LUNCH HOUR: When the Big Boys Eat

By Josh Eliot

 

I wrote previously about my relationship and rocky road with producer Scott Masters (Nova Video) in the blog: “We Waited 8hrs for a Cum Shot: Is That a World Record?” I mentioned in that blog how he was in a relationship with Catalina exclusive model Matt Powers and how he starred him in his remake of the Nova movie Main Attraction. Matt was great in the movie, but to debut as a dancer in lots of spandex didn’t do his career any great favor. Scott Masters kept stalling on making his next movie and our GM Mike was getting a little bit upset that he was footing this exclusive’s bills for a non-working model who was basically Scott Master’s sex toy. When I wanted to do a movie called Lunch Hour about workers in a steel factory fighting back against management, I pitched the idea to Mike over drinks at the Gold Coast Bar in West Hollywood. The next day, he gave it the green light and personally made the calls to get me the perfect factory setting in Burbank for our shooting location. It took a lot of my budget to rent the place, so Mike agreed to throw in a little more money and then shocked me with his next decision. Mike felt the macho role of the factory worker would be a great next step for Matt Powers. He was looking to “butch him up” by getting him in a masculine role. Scott Masters was a bit shell-shocked and put up quite a stink because in his mind, even though Catalina was footing the bill, he felt he should be the only one to direct Matt’s movies. I agreed with him and didn’t want to take on the responsibility, but eventually he gave his blessing to the idea and I accepted the task. Secretly, I was happy because now having an exclusive as a star meant they would advertise the movie aggressively.

 

Josh Eliot's Lunch Hour

Josh Eliot's Lunch Hour

 

I think Matt Powers liked the idea of working with me as his director because he knew I would encourage his input and recommendations in regards to his role. There’s a great scene in the movie just before the workers overpower the management to teach them a lesson. Matt wanted to smash one of their computers with a giant wrench to show his anger and frustration with them. I had an old computer on the set as a prop and thought… brilliant! It worked out beautifully and added to his macho persona. Once he smashed the computer, he turned to his co-workers and uttered, “Get 'em,” at which time the workers overpowered the managers, ripped off their clothes and well, you know the rest. It was a lot of pressure, but I knew I could make Matt Powers look incredible; he had all the goods but hadn’t been given the chance to show his full potential until then.

Because the factory cost a fortune, I only had two days to shoot Lunch Hour: one day to shoot all the factory scenes and one day in Scott Master’s house (because it was free) to shoot a love scene between Matt Powers and Josh Taylor, showing Matt’s softer side as contrast. Although he really didn’t want to, we made sure Scott Masters left for the day. The factory scenes included all the dialogue, a threeway with Powers and a 6-way orgy (simultaneously happening in another part of the factory), then we brought both groups together for a 9-way finale. Because shooting all this was impossible in one day, Mike told me that he was going to have Chi Chi LaRue co-direct. I directed all the dialogue and the threeway while Chi Chi directed the 6-way, then I directed the end when they all got together for the 9-way.

It was in this movie that I discovered the immensely satisfying act of “Revenge Casting.” My “open-relationship” boyfriend at the time, Randy, a co-owner of a clothing store on Melrose Avenue, always liked to torment me by letting “slip out” names of guys he slept with. This time, he was boasting about having gone home with adult porn actor, Steve Kennedy (aka Luke Bender), after meeting him at a club. I insisted that Scott Masters track down Steve Kennedy and cast him for the orgy. My first thought was to have him gang fucked, but realized he was only topping at that time in his career. I was a fan of Steve Kennedy, which made my jealousy even more atrocious, so I quickly moved on to “Revenge Casting Plan B.” Once he was confirmed as a cast member, I reached out to Charlie Warner and offered him a role. What, you never heard of Charlie Warner? No one had. He was the best friend of my “sleep around boyfriend” Randy and was persistently asking me to cast him in a movie. I never had before, but this time I did with the idea that Steve Kennedy would be giving him a relentless, long, hard and fast fucking. A pounding I was sure would rattle dear Randy when the movie came out on VHS. As soon as it released, I was on the phone with Charlie Warner so he could plan a screening at his house with all his friends.

 

Steve Kennedy aka Luke Bender (L & R) & Charlie Warner going down on Steve and the steel workers (center)

Steve Kennedy aka Luke Bender (L & R) & Charlie Warner going down on Steve and the steel workers (center)

 

The expression on Randy’s face was priceless, and he looked at me knowing exactly that what I had done by casting Charlie and Steve together. It was sweet revenge. His special one night stand with Steve Kennedy wasn’t so special anymore. Charlie actually did a really good job and I used him again in The Secret Boys Club, shot at a roller rink in the San Fernando Valley. Randy and I had a good run, but in the end he broke my heart. I was supposed to go to a party with him and had to cancel because, once again, Scott Masters needed me, last minute, to nail sequins on block letters to spell out Matt Powers' name for a dance tour he was going on to promote his movies. That very night, Randy met a young plaything at the party who basically replaced me. He broke up with me a couple days later and I was fucking distraught. I was immediately on the phone with Chet Thomas, Catalina editor, cursing Scott Masters' name for making me stay home the night of the party when Randy met the new guy. Being a great friend, Chet rushed over with a big bottle of Jack Daniels and we drank the whole thing.

Lunch Hour came out in 1989, and when Scott Masters watched it he ran up to me and gave me a big kiss on the cheek. He was happy that I made Matt Powers look macho and sexy in the movie. I think he thought to himself that he’d better troubleshoot the situation so that the manager, Mike, didn’t give Matt away to any other director, so in 1990 we shot and released Scott Masters' Lifeguard On Duty. We shot it up in Pismo Beach and Scott Masters had Matt play the lead role, which was well written and included a very well shot, if I do say so myself, fight scene with an armed assailant on the beach at night. That was Matt’s third and final movie for Catalina, because their relationship started deteriorating right before our eyes during filming. In 1991, after one of many arguments with Scott Masters, Matt took off, ending their relationship, shot a movie for Fox Studios called Muscle Force and then returned home to Massachusetts and enrolled in college.

 

Matt Powers on Jock Magazine (L) & on the cover of Lifeguard on Duty (R)

Matt Powers on the cover of Jock Magazine (L) & in Lifeguard on Duty (R)

 

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment
That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?
Don't Wear "Short Shorts" on the #38 Geary to LANDS END
How Straight Are You Really?
BEHIND THE (not so) GREEN DOOR
The BOOM BOOM Room
CATCHING UP with Tom DeSimone
Everybody’s FREE to FEEL GOOD
SCANDAL at the Coral Sands Motel
DEEP INSIDE THE CASTRO: The Castro Theatre
DEEP INSIDE THE CASTRO: The Midnight Sun
RSVP: 2 Weeks Working on a Gay Cruise Ship
VOYAGER of the Damned
I'M NOT A LESBIAN DIRECTOR
Diving Into SoMa/Folsom: THE FOLSOM STREET FAIR
Diving into SoMa/Folsom: A TALE OF TWO STUDS
BALL BROTH
My 1992 “Porn Set” Diary
Out of Print
There’s a Gloryhole WHERE??!

 
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There’s a Gloryhole WHERE??!

By Josh Eliot

 

I’ve written previously about my best friend and co-worker at Catalina Video, Chet Thomas. His real name was Tommy, but from time to time we referred to each other as Sal & Sal. We both liked the nickname so much when we heard it from a “loose” character in the movie Scandal, with Joanne Whalley-Kilmer and Bridget Fonda, that neither one of us would let the other use it exclusively. When we were out and about, on the hunt “not for cunt,” we each took on the character and nickname of “Sal.” You see, just by that last sentence I’ve changed back into Sal before your very eyes; I guess “Sal” is the true author of this particular blog. Everything we said and did as “Sal” was for shock value and to move us toward our goal of the evening, having faceless sex with strangers. You might have read about some of our adventures in my previous blog, “SCANDAL at the Coral Sands Motel .”

 

Chet Thomas/Tommy/Sal in his Valley of the Bi-Dolls cameo

Chet Thomas/Tommy/Sal in his Valley of the Bi-Dolls cameo

 

The very first time I went to Palm Springs was to shoot the movie Head of the Class 2 that Scott Masters was producing and directing. We shot at a beautiful home in Rancho Mirage with models Adam Grant, Les Stine, Beau Beaumont, Brian Hart, Chris Ladd and others. While shooting the movie, the cast and crew stayed not too far away on Warm Sands Drive in a clothing optional resort called The Vista Grande. Scott Masters always cracked the whip, and to make sure there was no funny business with the models “off camera,” they stayed in the owner's two-bedroom suite with him, basically holding them captive. The crew, on the other hand, was free to roam the property at night, spending time in the 16-man jacuzzi filled with horny resort guests and locals who either had a key or figured out a way to get into the private resort. It was a playground for sure, even featuring a glory hole right next to the Coca-Cola and ice machines. Quench your thirst?! Peter and Larry were the owners and they developed a friendship with Scott Masters, which would allow us to start shooting on their resort property for future movies. Catalina ended up shooting at the Vista Grande for years to come.

 

Head of the Class 2 box cover and The Vista Grande Resort

Head of the Class 2 box cover and The Vista Grande Resort

 

Our next trip to the desert was for the movie Palm Springs 92264 and Chet Thomas was along as director with me as his cameraman. Scott Masters stayed home in L.A., but you can bet your ass he called to check up on us at the most inopportune times. I filled Tommy/Chet/Sal in on the goings on at the resort from my first stay there and we were determined to conquer the place while off the clock from shooting the movie. Across the street from the resort was their sister property called The Atrium, which had only five two-bedroom units. Tommy and I stayed there, as did the models and crew, because it was a bit quieter than The Vista Grande. After the shoots, we would go out with the models and crew to dinner at the Red Pepper, a gay-owned Mexican restaurant, and then we all hit CC Construction Company, the local gay disco. The models, for the most part, were on the honor system and, I think because we treated them like friends instead of “hired talent,” they kept their dicks in their pants in anticipation of filming the next morning. Once their scenes were complete, we let them play as much as they wanted around the resort or go on their escort gigs that they or their agent booked for them while in the desert. Tommy and I were very happy about how smoothly things went and were so grateful not to have our producer Scott Masters breathing down our necks.

After the movie wrapped, the cast flew home and the crew drove back to L.A. The owners of The Vista Grande invited Tommy and myself to stay the weekend. They were sold out with some sort of event and the place was filled with German guys. Scheibe! This was a clothing optional resort and let me tell you, there were some big-ass German Sausages swinging about all around the pool. It made it very easy for “Sal” & “Sal” to decide on who to pursue and who not to pursue. Neither Sal was famous for playing nice and when we both wanted the same “piece,” uhh hmm, I mean “guy,” we would battle it out. May the most creative seducer win!

Bob and Larry showed us to the “Maid’s Quarters,” the best kept secret at The Vista Grande. It was a tiny 12’ x 12’ room, with a shower stall and just barely enough space to fit a bed, TV and night stand. It was free and gave us a place to crash, so who were we to complain? Neither one of us was going to get much sleep anyway and if we did, it would probably be in room 10, 15 or 23. In true “Sal” fashion, there was trickery to be had. Like when I was in the shower, Tommy/Sal got dressed and ran out the door to get a head start on the guy we both wanted to catch. That little bitch! If I remember correctly, Sal threw himself at him and scored his first point. That pissed me off a bit, but I don’t throw myself at guys - oh wait a minute, I’m Sal right now so that’s exactly what I do.

 

Palm Springs 92264 box cover; maid's quarters; hot German guys

Palm Springs 92264 box cover; maid's quarters; hot German guys

 

The Sal domination of Warm Sands Drive didn’t just stay contained inside the walls of the resort. Outside on Warm Sands Drive was the most infamous cruise spot in all of Palm Springs. The streets don’t have street lights in the desert and there were shadowy figures in abundance. In cars, on walls, behind bushes. It’s impossible to see if they are cute, ugly, young or geriatric, and you can bet I ran into Sal a few times in different hiding spots with his mouth full. That was his thing - sorry babe, luv ya! Miss ya! But what do you expect, Sal, you did steal my hung German tourist, you twat! Sal and I made many return trips to the Vista Grande. We could call them any given Friday afternoon and if the “Maid’s Quarters” was empty, the owners would give it to us for the weekend for, get this, $25 per night! They treated us so well and, like I said, we would return year after year with the crew to film dozens of movies.

You know, I’m kind of embracing my alter-ego “Sal” as a writer. I think I’ll have him do a guest blog every now and then moving forward.

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment
That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?
Don't Wear "Short Shorts" on the #38 Geary to LANDS END
How Straight Are You Really?
BEHIND THE (not so) GREEN DOOR
The BOOM BOOM Room
CATCHING UP with Tom DeSimone
Everybody’s FREE to FEEL GOOD
SCANDAL at the Coral Sands Motel
DEEP INSIDE THE CASTRO: The Castro Theatre
DEEP INSIDE THE CASTRO: The Midnight Sun
RSVP: 2 Weeks Working on a Gay Cruise Ship
VOYAGER of the Damned
I'M NOT A LESBIAN DIRECTOR
Diving Into SoMa/Folsom: THE FOLSOM STREET FAIR
Diving into SoMa/Folsom: A TALE OF TWO STUDS
BALL BROTH
My 1992 “Porn Set” Diary
Out of Print

 
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My 1992 “Porn Set” Diary

By Josh Eliot
 

In the December 1992 issue of Manshots magazine, I was asked to write an “on-set” diary chronicling the making of a road movie I was shooting from March 3rd - 22nd, 1992. I thought it might be fun to present that 31 year old article here to show “how things worked.” I was 29 years old at the time. It’s worth mentioning that featured in the same issue of that magazine was an interview with Richard Locke, conducted by Jerry Douglas. Also included was their “Fade-Out” column which featured a tribute to Al Parker, who passed away August 17th of that year.

 

December 1992 Manshots cover and articles on Richard Locke and Al Parker

Cover of the December 1992 issue of Manshots and articles on Richard Locke and Al Parker

 

In order to keep this blog at a “readable length,” we will start in progress. We drove to our San Francisco guest house rental. My lead, Hank Sterling, had a scheduling conflict so Randy White replaced him, leaving Hank in a supporting role. I met Randy White for the first time when he arrived at the guest house that evening. Stressed from the cast changes, Jeff Burton (Catalina photographer) and I snuck out to the Castro, got bombed and stayed out until the wee hours of the morning! We shot a major scene with Randy White and Bill Marlowe over the next two days, and despite Marlowe throwing his back out, the Doan’s pills kicked in and we got some great fucking. In a “big bike race scene,” one of the two bikes malfunctioned, forcing us to shoot the guys racing each other using the same bike. Annoying. Having wrapped in San Francisco, we join the diary “in progress “ on Monday March 9th as we arrived in Guerneville, CA, home of the Russian River. Here’s the remainder of the diary:

MONDAY, MARCH 9, 1992
Well, here we sit, four to a cabin in the Russian River. I think we’ll all kill each other by Friday. The resort Fifes is for sale, so it is empty except for us. Unfortunately, I told Chi Chi LaRue that the Russian River was just like Palm Springs, and it is, in the summer, but it’s March and this place is (how can I put it?) a ghost town! Chi Chi is driving up tomorrow with Wes Daniels, Adam Archer and Tom Farrell. I hope he didn’t pack too much drag. I guess he could always do a private show, just for us, on one of the picnic tables.

TUESDAY, MARCH 10, 1992
The Bill Marlowe/Dean Johnson scene is completed. It’s kind of a bitch shooting sex in a four man tent. Chi Chi arrived around 8pm and evidently the drive up was just hellish, because the Chi monster is breathing fire. He and Tom Farrell may just kill each other. We calmed Chi Chi down by having him do a face mask, along with me and the crew. There we sat, all of us with green mud on our faces, watching the NC-17 version of Ken Russell’s Whore. Around 10:30pm we walked into town to the Rainbow Cattle Company for cocktails - emphasis on cock. It was your typical run of the mill evening: Chi Chi broke several glasses, started quoting Barbra Streisand, and then broke out into song. The locals at the bar thought that we were from another planet - but aren’t we? My ex-boyfriend, a respected San Francisco call boy, is working on the crew as my video tech. We are also sharing a bed, and he told me I was talking in my sleep last night He told me I said: “All right, kissing looks good, now I want a wide shot.” Oh well, no sleep for the wicked.

WEDNESDAY, MARCH 11, 1992
Tom Farrell’s scene with Adam Archer (the redneck and the trespassing biker) couldn’t have gone better - there was some major chemistry between those guys. The fucking on the bunkbeds will certainly be one of the highlights of the film. Tonight, as we were getting ready to go out, Tom Farrell graciously locked the other models out of their cabin and we had to wait about an hour for the owner to find another pass key. He ended up going in through a window. I was over it, big time. We finally made it to Molly Brown's, another gay bar. Chi Chi and I played darts, that’s what you do in these hick bars, while the others were dispersed throughout the place. Adam Archer played a lot of pool and Tom Farrell was hanging out with a couple of lesbians. We caught him kissing one and Chi Chi almost threw a dart at them. Then the group photos started, and it was time for us to leave. A few of us ended up at the Rainbow Cattle Company. I started talking to this juicy guy at the bar. He was one of the Cattle Company’s off duty bartenders. We were talking and, out of the blue, he mentioned that the town folk were saying that there was a rumor that Catalina Video was in town shooting a movie. (I guess we do stick out like a sore thumb.) Of course, I was slightly sloppy at this point and confessed everything to him. Well, who knew that it would work in my favor for a change! I thought that by telling him, he would say we could shoot some footage in the bar for the movie. But it turned out the only shots he wanted to shoot were on my face. I had no problem with that! We ditched the others and went back to the “Bunkhouse” at Fifes, where we shot the Farrell-Archer scene, because I still had the keys to it. Finally, after a week’s wait, I got laid. Big deal, right? Well, it was a very, very big deal, but I don’t kiss and tell (all the time).

THURSDAY, MARCH 12, 1992
The threeway oral scene was to be shot today with Wes Daniels, Alvin “The Whopper” Eros and Jean Paul Cocteau. Cocteau, obviously from Paris, France, was the biggest bug up my ass, but it wasn’t his fault. He was really nice and all, but the language barrier nearly sent me over the edge, as I’m sure the scene will reflect! At least it’s the middle scene in a five scene movie. Tonight we are all going to the Rusty Nail to celebrate wrapping in the Russian River.

SATURDAY, March 14, 1992
It’s 9:00am. The crew and I are at the Beck’s Motor Lodge in the San Francisco Castro district. We arrived yesterday morning and relaxed until it was time to meet Chi Chi and the models at the End Up for drinks. Chi Chi was in full drag, looking fabulous, when all of a sudden another drag queen came in looking exactly like Chi Chi’s mother! Same wig, same type of dress, but with a grey streak in her hair. We joked about how fun it would be to see the two of them in a cat fight, but they became best girlfriends. Cocteau from France never came back to the motel tonight. We never thought he would get laid with that bandana wrapped around his neck like he had it.

SATURDAY, MARCH 21, 1992
Today in Los Angeles we shot the first half of the Randy White/Hank Sterling scene, inside the limousine. What a royal pain in the ass! It’s over now so I won’t bitch. I’ve got some great shots of White jacking off while we drove around town - pretty cool stuff!

SUNDAY, MARCH 22, 1992
The anal half of the White/Sterling scene was shot today. Unfortunately Sterling started to bleed, so I immediately stopped the scene, as I always do in that event. I told him to stick two cotton balls up his ass and we’ll shoot another day, which we did.

FRIDAY, APRIL 3, 1992
I just finished editing the movie today. I have been working on it diligently since I got back to LA. I still can’t think of a title - can you believe it? I must say, It’s definitely, in my opinion, the best work I’ve done in quite a while. For that. I thank my incredible cast of actors and my irreplaceable, hardworking crew.

TUESDAY, APRIL 14, 1992
We named it! Easy Riders. Gotta go. I’m busy working on the script for Lunch Hour 2.

You can tell towards the end of the diary I was over writing it! I just thought it would be cool to give you a little glimpse of what things were like back then. There was a really hot and heavy thing that happened while in the Russian River that, at the time (1992), there was no way in hell I would mention for the Manshots publication. But you can read about it here in my previous blog, (Un)Easy Riders.

 

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment
That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?
Don't Wear "Short Shorts" on the #38 Geary to LANDS END
How Straight Are You Really?
BEHIND THE (not so) GREEN DOOR
The BOOM BOOM Room
CATCHING UP with Tom DeSimone
Everybody’s FREE to FEEL GOOD
SCANDAL at the Coral Sands Motel
DEEP INSIDE THE CASTRO: The Castro Theatre
DEEP INSIDE THE CASTRO: The Midnight Sun
RSVP: 2 Weeks Working on a Gay Cruise Ship
VOYAGER of the Damned
I'M NOT A LESBIAN DIRECTOR
Diving Into SoMa/Folsom: THE FOLSOM STREET FAIR
Diving into SoMa/Folsom: A TALE OF TWO STUDS
BALL BROTH

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I’M NOT A LESBIAN DIRECTOR!

By Josh Eliot

 

At the same time I started shooting Valley of the Bi-Dolls, the general manager of Catalina Video had a light bulb go off in his head. Let’s just say that light bulb was more of a fluorescent, as opposed to a tungsten lamp that we used for filming to give us fabulous lighting. The fluorescent may have been a practical option when GE developed it from the discoveries of Jacques Risler in 1934, but the execution never really materialized as top notch. I always feel like I look ten years older and twenty years more exhausted when standing in a room lit by fluorescents. The idea from my general manager ended up being just as disappointing.

When I was casting for Valley of the Bi Dolls in 1993, thanks to Chi Chi LaRue, I was able to connect with the main agent representing the very top straight adult film starlets of the time. Though it was exciting to think about working with top-notch girls for Valley, I was turned down time after time by most of them. As I mentioned in the past, there was a stigma involved when it came to bisexual movies. Even though by this point things were slightly turning around, the straight industry was slow to get on board the “acceptance wagon.”

I had already cast Sharon Kane in the lead, who in turned recommended Gloria Leonard for the non-sexual “Helen Lawson” character and luckily, through an agent, Leanna Foxxx was on board. In addition, which was shocking to hear at the time, Peter North (Matt Ramsey) also agreed to do the straight scene with Leanna Foxxx. It really was a coup for me to have all these big names, which was unheard of at the time in a bisexual movie. I was pouring everything I had mentally into this movie and I wanted the cast to be all A-List! So I kept trying, but was turned down by Diedre Holland, Melanie Moore, Debi Diamond and Teri Divers. When I shared some of the names that turned me down with Catalina’s manager, that’s when the light bulb went off in his head.

 

A-List stars of the 1990s Debi Diamond, Teri Divers, Diedre Holland and Melanie Moore

A-List stars of the 1990s

 

Catalina had long wanted to tap into the girl-girl market; not the straight girl-girl audience, but the lesbian audience. The idea of having all A-List girls in our movie, in his mind, would give us an edge, and he proposed that it would be directed by a lesbian director for a lesbian audience. The top starlets had no problem whatsoever shooting an all-girl movie, so getting them to sign on the dotted line was easy. Of course, there was the small technicality of not having a lesbian director on staff to coincide with our manager’s plans to publicize the movie in the gay press as lesbian-made. I told him I would start the search for a lesbian director to join our team, but he wanted that gal to be me (not so forward thinking after all, was he?). We bantered back and forth but he was adamant, so I to accepted the assignment. Catalina’s instant new director “Tori Sterling” was born. A pseudonym I came up with by combining Tori Spelling and Matt Sterling, and the movie would be called The Women.

 

The Women original one-sheet

The Women original one-sheet

 

I came up with the title based on the Joan Crawford / Norma Shearer / Rosalind Russell / Paulette Goddard / Joan Fontaine 1939 film from director George Cukor. Get the connection? The actresses in the 1939 film (fabulous movie, I might add) were all A-List or up-and-coming A-Listers of the time. The Women would be a classy, glossy, high end production... albeit with its slashed budget of only $10,000, because he knew we could shoot multiple sex scenes in fewer days as there were no hard-ons or cum shots needed. We shot in two days. The girls were fabulous, creative, inventive, and great with their lines, which was really quite a delight! They taught me some really good positions and actions that I could apply to all-male movies, especially with their pussy eating techniques, which I could apply to future boy-boy rim scenes. It was exciting for me to be around and work with the “it” girls of the time and I never really felt intimidated by their presence, which was a nice surprise. All in all, the movie looked beautiful, top-notch and well shot. The only problem? I’m not a lesbian director!

 

Ad for The Women in Nightlife Magazine, 1994

Ad for The Women in Nightlife Magazine, 1994

 

We ran several promotions for the movie in the press, including the one shown here in Nightlife Magazine. Really pressing home the “made in the USA” vibe of “lesbian-made.” You can walk like a duck, fuck like a fuck, suck like a duck, but you’ll never taste as delicious as Peking Duck if you aren’t a duck inside and out. There’s no way, as a 31 year old gay man at the time, that I could have channeled properly the thought process or life experiences of a gay woman. It was really stupid to even try and this is where we blew our shot, because we weren’t honest with ourselves or our audience. I’m sure the movie made some money because, let’s face it, it’s no big challenge to make money with a $10,000 investment! But I dare anyone to find this movie in print anywhere today. I don’t even have a copy anymore - I loaned out my VHS to some girlfriends and never got it back. Well, at least it might have worked for that gay couple! I should have really tried harder to convince our manager to go big or go home with his idea of a lesbian director, really make this movie in the right way. Who knows, it might have pulled in that market that no one was catering to, if it had only taken that audience into consideration.

 

 

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment
That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?
Don't Wear "Short Shorts" on the #38 Geary to LANDS END
How Straight Are You Really?
BEHIND THE (not so) GREEN DOOR
The BOOM BOOM Room
CATCHING UP with Tom DeSimone
Everybody’s FREE to FEEL GOOD
SCANDAL at the Coral Sands Motel
DEEP INSIDE THE CASTRO: The Castro Theatre
DEEP INSIDE THE CASTRO: The Midnight Sun
RSVP: 2 Weeks Working on a Gay Cruise Ship
VOYAGER of the Damned

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Whatever Happened to NEELY O’HARA?

By Josh Eliot

 

I have absolutely no idea if the Gen X or Millennials have icons that they worship. You know, the Baby Boomers – the Marilyn Monroe, Judy Garland and Bette Davis obsessed group - they erected a fabulous 26 ft tall Marilyn Monroe statue in downtown Palm Springs, which is the new selfie spot for locals and tourists. It’s that great image from The Seven Year Itch where her billowing white dress blows up in the air from the subway grid below. There was a small delegation that picketed her installation (of course… so annoying) because her underwear-covered ass is facing the walkway leading from the museum. Whatever! Under her dress is the most popular selfie spot in town! Palm Springs also has an amazing show at The Purple Room Club starring impersonator Michael Holmes as Judy Garland - it’s called The Judy Show. In the show, Judy gets more and more “lit” as the night goes on, talks shit about her daughter Liza and has great guest stars like Bette Davis, Pearl Bailey and Carol Channing. If in town, it’s a “must-see” dinner theater experience.

 

Marilyn statue in Palm Springs

Marilyn statue in Palm Springs

 

I appreciate all of those fine women, but for me there is only one gal that is and has always been on the top of my “worship” list. She’s not an actress, but a character - the fabulously damaged NEELY O’HARA from Jacqueline Susann’s epic Valley of the Dolls. But my obsession undoubtedly is because the actress that gave her life, Patty Duke, nailed the role. I first saw a heavily edited version back in the 1970’s on TV, some random Saturday afternoon. There were a lot of “show-stopping” moments, but I couldn’t rewind the scenes or watch them on a VCR because it wasn’t invented yet (VCR - released by RCA in 1977). Maybe that’s why the experience really stuck with me; it wasn’t watered down by replaying it. Neely could sing and dance like the ladies above and ended up tortured, broken and ______? And what? Whatever happened to Neely O’Hara? When we left her at the end of the movie she was wasted, emotionally drained, near collapse and screaming her own name into the night sky of the New York City Theatre District. How could Jacqueline have left us hanging like that? I’ve often wondered, did she die there in that alley? We will never know. Or will we?

In 1993, I recreated Neely’s story as an adult bi-sexual movie called Valley of the Bi Dolls. The movie starred Sharon Kane as “Ceily Fontana” (the Neely character) and Gloria Leonard as ”Lana Dawson” (the Helen Lawson character). Originally played by Judy Garland, then replaced with Susan Hayward, Helen Lawson was the ultimate arch enemy to Neely. I also included Sharon Tate’s “Jennifer” character played by Leanna Foxxx. The character “Ann Wells” played by Barbara Parkins was just too boring to make the cut. The movie basically ends with the same fate for Ceily/Neely, but her story goes on from there. To take her journey a step further, in 1994 I released Revenge of the Bi Dolls, where Ceily/Neely sets in motion a series of events to shame and humiliate Lana Dawson, which seals both their fates in a gunfight that results in their deaths. Case closed. But was it?

 

Neily & Ceily

Neily & Ceily

 

Not according to the General Manager at Catalina Video. Because both movies won Best Bi-Sexual Picture, Director and Music for Kane, Non-Sexual for Leonard and Screenplay, he told me I needed to make a third installment, turning the series into a trilogy. I thought I had finally given Ceily/Neely a proper ending, but evidently not! I dragged my feet, but in 1997 I released Night of the Living Bi Dolls. I guess I was still in my rebellious stage. I had killed all the main characters in the sequel, and to me Ceily was larger than life, so I brought her back from the dead as a zombie in the midst of a zombie apocalypse. The movie won Best Bi-Sexual Picture and Director so I figured it was over and that was it! Or was it?

 

 

Bi Dolls Trilogy

Bi Dolls Trilogy

 

Not likely. Recently I released on my YouTube Channel (The Josh Eliot), in a PG rated version, Far Beyond the Valley: The Complete Bi-Dolls Trilogy. It’s all three movies edited together into a 95-minute PG rated feature. It includes the famous “pulling off the wig” scene, Ceily’s stint in the sanitarium, an original duet with Sharon and Chi Chi LaRue and even a Dynasty style fight in the lily pond scene thrown in for good measure. Chi Chi LaRue was in all three movies playing the character “Nurse Ratshitt,” whom Ceily meets in the nut-house. The nurse gives Ceily a taste of her own medicine before being crushed by a 1-ton sandbag on the movie set. Not to worry, she becomes a zombie in the tail end of the feature, which literally makes her lose her “head.”

 

Chi Chi in the recreated wig scene

Chi Chi in the recreated wig scene

 

This Trilogy, to me, reflects the best of the best of times during my 20+ year adventure working for Catalina Video. Easily the most fun you could ever have on a porn set without getting a load on your face. Heavily influenced by Russ Meyer, the campiness in this movie is next level. If you want to see Neely O’Hara turn the tables on Helen Lawson and go far beyond anything resembling sanity, then click the following link to see THE OFFICIAL TRAILER. Once on my channel, check out the FULL FEATURE as well as lots of fun trailers, interviews and music videos from some of my favorite Catalina movies of the past, and don’t forget the popcorn.

 

Trailer for the Bi Dolls Trilogy
Click here to watch the Official Trailer for the Bi Dolls Trilogy and click here for the Full Feature


Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment

That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA

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