|
His interview with author William Rotsler begins on page 150 of the 1973 book Contemporary Erotic Cinema. Asked for his motivation for making pornography, Clay replied: "Money. Know a better reason? There's a lot of bread in sex. Not as much as there was before everyone and his sister started making films... "First comes the financing. Sometimes it's easy, sometimes not. Depends somewhat on the "heat" that's around. Regular simulation sex films are safer, but they have to be better productions, too. You can get away with murder here in the pornos... "The 16mm porno feature is done for two grand, twenty-five hundred, on up to four thousand. The 35mm simulated sex films start at fifteen thousand...and easily go... thirty-five thousand... "So you do a script and from that you do a budget breakdown and then a shooting breakdown. Who has to be where at what time. What props are needed. How many bodies. And so on. Then you start casting. "Now everyone figures this is the fun part. It isn't. Oh, I can't say I hate it. Girls sometimes promise you a little on the side for the work, and sometimes they offer to show you right then and there just how good they are are. Or demonstrate their "specialties." "The problem today is getting people to work, finding them, persuading them you are not a cop, and so forth. A year two years ago you could get them easily. You could interview ten, fifteen chicks at a crack. They'd strip, you look at them, tell them what the part was, maybe if they didn't dig it - which was rare unless it involved anal sex - they'd pass, then you'd pick the ones you wanted. It got so you didn't even tell them who they were going to make it with. Just report at such-and-such a place at such-and-such a time for pickup, pick 'em up, take them to the location, introduce them to the guy, and maybe five minutes later they were screwing them. But you must be very cool today. The cops bust somebody for pot, say, and then put them out as "secret agents." They bust them for oral copulation in a film and say they will get off lightly if they fink on the producers... "For these flicks you can't afford a big crew so it's usually a cameraman, a sound man, and an assistant. Then you make the picture. These are quickie features, now, not the ten-minute "loops," which are just s---, just people f---ing for ten minutes, until they run out of film." Rotsler: "What are your problems in making erotic films?" McCord: "The hard-on barrier, without a doubt. Guys can lose their erections so fast... They get uptight because you are shooting up their rear or because you're shooting at all. Or the girl doesn't turn them on or is reluctant... I've seen guys with big, gorgeous hard-ons lose it the second the camera starts. It's the biggest headache in the business. That's why we all keep going back to the "stars," the guys that get it up and keep it up. There are even two or three studs that can give you an orgasm on cue." Rotsler: "What about the girls?" McCord: "Usually broke... Because there is so much danger attached to it... not only the cops but maybe a touch of VD if they are unlucky...only those broke or sexy enough do it. There are some who love to screw... But usually it's because they're broke, and too lazy or inexperienced or uneducated to get a job. Or their boy friend or girl friend gets in it and they don't want them screwing someone else. A guy might because he gets a lot of free sex and a girl because she gets to show off. "..If you have the money, you can create, live, just about any fantasy you want. Want to screw five girls at once? Ten? Whip some? Smear 'em with orgy butter or orange marmalade? Anal intercourse? Super-closeups of cocksucking? Black girls? Black guys? Harems? Science fiction super-horny pills? Mashismo trips? Torture? Slave girls? Anything...as long asyou have the money. It's really crazy. You can get anyone to do anything, and not always just for money, either, except most people are hip enough that they figure they might as well get paid."
|
|
|
|