BijouBlog

By Will Seagers

Hi Folks... Will here! After a fun set of blogs touring some of my old San Francisco haunts and fun spots, I am going to follow the lead of my co-author Josh Eliot and return to basics - SEX! This is Bijouworld.com isn't it? Lol. This blog will come from a personal angle - my kind of sex and some variations that I have been "talked into" over the years.

First of all, besides being in porn, I love looking at porn myself. Born with a super imagination, it is easy for me to climb right into a photo set or video propelled by my own fantasies. This started for me at a very early age with print media. I remember discovering a treasure trove of straight porn under my aunt and uncle's bed at about the age of six or seven. (Believe me, it was all my uncle's collection.) In the mix was that all-so-famous nude Playboy spread of Marilyn Monroe. What struck me as odd was that I knew that it was supposed to be taboo and erotic. But, I knew something was up when I wasn't getting off on it! (Yep... gay at a very early age!)

It wasn't until puberty hit and I saw my first full blown porn with all sorts of sex acts that I really became interested. I knew right away that I was looking at the guys more than the gals. Of course I shared this with other guys my age in the neighborhood in jerk off get-togethers. Oh what fun. To this day I still find the topic of guys beating off together very arousing.

So, we'll fast forward to my later teens and early twenties. I was out, active and nearing the beginning of my porn career. I admired good looking men and found myself hot and bothered at the prospect of physical contact. Jerking off and cock sucking took center stage as my favorites. I loved a pretty (and large) dick when available! I never even knew about fucking until I was out in the woods with a very hot guy that picked me up on the "boards" of Asbury Park, N.J. This was The Boardwalk - a notorious area for gay cruising in the 60s. Much to my dismay, this fella kept turning me around to play with my ass. I still remember urging him to stop - as this first ever fuck was rather painful. Ha! The pain soon went away! LOL.OK. So, there were now three things in my repertoire. Fucking took a little while to get used to and like... but it did come to pass.

It was in my mid twenties when I moved to San Francisco and my porn career took off where my "Vanilla" ways were challenged. I remember going to the legendary Tuesday nights at the Club Baths at 8th and Howard in SoMa when any number of times I discovered people weren't satisfied with just fingering my ass... they wanted whole hand entry. I don't know. Call me prim. But, I just never got off on the concept of fisting or being fisted. I liked cocks too much! On several occasions, I was urged to get a "super manicure" so I could join in the fun of fisting someone. I tried a couple of times... but had much the same reaction of looking at straight porn. I was intrigued by how it all worked... I mean, watching half my arm disappear into someone. I guess there was some pleasure in bringing pleasure.

A slight variation on the above theme was foot fucking. I never heard of it until I was ankle deep in it! It started off with with some foot play and shrimping. Then, the next thing I knew I was in a whole new episode of sex. Although I experienced it twice and was turned on by it... I never actively sought it out again.

Also, in that same time frame and in S.F., I was really attracted to a super handsome young man. I mean, this was the kind of attraction that doesn't happen often. (I still get hot and bothered just remembering him!) And, when I found out that it was mutual, I thought it was too good to be true... and, it was. He was into water sports. The whole idea turned me off. I did not want either of us to play the part of a urinal! But, I was so turned onto this guy that I relented. It wasn't as bad as I had imagined and I got to be with this really hot guy! No, I did not add this to my permanent repertoire... but, I didn't rule it out, either.

Like I said, I was propelled into this stream of thought by my co-blogger Josh's "Ball Broth." I got a clear sense of what he thought was sexy and what wasn't. I hope the above retracing of my "sexual trail" provides some similar highlights. I don't throw shade on anyone's sexual proclivities. But it might be interesting for some to know just how "Vanilla" I actually am.

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted careers and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model, film performer, and DJ, just to name a few. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.

George Ferren, a close friend of Will's frequently mentioned in his blogs, was a major figure in the San Francisco music scene in the '70s/'80s. His current music is available for your pleasure on Soundcloud: BY GEORGE

 

By Josh Eliot

**WARNING: Contents May Upset Your Stomach **

It was my love of movies and movie-making that brought me out to San Francisco at age 17 to try to make a go of it. For some reason, my brain retains movie trivia like nobody's business. Things I shouldn’t remember, but just do. Having said that, there are a few things I would like to forget about my time working for Catalina Video from 1987-2009. Not anything related to my co-workers, our ethics, or decisions we made, but things that grossed me out. I often felt like an impostor when I was working in the industry, because my focus was easily shifted if something I was watching made me a little squeamish. For example: when one of our directors was shooting a hot sweaty scene, I would focus on the sweat. Sweat in general grosses me out. I don’t want to see it, I don’t want it dripped on me during a moment of passion, all I want to do is wipe it away. I don’t know if I’m alone in this thought process, but it is one of the many turn-offs I witnessed on the set over the years. The sex we were shooting could be super-hot, but as soon as I saw something that triggered my squeamish side, it was my focal point, it would throw me off my game.

When I started with Catalina Video in 1987, they hadn’t yet embraced the condom. However, director John Travis and producer Scott Masters where trying their best to be responsible by using a spermicidal ointment when we shot fucking. Conceptrol with Nonoxynol-9 came in a tube, much like a tampon, and was a vaginal contraceptive to prevent pregnancy. In our studio, the shower had a douche attachment for the models to use prior to shooting the anal portion of the scenes. Once clean as a whistle, the model would come onto the set and the director or make-up man would insert the tube of Non Oxy 9 into their butt and push the gel up into them. This was short lived, and condoms came a few movies later. While using the Non-Oxy 9, it wouldn’t just magically stay inside - at any given moment it would fly out, most often when I was shooting the underneath shot. It would fly out and land on my camera lens, my arm, my ankle (if I was sitting instead of kneeling) or the top of my head. I made damned sure to keep my head down and mouth shut. An underneath cum shot with a load splattering, not a problem, but this stuff? UGHHHH.

In one of Scott Master’s movies, The Young Cadets, Mike Ryan‘s co-star could not keep a boner to save his life. Scott Masters made some calls and got Chris Burns to come in to do the fucking. Chris Burns (Below the Belt, Dangerous, Men of the Midway) had worked for Catalina Video in These Bases Are Loaded, Skin Deep and NightCrawler, but didn’t have the current “pretty faced jock” look that Catalina was now casting. He did, however, agree to come in as a “stunt dick.” It was very lucky for me that Dan Allman was doing the camera work for the insertion shots, because it went on forever and poor Mike Ryan was screaming his lungs out because Chris’s fat dick was ripping him a new one. Mike was a gay for pay model and really didn’t have a lot of anal experience, and probably could have used a lesson on how to properly douche. Chris was merciless, but the worst thing was that the damned Non Oxy 9 kept flying out and landing on the fill light. 400 watts of burning Non Oxy 9/butt juice that was literally smoking and filling up the studio, and it did not smell like Fabreze! Poor Dan got a cloud of smoke right in his face.

If you are still with me, it’s time to move onto another repulsive (in my book) liquid: spit. For some unknown reason, Chi Chi LaRue came up with this idea that spitting was hot. Now, I was fine over the years with a little appropriate spitting, like in someone’s ass crack, perfectly fine. But for a good year, all of Chi Chi’s movies - straight, gay and bi - had this non-stop spitting all over the place. Chi was also directing projects for Catalina during that period and I happened to be filling in on camera when the spitting started. Luckily, I was able to use my producer card and stopped that shit tout suite. Sorry “girl,” we don’t do that in Catalina productions, think of something else. Chi Chi obliged without an argument because he knew how much that churned my stomach. He did, however, like to keep the sweat on the boys instead of calling for make-up to wipe them down (like I always did), but I just grinned and bore it.

We always save the best for last, don’t we? I was shooting the movie Furry Men Do and there was a Latino actor named Gabriel Rocas that we used from time to time who had the biggest balls I’d ever seen. Like many models, he had his own specific routine to get himself hard prior to running onto the set and shooting a few moments of video with his erect penis. I learned about it on his first pair of movies for us, BEAR Skin & Latin Men Do, in 1999.

He would disappear into the adjoining room and soak his giant nuts in a bowl (that he brought with him) of warm water while he stroked his dick to get hard. Ok, no big deal, sounds pleasant enough. It worked, the scenes were completed and we all went home happy. Then on the set of Furry Men Do in 2000, Gabriel returned, bowl in hand, to shoot another scene. This time, one of my crew members was assisting him in the adjoining room. Always up for a good chuckle, Brad Austin and I snuck a peek into the room to see the crew member carefully blowing Gabriel, being extra cautious not to spill the water out of the bowl that his nuts were soaking in. I wish I had a photo. We finished the scene quickly, the models went to shower and we started to pack up. The crew member came walking into the room with the bowl of water and we turned our heads to look at him, when we heard him say, “Ahhh… Ball broth!” Without missing a beat, he put the bowl of water, pubic hairs and all, up to his mouth and drank the entire thing. Brad and I nearly lost our lunch. That was the very last time I ever booked Gabriel; nothing against him, but I just couldn’t ever witness another serving of Ball Broth!

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. 

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

 

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

 

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

 

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

When Catalina Video moved me to Los Angeles in 1989, I developed a great friendship with the post production supervisor Chet Thomas. Chet was a 5'8” fair skinned blond California boy. We were in our late 20s and enjoyed the same interests. Our bonding happened the night we went to a premiere screening of the movie Scandal with Bridget Fonda and Joanne Whaley Kilmer. The movie was about two loose girls and some politicians whose actions created a scandal in England. We both took on their quirky free-spirited attributes and made a running joke of it by calling each other “Sal” - the name they used for the “loose” one in the movie. Chet was the Kilmer (wild child) character and I was the Bridget Fonda (along for the ride) character.

Our hang out spot at the time was the Spike in West Hollywood. It was just a block and a half away from my apartment and within walking distance to Chet’s as well. We would turn on the “Sal” mode whenever we partied there and Chet, being a “loose goose,” was rubbing off on me. It was like a competition of who could score first. Chet always won; it was quantity not quality with him and he was more open to things like running out into the parking lot for a quickie.

I did beat him at least once, with a hot muscleman named Moses. Yes Moses, and I have to say he was heavenly. I don’t think Moses ever left his house with a shirt on, or if he did it was always unbuttoned and wide open. At least every time we saw him at the bar he was that way. He was one of those guys that you thought was completely unapproachable, but as things turned out he approached me one night. Chet was pissed the next day, when we caught up with each other, because he was trying to close that deal forever!

Chet knew every hot spot in Los Angeles and would introduce me to all of them, good and bad. One night after drinking he took me to a place called the Coral Sands Motel. Not necessarily a “good” one. This place was a bathhouse disguised as a motel. It was quite a large and in a dingy part of the city between Hollywood and Silver Lake. He didn’t explain a thing to me, just took me there one night after drinking shots at the Spike. The place had two levels with exterior doors in a rectangle, facing each other and a courtyard with pool and sauna in the center. I guess the protocol was that you go to your room (leaving your door open of course for passersby to look in), strip down, wrap yourself in a towel and walk the grounds. How was this possible? Large apartment buildings on each side could look right down into the courtyard! I just followed Chet’s lead and did what he did. Sal and Sal were in full swing, hoping from room to room, talking with the occupants. If we liked them then we would stay for a while, if not we were back to walking the grounds. We ended up in two guys' room that we thought were hot, but once inside it felt like they were straight out of The Sopranos, and maybe on the run??? After smoking some weed with them we made up some story and left the room, continuing our pursuit of happiness on the grounds. This night was probably the wildest I’d ever been I my life. It’s a little embarrassing for me to share but I can write about it now because it was quite a unique experience.

Chet and I had a very close friendship and for about two years we were literally attached at the hip, but it all came to a screeching halt when he met a guy named John. He was smitten and instantly turned from the Happy Hooker to Dolly Madison overnight. It was shortly after this point that I met Mark Rutter, who I discussed in my previous blog “7 Years with Colt Model Mark Rutter.” We were both now pretty much “married up” and slowly started only seeing each other at work. Chet was editing my movies and as our friendship became distant so did our working relationship. In my movies, I started noticing constant “choppy” cuts where I knew there was the ability to make the edits look smooth. We were still friends but if Chet got a hair up his ass about something, you’d better watch out. More and more as time went on, I felt like he was sabotaging some of my movies by including funky sound or choppy edits, etc. Chi Chi noticed it on her movies too. It got so bad that on a movie that was super important to me, Single White Male, he actually reversed the order of two scenes, making the storyline a little messed up. That year I won Best Screenplay and Rob Cryston won Best Actor for Single White Male, but I was still pissed about the out of order scenes which I didn’t catch until it was released on VHS. I walked a fine line between respecting our friendship or totally calling him out on what he was doing. Luckily, things were resolved when I asked the general manager to let me edit my own movies, which he agreed to and purchased a separate editing bay for me to use. Chet and I remained friends, but the “Sal” days were over forever.

On New Year's Day this year, I was finally able to put the mixed up scenes from Single White Male back into the proper order. It’s not that way in the XXX version, but it is in the PG version I put on my YouTube Channel, which you can take a look at if you like. Rob Cryston slays in that role! Chet Thomas and I first met when he came to San Francisco to shoot The Big One, where we bonded over creating special effects for the earthquake scene in his movie. Upon moving to L.A. we became like brothers, and with brothers there are always some bumpy roads. In this blog I have an obligation to tell the truth, good or bad. The truth is I look at my friendship with Chet, including the bumps, as one of my fondest relationships from the past. Chet, in addition to editing for Scott Master at Nova and Catalina, directed some amazing movies for Catalina including: Sex Crimes, The Getaway, NightForce, Cruise Control and Too Damn Big. He, like many other talents in our community, was taken from us way too early...

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. 

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.

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.

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.

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!

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.