BijouBlog

By Josh Eliot

This is officially my 100th blog for Bijou World and I could not be more happy than to present my continuation of Derrick Stanton: Life on the Set. We are discussing his movies from 1982 and beyond that he shot for director William Higgins – These Bases Are Loaded (1982), Members Only (1982), Printer's Devil (1982), Class Reunion (1983), and Route 69 (1984) – plus a couple of later productions after his time with Higgins. Our Q&A in 2026 marks a 50 year anniversary from the first time Derrick Stanton set foot on a movie set for his first film, Hardhat, shot in 1976 and released in 1977. I want to thank Derrick for being so candid regarding his experiences while making many of his hit movies from yesteryear.

Derrick Stanton today at age 70, surrounded by some of his hit movies

THESE BASES ARE LOADED (1982)

JE: In These Bases Are Loaded, you sported a different hairstyle than we were used to – shorter on the sides. It was a good look! Take us into the locker room, where beers were passed out and the team (Chris Burns, J.W. King, Jon King, Jack Burke, David Hix, Tony Prince and yourself) started a simultaneous jack-off session on the benches. What do you remember?

DS: We all connected in that moment. Most of us had already worked together previously. For me, watching J.W. and Jon together was mesmerizing. Jon had a crush on J.W. but it was not mutual. I could see on Jon’s face that he was a bit hurt.

JE: The ending orgy contained everyone from the opening J/O scene minus Chris Burns, and with the addition of Steve West. It’s a lot for anyone to handle when shooting an orgy; did Higgins get overwhelmed or was there any drama?

DS: Higgins had become quite nimble moving around the set. He caught some amazing moments along with his co-cameraman, Barry Knight. He was strict when directing and asked us individually to call out when we were ready to cum. He would often say, “Watch out, Derrick cums a lot – don’t miss any cum ropes.” Haha.

MEMBERS ONLY (1982)

JE: In the opening of your threeway scene, you were sucking both Greg Hanson and John King in the hot tub. This was Greg’s one and only movie and he looked like he had a large dick. The three of you appeared totally into it. I’ve never seen Jon King harder in a movie, especially without a dick in his mouth. Greg Hansen topped you first, then he topped Jon King, then you inserted your dick – all the way, I might add – into Jon at the same time. Was double penetration a thing in films back then or were you trend setters? It felt like it was happening in real time, where normally it’s a real hassle to capture double penetration on film. How did it all play out?

DS: Jon and Greg really connected hot and heavy. Jon was riding on Greg’s cock and deeply making out with him. Higgins, in the spur of the moment, asked me to do a double penetration. I was worried about hurting Jon but he mumbled, “Go for it.” I slowly got it in and felt Greg’s cock surging and sliding against mine. Higgins shouted, “Get the fill light, I can’t see it clearly!” The fill light was a simple, very hot, thin tube. Barry accidentally brushed it against my skin, which hurt like hell. I stayed hard and kept pumping despite the burn. It felt amazing. I had never been a top in a double penetration. Suddenly Jon loudly came on Greg’s chest. Higgins missed it and loudly cursed Jon. It was another “great golden copulation.”

JE: I remember that cumshot of yours on the mirror while standing over Greg and Jon’s faces from when I first saw the movie as a twenty-year-old. No doubt on my first VHS machine. Just a general question: did you go to see your finished movies at the theaters or was it not until they came out on VHS that you could view some of your work?

DS: I usually went to the Century Theater for premieres or on my own. Once I sat in a dark row next to a Filipino guy (he told me later) for one of my films screenings. We gave each other mutual hand jobs, as one does in dark porn theaters. At one point he looked at me, then the screen, then back to me and said, “OMG that’s you!” I nodded and then gushed a mega load, as did he. Unfortunately, he pointed my dick into my pants that were around my ankles. I had to walk to the lobby with cold cum in my shorts. Oh well, it was worth it.

PRINTER'S DEVILS (1982)

JE: Your scene with Mike O’Leary in the room with the mirrored tiles and red couch featured some incredibly strong fucking from you as the top. Was there a special connection with the co-star?

DS: I was rarely a top. When I was, it was due to what Barry called "rubber dick " of the designated top. I tried to get to know who I was going to pair with a little before we were on camera. It helped to put both of us at ease in that very artificial setting. I wish I was still a mega loader today… but hey, I’m 70.

JE: Your cum shots in all of your movies were over the top!

DS: I had a routine at home before a shoot where I edged myself several times to help fill my proverbial reservoir. I took large doses of Vitamin E to help build that load, as it seemed to help. On set, I would continue to edge myself in order to create the mega-load fireworks.

CLASS REUNION (1983)

Regarding the movie Class Reunion, I’ve always heard that all of the stars agreed to work for free in exchange for a lottery ticket for a drawing to win the motorcycle shown in the movie. Is this true?

DS: I insisted on being paid. That many guys on the set was unwieldy, to say the least. I really couldn’t get into the mood with this film. Too many bitches.

JE: When Leo Ford won the motorcycle, what were your co-stars' reactions?

DS: We knew it was going to be him. That’s why I insisted on being paid.

JE: I’d always heard that it was rigged for Leo to win. What are your thoughts on that?

DS: No big deal, really... Years later, I was on a small yacht owned by some wealthy... ahem, benefactors for an afternoon cruise out of San Pedro, and lo and behold, Leo was there. We chatted and connected warmly with each other. He was a really cool guy. It was devastating to hear a few days later he died in a motorcycle crash.

JE: Any standout memories while making that movie?

DS: It was annoying as fuck to be on that set. Halfway through, Higgins told me he regretted the whole set up for this film.

JE: In the “circle suck” portion of Class Reunion, who where you sucking and who was sucking you?

DS: I don’t remember, other than I wanted to be with Giorgio Canali. I really, really wanted to be paired with Giorgio, especially on Class Reunion… I wanted to suck that glorious large, uncut cock. Unfortunately, it never happened. 😢

ROUTE 69 (1984)

JE: It's listed that this as your last movie for Catalina and William Higgins. Here’s my impression of the Frat House orgy scene you were in with Todd Eagles, Danny Parks, Tim Lees, Daryl Thompson and Mike Gibson. It looked like you were all stuffed into the tiniest living room in Hollywood, and the only one I saw giving energy to the scene was you. You seemed to take the initiative to drive the scene forward, keep it interesting and elevate the sex. Your experience as a well-seasoned performer was evident, and I dare to say if you weren’t there to rally the troops, it would have been a big yawner. What is your recollection?

DS: Your observation is spot on. The group of actors who were sometimes worn out tired from escort work the night before were just looking to get it done and get paid. So, I attempted to rally the troops. One of the actors had a huge dick, which I tried to focus on. I attempted a 69 with him, though I realized that 69-ing was way overrated and uncomfortable. I didn’t do it in real life. After a bit, I thought that just for fun (John Waters' influence) I would add some over the top dirty talk. Fans later on said it was distracting to them, but it was a hoot to emulate the spirit of Pink Flamingos. It was filmed in Higgins' house on east Melrose Avenue, and yes, in a tiny room. I can say that Bill Higgins and I got along quite well, which wasn’t always the case with others. He could be quite temperamental on the set, but never with me. I was proud to introduce him at his Hall of Fame ceremony in 1999.

JE: After Route 69, you no longer worked for William Higgins and it appears that the Al Parker-directed Surge Studio production Strange Places Strange Things was your final movie for many years in 1985 – is this correct?

DS: Yes, Strange Places Strange Things.

STRANGE PLACES, STRANGE THINGS (1985)

JE: What was the vibe on the set?

DS: Barry Knight asked me to come along to be his sound man. One of the actors didn’t show, so I moved in front of the camera that day. My co-actor, Tony Kennedy, couldn’t get hard, as it was his first film and he was so nervous. I topped him on the fake window washing scaffold. They needed a cumshot from Tony and he was just too nervous to get hard. We waited for maybe two hours, which added extra pressure on him… poor guy. Barry concocted some fake cum using egg white, cream and flour, which I held in my mouth until Tony got half hard, put his dick in my mouth then pulled out while I simultaneously released the sticky brew from my mouth. It actually looks like he came in my mouth. Maybe I shouldn’t have shared that? Hahaha. On another scene, I was once again Barry’s sound man and observed Scott Taylor's dick pumping. After pumping up his now ginormous cock with air, he slid a pencil shaped plastic tube down his urethra, slowly sliding it in and out of his dick hole, then pulling it out followed by a gusher of cum. Later Barry asked him how he got his dick hole large enough to take the plastic shaft. He conveyed to Barry, who told me, that he allegedly numbed his hole while really high and sliced it with a razor, and then taped a guitar pick there to keep it from healing over. He barely recovered from this. Scott was the king of gay kink and did many live pumping shows in San Francisco. Pumping became the rage at the time. Allegedly, Al Parker cornered the dick pump mail order market and became quite wealthy from it. Who knew?

JE: Can you tell me why you left the industry?

DS: I had a boyfriend at the time who asked me to stop, so I did. I do regret this now, as the boyfriend was a secret cheater. I mean, an open relationship would’ve been fine with me. Everyone has an opinion about it, open relationships vs monogamous. I would say to anyone in a relationship to have an HONEST conversation with your partner! Men are wired differently to be more sexual, more often. At a minimum, don’t be lazy, just pay attention to your partner with loads of daily affection and recognize that men truly value genuine regular intimacy. Today the young’uns call this being a “side” and lots of cuddling, where penetration isn’t always necessary. Okay, I’ll get off my gay daddy soapbox.

JE: With any of your features back in the day, did you hit the road and do public performances? If so, can you tell me about some of those experiences?

DS: Before too long, I realized I had made a lot of films and didn’t realize or even believe I had a growing fan base until I was asked to strip dance at the Follies in NYC. Sex on stage could be quite satisfying for my exhibitionism. My dance routine was emulated in the movie Performance (Steve Scott), where I cum on Al Parkers husband’s face. At the Follies, I chose my own music. The last song in my set was Blondie’s Atomic, which was perfect to cum to… as in, “Oooh ooh, Atomic, Atomic.” New York City’s Times Square was gloriously filthy back then. I got to meet Divine at an afterhours club named Magique, where she performed while a massive amount of down feathers were released. I also experienced Studio 54, albeit not in its prime.

JE: You were well known for your reliability to show up and put on a great show with a very happy ending for any director. Were you ever in a situation where you were called on to stunt dick for a movie? Was there ever a time in a scene where a stunt dick was called in to top you?

DS: I was definitely known as Mr. Reliable – especially if someone didn’t show, they knew they could count on me to show up. Never a stunt dick for me or anyone else.

JE: What porn icon, that you didn’t work with, did you have the hots for, either while working in the industry or after retirement?

DS: Melchor Diaz. He was cast in Strange Places, but I was not granted the opportunity to pair with him. Some directors, unlike Higgins, were quite strict about whom you paired with. I’m attracted to opposite looks.

JE: You were entered into The Gay Erotic Video Awards Hall of Fame in 1995. Tell me about that night, what it meant to you and who you went to the awards with that evening.

DS: It was fun, especially to hang out with all the folks in the business. Jeff Stryker opened the show by walking out on the runway fully erect. He did a penis injection prior to his entrance. It was a great opening act, for sure. It took place at the Hollywood Palace, now Avalon. My supportive partner went with me.

JE: Is that where you met Jerry Douglas, who would later cast you in Family Values for a comeback? Or had you stayed close to the players in the industry all along?

DS: We met at the GayVN awards.

FAMILY VALUES (1997)

JE: For the movie Family Values, what was the vibe on the set after not being in front of the cameras for so many years?

DS: I was calm and appreciative to work at age 39 with my pal, cameraman Barry Knight, again. He loved his porn craft and made everyone look good.

JE: Jerry Douglas had a reputation for prioritizing the storyline over the sex scenes. Some models have said that they were so exhausted from all the takes, that by the time they set up to shoot the sex, the models weren’t that into each other anymore. Any signs of this with your scenes?

DS: Well, the story was a bit freaky, in that I played on older gay player who never fell in love with his tricks until he met Kurt Young, who eventually finds out that I’m his long lost father. To prove my love, I finally let him top me in the end on a boat drifting off into the sunset. Kurt and I connected well – he was soft spoken, a little shy and a sweetheart, for sure, and of course, quite sexy. Jerry was a fastidious director, for sure. His final edit was always superb on screen. Steve York was brought back [from retirement], as well, but looked a bit weathered, as did I. He couldn’t get hard and Jerry was having a loud meltdown, which made matters worse. I was often called on as an emergency fluffer. I had a scene with Steve in the past, and in speaking with him prior he said his favorite sex was getting sucked. He would sometimes go to bookstores in the Midwest to get sucked off at gloryholes. I knew what to do and began worshiping that huge, magnificent cock. He got hard, and Jerry and Steve thanked me profusely. Look, porn sets are artificial and not often conducive to sex. Kurt Young was not that into me, as far as I could tell, and I mistakenly took Dramamine to ward off sea sickness. Unbeknownst to me, Dramamine causes impotence. My last cum shot at the end of the scene had to be before the sun actually set. I struggled mightily against the Dramamine. Of course, Jerry was freaking out loudly. I finally found the right fantasy in my mind to cum… whewww! There was no Viagra available then; you had to have the right state of mind to literally pull it off on the set.

JE: During the long gap between Strange Places Strange Things and Family Values (1984 – 1997), how had you reinvented yourself and your everyday life?

DS: I worked as a public employee and became a successful union organizer. I was one of the founding members in 1994 of Pride at Work AFL/CIO, the still active gay constituency group with the AFL. I think I survived porn in that I had a regular job. Many other actors had to rely on prostitution to augment their income, and it was quite lucrative if you were a porn star. My last partner, who is Vietnamese, embraced my porn identity and actually played an extra in a Family Values orgy scene.

JE: What was your biggest takeaway after shooting Family Values?

DS: Kristian Brooks, a beautiful muscular blonde, and I were paired together. There was time to get to know each other in another room on the house boat. We played for real – but had to hold back on cumming. The tight quarters on the boat, wearing condoms (necessary), all the technical shit around us and a sometimes grouchy director made it rough, but our scene together in the movie looked quite natural. He expressed interest in getting together another day. Unfortunately, I was in a relationship and my boyfriend, Quan, was on the set. BTW, he never interfered with the process or got in the way. A strict condition for his presence. Years later, I heard Kristian committed suicide in Europe. Very sad, indeed. Our scene together in Family Values was a bit magical. Also, I spoke on the phone with Jerry in NYC at the end of the pandemic. He was on his deathbed. We had grown fond of each other over the years. My last words to him were that I loved him.

JE: Having this amazing career behind you, have you ever given into the idea of returning to the screen as a “Hot Daddy?“ Or will Derrick Stanton be remembered as an early pioneer who became a gay adult film icon and stepped away gracefully?

DS: I could return, but I am 70, although in decent shape, and HIV+ (undetectable), which might be a concern. Stigma still exists in 2026. Many, many gay porn stars did not survive the plague years… I almost didn’t. Hot Daddy? I remember I was in the shower at the 1350 bathhouse in Long Beach, California ten years ago, when a guy came up and called me a hot daddy. I embraced it. I embrace my age. I never hid in shame from my porn career, if you will. No one could ever blackmail me. Like any job I did in life, I did it well, including this one. Stonewall veterans said to me at the 25th reunion in 1994 that they fought for sexual freedom that was denied to gay people then. I would not and did not let them down. “GREAT GOLDEN COPULATIONS,” indeed (Jim Morrison from his American Prayer spoken word album).

Derrick Stanton aging gracefully through the years

 

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??! | LUNCH HOUR: When the Big Boys Eat | IN and OUT and All ABOUT | UNDER the COVERs with Tom Steele | 8 Is Enough on Sunsex Blvd | Steve Rambo & Will Seagers For Breakfast | The Many Faces of Adult Film Star SHARON KANE | The ALL-MAN Magazine Interview: The Man Behind Catalina Video | Captain Psychopath | BAD BOYS SCHOOL | VAMPIRE'S GRAVE | The Making of CatalinaVille (PART 1) | The Making of CatalinaVille (PART 2) | Private Dick & The Young Cadets | Meet RAY HARLEY | The GOLD COAST Gold Rush Boys | Colt Model MARK RUTTER: In His Own Words | Bringing in the BIG GUNS | “WHAT THE F@CK?” Moments | You So RUSSO | Bond, SCOTT BOND | I Just Watched: KILLING ME SOFTLY | Sex in Tight Places | Calling GLORIA | DOWN FOR THE COUNT | More Than a Mouthful | When JON KING Returned to Catalina Video | Junior Meets the BEAR Patrol | A Taste for Leather and Fur | Straight to Bed | The Hills Have Bi’s | The Malibu Pool Boy: Cody Foster | New England Summer | The Making of RUNAWAYS 1989 | The Making of FULL SERVICE 1989 | Hot Buttered Cop | The Making of HARD TO BE GOOD 1990 | The Real CONJURING HOUSE | It’s Not a Crime, It’s a SCORE | I Just Watched: Steve Scott’s SCREENPLAY (1984) | Wet and Wild | 69: Discover the Secret | What Really Happened BEHIND THAT BARN DOOR! | I Just Watched AL PARKER & WILL SEAGERS in WANTED | Secret Boys Club | Jawbreaker Pt. 1 | Jawbreaker Pt. 2 | I Just Watched CRUISIN’ THE CASTRO | 80s/90s Porn Star RYAN YEAGER | ADAM Film World’s GAY VIDEO GUIDE | ERIC STONE: Ranger in the Wild | THRILL ME with a SINGLE WHITE MALE... | The SPOILED BRAT | BUSTER & STEVE YORK | LANCE, TEX ANTHONY & MICHAEL GERE | KIP NOLL: The First Real Twink Superstar | THE GREASE MONKEYS | The "Other" Idol | The AMERICAN Way | DERRICK STANTON Talks About Life on the Set, Part 1

 By Will Seagers

Hello folks. Will here. (Or at least I think so!) 

Opening remarks... a little bit different this time. I'll be speaking about a topic that could be considered taboo in gay society as well as society in general... disappearing from the scene as we age. I heard about this many years ago, that as gay men age they start to become invisible. They lose that currency called sexuality. At that youthful point in my life, I didn't dwell on it, as I was in my heyday at the top of the rainbow and I believed life would go on forever with all of its magical charms.

The charms I am speaking about deal with youth and being relevant just because you are attractive. Unfortunately, that relevance is based on the skin deep illusion of beauty - the ability to turn heads and make people's pulses quicken with just your looks. I used the arc of a rainbow as a metaphor to illustrate how this phenomenon worked in my life.

"In the beginning" of life we start our rainbow. Despite all of the attention and love a child gets from their parents (depending on the luck of your birth), youth and adolescence can still be a painful "ugly duckling" period that seemingly lasts forever.

Unfortunately, the people who you find attractive don't even know you exist. This leaves you feeling like you're not even there. (At least, that was the case for me.) Not knowing any better, I took it for granted that this was my caste in life. This is particularly awkward in high school years when all sorts of hormones are raging. It leaves you rife for developing a complex!

But, when I least expected it, things started to change for me. I was around 19 or 20 when I felt both guys and girls gazing at me. It rocked my world. It was awkward not knowing what to do with this new attention. But, I explored!

From a very early age, I knew I was drawn to guys. I would have to laugh about how I coerced my neighborhood "buddies" into various states of undress just so I could feel that new and wonderful experience called "being turned on." Much to my pleasure, all that changed with my emerging new looks. I was being sought after. Talk about rocking my world. It seemed my ugly duckling years of this metaphoric rainbow were over. I was rising to its midpoint. 

Yep, that's when all of this porn business started to happen for me. Literally, plucked off the street by the likes of Man's Image, Target and Falcon Studios, I had to routinely pinch myself to make sure this wasn't a dream! Early on in this phase of my life, I realized that I had a gift. And, I had to take care of that gift for as long as possible. This was my new currency.

I always had great respect for older men. I wanted to learn the knowledge and history that they had acquired. But, I realized that I wasn't physically attracted to them. That was awkward and sometimes painful. These men, being older than me, understood their plight of invisibility. In the straight forward world of sex, they had no currency. I was never prone to giving away charity fucks. Only attractive men around my own age made any sense to me. Nonetheless, I began to understand this idea of becoming invisible.

Learning this in my thirties, I committed to keeping as much of my youth and looks as possible. I did well with my regimens for the next few decades... slaving away at the gym and lavishing myself with unguents of all kinds to ward off the inevitability of aging.

Up until my mid 40s, I was carrying on like I was two decades younger. I had moved to South Beach in 1994 and had the time of my life... living most of my time in and out of my little black Speedo! I literally had to leave that paradise to save my life and what was left of my mind. After all, I was 45 years old - NOT 25!

Then, it was my turn. It didn't happen overnight. And, it took its sweet time. I started realizing in my mid-50s - the ogling stares which once bothered me were coming less and less frequently. Like it or not, getting ready for invisibility was here. This was quite a shock for a one time "pinup boy!" Had I lost my “currency?” 

Now, at age 75 and looking back from the other end of the rainbow, I realize that I too have moved into the realm of invisibility. But, armed with the knowledge of what was coming, I prepared myself with a mindset of staying young at heart and not holding onto any delusions of youth. I have learned the huge lesson of gratitude... that is, to be thankful for a very special past. It has been one helluva trip across this wonderful rainbow! 

 

 

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.

Will Seagers, present day

You can read Will Seagers' previous blogs for Bijou here:

Welcome Matt/Will | What's For Dessert? | On and Off the Set of L.A. Tool & Die | Wanted, Weekend Lockup and Weekends in Hermosa Beach | Honeymoon in the Palms | Birds of a Feather | The Stereo Maven of Castro Street | The Pass Around Boy | The Ecstasy and the Agony | Fitness and Fantasy | Chasing the Boys and Chasing the Sun | Becoming Invisible | The Reverse Story of Dorian Gray | Pin Money | One Organ Leads to Another! | The Wheels of Steel | Feast and Famine | An Alphabet Soup of Powders and Pills | Merry Christmas (and Getting Re-Organized) | Now and Then | DEEP INSIDE THE CASTRO: The Badlands | DEEP INSIDE THE CASTRO: Moby Dick Bar | DEEP INSIDE THE CASTRO: "Just Another Stroll Down the Castro!" | Diving Into SoMa/Folsom: Hamburger Mary's | Diving Into SoMa/Folsom: Long Live the Stud! | Diving Into SoMa/Folsom: Club Life..."Hit me with your Rhythm Stick!” | A "Split Ticket": SoMa/Folsom and The Haight! | Staying Vanilla in a Flavorful Culture | A Little Secret | Recollections of the 1977 S.F. Gay Pride Parade | Life's a Beach | Flora & Fauna | Once Is Just Not Enough! | A Love of Cultures – A Knack for Languages! | For the Birds | It's About Time! | The Perfect Storm | Hello Chicago/Adieu Fire Island Pines! | Sex in the Woods! | My Life at the Gym | The Last Picture Show | Cumming Attractions! | The Peter Pan Syndrome | Valentine's Day Reflections | The “Idus Martias” and a Peacock! | Taxing I.M.H.O. | Nope...This Sure Ain't Kansas! | The French Connection | Water Baby | Pride: You Wear It Well! | Life Goes On... | The Dance Floor and the Booth, Part 1 | The Dance Floor and the Booth, Part 2 | The Dance Floor and the Booth, Part 3 | A Christmas Haiku | It's My Party & I'll BLOG If I Want To! | "Werk!" | It's My Party & I'll BLOG If I Want To! | Heart Throbs from the Past!

By Josh Eliot

Any fan of gay adult cinema, specifically movies made in the 1970’s and 1980’s, is sure to have followed the career of Derrick Stanton - spelled “Derek” in his early features, then modified for the more extensive list of titles in his film history.

Born in Baltimore, Maryland in 1955 and standing 6’ tall, Derrick started working in the adult film business in his early 20s. Having formed a friendship with cinematographer/director Barry Knight (Brian King), and sometimes working as his sound man, Derrick was introduced into gay adult films by Barry in late 1976 with his debut film, released in 1977. The two had a steadfast bond all the way up until Barry’s death on June 16, 2005. Barry started his career in the mid 1960’s with a series of TV commercials for Salem Cigarettes, before co-founding Jaguar Films in 1971 with Monroe Beehler and Gerald Strickland. Barry Knight and partner Russell Moore worked together on such 70’s hits as The Experiment, Greek Lightning and The Insatiables.

Director Kevin Clarke connected me with Derrick Stanton, who is currently 70 years old and living in Southern California. I reached out to Derrick to see if he would be interested in a Q&A, specifically addressing the eleven movies he shot for director William Higgins, and he graciously agreed. I was personally familiar with Derrick's career and his movies from my time working at Catalina Video, as they distributed all of William Higgins' early work. I found Derrick agreeable, candid, humorous and very forthright. This 2026 interview celebrates 50 years, give or take a few months, since the young man stepped in front of the cameras, not realizing his screen presence, visibly high sex drive and stunning ejaculations made him a gay household name back then and an icon of adult cinema today.

Barry Knight, plus box cover & clips from Hardhat, Derrick's first movie, before the spelling change

JE: It shows that you started your career in the business in late 1976, working in the movie Men Under The Hardhat aka Hardhat (Jaguar Productions, 1977). But around the same time, you also worked in a number of loop, intended for the booths at adult magazine shops. Were the loops shot first or was Hardhat?

DS: Hardhat was my first “film.” I was discovered by cinematographer Barry Knight, who became a great friend. He saw filming the male body as an art. Anyone in front of his camera looked amazing. I truly miss him.

JE: Was Hardhat a “music enhanced” movie or your first “talkie?”

DS: Both actually.

JE: What was your very first day on the set like?

DS: I was working with the lead Adam Mitchell doing a romantic sailing sequence on his catamaran with soaring music. Barry Knight and his partner Russell cared about their craft and they believed in romantic gay connections. The first day was interesting, in that it was a whole new world for me. My tendency to be an exhibitionist helped me connect to a rather artificial set, as they all are. There was no Viagra then, but I could get hard by performing and showing off. I was supposed to be a bottom for Adam’s huge, girthy cock but he was too fucked up (high) and couldn’t perform. His sugar daddy was on the set and had supplied him with drugs, so for my first scene I ended up topping him. I told Barry I was going to cum and proceeded to begin to shoot on Adam’s back. Barry started to zoom back, when I told him I wasn’t finished and kept cumming even more. Barry slowly zoomed back in. That was the first day I performed as Derrick “mega load” Stanton. It was filmed in a house up in the hills above Sunset. Everyone was really nice.

JE: Regarding the “loops” you worked in, some were released years later in what is likely an out of print DVD called Vintage Gay XXX Volume 2 from Manville Classics. However, BijouWorld has preserved some of your old loops in Games Boys Play and Cruisin’. Additionally, I saw a sling scene on the internet with you and J.W. King. What do you remember about shooting those “loops?”

DS: That sling scene is quite prevalent on the internet. I was topped by the incredibly handsome J.W. King, a smooth talking, sexy Texan, a true professional on the set. I can still remember his long cock sliding in and out of me. Another loop later on was with Jack Wrangler, set in a dry sauna. I was a bit intimidated by this legend, but loved his beautiful huge cock inside me. He wore full body makeup, which would occasionally smear on me. He made sure he looked good in every aspect of the shoot… done by director Steve Scott. Steve was fun to hang out with and a decent person, but quite strict on the set. Jack and I worked seamlessly together.

JS: In 1978/79, your career really started to take off with a bang! I see that you worked in The Grease Monkeys, The Idol, Bad Bad Boys (aka Bad Boys) and L.A. Tool & Die (uncredited, with Casey Donovan). What are your recollections regarding those movies?

DS: (On Grease Monkeys): I was not the lead, but supported the stars, especially in my beach scene with Kip Noll. The shoot went long and tourists started to gather and watch. We kept going, but we knew we needed to get out of there fast because the park rangers were nearby. Kip Noll was topping me on the beach and we used Vaseline for lube, but some sand got on his dick, which really started to hurt. If you listen closely right at the edit where he pulls out and cums, you can hear me say, “Pull it out.” It was painful, but we finished and left. We could see the rangers arriving just as we began to drive away… whew!!

(On The Idol): My scene in the shower apparently became a most-watched scene. I was turned on by the literally steamy sex in the shower. I really got in to it. Did I say I was an exhibitionist?

(On Bad Bad Boys): Another movie lovingly filmed by Barry Knight. One co-star was Johnny Dawes, a super-hot sex machine who enjoyed showing off too. The two of us later did a shoot together for Joe Tiffenbach. We weren’t acting - we really got off on each other.

(On L.A. Tool & Die): My uncredited scene with Casey Donovan was at first intimidating, because again I would be working with a legend. We had a chance to chat with each other for about an hour before our scene together. What a genuinely sweet man he was. He immediately put me at ease. Topping him felt amazing, in that his ass seemed to pull my entire body into him. Pulling out and cumming without touching myself (as ordered by Joe Gage) was easy. It was, as poet Jim Morrison once wrote, “...a great golden copulation.” We filmed in an old building in downtown Los Angeles. The ground fog was created by a kind of insecticide that floated close to the ground… quite noxious. Joe Gage was quite meticulous, so the shoot went long for art’s sake.

JE: This same time period, you met William Higgins and starred in an impressive list of movies for the director: Jack Wrangler, Jocks (1979), The Boys of Venice (1979), Rear Deliveries (1980), Class of '84 (1980), Class of '84 Part 2 (1981), Brothers Should Do It (1981), These Bases are Loaded (1982), Members Only (1982), Printers Devil's (1982), Class Reunion (1983) and Route 69 (1984). How were you introduced to William Higgins?

DS: By Barry Knight.

JE: I’d like to focus on your experience while working on the eleven movies you shot for Higgins. Jack Wrangler, Jocks and Boys of Venice came out in 1979. Which one was shot first?

DS: Boys of Venice.

Derrick Stanton with Eric Ryan in The Boys Of Venice

 

THE BOYS OF VENICE (1979)

JE: In The Boys of Venice, your roller skating scene with Eric Ryan set the tone for the entire homage to Southern California beach boys. What do you remember about shooting on the Venice Boardwalk and the subsequent scene in the bathroom? Also, whose idea was it to keep the skates on for the sex scene?

DS: I already loved skating at Venice beach. The bathroom scene was actually filmed in the small restroom near the projector room at the Century Theater. It was my idea to keep the skates on. I also wanted to include me peeing in the toilet. Cameraman Barry Knight was on the floor literally cuddling the toilet bowl. I apologized to him for accidentally peeing on him a bit. Roller skates were not conducive to good aim! Barry said he loved getting peed on. Eric Ryan was a really kind person and had quite the muscular build. His fat cock inside of me felt amazing. A few months later, I went to skate at the Venice Boardwalk wearing the exact same outfit from the movie. A stranger came up to with an astonished look and said, “OMG, it’s you… you really are a boy from Venice.” I sheepishly replied, “Yup.” Great fun indeed.

JACK WRANGLER, JOCKS (1979)

JE: There are a lot of one-timers in this movie. You shot a scene with a mustached guy, not sure of his name, in front of a blank backdrop. What are your recollections of this day on the set?

DS: I do not remember this scene.

REAR DELIVERIES (1980)

JE: In Rear Deliveries, you worked with Shawn Victors in the photo developing studio. I want to add that you looked really current and trendy for the time period in your Blue Oyster Cult black t-shirt! The scene seemed to flow beautifully with lots of kissing and flip flop fucking. Shawn was hard the entire time you were fucking him, and when you came I counted nine big squirts. Was this a genuine connection between the two of you?

DS: Yes, definitely. Shawn Victors was quite sensual. Yes, I was a huge Blue Oyster Cult fan. Hey... some gays love metal.

JE: Later in the movie, you were in a threeway with Shawn Victors and taxi cab driver Guy DeSilva. You and Shawn were outside the Pacific Design Center, then followed Guy into a T-room. What was the dynamic between the three of you on the set?

DS: To be clear, threeways are almost always two and a half-ways, as one guy is kind of a third wheel. For us, it came naturally to interact to create more “great golden copulations!” At the end of the shoot, Higgins discovered that his eyepiece on the camera was out of focus. All footage was useless. He demanded we re-shoot right then and there. I told him I would have to be paid double, which he reluctantly agreed to. I did provide him with another cum shot that day. Yes, I was old reliable, indeed.

Brochures from Jocks, Rear Deliveries & Class of '84

 

CLASS OF 84 PART 1 and Part 2 (1980-81)

JE: In Class of '84 Parts 1 and 2, you and Jeremy Scott shared the sloppiest dorm room I’ve ever seen in my life. Luckily, your full scene together took place in the mountains. Big Bear or Lake Arrowhead?

DS: Big Bear as in Ballin’ in Big Bear (one title).

JE: The strongest scene in the movie is between the two of you, and I’ve not seen many occasions where you ate someone’s cum after climax. Coaxed, or just came naturally?

DS: Jeremy was a gorgeous man with a big mushroom-head cock. Higgins was in love with him and there was frequently tension on the outdoor set between them. I love outdoor sex. I love eating cum, and in personal sex life I love felching (eating cream-pies), then snow ballin’ (swapping cum in a kiss). That morning of the shoot, I ate a big breakfast and took a dump in the woods prior to the shoot, but it wasn’t enough clearance of the tar on my chocolate bar. Higgins was annoyed. But hey, you all want to know the truth behind the scenes... 😆 John Waters style? Ha-ha.

JE: In '84 Part 2, you have two scenes: the first was with Karl Hansen, who played a doctor. Your cum shot under the exam table stands out as a highlight. Did you drench Higgins?

DS: Higgins thought that doctor scene was a mistake because of the different body types. Some fans pilloried him for his casting. It is interesting that a fan reached my DMs and told me that this scene was his absolute favorite. Yes, I lived up to my ability to drown co-actors, directors and cameramen!

BROTHERS SHOULD DO IT (1981)

JE: In Brothers Should Do It, Kip Noll pounds and pounds and pounds your ass like nobody's business. It was a highlight, and you came while getting fucked. Surely the experience must have stuck with you over the years - what do you remember about it?

DS: Kip and I were not even supposed to be paired in this film, but between scenes we sexually connected on a nearby patio. Higgins saw this, stopped filming another scene and ran over to capture this genuine sex connection. Kip and I were sexually “in the moment.” He said that he liked me because I was “a regular kind of guy.”

JE: Many have voiced their opinions of Kip Noll in real life compared to his screen persona. What was your impression of Kip Noll in real life. Did you socialize outside of work?

DS: Kip was quiet and a bit introverted until the sex started. Feeling that big cock of his inside enhanced our already momentary sex connection, so cumming hands free was a genuine “great golden copulation.” After our scene, he asked me to go out with him on the town of West Hollywood. I really wanted to, but I had a boyfriend waiting outside in our car. We would’ve had a blast together, since we were at our peak porn careers then.

***

We’ve nearly reached the halfway point, and hearing Derrick Stanton’s recollections of his times back in the day is priceless, in my book! In Part 2, we’ll pick up with Derrick talking about the rest of his releases for William Higgins, starting with These Bases Are Loaded. Derrick left the industry at the request of his partner in 1984, but re-surfaced in 1995 to receive a Hall of Fame Award. At the awards ceremony, Derrick met director Jerry Douglas, who persuaded him to return to the screen in 1997’s Family Values. What was it like for Derrick to be back on the set thirteen years after retiring from the business? We’ll address all of it as our Q&A continues in my next blog: Derrick Stanton Talks About Life on the Set Part 2, 1982-1997.

 

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??! | LUNCH HOUR: When the Big Boys Eat | IN and OUT and All ABOUT | UNDER the COVERs with Tom Steele | 8 Is Enough on Sunsex Blvd | Steve Rambo & Will Seagers For Breakfast | The Many Faces of Adult Film Star SHARON KANE | The ALL-MAN Magazine Interview: The Man Behind Catalina Video | Captain Psychopath | BAD BOYS SCHOOL | VAMPIRE'S GRAVE | The Making of CatalinaVille (PART 1) | The Making of CatalinaVille (PART 2) | Private Dick & The Young Cadets | Meet RAY HARLEY | The GOLD COAST Gold Rush Boys | Colt Model MARK RUTTER: In His Own Words | Bringing in the BIG GUNS | “WHAT THE F@CK?” Moments | You So RUSSO | Bond, SCOTT BOND | I Just Watched: KILLING ME SOFTLY | Sex in Tight Places | Calling GLORIA | DOWN FOR THE COUNT | More Than a Mouthful | When JON KING Returned to Catalina Video | Junior Meets the BEAR Patrol | A Taste for Leather and Fur | Straight to Bed | The Hills Have Bi’s | The Malibu Pool Boy: Cody Foster | New England Summer | The Making of RUNAWAYS 1989 | The Making of FULL SERVICE 1989 | Hot Buttered Cop | The Making of HARD TO BE GOOD 1990 | The Real CONJURING HOUSE | It’s Not a Crime, It’s a SCORE | I Just Watched: Steve Scott’s SCREENPLAY (1984) | Wet and Wild | 69: Discover the Secret | What Really Happened BEHIND THAT BARN DOOR! | I Just Watched AL PARKER & WILL SEAGERS in WANTED | Secret Boys Club | Jawbreaker Pt. 1 | Jawbreaker Pt. 2 | I Just Watched CRUISIN’ THE CASTRO | 80s/90s Porn Star RYAN YEAGER | ADAM Film World’s GAY VIDEO GUIDE | ERIC STONE: Ranger in the Wild | THRILL ME with a SINGLE WHITE MALE... | The SPOILED BRAT | BUSTER & STEVE YORK | LANCE, TEX ANTHONY & MICHAEL GERE | KIP NOLL: The First Real Twink Superstar | THE GREASE MONKEYS | The "Other" Idol | The AMERICAN Way

By Will Seagers

Hello folks, Will here!

Well, it's been some time since I have signed on with that line. I hope you all have been well in the interim!

With a title like the above, I'll be digging back - way back - in my memories of men with whom I have had the Pleasure! After recently celebrating my diamond birthday, I thought it might be a good idea to write about these guys while I still have it fresh in my mind! But, then again, how could anyone ever forget the experience of being with likes of Al Parker, Bruno, Jim Bentley and of course Richard Locke!

There were other heart throbs of that time and slightly later with whom I never got to experience the pleasures. But, I do have a vivid imagination. And, here at Bijou you are just a click away at bringing them right into your own man cave!

Al Parker - Icon of the ages.

I never even knew that I was going to make a film with him until that very day. It was an early Falcon production - Weekend Lockup. I was freshly transplanted from New York to San Francisco via an offer from Chuck Holmes, the studio's owner and creator.

We had a lot of fun working on the scenes that day... if you could call it work! I really hit it off with Al and his lover, Steve Taylor, who co-starred in the film. At the end of the day, these two invited me to their home in Manhattan Beach for a weekend of our own kind of lockup! Needless to say, I didn't get to see much of the beach! Boy! Those two were real sex machines.

Bruno - Another face and body that you saw plastered all over gay media!

This particular meeting and shooting was quite unusual. My friend, Lou Thomas (of Target Studio fame), had arranged for me to take off a couple of hours off from my lifeguard job at the Boatel (of Fire Island Pines fame). He was friends with my boss, John Whyte - the Boatel owner. Lou had made arrangements with owner of a beautiful Pines home, complete with pool, as our set for the day. Once again, I was taken by surprise as I was only told hours before that I was "on loan" from John.

As I remember, it was a Wednesday afternoon when I sauntered up to the beachfront location and first laid my eyes on Bruno. We had never met and I really did not know what to expect. I mean, yes, I had seen my fair share of his pics. But, I did not know what a gentle giant he was and how passionately and authentically he performed. If I were not already in a relationship, I could have easily fallen for this tall, dark and sensuous man! Alas, we only had that afternoon. But, he left his impression!

Jim Bentley - "Is it true blondes have more fun?"

If it's Jim, the answer is a resounding YES! Energetic, fun and sex to the Moon and back are my memories. We met on the set of Cabin Fever. Although there was a fairly large cast, sparks started flying between us immediately. We didn't need a script or props - all they needed to do was to keep enough film in the camera! Off camera, we developed a really fun relationship. Of course, sex was at the center. But, we had other mutual interests, to boot.

When I first went over to his Polk Street apartment, he warned me that there was a huge "cage" in his living room. Me, being a bird fancier all of my life, I thought that was really cool.

After a night of endless flip-flopping, I awoke to see his huge cage uncovered. Ironically, he was breeding Moluccan Cockatoos. I had a beautiful female of that species at home named "Gloria!" She took to Jim right away leaping from my shoulder right to his. He loved her, too. Such a nice man. And, so many memories!

Richard Locke - (Speaking of Icons!)

Well, I did know in advance that I would be working with Mr. Locke via the crew that interviewed me for the part of Wylie in L.A. Tool & Die! My interview took place in San Francisco. But, the movie was shot in Los Angeles.

Richard and I were both living in S.F. at the time. Somehow, word got out about the two of us and this upcoming blockbuster. Another studio asked us to film Cruisin' the Castro before the filming in L.A. It was a smaller production, but was packed with some steamy sex scenes. That's where Richard and I first "met!" It was really good chemistry on the set... one whose formula we were able to keep alive and hot for our L. A. adventure.

He had a natural sexiness that I found irresistible. One that kept me panting despite the lighting, sound and many other techs present to give this film its "major studio" feel. I also love Richard's professionalism. We were there to make a fuck flick and by golly that's what we did! Yeah, it's work... but, somebody's got to do it!



I hope all of you folks out there have steamy and fun memories that Cupid and his arrows can dig up for you to relive! Happy Valentine's Day!

Will! 💖

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.

By Josh Eliot

The 1999 movie The American Way and its sequels made in the early 2000’s were a pinnacle in producer/director Kevin Clarke’s career in the gay adult video business. From 1995 to 2006, Kevin Clarke directed 14 movies with one thing in common: cute, athletic and boyish young men. Within the course of his career in the adult industry, he met or worked alongside most of the major players and calls those days “the best times of my life.” But Kevin wasn’t initially destined to become a porn director; in fact, Kevin’s career from 1973 until his first adult project in 1995 was as a manager for musicians. He was introduced to David Forest, who at the time was managing Stevie Nicks, Lindsey Buckingham and Ozzy Osbourne’s guitarist, Randy Rhodes. Of course, I know of David Forest as a porn star agent – of Ryan Idol, to be exact, as well as others. Kevin’s other initial connection was with Vicki Wickham, who was managing the group Labelle's member Nona Hendrix, along with Dusty Springfield and Marc Almond of Soft Cell. Kevin credits Vicki with teaching him everything he knows about the music management business. His first client was Scott Gatewood, and he parlayed that into working with countless musicians throughout the years, including Ronny Drayton and Sarah Dash from Labelle. He and Sarah became close friends all the way until her death.

A music connection that had “six degrees of separation” to the gay porn world was Kevin’s encounter with gay porn model Tony Young. Kevin was working with a young band from Pawtucket, RI that had just fired their drummer (Tony Young) because they found out that he worked in some gay pornos: Backyard Boys (1990), Tempting Tommy (1990), Summer School (1990), Hot Summer Knights (1990), Beat Street Boys (1991), Sparky O’Toole’s Excellent Adventure (1991) and Takin’ Care of Mike (1992). The band regretted firing “Tony” and Kevin was playing negotiator. Tony Young wanted to make music, his focus, and to stop working in the movies, but the conversation between the two parties went south. In 1994, Tony Young worked in the movie Hip Hop Hunks in a scene with co-star Billy Houston. It was the last movie either one of them would ever make and Tony Young was never heard from again. Billy Houston is currently serving two life sentences for numerous murders. A haunting premise for Tony’s disappearance that has stuck with Kevin all these many years.

The following year, Kevin Clarke had his first introduction into adult gay video when he took a position as an offline editor for Richard Morgan’s movie Feels So Good (1995). A couple years later, his regular position was working as an editor at Delta Productions with Barry Knight and Russell Moore. Barry Knight worked with Monroe Beehler (aka Mark Aaron, director of Grease Monkeys) at Jaguar Films since the early 1970s. Barry and Russell wanted to bring back the Jaguar line of movies and asked Kevin to direct their initial effort. The idea from the beginning was to compete with Bel-Ami Studios whose founder, George DuRoy, specifically shot hairless young men with athletic bodies and boyish charm, mostly from Eastern Europe. The movie Kevin would debut his directorial skills in was called Pleasure Principle (1997), and upon its release became enormously successful and garnered Best Picture and Best Director nominations. Kevin rode the wave of acclaim and went on to direct Tony Donovan in Something Very Big (1998) for Odyssey Video, with our favorite gal-pal Sharon Kane in the credits for “make-up.” Kevin followed up with titles Heartland and The American Way in 1999, produced by Richard Morgan and starring Ashton Ryan for Rad Video. The American Way was extremely well received, won Best Twink Video at the Grabby Awards and birthed two sequels, The American Way 2: Lust and The American Way 3: Love.

From 2000 to 2003, Kevin directed Ashton Ryan’s B-Boys, Freshman Diaries and Kevin’s favorite movie by far, A Young Man’s World. In his movie A Young Man’s World (2000), he tells the story of five young men through the lens of their older selves. Playing the older version of the young characters in non-sexual roles are Ron Aaron, Barry Knight, Russell Moore, Kevin himself and, most surprisingly, 1980’s icon Derrick Stanton. Looking studly at (I would assume) age 44, Derrick Stanton featured a classic haircut, shaved on the sides, which made his facial features look striking. His physique in a black tank top was in peak condition as well!

A Young Man's World (2000): Kevin's locks get shaved off & Derrick Stanton takes on a non-sexual role

 

In 2004, Kevin relocated back home to New York City and finished off his career with five more movies for Latino Fan Club and IOP Productions: The American City (2004), Seduction of a Surfer (2005), American Boys (2006), Something Much Bigger (2006) and College Boys (2007). College Boys was his last before retiring from the adult film industry. During his tenure, he mixed and mingled with the likes of George Duroy, Jerry Douglas, John Travis, John Summers, Tom DeSimone, William Higgins and more. He has amazing stories to tell with great info that filled in a lot of cracks for me regarding the industry back then. I swear he knew everyone, and everything about them! Not to shoot myself in the foot but if Kevin were writing blogs for BijouWorld, I would venture to say that his stories would blow mine out of the water!

The award-winning American Way & some candid shots with Kevin, Jerry Douglas & George DuRoy

 

Kevin and I were recently talking about William Higgins' The Boys of Venice and Derrick Stanton’s name came up. I mentioned that I recently watched a YouTube video featuring Derrick being interviewed at the Abbey in West Hollywood. Without missing a beat, Kevin offered to give me Derrick Stanton’s contact information, stating that he was a nice guy and would love to talk with me about his career. The thought of reaching out to Derrick intimidated me initially, so it took me a few weeks to muster up the courage, but I did. Derrick replied to my message within moments, which absolutely thrilled me, and when he agreed to do a Q&A about his 11 movies for William Higgins, I was over the moon! I am happy to say that our question and answer session is complete and will debut in two weeks on the BijouWorld Blog.

Derrick Stanton then & now

 

Derrick discussed his time on the set of the following William Higgins movies: Jack Wrangler Jocks (1979), The Boys of Venice (1979), Rear Deliveries (1980), Class of ’84 (1980), Class of ’84 Part 2 (1981), Brothers Should Do It (1981), These Bases Are Loaded (1982), Members Only (1982), Printers Devils (1982), Class Reunion (1983) and Route 69 (1984).

His recollections are vivid and intriguing. Thank you, Kevin Clarke for connecting me with icon Derrick Stanton and for your amazing contributions as writer, producer and director in the gay adult video industry!

 

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??! | LUNCH HOUR: When the Big Boys Eat | IN and OUT and All ABOUT | UNDER the COVERs with Tom Steele | 8 Is Enough on Sunsex Blvd | Steve Rambo & Will Seagers For Breakfast | The Many Faces of Adult Film Star SHARON KANE | The ALL-MAN Magazine Interview: The Man Behind Catalina Video | Captain Psychopath | BAD BOYS SCHOOL | VAMPIRE'S GRAVE | The Making of CatalinaVille (PART 1) | The Making of CatalinaVille (PART 2) | Private Dick & The Young Cadets | Meet RAY HARLEY | The GOLD COAST Gold Rush Boys | Colt Model MARK RUTTER: In His Own Words | Bringing in the BIG GUNS | “WHAT THE F@CK?” Moments | You So RUSSO | Bond, SCOTT BOND | I Just Watched: KILLING ME SOFTLY | Sex in Tight Places | Calling GLORIA | DOWN FOR THE COUNT | More Than a Mouthful | When JON KING Returned to Catalina Video | Junior Meets the BEAR Patrol | A Taste for Leather and Fur | Straight to Bed | The Hills Have Bi’s | The Malibu Pool Boy: Cody Foster | New England Summer | The Making of RUNAWAYS 1989 | The Making of FULL SERVICE 1989 | Hot Buttered Cop | The Making of HARD TO BE GOOD 1990 | The Real CONJURING HOUSE | It’s Not a Crime, It’s a SCORE | I Just Watched: Steve Scott’s SCREENPLAY (1984) | Wet and Wild | 69: Discover the Secret | What Really Happened BEHIND THAT BARN DOOR! | I Just Watched AL PARKER & WILL SEAGERS in WANTED | Secret Boys Club | Jawbreaker Pt. 1 | Jawbreaker Pt. 2 | I Just Watched CRUISIN’ THE CASTRO | 80s/90s Porn Star RYAN YEAGER | ADAM Film World’s GAY VIDEO GUIDE | ERIC STONE: Ranger in the Wild | THRILL ME with a SINGLE WHITE MALE... | The SPOILED BRAT | BUSTER & STEVE YORK | LANCE, TEX ANTHONY & MICHAEL GERE | KIP NOLL: The First Real Twink Superstar | THE GREASE MONKEYS | The "Other" Idol