CATCHING UP with Tom DeSimone

By Josh Eliot

 

I remember my first Tom DeSimone movie: Reform School Girls. A large group of us were going on a Friday night and the film was a lot of fun, especially when Wendy O. Williams rode on top of a bus after barreling through the gates. In San Francisco, 1980s, when you had moments like that on film, the whole audience would scream and applaud in delight. My friends and I were constantly at the Castro or Market Street movie houses that would regularly show John Waters, Andy Warhol and other cult movies. When I saw actress Pat Ast was in Reform School Girls, I knew we were in for a good time. I remembered her from Andy Warhol’s movie Heat, shot mostly at the old Tropicana Motel in West Hollywood, where my friends and I stayed on previous visits to L.A. Tom made many popular mainstream movies including The Concrete Jungle, Hell Night, Prison Girls and the cult classic Chatterbox, to name a few.

 

Reform School Girls poster and stars Pat Ast and Wendy O. Williams
Reform School Girls poster and stars Pat Ast and Wendy O. Williams
 
Posters for The Concrete Jungle and Chatterbox

Posters for The Concrete Jungle and Chatterbox

 

Once I moved from San Francisco to West Hollywood and got settled into the Catalina offices, it was a fun surprise to find out that Catalina released and distributed gay adult movies made by Tom DeSimone, under the name Lancer Brooks. In my first blog: “Coming Out Of My Wet Shorts” I wrote about how much that movie poster influenced me. Wet Shorts, Flesh & Fantasy, The Dirty Picture Show, Skin Deep, NightCrawler and Bi Bi Love (with one of my favorite scenes ever in a bisexual movie, featuring Crystal Evans) were all sold by Catalina. I would say my VHS tapes of Tom’s movies were like a “video tutorial” on how to make a great adult movie. His movies had just the right combination of comedy, drama, and titillation, seamlessly edited to create these gems. In Wet Shorts it was the traveling salesman scene, Flesh & Fantasy the jacuzzi scene and Skin Deep’s minimalist yet multilayered story of a writer who befriends a sex worker spoke volumes about his internal thought process. It goes without saying that I was truly inspired. Where John Travis taught me the value of lighting and cinematography, Tom DeSimone’s movies inspired me to write and direct stories with a quirky flair to them. I know the adult movies of today don’t really embrace the “storyline” concept, but we did back then and I always tried to make the most of it.

 

Tom DeSimone DVDs from Catalina

Tom DeSimone DVDs from Catalina

 

After completing my final movie for Catalina Video called Hot Buttered Cop Porn in 2006, my partner Tony and I moved to Palm Desert and continued editing and remastering Catalina movies for release on DVD, until the company was sold to Channel 1. One random afternoon, I spoke to my friend Kurt about how I was remastering Skin Deep for DVD release and out of the blue he told me that he knew Tom DeSimone from The Desert Film Society, as Tom was a founding member and served on the board. I was shocked and elated when Kurt followed up to tell me that Tom said I could contact him. The order of things is a little fuzzy but meeting Tom was so exciting for me, and Chi Chi LaRue (who of course I told immediately when this all came about). I was working for Channel 1 Releasing at this point and Chi Chi was part owner. In addition to being a warm and wonderful guy, Tom was very generous in sharing his experiences within the adult and mainstream industry. Channel 1 gave me the go ahead to set up video interviews with Tom discussing the behind the scenes working of his movies released by Catalina. We shot four interviews, one for each movie - Wet Shorts, Flesh & Fantasy, The Dirty Picture Show and Skin Deep - which were added to the DVD releases of each movie as “Bonus Extras.” Chi Chi and Tom sat on my couch and we recorded them conversing with each other while watching NightCrawler, which then became a “Bonus Director’s Commentary” on that DVD. It was all very exciting to have our Idol (excuse the pun) spending time with us. Tom even invited us to a party at his house where he projected a classic old movie on the big screen in his backyard to a large group of partygoers. I have both the Skin Deep interview and full interview on my YouTube channel if you would like to view them.

 

Tom DeSimone's Skin Deep interview

Tom DeSimone's Skin Deep interview

 

Having access to Bijou Video's amazing streaming service, I recently watched the restored and remastered version of The Idol, and now I know what all the hype is about. This is one great, timeless classic which felt very much like a mainstream movie. Bijou’s streaming catalog also includes many other Tom DeSimone movies like: Dust unto Dust, Confessions of a Male Groupie, The Frenchman & The Lovers (formally titled: The Harder They Fall), Station to Station, and of course my personal favorite Hot Truckin', with Gordon Grant! The Bijou catalog’s vast number of movies never ceases to amaze me! So much content! I’ve heard through the grape-vine that Tom DeSimone’s Catching Up is a real crowd pleaser as well. That is the next one on my list to stream this weekend. Look at this, here I am retired from adult video making and yet I am still obsessed with watching more Tom DeSimone movies to see if I can still learn more from one of the best!

 

Catching Up poster and Tom DeSimone editing

Catching Up poster and Tom DeSimone editing

 

For more on Tom DeSimone's career, see also Bijou's 2019 interview with him: Part 1 and Part 2

 

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

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Interview with Director Tom DeSimone: Part 2 – Hollywood & Mainstream Directing

posted by guest blogger Miriam Webster

Tom DeSimone behind a camera
Image Credit: Tom DeSimone

This is the follow up to our previous blog about Tom DeSimone, a major figure in the formation of the adult industry in the 1970s and one of the earliest directors of gay hardcore films during the establishment of the genre. He directed many well-produced and influential gay porn classics, many of which had an emphasis on narrative, character, and relationships, including Dust Unto Dust (1970), Catching Up (1975), The Idol (1979), and the 1974 documentary on gay porn history, Erotikus: History of the Gay Movie.

Vintage poster for Erotikus

DeSimone's skillful filmmaking in porn led him into an extensive career working in mainstream film and television, which he elaborated upon in this continuation of our interview.

Please read part one for an interview with Tom about his filmmaking background and porn career! And see the bottom of this blog for Tom DeSimone's filmography and links to his movies.

Bijou: What was it like being one of the rare crossover filmmakers between hardcore gay films and mainstream fare?

DeSimone: I was a very well-known writer, producer, and director of gay porn at the same time that both Casey [Donovan] and Wakefield Poole [director and star of Boys in the Sand, 1971] were in the business. I was quite prolific, having made over 80 hardcore features. I wasn't what you would call “obscure” since my films were readily reviewed in all the gay newspapers and magazines and, in some cases, even in Variety, the Hollywood Bible. I was interviewed numerous times in gay periodicals, as well. You could definitely say I was “out there.” And yet I easily made the crossover into mainstream movies and television and, in most cases, my past was known, yet it didn't seem to matter. I worked with Linda Blair, Maude Adams, Jill St. John, Richard Roundtree, Dennis Christopher, Patty McCormick, Susan Oliver, and Barbara Luna, among others. The bottom line was the work, the ability to bring in a feature film that made the grade.

While I respect the work done by many of my peers in those heady porn years, there's a vast difference between stringing a series of erotic loops together under a unifying theme and turning out a traditional feature film. In some instances, the reviews of my films often compared them to Hollywood films. I was known for coaxing believable performances out of guys with no acting training whatsoever. I did all my own editing and made sure I scored the films with appropriate background music. In some cases, I also did the camerawork to be sure that I was putting up on the screen what I wanted my vision to be. I studied the Hollywood classics for years and I also had a Master's Degree from UCLA film school. My being gay had nothing to do with my work. It had always been my ambition to work in mainstream films and making porn was just a stepping stone for me, a chance to practice my art until the big break came.

Ironically, it was my porn films that opened that door. A producer, who just happened to be gay, rented a porno one night and he and his lover settled down to watch it. He was so impressed with the film that he tracked me down and then introduced me to two other producers – both straight, by the way – and it was those two who financed my first legit Hollywood film. When screening my film with them, I was curious if the sex scenes would be a turn off for them, but they weren't phased in the least. What they were looking for was to see if I had what it takes to bring in a feature or not. And that was the beginning of a long and exciting career. Six feature films and one-hundred-sixty television shows later, I'm retired now and take great pride in looking back at it all.

Hollywood was, and still is, filled with gay writers, producers, and directors... they recognize talent when they see it and they reward it accordingly. Sometimes people think we [porn makers] were all just amateurs with a brownie camera in a cheap motel room, grinding out trash. Today's audiences need to know that there were real artists working back then... myself, Jack Deveau, Peter de Rome, Jerry Douglas, Wakefield Poole, etc. We opened the doors... and some of us even stepped through to the other side.

I had always had my eye on working in the Hollywood system from the time I was about ten years old. Making porn was just a means to that end. It allowed me to practice my craft at my own pace and to learn on the job, so to speak. It actually helped me when I finally did get my break because I had learned, by then, to shoot fast and from the hip, as the saying goes. Producers always liked the fact that I didn't waste time on the set and 99% of the time my films and TV shows came in on time and on budget.

Bijou: Which was your first Hollywood film, the one that you got a deal to work on by way of a Hollywood producer being a fan of your porn films? What was that initial shift into working in Hollywood like?

DeSimone: That film was Chatterbox [1977], which was actually a sex comedy. I was introduced to a producer at a New Year's Eve party by a friend who was a writer and successful. He was always a fan of my films and wanted to help me get my foot in the door. He introduced me, the producer and I chatted, he asked to see something, I arranged a screening of The Idol, he loved it, and that was the start. I had an old script lying around that I had intended to shoot, a straight porn movie called Lips about a girl with a talking vagina. He flipped for it but didn't want to do anything hardcore, naturally. So Lips became Chatterbox and my career out of porn was born.
 

Chatterbox poster

Bijou: Tell us about working on porn sets versus mainstream Hollywood sets.

DeSimone: The transition was awkward at first, because making my porn films was a small affair. Me, the cameraman, and the sound man and one assistant who did what we needed on the set. On my first film, Chatterbox, I was astounded to show up on the set and have 100 or more people all busy working and depending ON ME to get things moving and get things done. I knew how to make a film, but had to learn how to relegate duties to others. I was used to moving equipment around and wrapping cables, etc. It was a big surprise (and a lovely one) at the end of the first day of shooting – the assistant director came up to me and said, “Your car is ready.” I had no idea what he meant. I was picking up cables and wrapping them and he said, “What are you doing?” I said, “Finishing up.” He just looked at me and said, “NO... You're the director. You don't do that. The driver is here to take you home.” After that, it was all a joy!

Bijou: Onto a couple of specific mainstream titles, what was it like working with punk musician Wendy O. Williams in your 1986 women in prison genre satire, Reform School Girls?

DeSimone: Wendy was unique and a mystery. She was very quiet, kept mostly to herself, ate in her trailer most of the time, and didn't socialize or mingle on the set with others, not even me until she had to. She had very strong opinions of what HER FANS would want to see her do, so many times we had to hash things out before doing a scene. She had a manager/Svengali sort of man, who was also her life partner. His name was Rod. He actually created WENDY O.WILLIAMS. That wasn't her real name and he fashioned her entire persona, her look, and her style and she looked to him for everything. Many times while shooting, I had to confer with him about what she would or wouldn't do in the film. Eventually we became friendlier and I was even invited by them to visit in New York, where they lived and worked in a huge loft. It was quite an experience seeing them in their own world. Unfortunately, he eventually took a position in upstate New York to teach at some university and took her along. It was my understanding that they had married. Sadly, being a faculty wife in a small academic community didn't make it for her and one morning she went out into the woods with a rifle and shot herself. Sad ending to a tumultuous life.

(Read more about Tom's work on Reform School Girls in this interview.)
 

Reform School Girls poster

Bijou: What was it like working with The Exorcist's Linda Blair in your 1981 cult horror film, Hell Night?

DeSimone: Linda was a gem. We hit it off immediately and remained friends for several years after the film wrapped. She was hesitant at first about doing another horror film after doing a couple of Exorcist films, but we convinced her that her character wouldn't end up being a victim but, instead, would be the one who saves the day. She was always professional and has a great sense of humor, which made the work a lot easier. The entire film was shot at night, so working was difficult and, at times, really a struggle in the cold nights outdoors. We shot over the Thanksgiving holiday and even Christmas. When we took a break from shooting for Christmas, she arranged a big party for the entire company, actors and crew, and had it catered and everyone was invited to her home. I thought that was pretty special of her, since most actors would have wanted to take the time away from everything and just relax. We stayed in touch for several years after the shoot, but now only on occasion do we cross paths.

(Read an interview with Tom about the making of Hell Night here.)
 

Hell Night poster

Thank you again to Tom DeSimone for generously discussing his career!

Tom DeSimone's Partial Directorial Filmography:
(From IMDb and Gay Erotic Video Index)
Links to movies available through Bijou Video

The Collection (as Lancer Brooks) – 1969
One - 1970
Dust Unto Dust (as Lancer Brooks) – 1970
Peter the Peeker – 1971
Lust in the Afternoon - 1971
Gay Tarzan – 1971
Confessions of a Male Groupie – 1971
Black and Blue - 1971
The Gypsy's Ball - 1972
Prison Girls – 1972
Chained (as Lancer Brooks) – 1973
Swap Meat (as Lancer Brooks) – 1973
Sons of Satan (as Lancer Brooks) – 1973
Black Heat (as Lancer Brooks) – 1973
Games Without Rules (as L. Brooks) – 1974
Erotikus: A History of the Gay Movie (as L. Brooks) – 1974
Station to Station (as L. Brooks) – 1974
Everything Goes (aka Anything Goes) (as L. Brooks) – 1974
Duffy's Tavern (as Lancer Brooks) – 1974
Blue Movie Auditions (aka How to Make a Homo Movie) - 1974
Assault (as Lancer Brooks) – 1975
Sur - 1975
Good Hot Stuff – 1975
Aphrodisiacs in the Male Animal (1975)
Catching Up – 1975
Chatterbox! - 1977
Hot Truckin' (as Lancer Brooks) – 1978
The Harder They Fall (aka The Frenchman and the Lovers) – 1977
Gettin' Down (as Lancer Brooks) – 1978
The Idol – 1979
Bad, Bad Boys (aka Bad Boys) (as Lancer Brooks) – 1979
Hawaiian Eyes (aka Gay Guide to Hawaii) – 1979
Private Collection – 1980
Heavy Equipment (as Lancer Brooks) – 1980
Wet Shorts – 1980
The Dirty Picture Show (as De Simone) – 1980
Flesh and Fantasy 1 – 1980
Dirty Books - 1981
Hell Night – 1981
The Concrete Jungle – 1982
Skin Deep (as Lancer Brooks) – 1982
Bi-Coastal (as Lancer Brooks) – 1985
Bi-bi Love (as Lancer Brooks) – 11986
Nightcrawler: A Leathersex Fantasy - 1986
Reform School Girls – 1986
Angel III: The Final Chapter – 1988
Freddy's Nightmares (TV Series, 4 episodes) – 1988/1989
Super Force (TV Series, 6 episodes) – 1991/1992
Dark Justice (TV Series, 18 episodes) – 1991 - 1993
Swamp Thing (TV Series, 3 episodes) – 1992/1993
Acapulco Bay (TV series) – 1995
The Big Easy (TV Series, 4 episodes) – 1996/1997
Coming Distractions (as Lancer Brooks) – 1997
Pensacola: Wings of Gold (TV Series, 1 episode) – 1998
She Spies (TV Series, 1 episode) – 2002

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Interview with Director Tom DeSimone: Part 1 - The Early Years & Porn Filmmaking

posted by guest blogger Miriam Webster


Tom DeSimone behind a camera
Image Credit: Tom DeSimone

Mainstream film/television and porn director Tom DeSimone (also credited as Lancer Brooks) was one of the major figures who helped to form the adult industry in the 1970s, during the birth of hardcore pornography as a film genre. Initially shooting films for Shan Sayles of the Park Theatre in the L.A. area, DeSimone made some of the earliest gay porn films within the burgeoning industry, including the very first plotted, feature-length gay porn film, The Collection (1969). DeSimone's porn films typically centered around stories and he made technically high-quality productions - well-made narrative movies with developed characters and performers cast to suit their roles - that showed care for the craft.

Over the span of his porn filmmaking career, which also included sexploitation and bisexual films, DeSimone worked with many important contributors to the industry, including performers Gordon Grant, Al Parker, Jack Wrangler, Roger, Michael Christopher, David Ashfield, J.W King, and Fred Halsted, and filmmakers Nick Elliot, Jason Sato, William Higgins, and Jack Deveau. Deveau's New York-based studio, Hand in Hand Films, distributed several of DeSimone's films (Catching Up [1975], The Idol [1979], and others) and DeSimone also worked behind the scenes with Hand in Hand as the cameraman for three of their releases directed by Deveau (Ballet Down the Highway, Wanted: Billy the Kid, and Good Hot Stuff, all from 1975). (DeSimone extensively discusses his career in the newly released book, Good Hot Stuff, about Hand in Hand and Deveau.) DeSimone also made the historically notable film, Erotikus: History of the Gay Movie (1974), which is part documentary and part porn and which was released as a porn film and played in porn theaters.

DeSimone was one of a small number of individuals from the porn industry who successfully moved into working in mainstream film and television. (See the correction in our previous Casey Donovan blog, which left out mentions of those who did cross over into mainstream work.) This included Hell Night (1981) starring Linda Blair, Reform School Girls (1986) starring punk musician Wendy O. Williams, and extensive television work. (See the bottom of this blog for Tom DeSimone's filmography and links to his movies.)

DeSimone recently answered some questions about his career, which we are excited to share in this week's blog, the first of two installments, this one focusing on his introduction to filmmaking and directing porn films.

Bijou: What are some of your favorite films?

DeSimone: I can't really pick one favorite film out of the thousands I've seen and hundreds I love. On the list are Duel in the Sun, The Letter, 8 ½, The Little Foxes, The Rose Tattoo, Atonement, Pennies from Heaven, Incochine... so you see, I have a lot of favorites. A “favorite” is any film I can watch over and over and never tire of and also one in which I continue to find more and more elements of pleasure each time I view it. Among this list, The Letter is probably my most watched film and it never gets boring and I never cease to discover something new each time.

Bijou: Did you make short films while in school for film? What were those like?

DeSimone: At UCLA, where I got my master's degree, I made three short films. One of them, Wooden Lullaby, won best director at the Cine Film Festival in Washington D.C. Another, The Game, won me a scholarship to complete my studies in graduate school. Both films were screened for the public in the Annual Student Film Programs at UCLA. My film, The Game, got me an interview with Columbia Pictures at the time... but nothing came of that beyond the meeting.

Bijou: What were your goals and philosophy towards making your porn films (especially as one of the people who helped to form hardcore as a genre)? Did those persist or did they change over time as you continued to work in film?

DeSimone: Going into it, I didn't really have a philosophy. That came later. I got started because after film school there just wasn't an easy way to break into the Hollywood firmament. Film students back then weren't being sought after as they are now. I was tired of waiting tables and taking actors' portraits for their resumes.

At that time, adult film theaters were just starting to come out in the open. But they were all straight porn. No one was openly screening gay stuff. Then came the Park Theater near downtown L.A. They were showing “gay loops.” A loop, in the business then, was a short film, no plot or acting but just quickies featuring nudity and not much else... there was NO sexual activity, just implied, like holding hands, walking on the beach, or hugging at sunset... or looking longingly into each other's eyes while reclining – all sorts of innocent attempts to convey gay relationships or gay attraction. And NEVER erect!

Someone suggested to me that I might make a few bucks if I tried something. I contacted the Park Theater, got the name of the owner, and got myself an interview. Long story short, he told me to go shoot something and come back and see him and he'd decide if he was interested in me as a filmmaker. I did a short “loop” and loaded it with sexual activity... nothing hard core but definitely sexual love making... all shot discreetly, of course. I screened it for him and he hired me on the spot, built me a studio with cutting rooms, a sound stage, and anything I needed to turn out features for his theaters. That was the start of feature films for the gay market. That film was The Collection... followed by many more small, insignificant ones to fill the screen across the country at his theaters.

It wasn't until I started out on my own that I started to think about what I wanted to say or do with my films since, by now, I had created a career out of it all and was becoming known. (Or, at least, Lancer Brooks was.)

I soon discovered that films about “relationships” were most successful. So The Idol, Skin Deep, Catching Up, and also The Harder They Fall were huge successes. (The Harder They Fall was also released under a different title, The Frenchman and the Lovers.) I was interested in exploring gays in love or at least relationships. My stories pretty much gravitated to those situations. I was tired of all the films that started with the pizza boy delivering and ending up on the couch. That's not to say I didn't make a few of those, too. But when I really wanted to do something creative and when I got juiced up to do something, it always seemed to go to the relationship stories.

The Idol poster
Catching Up poster

Bob Blount and Eric Clement in The Harder They Fall aka The Frenchman and the Lovers
Bob Blount & Eric Clement in The Frenchman and the Lovers

Bijou: Who was your producer (also credited as a performer in The Collection), Max Blue, from early in your career?

DeSimone: Max Blue was a pseudonym for my partner at the time, Nick Grippo. We often just used silly names on our films because in those days no one was using their real names for legal protection since it was still against the law to make these films. We were always hiding underground. He just pulled that one out of the air since there was a popular film playing then called The Blue Max and he liked it. I chose an even sillier name, Lancer Brooks (just totally made up), but fate took over. When we were meeting with the distributor who peddled our films to theaters, he said to be sure to use the same names we did on our previous one, because they liked our work and he could barter for more money if he told them it was from the same team... so we checked what we had used on our last feature and it turned out to be those two names.

Bijou: Did you shoot other films of Jack Deveau's besides the grouping from 1975: Ballet Down the Highway, Wanted: Billy the Kid, and Good Hot Stuff? Did you do much other film work in New York around that time or were you mostly working in L.A.?

DeSimone: After I did Erotikus and was shopping for a theater in New York, I met Jack. He was operating the 55th St. Playhouse at the time and was running the very successful Boys in the Sand, so he was looking for something to follow it up since he knew it couldn't run forever and he needed product to keep the theater operating. We met, he looked at the film, and was interested in us working together on several projects. Jack was pretty inexperienced in filmmaking but wanted to get into the production side. He figured I could bring something to Hand in Hand. I spent a summer in New York working with him on several projects, then returned to L.A. and did The Idol for his company to release. We remained very good friends up until he passed way due to cancer. He was a great party guy – loved to party hard and long, into the New York underground scene, a lot of drugs and sex and a terrific guy to know... if you had the stamina!

Bijou: Did you know Penelope Spheeris (director of The Decline of Western Civilization and Wayne's World) around the time of Confessions of a Male Groupie (1971)? A couple who are the focus of two of her early short films (I Don't Know and Hats Off to Hollywood) appear in the party scene in Groupie. I was curious about the community of people who make up the cast of that film – I read somewhere that they were a community or group of friends you were affiliated with.

DeSimone: I met Penelope only once at a film festival in L.A. We spoke briefly about the emergence of underground films but we never were involved beyond that meeting. The two people you mention just happened to be in the party. I didn't know them personally.

That big party scene was the reason I made that film. I ran with a pretty eclectic crowd back then and many of the actors who appeared in my films were drawn from that crowd. Many others, who didn't really want to appear having sex in a movie, also wanted to be “in one of my films,” so I decided to make a film featuring all of the crazies I knew and loved. So The Groupie came about – and when I announced I wanted them to all appear in that scene, all hell broke loose and you can see in the film what we were all about. I should mention that, unfortunately - or not, I was on acid while we were filming that scene (most of us were), so I didn't cover as much as I wanted, but what I got was enough to throw together what's up on the screen.
 

Confessions of a Male Groupie party scene
Party scene from Confessions of a Male Groupie

Bijou: It's interesting to learn how many friends you worked with in your movies.

DeSimone: I rarely socialized with the models in my films if they weren't already part of my group. For a number of reasons I preferred not to get too involved in their lives and vice versa. If I used friends, they were already friends and in my social group. In Hot Truckin', the redheaded boy at the end – the one in the threeway – was my partner at the time. He was SO hot for Gordon [Grant], I agreed to let him be the trick they lured into the truck. Everyone was happy, particularly my friend, Bob.

My reasons for being separate, if I could, with the models was only because I didn't care to have them know too much about my life or where I lived, etc. I was strictly interested in them as models/actors. For me it was strictly a business situation. Very few outside my inner group even knew what I did or who Lancer Brooks was.
 

Bob Snowdan in Hot Truckin'
Bob Snowdan in Hot Truckin'

Gordon Grant in Hot Truckin'
Gordon Grant in Hot Truckin'

Bijou: I guess Groupie was a rare exception, as your film utilizing members of your friend group, in that case.

DeSimone: Yes, Groupie was an exception... but as I mentioned, I made it specifically to make a film and use many of my friends. Sweet Lady Mary was a dear friend, Elaine. The rock group, The Electric Banana, was another trio of buddies who fantasized about being a rock group, so I made them into one for the film. All the players were close friends who had wanted to be in a picture, so I concocted one so that I could use them. The party scene was the culmination of all the gang we ran with in West Hollywood at that time. Of course, there were several in the party scene who just showed up to be in the film. Sadly, 90% of them are gone now. The plague taking most, unfortunately. We had no idea then that what we were experiencing would have such consequences... who did? The cute redhead, Bob, was also a victim years later.
 

Elaine aka Myona Phetish in Confessions of a Male Groupie
Elaine aka Myona Phetish in Confessions of a Male Groupie

The Electric Banana, fictional rock band in Confessions of a Male Groupie
The Electric Banana, fictional rock band in Confessions of a Male Groupie

Bijou: How did you get such strong performances out of your porn actors who had no acting experiences?

DeSimone: Getting performances was always a challenge. I always blocked out all the action in my films in advance and also broke down the script, scene by scene, even indicating where the dialogue would be in close up, two shots, or masters. That way I could get what I needed to edit the film and the performances in a cohesive work. I knew these guys would never be able to carry an entire scene in a master shot (a mistake many filmmakers made back then). So I would film short sections, working with them on just those few lines at a time, then cover the scene with the other actor or actors in the scene, and it would all play together nicely. If one of them screwed up or was lousy, it was simple to shoot several takes of a close up until it was good, rather than shoot the entire sequence over and over. I was a master at editing and it was fun cutting together a performance from very little. Many times the actors would be amazed (and impressed) when they came to the screening to see the film.
 

Filming The Idol
Filming The Idol
Filming Kevin Redding & Nick Rodgers in The Idol

Bijou: Which is your favorite of your porn films?

DeSimone: I guess I could say Catching Up, Skin Deep, and The Idol. These, to me, have good plots, good acting, and really decent production values for porn.

Read part two of this interview, focusing on on Tom DeSimone's mainstream film/television career!
 

Tom DeSimone
Image Credit: Tom DeSimone

Tom DeSimone's Partial Directorial Filmography:
(From IMDb and Gay Erotic Video Index)
Links to movies available through Bijou Video

The Collection (as Lancer Brooks) – 1969
One - 1970
Dust Unto Dust (as Lancer Brooks) – 1970
Peter the Peeker – 1971
Lust in the Afternoon - 1971
Gay Tarzan – 1971
Confessions of a Male Groupie – 1971
Black and Blue - 1971
The Gypsy's Ball - 1972
Prison Girls – 1972
Chained (as Lancer Brooks) – 1973
Swap Meat (as Lancer Brooks) – 1973
Sons of Satan (as Lancer Brooks) – 1973
Black Heat (as Lancer Brooks) – 1973
Games Without Rules (as L. Brooks) – 1974
Erotikus: A History of the Gay Movie (as L. Brooks) – 1974
Station to Station (as L. Brooks) – 1974
Everything Goes (aka Anything Goes) (as L. Brooks) – 1974
Duffy's Tavern (as Lancer Brooks) – 1974
Blue Movie Auditions (aka How to Make a Homo Movie) - 1974
Assault (as Lancer Brooks) – 1975
Sur - 1975
Good Hot Stuff – 1975
Aphrodisiacs in the Male Animal (1975)
Catching Up – 1975
Chatterbox! - 1977
Hot Truckin' (as Lancer Brooks) – 1978
The Harder They Fall (aka The Frenchman and the Lovers) – 1977
Gettin' Down (as Lancer Brooks) – 1978
The Idol – 1979
Bad, Bad Boys (aka Bad Boys) (as Lancer Brooks) – 1979
Hawaiian Eyes (aka Gay Guide to Hawaii) – 1979
Private Collection – 1980
Heavy Equipment (as Lancer Brooks) – 1980
Wet Shorts – 1980
The Dirty Picture Show (as De Simone) – 1980
Flesh and Fantasy 1 – 1980
Dirty Books - 1981
Hell Night – 1981
The Concrete Jungle – 1982
Skin Deep (as Lancer Brooks) – 1982
Bi-Coastal (as Lancer Brooks) – 1985
Bi-bi Love (as Lancer Brooks) – 11986
Nightcrawler: A Leathersex Fantasy - 1986
Reform School Girls – 1986
Angel III: The Final Chapter – 1988
Freddy's Nightmares (TV Series, 4 episodes) – 1988/1989
Super Force (TV Series, 6 episodes) – 1991/1992
Dark Justice (TV Series, 18 episodes) – 1991 - 1993
Swamp Thing (TV Series, 3 episodes) – 1992/1993
Acapulco Bay (TV series) – 1995
The Big Easy (TV Series, 4 episodes) – 1996/1997
Coming Distractions (as Lancer Brooks) – 1997
Pensacola: Wings of Gold (TV Series, 1 episode) – 1998
She Spies (TV Series, 1 episode) – 2002

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