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LFP's Head Of Production Marc Kramer Vs. Kimberly Kane And Her Boyfriend Jack The Zipper Friday, July 31, 2005. Marc Kramer was shooting a movie (starring Jessica Jaymes) at the Hustler studio. Kimberly Kane showed up to the set. She was not invited by Kramer. He didn't believe she had any business being at the studio. Kramer asked her what she was doing there. She said she was there to talk to Haley Page who was in make-up. Kramer told Kimberly to leave the set. A few hours later, Kimberly sent emails to LFP's head of sales saying Kramer was rude and abusive. Marc notified his directors not to use her:
Kramer has been shooting movies for seven years (for Digital Playground, Zero Tolerance, Third Degree Films, Colossal Entertainment, Vivid, Tera Vision, Adam & Eve and CDI) and says he has a good reputation. He says he's never been fired. I emailed Kramer for comment on the below emails. He had no comment. I asked around the industry about Kramer. I was told he was tightly wound and combustible. One source friendly to Kramer writes: "Kramer is blunt, but he's a man of his word. He hates bulls---. Jack the Zipper is a pretentious, whiny bulls--- artist whose panties are in a bunch because his porn-whore gf got put in her place. Go back to art school, Jack the Hack." Kimberly Kane and her boyfriend Jack The Zipper sent out this mass email to porn directors and producers:
On Friday, Jack The Zipper wrote Marc Kramer:
Marc Kramer Apologizes To Jack The Zipper, Kimberly Kane His assistant sent out this email August 5, 2005:
Jack The Zipper Interview I call him at noon Tuesday, August 9, 2005. Jack (the fiance of Kimberly Kane) says he that when he was a kid he wanted to become an archaeologist. "I wanted to travel and see the world. "It didn't work out. I got into music (at age 13 playing the guitar and the saxaphone) and saw the world that way. I was in the early stages of the industrial punk scene. I played in such bands as Bile and Crash Worship." Jack won't give up his real name. Duke: "What did your parents expect you to become?" Jack: "Extinct. I was a rowdy kid, a daredevil. When I was 16, I fell 175 feet off a cliff in upstate New York. They had to chopper me out and call down home to my parents [in Long Island] and tell them I fell off a mountain. "I was on a field trip with school. We were going to a place called Howell Caverns, a huge system of tunnels. "The schoolbus stopped on the side of the road. My friends and I jumped out and ran into the woods to take a leak. A whole side of a mountain broke a part, a landslide, the winters had been harsh and made the area unstable... My friends watched me disappear into a cloud of smoke and slide down this hill and disappear off a cliff like Wily Coyote. "All day long I had been seeing thousand-foot cliffs. I wouldn't go near them, but this one I went off, I ended up landing on a shelf 175 feet down." Duke: "Did something cushion your fall?" Jack: "Yes, my head and the side of my body. I don't remember the fall. I remember going off the side. I remember loosening up. I believed I was going off a 1000 foot cliff. It was a liberating experience. I thought I was gone. I was young and in good shape. Like a drunk guy going out of the windshield of a car, I think that if you're loose, you don't sustain any internal injuries." Duke: "So what injuries did you sustain?" Jack: "I had some bad road rash. They were picking rocks and stones and pebbles out of me with these long tweezers. They had to hold me down. Two of my fingers were going in the wrong direction when I woke up [immediately after the fall]. I felt up to my scalp and I had a nice gash and I was able to touch my skull. Other than that, I was all right. I was able to walk down to the valley under my own power with the rescue guy. Then they brought a chopper in. "I was into motorcross. I played sports (lacrosse) while doing drugs. We lived in the woods [of Long Island]. There were systems of irrigation drainage, tunnels, that we mapped out as kids. We lived underground. We lived in treehouses. "Imagine the joy of knocking one of your friends 40 feet into a tunnel filled with black water and bloated rats. We had wars down there. I didn't have to answer to anybody. I was left to my own devices. "I was going to become a professional lacrosse player but music took me over." Duke: "What kind of student were you?" Jack: "I was in the advanced classes, sitting in the back of the class, getting into trouble, and doing a good job of winging it. I had a bit of an attention problem but I was teaching myself a lot of things, such as science, art and music. But the structure of school was a problem. I wanted to travel the world." Duke: "Who did you hang out with in highschool?" Jack: "I hung with the heads, the rockers, the punks but I crossed over into other groups. The punk scene was at its height. I went into New York to see the CBGBs and the legendary punk bands. Meanwhile, my father was a Marine trying to stress the other side." Duke: "What year did you graduate highschool?" Jack: "I'm not going to say. I'm going to keep my mysterious thing going." Duke: "How did you get into porn?" Jack: "In a roundabout way. After the band years touring, I became a tattoo artist. I opened a tattoo studio in New York. It was very successful. I traveled the country as a tattoo artist for seven years. During that time, I was interested in experimental filmmaking. I had a short stint at UCLA film school. It didn't last because I was too rowdy. "My experimental filmmaking, my crazy girlfriends, and my lusts and my passions were driving me in that direction. It happened quickly that we decided to finance Stuntgirl 1 & 2. It was the right time and place. I was winding down tattooing every day. It was getting grueling. I had always seen myself as a filmmaker. I think of the adult industry as the punk rock of filmmaking. "We shot Stuntgirl over several months. We took money and shot a scene. Then we waited for another batch of money to shoot another scene. I learned how to edit. I cobbled the movie together. It has the look of a travelogue because of that. "We had the movie made. We visited the shows and shopped things around. I gave Andrew Blake a copy of it because I respected his work. As I was making the first movie, I realized that he was a big influence. It occurred to me that I was seeing his images in my head and am starting to understand some of the things he thinks about. "He put it in his suitcase for six months and then one day out of the blue I got a phone call from him. He was very complimentary. At that moment, I was getting distribution [through Hustler]." Jack's starting his fifth movie. Like Andrew Blake, he doesn't appear on camera. "I'm Current 93. Male energy. I like to be the one who frames everything. I bring in male talent who I turn into that current. I focus on women in the movies. My personal life fuels these movies but I don't need to appear in them. I'm trying to be a visual artist." Duke: "Where does your interest in the occult come from?" Jack: "Traveling for years and meeting certain women, beautiful powerful women, who've turned me upside down. "My first two movies have gotten me some work in the mainstream industry. I'm writing a large mainstream movie." Jack moved to LA a few months ago. "It's a permanent move. Hollywood is really interesting." Duke: "What do you love and hate about the porn industry?" Jack: "I love that I could visualize a path for myself and make it happen in a short time and work with the best people in the business almost immediately. "I'm an outsider. I don't mingle in the porn business. I don't have time to hate. I don't like seeing movies that don't make movie stars out of people. I don't like the idea of a beautiful young girl coming into the business and getting wrecked in six months. I'd rather see her blossom. "The first [porn] movies I ever saw were On The Prowl (by Jamie Gillis). I remember finding an ad for On The Prowl in a back of a magazine. I searched out Jamie Gillis and called him in San Francisco. I could immediately recognize his voice. I sent him a check in the mail and he sent me some On The Prowls. "I talked to him this year. I showed him Stuntgirl. He really liked it. You can't get five words out of Jamie if you beg him, but he's a genius. I want to put him in a scene. We spent a day together in New York." Duke: "How do you think working in porn affects your soul?" Jack: "I believe I have a soul and I don't sell it to anybody. I don't exploit anybody. I'm trying to make art. I'm tapping into the most powerful energy -- love and hate, sex and death. When people think about those subjects, they should think about what they're going to be thinking about on their final day. "I'm meeting people of character and integrity in this business because I choose to." Duke: "I'm looking at your 2257 page, and it lists a 'William V. Decandido.' Is that you?" Jack: "That's my lawyer. Good try. You don't know want to know who Jack the Zipper is. Everybody's Jack the Zipper. Jack the Zipper is the guy watching the movie. It's the male energy. I took that lesson from Andrew Blake. You don't want to see Andrew Blake's face. You want to see those beautiful images. When people cover me, they have to print the picture I made instead of a picture of me holding a camcorder and flipping a peace sign. I'd rather the name was connected to beautiful imagery." Duke: "Which industry (music or porn) is more sexual?" Jack: "If you want to get girls, be a tattoo artist. You're making a physical connection with people daily that is hard to beat. Bands have a reputation for that. I didn't see it to the level of the legend. If you're just a journeyman musician, one of many bands... The porn industry has so much emphasis on sex that it turns itself inside out. There are people [in porn] who hate sex or who have created a shield around themselves sexually. "I want to leave you with one more story. I recently got to talk to a grandfather in his 70s. He's from Russia and is a brilliant painter. When he was a young man, an erotic postcard showed up in his village, a photograph of a nude women. The people in town had never seen anything like it. It was the first pornographic image that had ever entered that town. Each person in the town was allowed to hold the postcard for ten minutes and then give it to the next person. "For his entire [adult] life, this man has been a recognized painter of nudes and erotic images of women. He told me that that image he first saw is the same image he's been painting his entire life. "That postcard was a powerful piece of pornography. Look at how we just dispose of it." 11/6/06 Jack: "I just shot my first movie for Vivid a couple of weeks ago. I'm working on a big one for the end of this month. I've shot about six movies in the past two years. I don't have a high output but I'm quality conscious." "In this vast and lonely city, nobody knows where I am. I could be in my apartment for days and no one would miss me. That's different from New York. There, when I was a tattoo artist, I walked around with a $1,000 in my pocket like a gentleman. Out here as a filmmaker trying to play the studio system, the porn system, I'm running around with my debit card." "My tattoo life was wilder than any porn set." Luke: "What are your ambitions?" Jack: "I'm working on making the greatest adult film in the history of adult films. I'm using movies like Caligula as an example. I'm doing a Barbarella-type space fantasy with the special effects guys who did Star Wars: Return of the Jedi. And they're putting their name on the project. "I want to parlay it into a mainstream movie. I've written a couple. I know a lot of people on the other side of the business. They're fans of mine and I'm fans of theirs. "After that, my goal is to be over in Tahiti and not have to work so hard." Luke: "Is the primary point of an adult movie to help people masturbate? |