If I don’t get what I want out of my crew, they can all kiss my f—ing ass. I am so sick of people kicking my butt. Every time there’s a f—ing nightmare, it’s all Buck’s problem.
“Excuse me. I’m not the f—ing crew member [art director Jonah] who spent three hours last night chasing down a chick, not earning his dough. And today he’s got his girlfriend [Christina], on the set? f— you! What’s that? What kind of inside crap is that? I don’t want them here. I don’t want no women on my sets.
“The PA I’ve dealt with for two days. I came up and hugged her and she goes ‘Don’t touch my boobs.’ What? Grab your boobs? f— you! You don’t know how I could’ve f—ed the chick with big tits last night. And I’m gonna grab your boobs? f— you hooker. Then can all f—ing die.”
Luke: “What’s the movie about?”
Buck: “It’s about nothing because the movie is over. I’ll go shoot another one next week because I have the money. I’ve got more money than I f—ing need but I am not going to deal with no f—ing crew who can’t take my orders. Paid him [JB] ahead of time and now he has balls to talk s— to me. Good, take your f—ing $6500 and don’t ever work with me again. f— you.
“I’m tired of running around with all the f—ing goofy people. I don’t need the headaches right now… I’ve got more money than God. I don’t even know what to do with all the money people gave me. And I’ve got to take crap from the crew?
“My wife’s [Aspen Brock] a heroin addict. Runs off for months on end, constantly coming home with needle marks all over her body. And one night, I’m real sorry, I couldn’t take it anymore and I got drunk and I got high and I screamed and yelled at her. And she left the house. And now Buck’s the big bad guy? f— you!
“What about robbing your parents house? What about f—ing screwing up your visits with your kid? And I’m the bad guy? f— that. I’m so sick of this s— man.”
Luke: “Wasn’t she [Buck’s wife] doing porn?”
Buck: “She was. And I think she’s doing it again. What do I care? Go. Go be the hooker you can be, as Jim Lane said. Go do another five man anal gangbang. What do I care? I just don’t need the s—. I don’t need crap from anybody. I’ve just got so much money now that I just don’t need it. I’m so sick of this.”
Luke: “Who’s the star of this film?”
Buck: “There’s no star of this film. There is no this film. Liquid Blue is toast.”
Luke: “What if they get rid of the women?”
Buck: “We fired the star [Amber Sexxxum ]because she’s busy telling us that she wants more money right in the middle of the shoot. Because Dirty Bob says so. Dirty Bob, f—ing moron.”
Dirty Bob responds: “Amber SexXxum was hired as the lead in his film. She shot for him for 2 (out of 3) days contracted. Everything was fine until last night where Buck took his flirting with her a step too far during a get-together at his place with a bunch of people. She refused his davances; he was pissed. She went back home and was called early today and told that she was replaced on the set (obviously because she wouldn’t t do Buck). Apparently Buck never left her alone! He followed her everywhere. Her mistake was going over there with a bunch of people to his house to “hang out”. I am sure this is the correct story – otherwise, why would he bring her and others to his house if he fired her? The part about Amber demanding more money is bulls—! Never happened.”
According to sources, Dirty Bob is in love with Amber Sexxxum. Dirty Bob says they are just friends.
In his one and only column for XXXGen.com, porner Mike South named Amber Sexxxum as the porn flake of the month.
Luke: “Who’s the star? Amber Sexxxum?”
Buck: “Nope. Amber Sexxxum is nothing. Amber Sexxxum was fired, cut from the movie.”
Luke: “Is that the one who was chasing you around last night?”
Buck: “Yeah, for two days. For two days, then comes into my house. I want to f— somebody. And all of a sudden it is a big scene. I’m sorry. I just split up from my wife three weeks. Hang out. We can be buddies. Maybe talk about things. But I’m not f—ing you the first night you come to my house. Who the f— are you? I know a million chicks who can rollover in my bed and f— me. I’m still in love with my wife. I’m certainly not going to do anything stupid. It’s ok to flirt a little bit on set with your stars but you don’t just go someplace like that because that is something you can’t undo. If you f— some girl who’s in one of your movies, you can’t undo that.
“What do I do in three weeks when I’m having a problem with my wife. ‘You were out f—ing the models…’ I’m not going to do it. And I certainly am not going to take crap from everybody.
“I’ve just had it. I’ve just had it with the way these guys hand out our money. I’ve got another guy with twice as much money who wants to take over all this s—. And I’m not going to put up with it anymore. If you’re not going to give me what I want, we’re all fired. We all go home.
“They’ll try and shoot. They’ll try and shoot but they better not try and shoot my f—ing script. The first thing I’ll do is go to my lawyer and f—ing yank it from them. I’m so mad. I have five people I really f—ing hate on this planet right now and three of them are on this set [JB, Trisha, Jonah]…”
Amber Sexxxum tells Gene Ross: “Buck Adams fell in love with me and wouldn’t let off. I told him if kept struggling to flirt with me on the set during this movie, the movie would be ruined because I couldn’t act to the fullest of my abilities. My driver, Steve Houston, who was there to make sure that I got home, got messed up on GHB… Within thirty seconds, Buck stuck his arm down my pants.
“I told Buck I didn’t do interracial, then he set me up in a threeway with a girl who’s half-black.”
“Luke F-rd has a way of making a birthday party sound like a maiming,” Adams mused. “We had to get rid of the girl. She was just so looped. She was eating pills a mile a minute.” (Gene Ross)
Buck tells Gene Ross about Steve Houston: “My God he’s there by Alec’s door jacking off. I didn’t know what to do to be honest with you. That’s when I told her [Amber] you gotta go, your driver’s jacking off. She gave me a minute-long stutter. Her comeback was this, ‘well, u-u-u-h you could have done somethin’ about it.’ What am I going to do? Jump on the guy? Fight with a naked man with his penis in his hand?”
Sunday – 1:15 PM. Calabassas set of Liquid Blue.
Buck Adams calls his lawyer. I listen in and tape the Buck end of the conversation.
Buck: “Gary, I am in a very difficult situation right now. I’m sitting on this set. They still haven’t sent my check. My checks that I pay you guys with. And they’re shooting. And I’m wanting some people off my set, some females. And they won’t do it. And now they’re pulling this big powerplay with me.
“…The producer [John Billich] just told me that he won’t fire PAs because they’re related to somebody working on the set [Jonah, the art director]… I just don’t want no female production assistants around, Gary. No, and we can understand why… With all the crap and with all the s— going on [with Buck’s wife]… I hugged one of the PAs this morning, just being friendly, and she goes ‘Don’t put your hands on my boobs.’ What? f— you! You’re fired.
“So I come in and say ‘Get rid of this woman’ [to producer JB] and ‘I can’t do that.’ Really? You can’t? Good. Then I’ll go home. My movie, my scripts, my everything. So, how do I handle this? Either everybody does it my way or they can all go home, right?”
Pause.
Buck: “No, it doesn’t work that way, Gary. I am here all day long. If I want somebody gone, they’ve just got to go, right? Since I’m in charge.”
Pause.
Buck: “Yes, I don’t care…
“Umm, my producer who’s listening to Tom [the Buck Adams dentist and chief investor] who’s done nothing and listening to the money people who’ve done nothing. How would I proceed at this point?
“No, Tom is not around. JB is around. Do you want to talk to the producer? Do you want to inform him that we will shut down everything right f—ing now?”
Brief pause.
Buck: “No, no, we’re going to because if I walk…”
Buck: “The only way I’m happy is we get rid of the people I want gotten rid of… I don’t care what kind of personal problems are going on with Buck.
“No hang on Gary. Whoa, whoa. Mr lawyer. You work for me. I’ve tried to tell you what I want. I’ve got to be able to do it my way. I know. I understand that Gary. I’m just trying to tell you exactly what I want so you can get me what I want…. I want no females on my set except for actresses… One of them was hired because she’s related to a crew guy… He spent three hours last night sniffing around the chicks and not doing his job.”
Jonah, the art director, was in charge of wardrobe. He was trying to get the porn chicks into hot outfits.
Buck to his lawyer Gary: “No, no, they didn’t do that yesterday. That’s what the problem was. They were letting the f—ing crew guys get around the talent and it just got out of hand. There’s more to it than just this Gary, but I want my check. I can’t pay my lawyer because I don’t have my f—ing check. I’m out shooting the f—ing movie. People are telling me ‘Oooh, this check…’ No, f— you! I want my check here today. I want all $10,000 that I’m owed from before the movie. Not the ten grand I’m owed for shooting the movie but the $10,000 I’m owed from before the movie, for putting it all together.
“They’re getting coffee [the PAs]. They’re running around doing nothing important. They’re totally unimportant. Look, the producer was paid in front so he can pull all the powerplays he wants… So, how would you like me to proceed, Mr. Attorney. Ok. Gary, hang on, I am going to go get him.”
Buck gets JB who comes to the phone.
Crew members are rolling their eyes at Buck’s behavior.
I listen to Buck talking on the phone again to his lawyer Gary.
Buck: “What’s your gist on this?
“Oh really? Are you talking to Tom? Well, tell Tom that I said f— off, too. My scripts, my idea, my deal…
“Get what done with today? No. They either get the f—ing people off the set or me and my scripts leave, Gary.
“All right. Tell him that I said f— off, too, the little big nosed wop.”
Buck slams down the phone.
Buck: “Things go smooth until people don’t want to do it my way, then crap starts arising.”
Buck walks over to Jack Remy.
Buck: “You might as well pack it up… This one’s a done one. The lawyers are busy getting the paperwork ready right now. They say gather up all your scripts and nobody shoots any words you came up with. He told me to pack the set. If I can’t get rid of two PAs, I’m sorry, I can’t pay you guys. I want things my way. I wrote this. I came up with the f—ing money. I get what I want or sorry, I am not going to do it.”
Jack Remy: “Well, what about us?”
Buck: “Well, what do you want me to do about you? Tell me what to do. Can I get rid of the people I want? You say no. Good. Everybody can go. I don’t give a f—. I want things my way… Go get another job. Go work for Nic Cramer.”
Buck gets back on the phone with his lawyer.
Buck: “Ok, call me back within ten. Because it is really turning into an explosion here. What is the number here? No, no, that is to the producer who doesn’t want to do what I want to do. f— him too. Let me get the number to the house, Gary. Get me what I want. You don’t work for Tom. You work for me.”
Women who worked Saturday for Buck were Amber Sexxxum (blond), Charlie Angel and Jeannie Rivers (blond).
Buck’s crew denies every receiving any form of sex on a porn shoot. Except for the still photographer Dave, who says he received blowjobs on several shoots. On an Al Borda set, a redheaded girl named Brooke did not take in the rear from Ron Jeremy as required, and so as punishment she had to blow the crew. And also on a Max Hardcore set.
Dave: “Max has to look at a girl’s ass to get his dick hard. He can’t any other way.
Dave’s fellow crew members are skeptical of his report.
XX crew member: “We’re here to work. We’re not here to partake.”
JB admits he’s received sex on set.
JB: “Sure, but not when I was a crew guy. I had to be a guy who could hire you or sign checks. Then you become really attractive. I was the elephant man one day and woke up as Mel Gibson the next day. And I know it is real… I know the girls are not just doing it for a job or a boxcover. They truly like me. For me.”
Luke: “Have any of these crew guys given you a blowjob?”
JB: “All of them or they wouldn’t work. Wanna work? A little chin music, thank you very much.”
JB is tiring of porn however. “You want the chick who works at the bank. When you come home at night, you want to know that she hasn’t just done seven guys before she kisses me.”
Several crew members say that sex is the last thing on their mind when they leave a set.
Jonah: “Talent too. I’ve gone out with talent. Trust me. When they get home from work, sex is the last thing on their mind.”
I find Buck Adams outside.
Buck: “I don’t want to quit shooting but if I have to shut down the shoot to fire everyone I want to fire, I can fire anyone I want. It’s my project. If someone wants to give me s—, you’re fired… I’ve got a whole new crew ready to go right now… This is what happens whenever you pay somebody upfront. All of a sudden they’ve got balls this big. They don’t have to worry. They already have the money. But I guarantee you that before one o’clock today, I will get what I want. What time is it now?”
Luke: “2:45 PM.”
Buck: “Dude…”
Buck Adams says the dispute comes down to how big is your nut sack.
A crew member: “We’re all kids who haven’t grown up. We’ve just got bigger toys now.”
I talk to Christina and Trisha, the objects of Buck’s wrath, and they do not feel at all guilty for wrecking the day’s production. They claim they’ve done nothing wrong.
Buck: “The shoot’s just been going like a piece of f—ing glass. Everybody was happy. And then a couple of really stupid things happened. Normally I could just come in in the morning and go ‘Hey you, don’t ever do that again.’ But then they [Jonah, the art director?] brought somebody with them who prohibits me from talking to them in that manner. The producer [JB] thought I was being out of line, because they were his friends… Really? He wasn’t aware of some of the things I was aware of… Now I’ve got a producer who won’t do what I say.”
Luke: “Who hired the producer?”
Buck: “Me. I got JB, the best there is. You can’t touch him. We’ve got to do this for a year. I’m already giving away half the work that I am supposed to do this year to Alec Metro because I’d drop dead of a f—ing heartattack if I had to shoot all the movies I have to shoot in the next twelve months.”
Buck has suffered two heartattacks in the past five years.
Buck: “Shoot 48 movies? Shoot 24 films and 24 big budget videos in the next ten months? I couldn’t do that if I was f—ing wired on crystal meth the whole time. If I never slept, I couldn’t do it. You’ve got to delegate to people… But if the people you delegate to aren’t in total control, then you are not in control… It’s early on in the project and you have to establish control of your players and let them know that you aren’t going to tolerate those kind of shenanigans…
“Even if I make mistakes as a person, you’re going to have to back me on it. Later on, when the doors are closed, and nobody is looking, you can go ‘Buck, you’re an idiot.’ And Buck nine times out of ten will probably go, ‘Yeah, I’m an idiot. What can I do to fix it?’ But don’t front me off in front of everybody or I will cause a big scene. I will shut down a $200,000 movie all f—ing day long. With crews standing around waiting for something to happen. Now I’m going to bring my monkeys [lawyers] to the set and people will get plugged into the wall. And after they’re electrocuted and burned up, we’ll send them on their way.”
Buck says women constantly want to come by and bone Buck or Alec Metro because they’re shooting 50 movies this year.
Buck: “I’m married… I can’t be out boning every whacky chick I meet. It’s just constant. You can’t believe our phone now. We’ve got chicks calling from Chicago going ‘Hi, we hear you guys make Babewatch and we want to be a Babewatch girl. Call me…’ And they leave a Chicago number. Yeah, we’re going to call you up and fly you into LA for a thousand dollars…”
A crew member: “Buck normally doesn’t like to touch people. Not even shake hands… And today, he just so happens to hug this one chick who’s really sensitive about being touched…”
1/5/06
Thursday. “I’m doing a big 12-picture thing with Antigua Pictures,” says Buck. “Antigua handles Jenna, Vivid. My movies fit right in the mix. I just keep my mouth shut and smile a lot nowadays. We shoot in HD (High-Definition). We buy our own equipment so we don’t have to rent or deal with anybody. If JM or Vivid want to use our equipment, we can let ’em do that.
“I am in good health. I got to come up here and party one night [Wednesday] and I woke up the next day and still felt good. I’m horsing around all day today. I banged the hell out of my knee last night.”
Buck looks at a man employed in a gay booth walking around in his underwear. “After seeing that, you can never bitch about your job again.
“I’m trying to stay not too serious with any one particular woman. I’m trying to keep as many around as I can.
“It’s not like the old days where Buck could smoke crack all night and go through half a gallon of tequila. I can have a couple of drinks and not drop over dead. We’re not trying to keep that to a minimum.
“Can we move away from the little guy in the glo-white underwear?”
We do.
“I only shot five movies last year. I’m going to shoot 24 this year. I’ve put together a nice production team. That way I just roll in and yell, ‘Action!’ and ‘Cut!’ and ‘Can I have my decaffeinated coffee?’
“I have simple goals in life now. I want to make it to the end of the show without dropping dead or embarrassing myself, which I’m probably do. Give it a couple of days, Luke. This interview might get more exciting. Right now it’s happy Buck and rather boring.
“When I was getting ready to walk in the door of the show, it was like, ‘OK, let’s do this again for the 20th time.’
“This morning this girl comes in the elevator. She’s got on this little cute top. The door swings open. The guy is just staring at her. She’s unzipped her top without thinking because she’s so high or hungover. Her boobs are hanging out. The guy says, ‘I like coming to these porno shows. What more could you ask for at 7am?’ She was just coming back from the party.”
“What kind of girls are you looking to meet? Civilians or porn girls?”
“I don’t care. Any girls are good girls. Anyone smiles at me, I’m right back at you, babe. Damn glad to meet you.”
“You’re not ready to settle down with one woman?”
“I hope not.”
