Alice In Wonderland Porn Talk

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Sunny Lane in Wonderland Gets Fucked! He was never making any of the movies himself. But once we started setting house records, it was easy to get the picture into theaters and it ran forever. So I went and saw it and it was my movie! Where did you get this movie?

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Related Categories. Cartoon Contrast is interesting and gets your attention. Bill liked the idea so we got this guy, Bucky Searles , to write it. He was a comic writer and comedian. We were hanging out and we saw Bucky there. It had a lot of cute songs in it.

He was talented. Bill had this connection in Phoenix, a lawyer by the name of Hirsch. I went up to New York, and rented a little loft near 42nd St. I ran an ad in the Village Voice that said: Kristine DeBell: It sounds funny but I have very little memory. I have friends now who have to fill in my memory for me. When I grew up, my father was a rage-aholic.

Kristine DeBell, early modeling pictures. When I graduated from high school, I spent a year at Berkeley, studying fashion merchandising and then ended up in New York. That would be around I was really just a tall, skinny kid. All the girls that were very shapely back then were much more popular than me.

It was a whole program. I did that as a young teen. I also did runway modeling. I guess I was going to be the director originally. I still have to go find the locations. How did you come up with the choice of Bud Townsend for the director? Bud was a high-quality commercial director. She became friends with Bud and his wife Patty , so I met Bud through her and we used to go over to their house.

I thought he was a really good director and had talent so I knew we were going to get something that looked good. Plus Bud and his wife Patty were like a directing team. She was always his script girl, so they were tight and worked well together. They were quite a bit older than the rest of us as they were in their late 50s when we made the film.

Bud and Booby came to New York with Bill, and I arranged a call back for the top three choices that I had made for each of the characters. Juliet Graham: I remember auditioning for the lead role of Alice at first because they liked my long blond hair. I think they made the right choice with Kristine. They just offered me that part instead, so I accepted it. They just showed up at my loft to audition.

We also hired a few character actors. For example Larry Gelman was a fairly well known actor in L. He was a friend of Bucky Searles so we got him for the part of the White Rabbit. Larry Gelman: Bucky Searles took me to a diner on Fairfax and told me about the film.

He offered me the part of the White Rabbit. It sounded fun so I agreed with two conditions. Firstly I asked for round trip tickets to New York for my wife, our two children and me. And secondly, I asked that I would keep my clothes on for the entire production. Bucky agree to both requests. Especially the second! Several of the porn actors had a dance background such as Nancy Dare and Terri Hall.

They had to sing and dance a little bit. I forget how that worked. There was a piano in the audition room. Nancy Dare, Terri Hall. Then I did Summer stock with this theater company for four seasons every summer throughout high school. So I had a lot of experience singing and dancing.

You were putting all the production together yourself. Did you have any one helping you? I was seeing a girl called Gela Nash at the time. She was kind of my girlfriend. We dated a little while in L. She was a dancer. She was a jack of all trades and kind of an assistant to me. She did everything. She helped out with the wardrobe too.

In fact she ended up playing a part in the movie as one of the dancers. She was just real cute and fun. She made a fortune as the owner of that empire. I wish I had her money. The big house and garden location was very striking where did you shoot the film? Jeff Prince took me around to various places up there. We used four or five different sets, but mostly we shot on this country estate; it was a place that had some great architecture and some land that we could work on.

Jeff, the real estate guy, got us a place nearby to stay so I rented it out for the duration of the shoot. All the cast and crew lived in that one big place. It was a real old place and had about 20 rooms. I hired a chef that cooked all the meals for them so it was like a boarding house situation. Everybody stayed in there except for me and Bill, and Kristine and Gela.

We all stayed at the actual house where we were filming. It was a lot of fun. One of the things I remember most clearly was this disgusting old house that they rented for us to stay in. There were crabs in the couch or something. We all got crabs! Kristine was very sweet.

And young. She might have only been two or three years younger than me, but she seemed a very young 20 or 21 to me. She had that innocence that they were looking for. But she was great at that. Kristine was a sweet, innocent, and serious girl. She was like me and just wanted to make a proper film.

She was very earnest did a really great job. Was I rebellious? Was I headstrong? Why else would I have done that type of film? You know what I mean?! I was very rebellious at that time. I was drinking quite a bit. Then, by 26 I was done I had a very short drinking and drug career. My wild years were short, and I actually have 33 years of sobriety now.

Alan Novak right played the Mad Hatter. His real name was Alan Coolidge. I knew him. I used to go in there and leave my pictures and hope that they would call me for something. He was trying to be a mainstream actor, and was a great character type. Tony and Sue Richards played Tweedledum and Tweedledee. They were on the porno scene for a short while, and were both really nice.

They really loved each other. The cast seemed to bond well. Most of them knew each other from the New York porn scene so it was like a trip away for them all. They seemed part of a different world. How did you hire the crew people like the cinematographer, Joseph Bardo? Joe Bardo was a local guy in Los Angeles that we knew. Joe was friends with Bill.

He was a big guy, an ex-football player. He drove to New York from the West Coast for the shoot in his van and he took all his equipment with him. He was going to put up the equipment and be the cameraman and provide some of the additional crew members which ended up being members of his family.

That was the deal he had with Osco, and he was supposed to get a percentage of the movie as payment. Joe brought in William Wang too. William Wang did the sound? He had a 16mm room where you could go in and do stuff. I had used it a few times over the years. William was real nervous about doing an X-rated movie because of his wife. During the shoot, he stayed with the rest of the cast and crew and somehow he got crabs.

He was great. I mean he was slow and I was the one trying to make everything happened as fast as possible. I was trying to get to the damn show done, and he was trying to do a good job. Bud was very sweet. They were very kind to me. It seems to me that everyone was. I also was fascinated with her job. Coming from the theater world that was also something I knew nothing about that.

I loved that. I have absolutely no memory of the director. I remember the two producers more than I remember him. Bud Townsend was a quiet, sweet older gentleman. He style was to whisper to people rather than shout instructions. They started with some of the porn scenes, so I figured that it was just another porn movie with a bigger set and a little larger cast.

But then when I saw the musical numbers and how they got everybody up to speed to do them I was incredibly impressed. Paradine, Larry Gelman, Alan Novak. And everybody was up there for the full 10 days in that one location that they lived in. It became like a dorm of porn people. It seemed like we were up there for weeks. It was never ending. Bucky had done a rough version of the soundtrack, not a fully scored treatment or anything like that but a rough, simple version of the soundtrack.

So we had a scratch track of the music to work with, and the actors mimed to that. My main memory of the film was that I had to sing. On a porn film! It was cute. They had already had the music done, so we just had to lip sync. It was really strange and funny. They blasted the music through some speakers and we just jumped around. So when they played them during a scene, I would just sing.

Bud and Booby recommended a friend of theirs, Buddy Schwab , who was a successful choreographer. He had some decent credits and had worked on Broadway. I tripped up a few times in the heels they had me wear, and in one instance I fell down badly on my ass. Nancy Dare and Terri Hall had both danced professionally for a while so they were able do whatever the choreographer wanted.

Terri was very sweet; she seemed a little off in her own world at times but at other times she was very, very savvy and totally aware of what she was doing and what persona she wanted to project. Yes we laughed lot. Bucky Searles in particular was hilarious. He was so funny. He cracked everybody up in between takes and during takes. I remember him very well.

Bucky was so talented. One of the best. He was a lovely man gentle, good, and sweet. I remember John Lawrence who played the King of Hearts. He was this big black guy. He always cracked me up because his way of acting was with his finger. I liked him though. For example, we were going to shoot it in 16mm, then Bud somehow talked us into shooting it in 35mm which then jumped the cost up.

It was initially going to be hardcore and the idea was to have the contrast of a film that was hardcore one moment and then funny, light and musical the next. But when we got up to the location and started filming, the vision for the film rapidly started expanding. We had these big sets, elaborate design, and we had this big opportunity.

I approached it like a serious film. As far as I was concerned I was making a regular version of the film. Who handled the communication with the actors in terms of telling them that they would be required to perform hardcore sex scenes? I did originally, so I think everybody was geared up that there was going to be sex in this movie, real sex.

I left that to Bud. He and Booby dealt with all of that, and I think they handled it tastefully. They were sophisticated people. No one really knew what they were getting involved with before we got up there. No one knew what kind of film it was. They kept it very hush hush. You want me to do what?

They would keep me away from the action. It was a very strict set. My family was there so that was another problem. Was her involvement in the sex scenes made clear to her? Then I realized what it was. She had one scene with me, and another with the prince I think. She was fine, not difficult or temperamental at all. I was a little bit wild, though. Juliet Graham, Kristine DeBell.

Very few people were putting their names on these movies at the time. That meant that the theater owners knew Bill, and they knew his films. And they were good films; Howard Ziehm was making good movies, better than everybody else. They made the checks out to him personally.

Then he started to get attention in the mainstream press. Joyce Haber gave him a huge front page in an L. The problem was that he had nothing to do with any of the movies! Bill was only ever the business guy who put the deals together. He was never making any of the movies himself. It was all just such fucking bullshit. It was so thick it was incredible.

When I started making pictures with Osco, I was the director, editor, writer, of all of them. I did everything myself. Bud directed it, I produced it, and Bill did very little. Bill was a businessman. People seemed intimidated by him. Knowing that Howard accused Osco of dishonesty, were you wary of working with him?

In terms of me, no. I just stepped in when Bill and Howard split up, and me and Osco became friends. I started making the movies like Howard had done, and then Bill would go and sell them and get cash. One of the producers, Bill Osco, the obnoxious one, made a pass at me on set one day. We came back to L. Then we met were these two guys who ran Kaleidoscope Films.

Kaleidoscope Films was the most successful movie advertising firm of the s. It was started in by Andy Kuehn right , who is considered the father of the modern trailer. Kaleidoscope Films was the premiere advertising company for all of the major studios. They had contacts with every studio, every person, and at that time, they were the shit. And we need a lot more than that.

We need proper music and everything else. Yes, the guys at Kaleidoscope got involved from that point onwards. And they did an amazing job. They were involved in cinema research so they were able to add new kinds of techniques that were just coming into the cinematic field.

Like the way of dissolving pictures from one scene to the next, creative editing techniques, a lot of visuals, all kind of things.

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  1. The big house and garden location was very striking where did you shoot the film?
  2. One of the things I remember most clearly was this disgusting old house that they rented for us to stay in.
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  4. The theater owner would then run that movie and make as much money as he possibly could with it.
  5. So now the phone starts ringing off the hook.
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  8. Bucky Searles continued to write and perform comedy until his death in the s.

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