ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

znas sta, iskreno, nakon sto sam prosao agoniju gledanja Alpha Doge, posle dva-tri dana i meni se chinilo da tu ima nekog sosa.
ali ne za 3 od 4, grabovo mu kolje, te sam resio da se oglasim zarad ravnoteze.
u stvari, nije razlog grip, zaraza, da ne kazem influenca FakDramUma, nego sam bio pod uticajem 8 dolara koje dadoh za kartu, jos odveo drugara, a on ima slabe zivce, pa me posle prozivao cijelo veche kako smo za 16 dolara mogli da gledamo gole zene uzivo.

Miožda sam i ja malo preterao sa ocenom zbog starijih maloletnica...

direct sequel to last year's "American Pie Presents : The Naked Mile" is in pre-production in Toronto.

The new pastry-puffed outing is called "American Pie Presents : Beta House" and it again stars "Naked Mile" quartet John White, Ross Thomas, Jake Siegel and Steve Talley. Producing are Joel Soisson ("Pulse") and Keith Birder. Andrew Walker will direct.

Erik Stifler is off to college, where he and his best friends Ryan & Cooze reunite with Dwight Stifler to rush the Beta Fraternity, where Dwight is already firmly entrenched. Having crushed the evil rivals of the LAMBDA PIs (the little people fraternity), Beta House must now face down the evil empire of the GEK house - a new and improved fraternity of geeks who use their brains and money to try and destroy the Beta House and everything anti-Geek that it represents. As initiates, our boys must defend the honor of their new fraternity, and come to grips with their new lives.

They're currently casting for the main love interest, Ashely. She's described as "Super cute, confident, together, instantly comfortable in the new collegiate surroundings, she is A CATCH. When she and Erik meet, there is an instant attraction, but as Erik tries to fit in at his new fraternity, Ashley worries along side her new man that the Greek System is what she suspects it to be - trouble. So, as Erik continues to disappear for Beta activities, their new relationship falters. Can she get past her pre-conceptions and support Erik's frat life?"

PUSHER 3, samo stvarno...

NARKO OTMICA
Draško Vuković, uhapšen sa 38 kilograma kokaina, "oslobođen" dok je prebacivan u drugi zatvor u Danskoj
PODGORICA - Draško Vuković (29) iz Berana koji je polovinom februara sa još dva zemljaka uhapšen u Danskoj sa velikom količinom droge uspeo je 31. marta da pobegne tamošnjoj policiji prilikom prebacivanja u zatvor Frederiksund. On je otet u sačekuši automobila u kojem se nalazio. U pucnjavi između kriminalaca i policije ranjeno je 11 policajaca, a nezvanično se saznaje da je akcija obavljena po nalogu šefova široke narkomreže koja deluje u zapadnoj Evropi.

Prema verziji tabloida Ekstra bladet, ovo bekstvo izvedeno je tako što je pomagač pozvonio na vrata zatvora, pa jednog čuvara udario pesnicom, a drugom zapretio pištoljem. Kada je policija automobilima krenula u potragu za beguncima, morala je da odustane, jer su pukle gume. Pretpostavlja se da su isečene oštrim predmetom.


 BERANE CENTAR NARKOMAFIJE

Draško Vuković samo je jedan od mladića iz Berana, koji je označen kao grad koji daje najviše krupnih narkodilera u odnosu na broj stanovnika, ne samo u Crnoj Gori već i šire. Izvor iz policije ranije je rekao da se oni tim poslom bave uglavnom u inostranstvu i da u Beranama vrlo često nemaju policijske kartone.
- Naizgled obični momci odu na nekoliko godina u inostranstvo i prodaju drogu, i vrate se ovde da kupuju nekretnine i peru novac. Znamo i neke lokale u Beranama koji su kupljeni od takvog novca, ali su oni u Crnoj Gori uredni i ne možemo im ništa - rekao je taj policijski službenik.
Beranskim momcima jedna od omiljenih destinacija upravo je Kopenhagen. U šali se priča da se jedan inspektor u toj zemlji zapitao: "Koliki je taj grad Berane kada nam otuda stiže toliko lopova i narkodilera?"

BIO U POSLU SA VUKOM VULEVIĆEM, HAPŠEN U BEOGRADU

Vuković je u Crnoj Gori malo poznat, a i oni koji ga znaju, o njemu nemaju lepo mišljenje.
- Draško je davno otišao u inostranstvo, a kratkotrajne boravke u rodnom gradu koristio je da zavadi lokalne ekipe koje su uglavnom radile za Vuka Vulevića. Vulević je pre dve i po godine uhapšen u Beogradu, po poternici crnogorske policije, zbog krijumčarenja kokaina iz Venecuele i dovođen je u vezu sa ubistvom novinara Duška Jovanovića i policijskog funkcionera Slavoljuba Šćekića - priča naš izvor.
Veruje se da je Vuković, koji je i sam ranije bio u poslovnim odnosima sa Vulevićem, na taj način pokušavao da iskoristi njegovo odsustvo i da izgradi poziciju za sebe. Međutim, kada se prošlog novembra vratio u Crnu Goru, u centru Berana, ispred Osnovnog suda, Vukovićev džip odleteo je u vazduh.
Ko je tada napao Vukovića, do danas zvanično nije otkriveno, iako su kamere na obližnjoj kladionici snimile napadača! Međutim, nekoliko dana posle ove eksplozije Vuković je navodno organizovao podmetanje eksploziva pod auto Marjana Bakića, a zatim je pobegao iz Berana u inostranstvo.

(D. M.)
 
 
 

Stefan Stefensen, šef policije u Kopenhagenu, saopštio je da je ovo oslobađanje najbrutalnije i najprofesionalnije u danskoj kriminalnoj istoriji.

Za Vukovića kaže da je vrlo opasan i da pripada vodećoj kriminalnoj organizaciji u bivšoj Jugoslaviji.




- Ne znamo gde se begunac nalazi sada, ali želimo da upozorimo na to da je opasan. On će verovatno pokušati da pobegne iz zemlje - kaže Stefen Stefensen, a prenosi danski Ekstra bladet.

Stefensen je saopštio i da je, po svemu sudeći, napad delo jugoslovenske mafije, koja drži trgovinu narkoticima. Policija još nije uspela da otkrije aktere u oslobađanju, a otmica je bila dobro isplanirana. Prema jednoj verziji, Vuković je otet u Kopenhagenu, prilikom prebacivanja u zatvor Frederiksund.

Otmičari su presreli policijski automobil posle pravog revolveraškog okršaja u kome je, prema nekim informacijama, bilo 11 ranjenih policajaca! Pretpostavlja se da je otmica organizovana pošto su ljudi iz vrha narkomafije, za koju je ovaj mladić radio, odlučili da ne dozvole da on izađe pred sudiju, jer je pre nekoliko godina, kada je uhapšen u Luksemburgu, odao deo lanca narkodilera. On je tada odležao dve godine u zatvoru, a poslu sa drogom vratio se pod falsifikovanim hrvatskim pasošem.

Danski mediji potvrdili su da je kod Vukovića prilikom hapšenja u februaru pronađeno 38 kilograma čistog kokaina. Dva kilograma je imao kod sebe, a još 36 kilograma pronađeno je u stanu u kojem je boravio u Kopenhagenu. Danska policija pokušavala je da posle nedavnog hapšenja u februaru od Vukovića izvuče informacije za koga radi i čija je droga, u nameri da raskrinka širi lanac narkodilera koji iz bivših jugoslovenskih republika deluju na Zapadu.

Zasada se nagađa ko je učestvovao u njegovoj otmici, ali se sumnja u to da je bilo i osoba iz Crne Gore, pa možda i iz Berana. Veruje se da je Vuković direktno radio za neke Berance i ljude sa severa Crne Gore koji važe za najkrupnije narkodilere na Balkanu.

Vuković, inače, u poslednje vreme nije mnogo boravio u svom gradu. Poslednji put kada je došao, u novembru prošle godine, njegov džip "grand čiroki" odleteo je u vazduh vrlo brzo nakon parkiranja u strogom centru. Nagađalo se da se radi o neraščišćenim "poslovnim" obavezama i on je vrlo brzo napustio Berane.

Istovremeno, švedski mediji spekulišu o tome da se Draško Vuković, koji je inače nezaposleni profesor, možda krije u Švedskoj.


(N. G. - SINA)

i

OTMIČAR
Milan - Čila Šćekić najverovatnije organizovao spektakularnu otmicu Draška Vukovića iz danskog zatvora, tvrdi crnogorska policija
BEOGRAD - Otmicu Draška Vukovića (29) iz Berana, koji je prošle nedelje kidnapovan iz policijskog vozila u Kopenhagenu prilikom prebacivanja u zatvor Frederiksund, najverovatnije su organizovali crnogorski i srpski kriminalci iz severnoevropskih zemalja! Vukovićevu otmicu najverovatnije je organizovao Beranac Milan - Čila Šćekić (31), koji se skriva u Danskoj, saznaje Kurir od izvora iz vrha crnogorske policije!

Šćekić je u bekstvu još otkako se njegovo ime našlo na spisku osumnjičenih za ubistvo vlasnika podgoričkog dnevnog lista Dan Duška Jovanovića. Prema policijskim saznanjima, jedno vreme se skrivao u Španiji, a zatim i u Beogradu, gde je, kako se nezvanično tvrdi, uživao zaštitu "rakovičkog klana".

Posle hapšenja njegovog pajtosa Vuka Vulevića, 2005. godine u beogradskom restoranu "Njujork", Šćekić je pobegao na sever Evrope i od tada se skriva u Danskoj, Švedskoj i Norveškoj. Tokom bekstva ovaj Beranac je osumnjičen i za likvidaciju crnogorskog policijskog funkcionera Slavoljuba Šćekića.

Prema saznanjima Kurira, Šćekić i Vuković su dugogodišnji prijatelji. Oteti nastavnik bez zaposlenja hleb je još pre nekoliko godina pronašao u jednoj od beranskih ekipa, čiji su šefovi bili Vuk Vulević i Čila Šćekić. Posle Vulevićevog hapšenja, kontrolu nad ekipom je preuzeo jedini slobodnjak - Čila Šćekić.

On je oko sebe okupio kriminalce koji su do razbijanja tvrdog jezgra beranskog ganga bili na nižim lestvicama. Među njima ima Crnogoraca, ali i nekoliko mlađih kriminalaca iz Srbije. Dvojica srpskih kriminalaca uhapšeni su zajedno sa Vukovićem prilikom pokušaja šverca 38 kilograma kokaina. Policija veruje da i ova zaplenjena pošiljka pripada Šćekiću.

- Da bi se osigurao da pred policijom neće da propeva, Čila je organizovao Vukovićevo oslobađanje. Preko svojih ljudi saznao je da je zatvor u kojem je bio smešten Vuković praktično najslabila karika u sistemu obezbeđenja i poslao je svoje ljude da izvedu spektakularnu otmicu. Prema dosadašnjim policijskim saznanjima, malo je verovatno da je Čila lično učestvovao u oslobađanju, ali njegovi ljudi jesu - objašnjava izvor iz crnogorskog MUP.

Inače, prema njegovim rečima, danska policija sumnja da je Šćekić, posle "filmske" akcije oslobađanja, tokom koje je ranjeno jedanaest danskih specijalaca, pobegao u jednu susednu zemlju.


 Brzopotezno oslobađanje

Danski dnevni list Politiken objavio je da je akcija Vukovićeve otmice trajala manje od 30 sekundi! U pola šest ujutro prošle subote začulo se zvono na vratima u zatvoru u Frederiksundu. Kad je zatvorski policajac pogledao kroz "špijunku", video je čoveka normalnog izgleda sa kesom odeće u ruci. Pošto rodbina često donosi odeću zatvorenicima u zatvoru, ništa ne sumnjajući, policajac je otvorio, ali je samo sekundu kasnije pogođen pesnicom u lice. Potom su počeli da pljušte udarci nogama, čuvar je pao na pod i tada je dobio jak udarac kolenom u grudi. U međuvremenu, pritvorenik Draško Vuković istrčao je kroz vrata, navodi Politiken.
Organizatori Vukovićevog bekstva očigledno su mislili o svim detaljima. Kada su krenuli iz zatvora, posuli su eksere po parkingu policijske stanice, 800 metara udaljene od zatvora. Tri policijska automobila koja su krenula u poteru ubrzo su morala da se zaustave jer su im gume bile izbušene.
Inače, zamenik šefa danske policije Stefen Stefensen rekao je da je policija slučajno predložila da Vukovića smeste u zatvor Frederiksund, jer je tamo bilo mesta!
(D. M.)

Posle čitavih sedam dana bez filma, pogledao sam ELEMENTARTEILCHEN Oskara Roehlera, coutesy of Ginger.

Besmisleno je ulaziti u analizu odnosa filma i romana pošto je film u germanizaciji romana i mnogim drugim intervencijama u potpunosti napustio koncept romana i tek se u dalekim tregovima može prepoznati na bazi koje knjige je film pravljen.

Međutim, sam po sebi, film je simpatičan, nemački sterilan i glomazan, ponegde preeksplicitan i tromo napisan, ali opet nekako precizan, sa jasnom svešću o tome kako se uelbekovske situacije, pre nego duh, mogu dobro iskoristiti za jedan, ipak užasno efemeran slice artsploitationa.

U tom smislu, ELEMENTARTEILCHEN jako podseća na neki rutinski, ali prosto sigurno urađen holivudski film, koji te ne izneveri kada ga gledaš, mada u suštini nema previše razloga za gledanje.

Ukoliko tražite našeg dragog Ulemeka u ovom filmu ga nećete naći, ali ako generalno volite njegov attitude, ovaj film može biti prijatan da se pogleda dok se čeka prava ekranizacija.

* * 1/2 /  * * * *

ma dobro to, al ima li grudi? frontal nudity? sexa?
da li je uhvatio bar deo one melanholije, ili cinizma, ili amoralnosti?
ili je SVE zatupljeno i ublaženo kako bi festovska publika, u svojim fensi odelima, mogla da to svari i o tome potom po izlasku iz SC – neopterećeno preživa?

Ma jok. Ima seksa, u nekom onako uobičajenom obimu za savremeni art house, sve je to onako urađeno unutar nekom mejnstrim filmskog diskursa.

Najveća greška filma je što pokušava da nekako sentimentalno fundira likove, i onda njihove svinjarije dođu pomalo i nemotivisano. Nema kanonskog Ulemek ugođaja tu.

Ima čak i nekih neočekivano cheesy momenata.

Ponekad se treba setiti reci velikog gurua

Rocco Siffredi is the biggest porn star ever from Europe and today's leading stud. "No other male can f--- as hard, as fast and as long as Rocco, and with as much passion and conviction." (AFW)

Rocco directs pornos with his unique touch. They are distributed in America by Evil Angel.

In reaction to his wild sexual ways, Rocco has frequently been targeted by unverified rumors that he has AIDS.

According to Roberto Malone, Rocco's well-hung Italian sidekick, Rocco was friendly with a porn collector (gay) who died of AIDS around 1996.

From a 12/28/98 post to RAME: "A scandinavian magazine recently had an interview with Rocc Sifferedi. He is currently living in a mansion in Budapest, together with his wife Rosa (who has starred with him in movies several times)and their two-year old child.

"Here are some of the things he said:

"-While filming a shot with Alicia Monet, she was so stoned that she almost bit his dick off. He had to be taken to the hospital at once. Monet ran of into the streets without any clothes on, and had to be taken in by the police.

"- He recently got a circumcision, but the night after the procedure he got an erection, and all
the stitches ripped open... He needed plastic surgery, and had to stay away from porn for almost a year.

"-He once had sex with three german ladies aged 69-73 (!)

"-Almost all porn actors have herpes, including himself. No one really cares about it, and studios give out medication when needed. The only VD actors/actresses really fear is HIV.

"-In a good year, he makes about 200 thousand dollars."

"Rocco appears in Kink in the hottest sex scene of the year, using three girls as human toilets, finishing up with a serious ass pounding of Careena Collins. His career-best work is as Dario in Buttman's Ultimate Workout, Buttmans (Moderately) Big Tit British Adventure and Buttman's European Vacation. Rocco also appears in Alex deRenzy's Steamy Windows and John Leslie's Curse of the Cat Woman and Chameleons. He has repeatedly won Stud of the Year honors and would deserve Stud of the Decade, if there were such an honor." (AFW 96D. p.122)

"Rocco's recent directorial efforts betray a sexual vision," writes David Aaron Clarke in a late 1996 edition of Adam Film World. "But watching him f--- has become the equivalent of driving down a long California highway. You always know what's next, and all that aesthetic splendor just becomes the road between you and your goal - in this case a handful of spuzz."

Gene Ross writes for Adult Video News.

 
On any given day, the phones at AVN are busy.... Many of these calls are treasures of priceless human dialogue that should be saved for posterity in a time capsule.

One such occurred when a certain international XXX personality called early one morning.

"Do you know Rocco Siffredi?" came a voice over the intercom. Of course. EVRYONE knows Rocco, though, as developed, Rocco apparently doesn't know everyone else.

I got on the phone welcoming Rocco.

"Who's dis?" he asks. (What does he mean, "Who's dis?" He asked for me.)

"Gene."

"Gin? Gin who?"

"Me, Gene. The editor of AVN." A reply to which the man reacted bewildered. "Gin?"

"No, Gene. We've met a million times, Rocco. You know me."

"I'm sorry," he replies, "but I mit so menny pipple."

"Our awards show, Rocco, remember? You attended our awards show. January? Las Vegas?"

"I'm sorry, but I mit so menny pipple."

"Okay," I sigh. "What can we do for you?"

"I want to promote my moofie..."

(Well, Rocco, you're off to a bad start...)

"Fine," I said. "When's it coming out?"

"I don't know."

(A REAL bad start.)

"What's the name of it?"

"...I don't know."

I suggest Rocco do his homework and call me back with the information. Rocco has yet to call back, but don't let that stop you from seeing whatever it is coming out sometime, whenever, in the future.

Rocco directed Sandy Insatiable. "Sandy is a bored, rich brat, who comes to Rocco in hopes of fulfilling him. Rocco sets up a five-man gangbang at his villa pool. Cum-soaked but happy after, Sandy goes to the parlor where four producers wait to audition her. She demonstrates her talents, sucking and rimming each. The overexcited Siffredi bursts into the bathroom and ravages Sidonie on the bidet. Later, Sandy is introduced to four black studs. She blows and rims each until they are primed for triple penetration. While watching Sidonie soak in the tub, Rocco does Sandy... As he cream rinses her hair, Sandy still asks for more." (AVN 97)

Rocco Goes To Prague. "...What to expect when you travel with Siffredi: a gorgeous brunette has her asshole stretched wide... Rocco spits in the hole until it's gurgling with saliva as he pokes his finger in it, then a huge black dildo - then his cock...

"She loves it. This video sets a record for having the most beautiful women who enjoy anal sex hard and deep. What happens when Rocco is in Prague is what happens when he's in any city with a video crew: a bunch of beautiful young women go to their knees to worship the huge phallic symbol between his legs. He makes converts of them all. It's the religion of Rocco, and his massive cock is the staff of life, his ejaculation the wafer on his supplicants' tongues. When they are face down, ass up, their butthole full of cock and Rocco's finger in their mouth, they are on the brink of a spiritual revelation. They see God, and He f---s them in the ass, and they are ruined for other men." (AFW 97)

Rocco wields his cock and magnetism with so much power that he f---s up women. Sex with Siffredi, T.T. Boy and Max Hardcore is a full contact sport where only the females get injured. "I never knew I could do the splits until I had sex with Rocco," said one woman who had to be hospitalized afterwards. Another girl broke her jaw giving Siffredi head. His agressive thrusting down the gullet of Alicia Monet caused he rto bite his dick in revenge before collapsing into hysterics and retiring from porn. It's no wonder that Rocco's The Man Who Loved Women.

"In this mock documentary about a day in the life of Rocco, he balls almost every chick in the cast. Brittany O'Connell and an exotic newcomer engage in a 69 session in front of Rocco's place in the hopes that they'll turn him on and they'll ask him in. They do and he does. Rocco then lines up his choices and starts his day with a BJ from Traci Prince. Traci begs him to come all over her, but the butler (Dick Nasty) reminds Rocco to preserve his strength. Roco moves off...and stuffs them both until he spurts. Brittany and another newcomer next get Roco'd. The scene is hot despite another "strength preserving" ending." (AFW 97)

"I don't care for Rocco," writes Herb Dntist on RAME. "He annoys me. Him and his Don Juan attitude. He seems to think pretty highly of himself and his prowess. My opinion is he makes up for poor performances by acting in a fever-pitched - maniacal manner. It doesn't impress me."

Lakechi, however, enjoys Siffredi and Rob Black for the way they degrade women. "Currently there are only two relevant directors working in porn today, Rocco and Rob Black.

"Rocco's movies have a more naturalistic approach, there aren't many special effects, lighting is adequate, but not a priority. Rocco's movies are superior to Blacks in that the wood is ALWAYS good and the Euro starlets have done things that were never seen in mainstream American porn. Rocco in the Czech Republic, the Sandy gang bangs, possibly the greatest vid yet - Never Say Never, and his recently released More Than Ever's- where women indulged in simulated golden showers, double anals, farm sex, etc. The women are always beautiful and the emphasis is on degradation. The only negative thing to be said about Rocco is that he seems to have abandoned American starlets- we have to see how some of the Americans would handle Rocco's current level of abuse.

"Rob Blacks movies are more like a music video, more and more they have descended into the realm of the psychedelic. f--- My Dirty s---hole was the ultimate fulfillment of the potential foreshadowed by Greg Dark - his editing is meant to take you into a world of the surreal - fast editing switches, good music, and excellent camera angles make this an exercise in seduction. As Rocco handles the degradation of the Europeans- Black handles the Americans. This can especially be seen in the new gang bang starlet movies where Stephanie Swift does what no one could have expected for this previous condom user - mass spitting in the face mass cumshots. Her performance was equaled in part 2 by Brooke Ashley who was always a stellar whore from her beginnings working for Max Hardcore." (RAME)

Romance

The lead actress for Romance, Caroline Ducey, felt disturbed when she found out from director Catherine Breillat - on the day of the shoot - that she'd be doing scenes with porn star Rocco Siffredi.

Breillat tells salon.com: I felt that had I told anyone I was going to cast Rocco for the role, there would have been an uncontrollable reaction in the press, and then I would have lost François Berleand in the role of Robert, which would have been a shame. Why shouldn't one put them in the same film? If I hadn't cast him, I wouldn't have this film. It was a radical idea, because it went against myself and against my inhibitions. My inhibitions are those of society and they are not profoundly me, but to fight against them is very, very difficult. But this is why we have a radical film. The [head technician] and the camera director -- who was very important to the project -- wouldn't want to be in the same room with him because they had prejudices. So I didn't want to say it immediately.

But it was obvious that they [Ducey and Rocco] were an extraordinary couple. I knew they were extraordinary. They knew only that being a porno star is not extraordinary at all. That's true, but Rocco is a very charismatic being. I had confidence in my choice, but there was terror on the set when he arrived.

It was very, very difficult. And extremely difficult for Rocco, because there are so many biting tongues on the set, a lot of culpability and shame put on him -- it was intolerable for him. For Caroline, how do you want her to be able to bear this? Well, she bore it for hours, for hours, for hours. She bore it from 10 in the evening till 3 o'clock in the morning. At 3 o'clock in the morning she couldn't stand it anymore, it's true. How could she be the only one to find it normal to film with Rocco when everybody else was appalled?

From http://www.salonmagazine.com/ent/movies/review/1999/09/17/romance/index.html:

...The camera is an expression of the phallus, and is thereby related to technology's rape of nature, America's rape of Vietnam, capitalism's rape of everything...

In the 1970s, these aspects of film -- a fascination with beauty, movie history, performers and sex -- all boiled to the surface in what I think of as the "let's f--- in a bare apartment until we arrive at an existential realization of ourselves, or die trying" genre. These films range from the sublime ("Last Tango in Paris," "The Last Woman") to the provocative ("In the Realm of the Senses") to the preposterous ("The Night Porter"). Breillat had a small role in "Last Tango," and has said that she was inspired to make "Romance" when she watched "In the Realm of the Senses." Can art and porn be fused?

The following was published in 1994 by Clifford Cremer.

Profession porn-actor.

If you watch pornographic movies now and then, you'll probably know him already: the Italian stallion Rocco Siffredi, "the man of iron". In his homecountry Italy, Siffredi's popularity matches that of a rockstar, in France he can't walk the streets without women asking him for his autograph, while in Germany too women go wild about him. Siffredi (30) is not an average porn-actor; he's one of the very few who made it to the top, and he's also the only European who became a big star in the United States. Nowadays, Siffredi doesn't lower his pants for less than 30.000 US dollars. And he can get away with it, for producers are still lining up for him, in Europe as well as in the States.

Rocco Siffredi was born in 1964 as Rocco Tano in the small Italian village of Ortona, south-Italy. The sleepy atmosphere of catholic Ortona however, soon started to bore goodlooking Siffredi. Aged 17, he quit his college of technology and went to Paris, where he worked as a waiter in his brother's restaurant. In his spare time Siffredi, who at that stage had already become an insatiable sex-drive, mainly visited Parisian sexclubs or "swingers-clubs", places were open sex took place. In one of those clubs, Siffredi would meet the right people to help kickstart his porn-carreer, and four years after he left Ortona, Siffredi starred in his very first hardcore-film.

Now, almost ten years, 600 films and about 3000 women later, Siffredi is not only an actor anymore, but a producer as well. Since about a year, Siffredi is owner of "Rocco Siffredi Productions", a very succesfull filmcompany which is conquering the international video-market at dazzling speed. RSP doesn't bother about low-key productions, for the company only produces "big-budget-movies". Those productions are shot throughout the world, and Siffredi has filmed on location from Los Angeles to Kenya, and from Australia to the Philipines.

Many of the films starring Siffredi are smash-hits in the Unites States.

Almost yearly those films get rewarded with the highest and best awards of America's porn-industry. International fame came to Siffredi mainly for his role in the "Buttmann"-series, a series produced by America's most famous porn-producer, John Stagliano (a personal friend of Siffredi). Some other titles of hardcore-films with a leading role of "rocky Rocco" include "Anal Nation", "Bend over Babes", "Roman Orgy", "Blow job Betty", "Nothing Personal" and "Buttmans ultimate workout".

Penthouse had an interview with the succesful Italian in London.

Siffredi is about an hour late when he shows up in the lobby of the posh "Hilton Mews" hotel, his face still covered with make-up. The shooting of "Buttmann goes to London, part 3" has just finished, and that shows on Siffredi's face. With an exhausted look, he excuses himself and first heads to his room to take a shower.

An hour later, Siffredi, John Stagliano and the American porn-actress Tanya Cheeks have their dinner at the hotel-restaurant. The atmosphere is cozy, the imported Heineken-beer tasts well. Siffredi chats a bit with Stagliano about the day's work. The Italian is very fond of the girl "with the dark hair", while Stagliano more liked "the girl with the blond hair". After this thorough evaluation of a hard day's work, Siffredi goes to his room, where the interview will take place.

Rocco, when you were 17 you left Italy for Paris. Why?

"Because I was slowly dying in Ortona and I longed for the real world. Only in Paris my eyes seemed to open up. In Ortona I couldn't get in contact with many girls, that's why I missed a real sexlife. The only thing my friends and me were doing, was talking about guys who'd left our town. I had a steady girlfriend, but when I slept with another girl, next day all of town would know about it. That got on my nerves, and that's why I left for Paris, to my brother who owned a restaurant over there."

At that stage, did you have any idea you would end up in the world of pornography?

"Not really, although my fascination for pornography started when I was only 11 years old. Then I already started watching porn-movies and reading sexmagazines. I kept on doing that untill I left for France."

Why did you start with that kind of thing so young?

"It just fascinated me. I started to masturbate when I was only 9 years old, and when I did that, I always used sex-magazines. Those magazines drove me crazy, I just couldn't get enough of it. Then I realised I wanted to do the same thing as those models, I wanted a job in the world of porno.

"As soon as I arrived in Paris, I started to ask around about the porn-industry. But because I had so little spare time, I never had the chance to meet the right people."

How did you eventualy got involved?

"In the restaurant where I was working I met a nice woman. She always asked me why I didn't become a photo-model. We went out together sometimes, and one day she took me to a "swingers-club", a discotheque where people swap partners and have sex in the open. I enjoyed that so much, that I became a regular over there, I visited it almost every single day since. That club belonged to a famous former pornstar, and through him I met Gabriel Pontello, another porn-actor who at that time was top of the bill, in France they called him "the king of kings of porn". In Italy Pontello was a celebrity as well, I had always admired him.

"Pontello saw me with all those women in the swingers-club, and asked me if I was interested to perform in a porn-movie. I thought "Wow, this is my chance!". The next day I had to report in his office. Pontello said he wanted to see how good I was, and then I f---ed his girlfriend on the top of his desk, while he was watching. "Okay," he said, "Tommorow report in the studio's". I was 21 then."

You had no problem f---ing Pontello's girlfriend like that?

"On the contrary, it really turned me on. The next day I came to the set of my first movie, called "Belle d'amour". When I arrived, everywhere beautiful naked women were walking around, wearing stockings and lingerie. I headed straight for the toilet and jerked off first. Then I did my first sex-scene, but I came already within a minute. I was so horny, I dreamt I was on another planet. And they paid me for it too, 1500 French francs to be precise. But if I had to, I would have paid money myself that day.

"After that, I shot movies for four to five monhts in a row. Then my first Italian movie was released, called "Fantastica Moanna", with Moanna Pozzi. For Moanna it was her first sex-movie (Moanna Pozzi was one of Italy's most famous pornstars. She died in 1994 because of an illness-CC). When my first film was released in Italy, I returned to Ortona. Then I started to travel the whole world, because all producers wanted me now in their films."

How many movies did you do so far?

"About five- to seven hundred, I guess. I'm not really sure, because there were a lot of compilations released with me in it, without me knowing about it. Besides, many scenes I did were put into other films. Most movies I played in I never saw myself."

And how many models did you have sex with?

"I have no idea. But if you count about 600 films, you can multiply each film with three to four women. And that does not include the women I had sex with for photo-shoots. I did much more photo-shoots than films. I guess I had sex with about 3000 women, but that's a rough estimate. And it also doesn't include my normal girlfriends, women I had affairs with."

Is there a big difference between your real sex-life and your "professional" sexlife?

"Yes, but I wish that was not so. To do porn-shootings isn't always nice: you do everything in front of a camera, and you can never forget about that. You're a professional in the first place. In my private life, I only do those things which I want to do with my partner."

In your films sometimes you have sex with three women at the same time.

"In my real life I never do that. It's too exhausting."

Do you have a girlfriend?

"Yes, since about one year. We live together in Italy."

What does she think of your job?

"In the beginning she didn't like it at all, but now she knows how to handle it. My work and my private life are strictly separated, and she knows that now. Now sometimes she even helps me with editing jobs or something, and she doesn't care."

So in your private life you only have sex with her?

"You can't put it like that. If I meet a woman and I like her, who knows what happens. But I'm not looking for adventures anymore, if you know what I mean."

You don't go out very often, you told me. What do you do in your free time?

"I watch movies, or I train in my fitness-room. I like boxing and running."

Are you being recognized on the streets many times?

"Constantly, and it starts to annoy me. In France almost everybody recognises me where-ever I go. In Italy too it's impossible for me to walk somewhere without being recognised."

How's that, not everybody knows about your sex-carreer, isn't it?

"It's because I'm in so many magazines, and because I'm on tv so many times. Many times people recognise me and start talk to me without even knowing I'm a famous porn-star. They just think I'm some kind of famous actor from a soap-series or something."

Since when are you a producer yourself?

"That started around Februar '94, then I decided I wanted to do less movies, and work more as a producer. I think Italians are now the best producers in the world, for they are the only ones who still work with budgets of 300- to 400.000 US dollars. "Many producers now realise they can only make a profit when they invest heavily in a film. The small producers who want to make quick and easy money with no investment at all, can't survive anymore. After a couple of films they go broke, because the consumers don't buy their crap anymore. The big producers make their money over a longer period, they invest time and money in their productions."

How do you make your money as an actor, do you get paid per film or per

scene?

"Right now I don't get paid at all, because I only work with producers who sell their copyrights for Italy to me. As an actor, I only appear in the best and biggest productions, or I only work with the best producers, like John Stagliano. For him I distribute his films in Italy, and I get my profit from that as well."

And how about five years ago?

"Then I was paid per day. One day's work on the set fetched me around 1000 US dollar."

Easy money, I would say.

"Not at all. Actually it's nothing compared with what the producers get. Besides, those 1000 dollar was my price, normally actors in the US get only about 200 dollar per day."

What's the difference between your films and the other labels?

"We want to show real sex to our viewers, as realistic as possible. In my films there's no acting, everything is for real. I try to minimise the dialogue in my films. I work on the most beautiful locations and with the very best girls, who really enjoy what they do. There's always live-sound in my productions, never synchronisation. In my films, I always ejaculate in the face of the models, never somewhere else. Because from the expression on their face, you can tell if they liked what they did or not. The most important part of my films are the female models. They really have to enjoy sex. That's why my films are quality-products."

I saw some pictures of you in the Italian press, which showed you together with about a whole girls-school in Budapest. What was that all about?

"You mean my film "True Story's." We went to Hungary to do a new film, but we only didn't have the models yet. In Budapest we contacted a normal model-agency. All Hungarian girls of that agency wanted to participate in our production. Three quarters of them wanted to do porn-scenes as well, the rest would not. Of the 33 girls we used, 25 never had any hardcore experience. But on the set, I finally convinced them all, so in the end, I had sex with all of them. You can see the result in "True Story's". During the casting, no less than 200 girls showed up."

Pffff.. How do you stay in shape for your job? Do you eat something special or something?

"No, you just have to eat healthy and stay fit. I am a performer. It doesn't matter wheter you drink or smoke, as long as you have a clean spirit. You can't have any stress, when you have stress you can forget it. You got to have a clean mind."

How many times a day can you have an orgasme?

"Normally I have two orgasmes per day on the set. One time I had to do that for 25 days in a row."

How do you do that?

"It's a state of mind. If you reach that stage mentally, your body gets used to it. The secret of every porn-actor is, that he has a personal fantasy, his own trip. If you can't have an orgasm with the woman you're f---ing, you can switch to your fantasy."

I saw you once in a movie with three very old women, over 60. That time you switched to your fantasy?

"No, because I found it very stimulating. I don't need my fantasy when I can have sex in a very strange or perverted manner, for that is real sex to me. Even the most beautiful woman on earth couldn't excite me when she would have sex with me for another reason than me. Those three old ladies really turned me on, because all of them wanted to have sex with me badly. If they were young beautiful girls, who would only be there for the money, I would have had to switch to my fantasies. That week, I already f---ed a whole bunch of beautiful girls, so those old ladies were fine to me. After that movie I made another one with a fat woman weighing 130 kilogrammes. The same thing applied to her. Those kind of women ofcourse always are amateurs, who really enjoy sex. It's the best sex you can get."

So you never have any problems getting a hard-on...

"This I shouldn't say, but lately it's becoming more and more of a problem. In the past I could f--- any girl anytime. Now I start to say: not with that one, and not with that one. Not because I'm getting old, but because I only want to work with the best of the best. That's why I like to participate in the "Buttmann"-series of John Stagliano. Nothing is ever written on paper there, you can just do what you want and go with girls you like. But in a movie like "Tarzan" I have to do it with black women. I don't complain, for Tarzan lives in the jungle. If it's neccesary for the job, I will do it. But otherwise I won't."

What do you do when three naked girls are waiting for you on the set, and you can't get an erection?

"Then I will withdraw for a few minutes, to fantasise as long as necesary in order to get a hard-on. Luckily, I don't have to do that very often, because in 70 percent of all cases I get horny enough. Only with 30 percent I have to fantasise. I'm glad those percentages are the way they are, becuase too much fantasising is not good."

What kind of woman do you like in your personal life?

"I like two sorts; they must be very feminine, or very young. So very feminine females or young teenagers. Colour of the hair or things like that don't matter to me."

Can you differentiate between women of different nationalities in who's good in bed and who's not?

"No, you can only say which kind of women have more heart for sex. In general those are the more southern women, Spanish, Italian, even French. But also American. I think it has a lot to do with their upbringing. In general those women are raised in very religious, and thus prudish cultures. As soon as those women taste the real life and start to have sex, they go completely wild about it."

The models you use in your movies, do they have real orgasmes or is it all fake?

"I would say 80 percent has a real orgasm when they're with me. That's the only reason why I'm able to do this job such a long time. Those old women you just mentioned, for example, they came screaming."

What is the best type of woman to star in a hardcore-production?

"The best ones are exhibitionists, second place are the nymphomaniacs. Not all porn-models belong to these two groups, but they're the best you can get. The rest do their job for another reason, for money or out of curiosity. But they'll stop after two or three productions."

Do you often work with prostitutes?

"Never, because those are the worst models in the world. They feel ashamed in the first place for what they do, and they don't like sex at all. The best models are girls from the countryside. Whores don't like sex, they consider sex as their job."

If you can't find models through an agency, where do you get them from?

"I get a lot of letters from freelance models through my fanclub. A short time ago, a girl wrote to me, she wanted to have sex with 20 men at the same time. After that, she wanted to be f---ed by a black man and four very old guys. After that, she wanted me. We did it all to her, on film. That film is a big succes in Italy."

How do you explain that porn-models nowadays are so incredibly beautiful?

"Those models belong to a new generation, a generation who doesn't give a damn about what others think of them. They just do what they want, and they know how to enjoy life. If you would ask them why they haven't become "normal" actresses, they would tell you to f--- off. They would say: "I like to f---, that's why! What's the problem?"."

You're never afraid of aids?

"I never think of it. My blood is being tested every three months, like everybody else in this business. In the porn-bizz everybody does it, that's why the risk is relatively small. So professional actors and actresses are not worried about it. I had my last test just a couple of weeks ago."

What would you do if you were to test hiv-positive?

"I don't know. In any case I would stop working as an actor."

Are you not afraid of other veneral diseases, like herpes?

"Let me tell you a secret: in this business everybody has herpes, myself included. Every professional in the porn-world has herpes, male or female. It's the smallest thing you can get, it's really nothing serious. Now and then it shows up on your body, then you get small blisters or ulcers on your mouth or genitals. Sometimes it returns once in two years, sometimes two times a month. It's called Herpes Simplex.

"My doctor said every fourth person on earth has some kind of herpes, a quarter of the total world-population."

But you don't have to worry no more, for you already have it. (Sighs)

"Probably I got it even before I came into this business. "

I presume you don't work when blisters and ulcers show on your lips?

"No, then I have to rest for a week and take my medicine."

Something else; do you ever take some stimulants, like cocaine for example, to boost your performance on the set?

"Never, I don't use anything at all. I don't even drink or smoke. Never tried it in my life. I only know a few people who use cocaine. Even in the States the white powder is "out."

Do you understand men who are really jealous, who say: look, he's bedding the most beautiful women and gets paid for it as well.

"No, that's bulls---. In the beginning I also thought like that, when I was not a professional. On the one side it's true: indeed, porn-actors do f--- the most beautiful women for a living. But it is not only that. Because if you're not good enough, you only make two or three movies and that's it, then you're out again. To stay on the top is very difficult.

"We should get more respect from the people, I think. Because our job is much more than only the light side, to have sex with beautiful models. It's not that simple. You must be a real professional, you have to talk two or three languages, you must be able to act, you must look handsome and fit all the time. It's not like 20 years ago anymore.

"To most directors, it doesn't matter whether you're sick or not, the only thingh they want to see is your hard dick. And many models only work for the money, they don't even look at you. Then you have to maintain your erection alone with your right hand and a lot of fantasies. Furthermore, in Europe producers almost never work with live-sound, like they do in the States. So then sometimes ten or twenty people stand around the set, doing nothing else but cracking feeble jokes. You think that's easy? Nothing can be harder than acting in a porn-movie!"

***

Tigra aka Hannah, a 34E 5'2" girl from Manchester, England, talked to Luke F-rd over the phone Thursday afternoon, 7/23/98. In the industry since March, she's appeared in about 20 videos.

She had a bad experience with Rocco Siffredi, who apparently no longer performs on camera. He still produces. There have been numerous rumors that Rocco is HIV positive.

"Because the girls in Budapest do anything, because they need money... English girls are more reserved. I didn't perform with Rocco. I worked with Roberto who had the biggest cock I've ever seen.

"Rocco didn't tell me what he wanted. I'm new to this business. I've never done water sports [urination]. Rocco told Kirstyn it was just a basic threesome with a girl called Kelly, myself and Roberto [Malone]. It became violent. I didn't enjoy it. They didn't get my best performance, which upset me.

"Rocco said, 'let's do the cum shot.' So we opened our mouths, and the guy [Roberto] pissed in our mouths. I threw up. I cried. He [Rocco] was vicious. The next day, another British girl did it with him and the same thing happened. So he packed his bags and went back to Budapest.

"Roberto's cock was the fattest motherf---er ever. I couldn't even get my hands around it. While I was giving him a blowjob, he was holding on to my nose, wanting me to be sick [vomit] all over it. It's not my scene. I freaked.

"Then Rocco went mental on Kirstyn. 'This girl is crazy, crazy.' At the end of the day Rocco said that I should not have been cast for that scene...

"I've never done watersports. I wouldn't even let my boyfriend piss in my mouth, let alone a complete stranger. Kelly is his normal actress. She'd do anything for him. She'd s---, she'd piss...everything, get sick [vomit]... He'd piss in her mouth and she'd eat it. She was licking up all this piss off the table. I don't like that s---.

"Kirstyn says that Rocco seems to have lost it [gone mad]... I think he's been in Budapest too long. He seems to have gone really wacky. Kirstyn has worked with him loads of times in the past and he's never been like that. She's never known a scene to be so violent.

"In England, he didn't do any acting at all. He was just the cameraman... Perhaps the HIV rumors about him are true.

"British women are used to being treated like ladies. We're not like the girls in Budapest. I won't tolerate someone pissing and s---ting and constantly f---ing my ass for six hours nonstop. Then they moan about paying us. They only paid me $400... The anal was very hard because this guy's dick was so wide and long. His dick was like a baked bean tin. f---ing huge.

"They had me do reverse cowgirl anal. The anal scene went on and on. Longest of my life. They must've got two hours of oral and two hours of anal, and a bit of pussy f---ing. Then he wanted pissing scene. He wanted this and he wanted that.

"Rocco moaned to me, 'you must look like you enjoy it.' And I said, 'Rocco, I don't enjoy this... It's not my scene.'

"I hear that Kirstyn wanted him out. Him and Kirstyn had lots of problems and she wanted him out of the country."

Emmanuelle Richard of French National Radio writes to me 8/98:

If Rocco Siffredi doesn't perform so much, it might be simply because he is getting fed up with acting. A French porn actor with whom I went to dinner in Budapest last year arrived late from a Rocco shooting, really surprised by Rocco's deep involvement in his family. He said Rocco has changed a lot since he became a father and bought this ranch in the outskirt of Budapest. His wife is very Hungarian, meaning beautiful and sexy, but she is reportedly possessive and demands that he spend time at home.

This actor friend told me Rocco was obviously not into acting and had only one thing in mind: going back to his family and hugging his kid. I guess I smiled in disbelief, having heard reports from other actors about his monstrous conduct with girls on sets, peeing in their mouth and stuffing their vaginas with omelette. But during an interview with Rocco in Barcelona in September, I was surprised to see how little interested he was in speaking about his porn projects, how absent-minded he looked when talking to other professionals. He seemed blase, except when we came to speak about his family and suddenly moved his hands in every direction. He also said he wants to direct more and act less.

***

Ron Jeremy and Joey Silvera worked with Rocco in Heidelberg, Germany for Traci Orlovski's VTO in 1994, shortly after the Italian stud had been circumsized. "Rocco was putting his dick in milk on the advice of a doctor," says a source. "Joey and Ron would make a joke, 'ok, who's going to drink it [milk]?' Several times when he [Rocco] got a boner while it was healing, it started to bleed."

Email 4/18/99: "Rocco is a sensation in France for the hardest sex scene in his life - a mainstream French movie. In interviews, hee tells interesting things about how he started masturbating all the time at an early age (he told Libération "it killed my childhood") He thinks he inherited his grandpa's talents. His grandfather was a hot-blooded Italien who had 26 children with his two wives and was living off bull sperm. He was raising bulls so that farmers would bring him their cows, but he died at age 46, killed by an infuriated bull. Rocco was born a Taurus."

9/26/99

Svenesb writes on RAME: I watched Rocco's Animal Trainer last night, and I gotta tell you, my thoughs on this guy's movies are starting to change...He is getting repetitive, losing the eroticism and going for the extreme factor more and more. His early work, like Rocco in Prauge, was great...hardcore but maintaining a level of heat. Now he is going off the scale toward the land of Max, use the girls as dogs, rotten way of making films. Hey Rocco, I can do without watching a girl lick your hairy asshole for the 1,000th time.... I can do without the gynecological four finger in the ass strectch look... I can do without the execessive spitting... I can do without so much A2M... I can do without the slapping... I can do without your holding the girls nose while she gives head... I can do without the excessive drool during head... And while were on the subject, give Kelly $200 so she can get her damn teeth fixed, and another few hundred to tighten up her asshole, she is collecting flies with that thing... Come on Rocco, your were great, but now you are just another misogynistic asshole...Hot broads, enthusiastic sex from all, and some eroticism, will ya?

Lattara: Way back in 1995 Rocco in the film(s) he did with a girl called Sandy - the scenes are available I believe in various combinations - was flushing his partner's head down the toilet whilst f---ing her, having a young girl lick the hairy arseholes of a group of 10 or so elderly (and rather grubby looking) men and doing variants on slapping, spitting, tieing up and dripping candle wax on. I'm not making moral judgements here, but the suggestion that Rocco is *becoming* Max is way off beam. I found several reviews of Sandy Insatiable via the IAFD and as one reviewer (GS) comments:-

>I saw no evidence that either woman enjoyed any part of these scenes. > [the scenes in the toilet]. I've seen a good bit of Max Hardcore and >compared to these two scenes, Max looks like a nice guy.

And this guy had seen a version where the shot of Sidonie having her head flushed had been excised! Now I've seen other Rocco scenes where the girls get into things, so I don't want to say this isn't true. However, I think Rocco has always had his Max-ish side, and the little I've seen of Max's stuff suggests that (before he got that job in speculum sales) Max had his Rocco-ish side (albeit one that was about 4 inches shorter ).

Rocco Interview
2003-07-15 21:43:19

Renee writes on RAME: Below is my own English translation of the 2002 interview that Rocco Siffredi gave to a Spanish newspaper. I tried to make it as understandable as possible, but if anyone knows spanish better than me, please pass onto me any corrections. The interview talks alot about his career, his personal life, and some of his musings on his sexual philosophy.

The original article is at
http://www.elmundo.es/magazine/2002/162/1036066267.html

Rocco is a man who enjoys his work very much. by Juan Carlos
Rodriguez, from El Mundo (Spanish newspaper, Nov 3, 2002)

From a young age he clearly knew his vocation: to be star of porno films. And he has obtained unquestionable success, while preparing to retire in two years, when he reaches 40. Also producer of his films, before filming he insures his tool for 600,000 euros.

Married and father of two children, his children know about his career, although he covers their eyes when they see the naked photos. Rocco Siffredi has a good mind, in addition to natural talent.

Captions for photos: 1. The motos. He has his own Siffredi Team, and works to organize a championship of Supermotard. 2. As producer, he organizes casting calls to hire actors. 3. His wife: With Rosa Caracciolo, a 30 years old Hungarian, with which he has two children: Lorenzo and Leonardo.

When Rocco Siffredi got undressed in Bullfighter, the porno remake of Blood and Sand which takes place in the Madrid bullring of Chinchón, he already knew that sooner or later he would end up cutting off the bull's tail. In his case, a penis XXL (23 cm (9 in) in length and six cm in thickness) that, before each film, is insured by Lloyds of London for 600,000 euros. The care of his valuable tool of work is not worthless: it has already undergone the over-enthusiastic bite of an actress, and a wasp sting during an outdoor scene. Throughout his fruitful career as a stallion (two decades in active-duty), this Italian colt of 38 years has been in more than 1,300 films, as well as the hundreds of films produced by him. And he has had about 4000 lovers on film.

The past October, at the X Erótico Festival of Barcelona where he won the prizes as the best director and best actor for his last production, The Ass Collector, Rocco Tano ( born in Ortona, Italy, 1964),is unquestionably the masculine face of hard heterosexual film; he announced that he would retire by age 40. In the world this news caused more commotion than the retirement of the matador Jose Tomás. Not in vain, Rocco is the first sword of porno world-wide. But his retirement was seen to come. Siffredi (who took his stage name from the Borsalino film, where Alain Delon plays a gangster call asi ') is almost a grandfather in his profession. Although he is at the peak of his career, since he is also a producer (Rocco Siffredi Productions), his working rate as a performer has slowed down.
In fact, when we arrived at his house in Rome, located in Via Aurelia, an exclusive suburb 15 minutes from the airport, he was preparing an egg white, but not just for breakfast. Having sex 25 days a month, at two scenes per day (in porno, each scene is a sex act). When one ejaculates 50 times a month your sperm is exhausted and egg whites help. They contains pure protein, he wisely instructs. And, they give a dangerous power.

Of athletic and healthy build, with flat abs but with some incipient hair thinning, he is 190 cm in height; the best trick so that a pornostar stays in form for the long-haul is to find psycho/physical balance. How? In Naples they say that lu cazzo nun vo to pensier? (the penis does not want preoccupations). When you have a mind full of problems, it does not work well. I have a certain endurance and know that I do not have to surpass my limit. I have worked eight hours without losing an erection. Now I only work 10 days a month for films produced and directed by me. I do not smoke, I do not drink, I do not stay out late at night. I feel like a lucky person because my metabolism does not need drugs and alcohol. But if there is something that gives emotional stability to him and fills him with pride, it is his family. There is his wife (Rosa Caracciolo, an attractive 30 year old Hungarian that he met in 1993 at an erotic festival in Cannes) and his two children (Lorenzo and Leonardo, of six and three years respectively) the true center of his life. As an actor I no longer have motivations, he recognizes while the children run around the house, a modern house of three floors that Rosa decorated with minimalist style: parqué, crystal, aluminum...

Too much cold for the hot Rocco. But my main home is in Budapest, he clarifies.

The amputation of his virile member will be, of course, symbolic. The desire to perform sex will be always there. To me it would cut it only for a reason: the frustration that I surely will feel when I only work behind the camera. Guess why, with those women that act!

That frustration, believe me, I am feeling it with two years of
anticipation. So I do not have left more remedy than to worry my last cartridges with much intensity, as if I had left two years of life left. He cannot avoid it: this phrase comes with a libidinous smile.

Under his mature Latin appearance of an Italian lover, the soul of a devil hides; a combination that in its beginnings (1985) had to be irresistible. Those scenes are noted for their intensity, realism and hardness. As director, his conception of Hard Core derives from a semidocumentary direction, the pornographic neorealism his mark of identity.
A physical formula more prototypical of male dominants and in the style of Jamie Guilles, famous American pornostar of the 70s, Rocco is the first European porno actor with international vitality, affirms the critic Agustí Diaz, who emphasizes among the factors of Rocco's success. Rocco is one of the most honored actors in the porno world: more than one hundred prizes, including several AVN, the Oscar of porn) and the advantage of porno for the home televisions that, at the beginning of the 90s caused greater access to porn. According to Diaz, Rocco satisfies two fantasies: to men he is the cousin of Zumosol; for the women, the male of tender but perverse nature at heart.

PERSON And PERSONAGE. The question is asked: perhaps it is easy to turn 23 cm into a record? Responds Salvador Diago, president of International Film Group (IFG), the distributor of the Siffredi films in Spain (50 in five years, at the rate of 10 annually), Rocco is the most intelligent person of this industry that I know. And the one that sells more. Rocco is not the one to have the greatest member; in fact, there is one who surpasses him. But he is one of the few that has a good head on his shoulders. Most in the industry go downhill when they make money.

If Rocco emphasizes something, it is his professionalism. He always appears hard from the first scene. His fans idolize him for his animal passion, nothing false. He swears not to use stimulates, artificial anabolics nor viagra. He has never had to leave flat. He never fails. Neither in his businesses. He is an educated, serious, trustworthy type. Directors and actresses confirm this. And the best part of the story is that he always dreamed about being a star of porno.

Born in Ortona Mare, a city of 20,000 inhabitants on the Adriatic, in a humble family of six children (his father, Gennaro, worked as a municipal employee, and his mamma, Carmela as a housewife), Rocco, the 2nd youngest was interested early in sex. Go to the church of San Giuseppe, my mother, deluded, said: this will cure you. She did not know that, already at 9 years old I was reading the photomag Supersexy. The star Gabriel Pontello was my idol: the extraterrestrial that has sex with earthlings. I always knew that this career was the best work that one could hope for. One day his mother him found him masturbating in the bathroom; she did not reprimand him. This was a great shame of my life; In the house, sex
was taboo.

He earned his first money at 11 years old: three dollars to clean the beach of Ortona. I gave it to my mother. Her memory fills me with emotion, because she always ate the leftovers of the previous day so that her children ate fresh food. Until the year of her death, in 1991, Rocco sent half of his pay to her. At 13 years old in 1977, when the Majestic theater in Milan first showed Deep Throat Rocco lost his virginity with a girl of 25. From then on his life was a total desperation. He asked himself: how it is possible that my friends spend Sundays listening to soccer on the radio and they are not interested in girls? The atmosphere in Ortona suffocated me. There, if you have one girl, it's good; when you have sex with two, people begin to speak badly; with three, you are a pig, a sexual maniac. In order to be relieved he traveled to Pescara.

Nevertheless, he worried that he might end up working in hotels like his brothers. In school he remembers being timid, although not an introvert, and always respectful to the teachers. He then attended five years of vocational school: his parents hoped that his diploma of technician in electronics would get him a job with the telephone company, like his uncle. But Rocco does not do things out of obligation: something does not excite to you, is impossible. Without anything better to do, at 16 years he enlisted in the Navy; it lasted three months. Then one of his brothers asked him to work in his Paris restaurant. That trip opened to him the doors to an exciting world...

PILOT OF HELICOPTERS. It's 12 noon. Lorenzo, the older boy,
plays with a model helicopter from a bookcase in the study where the interview takes place. He does not know how to turn off the motor.

Rocco interrupts the conversation to mock-fight with him affectionately. I am taking away your membership card to the
helicopter, he says. Rocco's second childhood dream, after being porno actor, was to be a pilot. A fan of model airplanes, in his house in Budapest, where he resides mainly and makes all his films (it's the Mecca of the cinema porno: great scenes, cute girls, etc) he keeps his collection of remote-controlled helicopters. He has more than 20. Next to the three houses Rocco has on his Hungarian property, with three floors each and a total of 1,500 square meters, he has constructed a five hectare motocross circuit. Because, outside films, his great passion is motorcycles. I began to ride a Cagiva and have more than 30 models: aprillias, slings, supermotard, yamahas of different piston displacements... Why so many, I ask? I am shamed, believe me, Rocco answers sincerely, conscious perhaps that his eagerness as a collector is a response to a childhood full of restrictions.

But that's not all. He also collects clocks (40 of them), most of limited editions; he chooses one each day based on his mood. Today he chooses a IWC Pilot because it inspires him and it is going to dedicate all the day to us. Excessive in everything, he recognizes. It's pleasant to have sex with different girls, to drive different motocycles, to remote-control different helicopters. But strange as it seems, he stays faithful to his wife, which cause envy in his profession. After participating in the delivery of the prizes Hot D'Or de Cannes, in 1993, where Rosa worked distributing
publicity, Rocco proposed to her to act in a XXX version of The Bodyguard. She accepted. I have filmed a few scenes, but only with my husband, she clarifies.

For the photographic part of the interview, the driller of Ortona takes off his clothes and stays naked. (Disciplined, sex with a clock is covered with wall. Its instruments are in rest, perhaps although in erection it would not fit in a cubata glass?) That of Spanish pornostar Nacho Vidal, confesses Rocco himself, wouldn't fit into the glass. One of the differences between Rocco and Nacho, whom Rocco first supported and introduced to the U.S.A., is that to the Italian the force by the mouth does not go away to him. He does not have to demonstrate anything.

In Rocco's study there is pornographic material. Suddenly, the little rebel Lorenzo opens the door, notices something and he gives a kiss to his father, covering his eyes with his hands. The first-born knows what papa does for a living, but understands that he in not meant to do the same. Yes, when Lorenzo sees a picture of a girl without clothes, he asks: That girl is for you, poppa? Rocco says, I believe that my children must see my office with normality. My Brazilian colleague Franco Roqueforte, recently had a scare when his children said to him: we already know what you do for a living. They had seen a poster with Franco's naked torso at the entrance of sex shop.

After this news, Rocco invites us to eat in a nearby restaurant. And it is then that this journalist contemplated one of the more tender scenes than he has ever seen. In order to keep Rocco from leaving the house, something that happens frequently when he goes to work, his small son, Leonardo, has entangled himself between Rocco's legs. I'll return soon, his father says with a wave. Later, Rocco talks about the time that Leonardo was on the verge of suffocating while choking on some peanuts. A day went by without the doctors detecting the peanuts. That agony has been saddest one of my life.

Getting back to Rocco the young man in Paris, working at his brother's restaurant. There he knew a woman who introduced him to an alternative club: Le 103. It was like entering paradise. Now he was in his element. Rocco found out that he f-cked incredibly well with the girls; while Madame Denise introduced him to the very same Gabriel Pontello. The extraterrestrial of photomag Supersexy! His idol! Who could believe it? Gabriel said to me: good cock. Let's see what you know how to do. He named Rocco his successor. Immediately he made a debut in his first porno, Belle D'amour, by the Frenchman Michel Ricaud. Were there any was worries? When I began in this work I did not know what impotence was.

And that an actor had to prepare himself to have an erection seemed to me inconceivable. From a young age I had a faculty that, fortunately, with time became a virtue.

After leaving Claudia and Silvie, his young girlfriends in Paris, he got to know the English model Tina. We had a very hard sexual attachment. She helped me discover a new dimension to sex. She was a masochist. Did this influence Rocco in his way of understanding sexuality in the cinema? Sure, he says. Tina introduced him to the fashion world, and during the 2 years of the relationship, Rocco worked as a conventional model in Gawin's agency in London. After the breakup, he decided to dedicate himself professionally to porno. The actress and German producer Teresa Orlowsky, with whom he made 300 films, hardened him into a soldier to launch him in Europe and she facilitated the contacts to send him to the US. In 1991, the Curse of the Catwoman by John Leslie was filmed. The freshness and power in scenes of the driller of Ortona did not go unnoticed. The great John Stagliano, owner of the great world-wide pornographic company, Evil Angel, also was interested in Rocco. While Leslie looks to unravel the souls of his actors, in an atmosphere where the woman dominates the sexual ceremony, Stagliano goes more to the grain: his taste for the feminine buttocks causes him to be known as Buttman, title of a successful series acted in by Siffredi. Precursor of the format pro a.m. (professional with camera in hand which they try to catch the naturalness of amateur film along with improvisation); he is the Steven Spielberg of porno? This has created a new school of porno.

WITHOUT LIMITS. Rocco recognizes the influence of the these masters.. I contribute a sexuality of greater truthfullness. I am different from both Leslie and Stagliano in that I do not have limits. In order to understand what Rocco means by a strong scene, he recommends viewing Rocco's Way to Love (2001) or Stagliano's Fashionistas. Between his first film, Belle D'amour, and the last one, The Ass Collector, he has spent almost 20 years.

How has his career evolved? I did not then have personality. I was only aware that I liked to do it with a girl. Now, my face transmits more perversions; I put more ideas in the mind of the woman. According to Ramon Freixas and Joan Bassa, authors of sex in the cinema and the cinema in sex (Ed. Paidós Studio), the extreme aggressiveness that is displayed in these films, the testosterone apotheosis, the certainly degrading image of the woman, brutalized by their impetuous aims, are some of the accusations that stoke the controversy of the porno cinema. There are some who say that these productions are evil. Rocco defends himself: violence is, simply, the form by which I live my sexuality, and there are many women who understand this. They are the ones that confess to me that what they do with me they would not do it with anybody else, actor or producer. Believe me, after having sex with 4,000 women (documented number) I know that the women have fewer limits than the men.

Carmen, one of the few Spanish actresses that has worked with the Italian colt recognizes this. Some women had told her that Rocco is a brute. It caused me to be nervous (she said), because on the film set he is God, but there was no problem: He asked me what I liked and what not. He seemed to me romantic and charming. Like any actress who works with Rocco, Carmen had to contribute a certificate of AIDS and hepatitis to demonstrate that she was clean. The dictatorship of the market forces the filming of all the scenes without condoms.

Later that afternoon, Rocco takes care of a telephone call. It is Catherine Breillat, the French director who offered the first conventional screen role to him, in Romance (1999). Its debut was preceded by a certain scandal due to its explicit sexual scenes. The hook of Italian pornostar contributed to the success of the film. Later she made two other films that did not have any repercussions, Siffredi explains. She has offered me a homosexual role. She said to me that the role has a relationship with a young person of 16 years. Although according to her I was well-suited to the role, I refused. I
don't work with animals nor with minors. Now she says to me that they will look for an 18 year old horse, for me. I have replied no to her. Would his manhood be questioned? If that film harnessed to me like actor... But that is not an artistic, but a commercial proposal, just to cause scandal. And in the end everybody would speak of those scenes with Rocco. If the screenplay came from Pedro Almodóvar, not myself, I would think about it. Rocco would then work for free.
Rocco has received offers from his compatriots Bertolucci and Scorsese. While time goes by, several projects make the rounds to him: to open a restaurant and, in particular his escudería (Siffredi Team), to organize the next Italian national championship of Supermotard. The prize? To have sex with 100 gorgeous women that come from Prague. I will be filming during the race. To the current champion of the world of 500 cc, Valentino Rossi, fan of the actor, it would not matter to appear just as an extra in the film. But the sponsers? They prevent it. It's become late. Rocco says goodbye amiably. We're invited as guests to the exciting Supermotard championship. On the following day I call him to confirm the measurement of his tool. On the Internet it was found: 25 cm, although at its final moment it can grow to 28 cm. I thought that an porno actor of his category would defer to respond. But, like always, his answer was humble and sincere: only 23.
From Hardcoregossip 11/14/04:

HCG: Did it freak you out to play a gay guy [in the mainstream movie Anatomy of Hell]?

RS: No. Honestly, not too much, because for me to get a blowjob from a guy would have been easier than to kiss the guy. I thought the kiss was too much because it was too intimate, but the blowjob would have been easier because I can make my dick hard, whatever.

HCG: You can close your eyes.

RS: It's what we do, we are used to just getting hard. I thought for the movie, it would have been much more right to have a kiss, that is why I did it. Nobody forced me to do it. It was my idea, so that people would look at me like a real actor and not just Rocco Siffredi the porn star. Who is going to believe I'm gay?

I had fun with Belladonna and a few girls in America, but usually it is just better working with European girls. They start out better I think. For example, in this movie, today is the last day of the movie, my last movie, and I didn't get f-cked one time right. Everything was just wrong. Once people are in a position of importance, it's like they can't just lower themselves and say let's have fun. In every scene I have had to deal with problems of ego. Like my first scene of this movie, with Tawny Roberts, I got a black eye. I don't know the reason.

Actually that scene was one of the nice ones, even though it was completely f-cked up because she was drunk so I couldn't f-ck how I wanted to.

Pogledao sam dokumentarni film ŽIŽEK! Astre Taylor, i iako su mi osnovne teze uglavnom bile poznate iz čitanja njegovih dela, jako sam se dobro proveo zbog Slavojeve zaista izuzetne filmičnosti.

Vrlo mi je zanimljivo i to što neke od svojih ključnih poenti koristi na više mesta, recimo, neke od uspelih momenata sa predavanja u Argentini imali smo i u intervjuu na HRTu, mada je gotovo sigurno da je Aca Srbin prethodno pogledao dokumentarni film.

U svakom slučaju pored toga što je jako inspirativan, Slavoj je zanimljiv pre svega zbog toga što bilo da ga posmatraš kao šarlatana ili kao ozbiljnog mislioca, on sam snažno podstiče na razmišljanje i interpretiranje, najpre sebe samog pa onda i svega drugog.

* * * / * * * *

Posle napornog rada proteklih par dana, najzad sam uspeo da se fino opustim uz jednoipočasovni pilot MOONLIGHTINGa.

Pilot mi je legao kao dobar eighties private eye film, sa vrlo oštrim i vitalnim humorom Glenn Gordon Caron sa mišićavom i znalačkom egzekucijom Richard Butlera gde se sve odvija baš momački a ne beži se ni od krvi ni od snažnog saspensa. U suštini jedini comic relief u celoj stvari nudi Bruce Willis ali on ga tako isporučuje, kako je samo najbolje moguće, i na bazi ovoga je u velikoj meri i formiran kanon akcijaša osamdesetih oslonjenog na detektive.

U svakom slućaju, još je važnije to što MOONLIGHTING stoji vrlo ubedljivo i dan-danas sa svojim odličnim zapletima i vrlo ubedljivom režijom. Meni je lično ova serija vratila dobru dozu 80s cop užitka koji mi često nedostaje.

Moonlighting (TV series)
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Moonlighting

Genre Comedy, Mystery, Romance
Creator(s) Glenn Gordon Caron
Starring Cybill Shepherd
Bruce Willis
Allyce Beasley
Curtis Armstrong
Country of origin  United States
No. of episodes 66 (List of episodes)
Production
Running time 42-44 minutes per episode
Broadcast
Original channel ABC
Original run 3 March 1985 – 14 May 1989
Links
IMDb profile
TV.com summary
Moonlighting is a television series that first aired on ABC in the United States from 1985 to 1989 with a total of 66 episodes. The show starred Bruce Willis and Cybill Shepherd as private detectives and was a mixture of drama, comedy and romance that is now considered one of the greatest spoofs of television detective shows. The show's theme song is performed by popular jazz singer Al Jarreau and became a minor hit. The show is also credited with making Willis a major star while reviving Shepherd's acting career.

Contents [hide]
1 Introduction
2 Format innovations
2.1 Breaking the fourth wall
2.2 Fantasy
2.3 Other
3 Production problems
4 Ratings and decline
5 Cancellation
6 Guest stars
7 Notes
8 DVD Releases
9 See also
10 External links



[edit] Introduction
The series revolved around cases investigated by Blue Moon Detective Agency and its two partners, Madolyn 'Maddie' Hayes (Cybill Shepherd) and David Addison (Bruce Willis). The show, with a mix of mystery, sharp dialogue and sexual tension between its two leads, introduced Bruce Willis to the world and brought Cybill Shepherd back into the spotlight after nearly a decade-long absence. The characters were first introduced in a two-hour TV movie which preceded the show.

The show's storyline begins with the reversal of fortune of a former model, Hayes, who finds herself bankrupt after her accountant embezzles all of her liquid assets. She is left saddled with several failing businesses formerly maintained as tax write-offs, one of which is the City of Angels Detective Agency, helmed by the devil-may-care Addison. In the pilot episode, he convinces Hayes to keep the business and run it in partnership with him. Hayes's detective agency is called "Blue Moon Investigations" because Hayes was most famous as the spokesmodel for the (fictitious) Blue Moon Shampoo company. In many episodes, she was recognized as "The Blue Moon Shampoo Girl," if not by name.

The show also starred Allyce Beasley as Agnes DiPesto, the firm's quirky receptionist who regularly answered the phone in rhyming couplets, a la Dr. Seuss. In later seasons, Curtis Armstrong — familiar as the character Booger from the Revenge of the Nerds films — joined the cast as Herbert Viola, a temporary employee turned Blue Moon investigator and a love interest for Agnes.


[edit] Format innovations
The series was created by one of the producers of the similar Remington Steele with the network explicitly wanting a "boy/girl detective show" à la Remington Steele. The tone of the series itself was left up to the production staff to come up with, resulting in Moonlighting becoming one of the first successful type of "dramedy" themed television series. The show made use of fast-paced, overlapping dialogue between the two leads hearkening back to classic screwball comedy films, such as those of director Howard Hawks, but which also led to chronic delays in writing production during the series' five-year, off and on run.


[edit] Breaking the fourth wall
Moonlighting used a technique called breaking the fourth wall. Fourth wall refers to the conventions separating the contrivances of a television program and its real audience, usually meaning that, at least within the confines of the show, the events and characters being presented are "real." Moonlighting broke with this convention, with many episodes including dialogue which made direct references to the scriptwriters, the audience, the network, or the series itself. Variations of this technique had been used previously in television programs such as Burns and Allen and The Many Loves of Dobie Gillis, although Moonlighting was the first scripted television series to weave self-referential dialogue directly into the show's plot.

Also unlike the earlier shows, Moonlighting sometimes broke the fourth wall in much more involved and complex ways — in several episodes, the plot suddenly transitioned into extended sequences which involved crew dismantling or changing the sets, characters wandering off the set into other parts of the studio, production crew stepping into the scene as a deus ex machina, or actors dropping character and referring to each other by their real names.

In the second season's Christmas episode, lead characters David Addison (Bruce Willis) and Maddie Hayes (Cybill Shepherd) walk out of the office through where a wall should be to where the show's staff is singing Christmas carols. In the final episode of the second season, "Camille", David and Maddie flee from one set to the protests of the crew who say, "You can't leave. We've still got two more pages to shoot on this set!" The chase goes across the lot where they encounter the receptionist Agnes DiPesto (Allyce Beasley) leaving for the day. They tell her, "You can't leave; you're in this scene!" The protagonists get to their office set and lock the door, but the villain is already waiting. As he is about to pull the trigger, a propmaster takes his gun away. The set is disassembled while the stars explain how this episode would have been wrapped up. In the show's final episode, the lead characters return to their office to find a network executive who tells them the show has been cancelled as the set is (again) dismantled by crew members.


[edit] Fantasy
The series also embraced fantasy; in season two, the show aired "The Dream Sequence Always Rings Twice", an episode that featured two lengthy and elaborately produced black and white dream sequences. The episode was about a murder that had occurred in the 1940s that David and Maddie are told about by a client who hired them to unsuccessfully find out if his wife was cheating on him. Maddie and David feud over the details of the crime, which involve a man and woman who were executed for the death of the woman's husband, with both claiming the other was the real killer and had implicated the other out of spite. After a fourteen minute set-up sequence, the show switched to two black and white dream sequences where the two dreamed their version of how the murder took place. The two sequences were filmed on different black and white film stock so that they would look like true period films. (On the commentary on the DVD it is said that they used black and white film instead of color so that the network wouldn't later use the color film).

ABC was still displeased with the episode however and fearing fan reaction to a popular show being shown in black and white, demanded a disclaimer be made at the beginning of the episode to inform viewers of the "black and white" gimmick for the episode. The show's producers hired Orson Welles to deliver the introduction, which aired a few days after the actor's death.


Cybill Shepherd as Maddie Hayes in "Atomic Shakepeare"Another famous fantasy episode was "Atomic Shakespeare", which featured the cast performing a variation of Taming of the Shrew, complete with Shakespearean costumes. The episode was wrapped by segments featuring a teenager imagining the episode's proceedings because his mother forced him to do his homework instead of watching Moonlighting.

[edit] Other
In addition, the show mocked its connection to the popular Remington Steele series by having Pierce Brosnan hop networks and make a cameo appearance as Steele in one episode. The show also acknowledged Hart to Hart as an influence: in the episode "It's a Wonderful Job", based on the film It's a Wonderful Life, Maddie's guardian angel showed her an alternate reality in which Jonathan and Jennifer Hart from the earlier series were the owners of Blue Moon. Although Robert Wagner and Stefanie Powers did not appear in the episode, Lionel Stander reprised his role as the Harts' assistant Max.

Both Shepherd and Willis sang musical numbers over the course of the show. In "The Dream Sequence Always Rings Twice", Shepherd performed both "Blue Moon" in Maddie's dream sequence and The Soft Winds' "I Told Ya I Love Ya, Now Get Out!" in David's, while in "Atomic Shakespeare", Willis sings The Young Rascals' "Good Lovin'". Willis also frequently broke into shorter snippets of Motown songs. Both "Good Lovin'" and "I Told Ya I Love Ya..." appeared on the show's soundtrack album.

The episode "Big Man on Mulberry Street" centers around a big production dance number set to that Billy Joel song. The sequence was directed by veteran musical director Stanley Donen.


[edit] Production problems
The show was plagued by production problems throughout its run, and it became notorious for airing reruns when new episodes had not been completed in time for broadcast. The first two seasons of Moonlighting focused almost entirely on the two main characters, having them appear in almost every scene. According to Cybill Shepherd,

"I left home at 5 A.M. each day. Moonlighting scripts were close to a hundred pages, half again as long as the average one-hour television series. Almost from the moment the cameras started rolling we were behind schedule, sometimes completing as few as sixteen episodes per season, and never achieving the standard twenty-two." [1]
Glenn Gordon Caron partly blamed Cybill Shepherd for production problems: "I don't mean to paint her as the sole bearer of responsibility for the discord. But if I said to you, `You're going to have a great new job -- it's a life-defining job -- but you're going to work 14-15 hours a day, and by the way, you'll never know what hours those are -- sometimes you'll start at noon and work until 3 a.m., other times you won't know when or where it will be [until the last minute]. It can be very difficult, it requires an amazing amount of stamina. It's easier to do if you're still reaching for the stars, it's a lot tougher if you're already a star, if you've already reached the top of the mountain." [2]

Producer Jay Daniel talked about the difficulties between the costars in the later seasons: "Well, I was the guy that more often than not would be the one that would go into the lions den when they were having disagreements. I'd sort of be the referee, try to resolve it so that we could get back to work. So there was that side of it. Everybody knows there was friction between the two of them on the stage. In the beginning, Bruce was just a guy's guy. Let's just say he evolved. Over the years, he went from being the crew's best friend and just being grateful for the work and all of that to realizing that he was going to be a movie star and wanting to move on. Part of that was because of his strained relationship with Cybill. That sometimes made the set a very unpleasant place to be. Cybill -- I got along with her very well at times, other times I'd have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six thirty in the morning with pages of dialogue she hadn't seen before, she'd work very long hours, and then be back in the makeup chair at six thirty the next morning." [3]

The delays became so great that even ABC mocked the lateness with an ad campaign showing network executives waiting impatiently for the arrival of new episodes at ABC's corporate headquarters. One episode featured television critic Jeff Jarvis in an introduction, sarcastically reminding viewers what was going on with the show's plot since it had been so long since the last new episode.

The episode, "The Straight Poop", also made fun of the episode delays by having Hollywood columnist, Rona Barrett, drop by the Blue Moon Detective Agency to figure out why David and Maddie can't get along. In the end, Rona convinced them to apologize to one another, and promised the viewers that there would be a new episode the following week.

Even with the introduction of co-stars to relieve the pressure on Shepherd and Willis, a number of other factors caused problems: writing delays, Shepherd's real-life pregnancy and a skiing accident in which Willis broke his collarbone. To counter these problems, with the fourth season, the writers began to focus more of the show's attention on supporting cast members Agnes and Herbert, writing several episodes focusing on the two so that the show would be able to have episodes ready for airing.


[edit] Ratings and decline
Although Moonlighting was a hit in the Nielsen ratings in its early seasons, the show's ratings began to decline after the season three finale, which infamously had Maddie and David consummate their relationship after three years of romantic tension. Moonlighting is popularly cited as an example of a television show jumping the shark due to the two sleeping together, which many felt destroyed the sexual tension that drove the show. The X-Files producer Chris Carter repeatedly cited the show as a cautionary tale, influencing his desire to keep his lead characters' relationship platonic.

However many fans of the show and an equal number of critics dismiss the "They Did It" notion that having Maddie and David sleep together led to the show's decline. Glenn Gordon Caron, in commentaries on the 3rd season DVD set, also didn't think that the show had to decline after that event. A number of factors lead to the series' decline and eventual cancellation that had little to do with the lead characters consummating their relationship.

In the fourth season, Willis and Shepard had little screen time together. Jay Daniel explained that, "we had to do episodes where there was no Cybill. She was off having twins. Her scenes were shot early, early on and then you had to integrate them with scenes shot weeks later. You were locked into what those scenes were because of what had already been shot with Cybill." [4] Bruce Willis was also making "Die Hard" during this period. When that movie became a boxoffice success, a movie career beckoned and his desire to continue in a weekly series waned. In a series that depended on the chemistry between the two main stars, not having them together for the bulk of the fourth season hurt the ratings.

The series lost Glenn Gordon Caron, as executive producer and head writer when he left the show over difficulties with the production: "I don't think Cybill understood how hard the workload was going to be. A situation arose with her, and at a certain point it became clear that... umm...suffice it to say I wasn't there for the last year and a half." [5]

Neither of the principal stars was vested in the last season of the show. Bruce Willis, fresh from his "Die Hard" success, wanted to make movies. Cybill Shepard, having just given birth to twins, had grown tired of the long, grueling production days and was ready for the series to end.

When Maddie returned to Los Angeles near the end of the season, the writers tried to recreate the tension between Maddie and David by having Maddie spontaneously marry a man named Walter Bishop (Dennis Dugan), whom she met on the train back to LA. This was widely criticized as a cynical and poorly executed plot development, in terms of artificially creating a love triangle storyline to try and drive the conflict of the series which led to an even further ratings decline.


[edit] Cancellation
In the 1988–1989 TV season, the show's ratings declined precipitously. The series went on hiatus during the February sweeps, and returned on Sunday evenings in the spring of 1989. Six more episodes aired before the series was cancelled in May of that year.

In keeping with the show's tradition of "breaking the fourth wall", the last episode (fittingly titled "Lunar Eclipse") featured Maddie and David returning from Bert and Agnes' wedding to find the Blue Moon sets being taken away, and an ABC network executive waiting to tell them that the show had been cancelled. The characters then raced through the studio lot as the world of Moonlighting was slowly dismantled and another executive lectured them on the perils of losing their audience and how fragile romance is. The final scene was a message stating that "Blue Moon Investigations ceased operations on May 14, 1989 — and the Anselmo case[6] was never solved."

As the show had not produced enough episodes to gain a syndication contract, following its original run it was not widely seen until its DVD release, although it occasionally appeared on cable channels (including Lifetime and Bravo in the U.S., and W in Canada) in the late 1990s. ABC1 carries the show in the UK.

Počeo sam da gledam GRINDHOUSE.

Prtvo ću se osvrnuti na trejlere.

Trejleri su najbolji deo ovog filma. Tepško ih je rangirati pošto su svi odlični.

THANKSGIVING - genijalan trejler ali gde je ovakav Eli Roth kada treba da se radi celovečernji film?

DON'T - savršeno skinut šmek dubbovanog Giallo filma sa hammer atmosferom. Wright sjajno koristi glas spikera i odlično stvara atmosferu dabovanog filma koji zato nema dijaloge u trejleru a sa svojim senzacionalističkim kadriranjem i rezovima stvara pravu bavijansku atmosferu. Voleo bih da gledam ovaj film.

WEREWOLF WOMEN OF THE SS - najpotcenjeniji trejler od svih. Meni je fenomenalno legao zato što odlično simulira tu kabaretsku, dekadentnu atmosferu serioznih scena u ovakvim filmovima koje uvek u sred totalnog exploitationa imaju te dodire snažnog pijeteta. Vrlo je autentično skinuo atmosferu tako da mi se čini da ovaj film ne bi gledao pošto znmam, kako to izgleda kad traje stotinak minuta. Trejler malo kvari anarhičan twist ending.

MACHETE - izuzetno zanimljiv trejler, odlično skinuta atmosfera iako Rodriguez u nekoliko situacija citira štošta što smo vć videli u DESPERADOu. zanimljivo je da stvarni film SHOOTER Antoine Fuque sada ide u bioskopima i ima isti plot kao MACHETE.

PLANET TERROR - Ovaj Rodriguezov film me je najviše podsetio na jedan film koji niko od nas do sada nije gledao, pa ni Rodriguez, ali se nadam da ćemo ga svi gledati, a to je pančevački zombi horor ZONA MRTVIH.

No osnovu Todorovićevog i Konjevićevog scenarija, a sada i na osnovu Rodriguezovog filma, vidim kakve posledice može ostaviti nekontrolisano gledanje Cannon filmova.

Mislim da bi ovaj film trebalo da bude jako dobra škola ekipi ZONE MRTVIH da izbegne neke od grešaka koje je napravio Rodriguez pošto u suštini pokušavaju da naprave istu stvar.

Mislim da će ekipa ZONE biti douševlčjana kada bude videla koliko Rodriguez misli na njihovoj frekvenciji, ne samo u filmu već i u trejleru za MACHETE. I PLANET TERROR zaista može biti jako dobra lekcija, i tu se uopšte ne šalim.

Prvo ni sam Rodriguez, iako živi u zemlji u kojoj su svi filmski kanoni izmišljeni, ima malo problem da nam proda određene segmente svoje stilizacije. Naime, njegov film se dešava sada, ove godine, a on povremeno, spontano kliza nmazad u sedamdesete i osamdesete i ne samo da stilski evocira te filmove već ih evocira i po sadržaju, ui po izvesnim elementima dizajna. Otud, na nivou dizajna Rodriguez jako meandrira između nečega što je savremeni film i nečega što je izvorni grindhouse i paradoksalno najbliži je izvornom grindhouseu onda kada i snima predele, ljude i automobile koji liče na to vreme.

Isto tako u odnosima među likovima,  Rodriguez ne uspeva da postavi jasnu liniju iz kog su oni filma. Tu ima i De Palme, i Carpentera i raznih nekih Cormanovih pravaca, i sve je to na svoj način grindhouse ali je jako nekoherentno. Za razliku od KILL BILLa gde su takođe pravljene posete raznim žanrovima ali je to sve bilo savršeno spojivo u Tarantinovoj viziji.

Rodriguezov film se zbog nedostatka tog unutrašnjeg tkiva, i zajedničkog stilskog ključa pretvara u jednu papazjaniju raznih atrakcija, koje su spopradično genijalne, ali nisu emotivno pripremljene i samim tim nemaju adekvatnu težinu. I to je šteta pošto je ovaj film, iako prepun ripper skevenci, akcije, gorea, suspense momenata u suštini dosadan, a u sebi na nivou samih scena ima odličnih ideja i rešenja za dva filma.

U svakom slučaju, PLANET TERROR je zanimljiva diverzija, koja se bavi atraktivnim stvarima, sa odličnim glumcima, na odličćnim lokacijama, ali ne uspeva da dobaci ni do trećuine zbira tih kvalitetnih elemenata.

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Pogledao sam 1990: I GUERRIERI DEL BRONX Enza G. Castellarija, courtesy of Ginger.

Reč je o vrlo zanimljivom filmu, pre svega zbog toga što u njemu vidimo susret jednog superiornog reditelja sa apsolutno besmislenim, da ne kažem besprizornim materijalom. Iako castellari svakako nije neki naročit velikan sedme umetnosti, on nije reditelj bez izvesnog dara, čak i određene veštine, a baš u ovom filmu možemo videti koliko zapravo jedna potpuna budalaštima može opstati povezanma isključivo rditeljskom veštinom.

BRONX je snimljen u jako skromnim produkcionim okolnostima i Castellari je celokupnu anti-utopiju, to jest carpenterovski separatisani BRONX izgradio kao pastiš već postojećih kostima i lokacija, a opet sa jasnom namerom da stvori neku oneobičnu atmosferu. castellari dosta drži do naci dizajna, junaci nose nemačke uniforme i šlemove u eraznim dezenima, i iako je banda multirasna, označava se kukastim krstovima. U ovome se jasno može prepoznati logika eksploatacije pošto je Castellari očigledno odlučio da iskoristi kostime iz nekog B-filmskog fundusa i postavio ih je u novi kontekst. Jako je zanimljivo kako castellari grčevito insistira na nekim sitnim detaljima, referencama na pop kulturu, nacizam i hipi pokret ne bi li stvorioneki apartan filmski univerzum vredan cene karte.

I u tom na nekom nivou uspeva. BRONX je ako uzmemo u obzir derivativnost scenarija koji je najviše rip-off ESCAPE FROM NEW YORK i WARRIORSa, ipak nekako gledljiv, čak na nekom retro nivou i privlačan za gledanje.

A onda opet kada tako savlada produkcione okolnosti, Castellari dozvoli sebi da u glavnoj ulozi ima tu nesretnu spodobu, nekog visokog mršavog kosijanera u pripijenim farmerkama, i korsetiranih bilderskih grudi, sa potpuno suludim hodom, koji čitavu pričui potpuno obesmisli u glumačkom smislu, naročito suočen sa ozbiljnim glumcima kao što su Vic Morrow ili Fred Williamson. Taj čovek daje zaista novo značenje etiketi unappealing lead, i iako je naravnop dragocenije da ga vidimo nekad na ekranu, nego da ostane zaboravljen, takva podela je u svakom smislu nedopustiva i protivna svakoj logici.

Ne znam da li neko pobliže poznaje biografiju ovog filma i zna li, da li je do njegovog kastovanja doveo neki vanfilmski interes.

U svakom slučaju, BRONX je vrlo zabavan film, koji bi da nije tog užasnog glavnog glumca bio egitman exploitation a ovako je ostao najpre kuriozitet.

* * / * * * *

Quote from: "crippled_avenger"

A onda opet kada tako savlada produkcione okolnosti, Castellari dozvoli sebi da u glavnoj ulozi ima tu nesretnu spodobu, nekog visokog mršavog kosijanera u pripijenim farmerkama, i korsetiranih bilderskih grudi, sa potpuno suludim hodom, koji čitavu pričui potpuno obesmisli u glumačkom smislu, naročito suočen sa ozbiljnim glumcima kao što su Vic Morrow ili Fred Williamson. Taj čovek daje zaista novo značenje etiketi unappealing lead, i iako je naravnop dragocenije da ga vidimo nekad na ekranu, nego da ostane zaboravljen, takva podela je u svakom smislu nedopustiva i protivna svakoj logici.

Ne znam da li neko pobliže poznaje biografiju ovog filma i zna li, da li je do njegovog kastovanja doveo neki vanfilmski interes.

Quote from: "crippled_avenger"

A onda opet kada tako savlada produkcione okolnosti, Castellari dozvoli sebi da u glavnoj ulozi ima tu nesretnu spodobu, nekog visokog mršavog kosijanera u pripijenim farmerkama, i korsetiranih bilderskih grudi, sa potpuno suludim hodom, koji čitavu pričui potpuno obesmisli u glumačkom smislu, naročito suočen sa ozbiljnim glumcima kao što su Vic Morrow ili Fred Williamson. Taj čovek daje zaista novo značenje etiketi unappealing lead, i iako je naravnop dragocenije da ga vidimo nekad na ekranu, nego da ostane zaboravljen, takva podela je u svakom smislu nedopustiva i protivna svakoj logici.

Ne znam da li neko pobliže poznaje biografiju ovog filma i zna li, da li je do njegovog kastovanja doveo neki vanfilmski interes.

...na to sam ti ukazao, i nedavno kada sam ga po treći put ukupno odgledao- bunario sam i ništa- ta casting odluka mi je huge nepoznanica...taj Christopher Connelly nije imao nikakav market valure, pre toga se smuca po TV serijama, epizodu ili dve, nekim sumnjivim prdukcija, a, na pravdu Boga, tako je nastavio i nakon ove Castellarijeve urmašice do 1988. kad se sirot upokojio...

...ja mislim da je ipak svemu kriva suštinska quicky priroda samog poduhvata, ta pritajena aljkavost, taj manjak potpune usresređenosti i celishodne predanosti, koje uvek vrebaju zgodnu priliku to rear its ugly head...

Quote from: "ginger toxiqo 2 gafotas"taj Christopher Connelly

je top-billed na posteru OCCHIO DEL MALE, vrlo slabog fulčijevog filma, čiji mi poster visi iznad kompa dok ovo pišem...

čekaj, to nije Chris Connelly iz Acid House?  
ko je onda jennifer connelly?

Dženifer je muško ime u Sandžaku.

misliš đenifer? u sanđaku?

Quote from: "crippled_avenger"Dženifer je muško ime u Sandžaku.

Dzafer jeste musko ime u Sandzaku, verovatno i ubosni ali Dzenifer..  To jok.

Možda nije u Sandžaku, možda je samo u Raškoj...

Raska cak ni nije u Sandzaku

a džasmin?

Quote from: "Zika Kisobranac"a džasmin?

To ime mozda koriste romi (da budem politicki korektna). Muslimani koriste ime Jasmin

Romi? Jesu to Cigani?

Mislim da je vreme da razdvojimo ove termine. Rom je pripadnik etničke zajednice (kako i piše u našim, jelte, zakonima), a ciganin je više oznaka životnog stila. Neka od sada tako bude.

Quote from: "Meho Krljic"ciganin je više oznaka životnog stila.

I navijanja za Crvenu zvezdu.

veliki Muharem Serbezovski duhovito piše u BH časopisu Dani:

Da, neki kažu da je Rom politički izraz. Kad jedan Ciganin razgovara sa drugim, on ga pita "da li si Rom?". Sudeći po tome kako nacija sebe naziva, pravilno je Rom. Ali, ja imam književnički ugao gledanja. Kad književniku kažeš Rom, to je prazno, a kad kažeš Ciganin, to je inspiracija puna kontraverze i stvaralaštva. Možda je najprirodnije reći ovako: bolje da sâm sebi kažem da sam Ciganin nego da to bude neko drugi. To je kao u onom vicu kad kapetan pita razne profile i kaže: Ti si taj Srbin, četnik, majku ti j...m četničku, pa prilazi Hrvat isto, njemu ustašku majku, i redom sve do Cige. Dolazi do njega i pita: Šta si ti? A on odma' kaže: Ja sam Cigo, p...a mi materina.

http://www.bhdani.com/arhiva/249/t24910.shtml

Pogledao sam, doduše, na 2x blockbuster Ajinog tatka Alexandre Arcadyja HOLD-UP koji sam voleo kada sam bio dete, mada mi je draži opet bio američki rimejk sa Bill Murrayem.

Arcadyjev film je dosta trom pokušaj euroamerikane, kompetentno režiran, ali bez glatkoće i underplaya koji donose američki glumci, sa dosta Belmondove gramzivosti da svoj ogroman evropski uspeh konvertuje i preko okeana, iako ovo zaista nije bio način.

Za razliku od onoga što će Letterier postići nekih dvadeset godina kasnije sa TRANSPORTERom, Arcady u ovom filmu aposlutno ne da nije ponudio nešto novo, nego nije ponudio čak ni novu kombinaciju poznatih elemenata, i ceo kanadski film je spao na nivo frabncuskog high koncepta.

Međutim na 2x sa solidnim prevodom, plus Kim Catrall u besramno ranoj roli (mada ne onoliko radikalnoj kao PORKY'S) film može da prođe kao usputna nostalgija.

* * / * * * *

Pogledao sam GINGER, courtesy of Ginger, začetak trodelne franšize besramnih exploitation filmova kojima je Ginger ulio dostojanstvo nazvavši ih "belom CLEOPATROM JONES".

Međutim, filmovi o Cleopatri Jones su zaista high art u odnosu na ovo. Što ne znači da filmovi o Ginger nisu zanimljivi, premda nisu baš lagani za gledanje pošto i eksploatacija bez supstance ima neka pravila po kojima se radi a reditelj Don Schain ih se baš i ne drži.

Naime, GINGER je vrlo teatralno napisan krimić o undercover agentici koja raskrinkava kriminalni ring u Džersiju, sa ekstremno teatralnom postavkom fotografije, koja ubija potencijalnu atraktivnost radnje.

I ta teatralnost najviše podseća na dramske scene iz pornića, samo što za ovoliku količinu dijaloga i improvizacija, nema gotovo nikakvog pay-offa iako golotinje realtivno ima, međutim egzekucija je krajnje aseksualna.

Plašim se da je GINGER kao serije jedna fusnota koja ne nudi puno prostora za ponovno otkrivanje.

Doduše sa letvicom koju je podigao Bo Vibenius, teško je i naći dostojnog naslednika.

* 1/2 / * * * *

Quote from: "crippled_avenger"Plašim se da je GINGER kao serije jedna fusnota koja ne nudi puno prostora za ponovno otkrivanje.

Navodno su drugi i treci deo mnogo bolji.

Rado bih pogledao oba. Inace, isti reditelj je sa istom glumicom, inace svojom suprugom snimio spijunski akcioni triler u kome se njena junakinja zove Samantha Fox.

Sinoć sam u bioskopu pogledao PERFECT STRANGER James Foleya.

Moram priznati da sam se uželeo generic erotskih trielra, iako ovaj film nije baš erotski, ali jeste na toj liniji, post-BASIC INSTINCT kinematografije.

Naravno, iz ove vizure i COLOR OF THE NIGHT i JADE deluju kao klasici, tako da PERFECT STRANGER ima dosta oštru konkurenciju. Ipak, moramo imati na umu da je koncept osmislio čoevk koji ima mnogo veći staž u serial killer filmovima i smišljao je TAKING LIVES DJ Carusa, tako da je ta nineties estetika kontaminirana tim presahlim serial killer revivalom.

Pa ipak, film je insanely watchable iako u suštini nije ni napet, niti je nešto naročito enigmatičan. Međutim, Foley vrlo sigurno drži rediteljsku kontrolu priče i daje je maksimalno efikasno, pojačavajući sve to odličnim ulogama Bruce Willisa i Giovanni Ribisija zahvaljujući kojima uspevamo da prevaziđemo slabosti Halle Berry.

Koliko je kinematografija morala otići dođavola kada danas Bruce Willis igra support rolu Halle Berry koju je koliko u LAST BOY SCOUTu gledao kako je ubijaju plaćenici Shelly Marconea.

Međutim, još je tužnije što niko od mojih prijatelja sa kojima sam gledao film u Tuckwoodu, iako se bave filmom uopšte nemaju nikakav odnos 'prema tome da James Foley režirao film. Ja sam ga, vreovatno jedini, gledao sa dužnim respektom prema velikom reditelju.

Iako je reč o konfekcijskom proizvodu, osećao sam snažnu nostalgiju gledajući ovaj film pošto je evidentno da dolazi iz sveta reditelja-glumaca-koncepata-žanrova koji u ovom obliku izumiru i to me je malo ispunilo tugom.

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Malo trivijalnih svakodnevnih stvari.

Danas sam išao da kupim patike i odlučio sam se za dva modela koja već inače nosim, to kick it old school.

Pre svega ponovio sam Air Force I kojima je inače ove godine 25 godina od izlaska prvog modela, i pošto imam već jedne plavo-bele, uzeo sam jedne totalno bele sa nekim anniversary gadgetom...



A onda sam uzeo i još jedne Adidas Superstar II, pošto su mi se prethodne jako ofucale, a pregazilo ih je i vreme.



U svakom slučaju uživam u ovom revivalu old school modela, naročito pošto najavljuju da će uskoro kod nas doći i retro modeli iz ranih devedesetih, gde je bilo sjajnih patika, naročito recimo Barkleyevih i Rodmanovih modela.

Čekaj, ladno si kupio dva para obuće odjednom??? Ja... ja... ja... ne znam šta da kažem... BURŽUJČINO!!!!

Metroseksualac! (just kidding)

ja sam metromarginalac...

Pogledao sam HOT FUZZ.

I mogu reći da film lives up to the hype.

Štaviše, meni je film stilski čistiji od SHAUN OF THE DEAD pošto nema žanrovsko iskliznuće kao što SHAUN ima pri kraju.

U ovom filmu, Wright uspeva da vrlo dosledno održi balans komedije i policijskog filma, gde komika proističe kako iz duhovitosti autora tako i iz ekonomisanja stvarnošću i žanrovskim konvencijama.

Wright i Pegg koriste stvarnost i žanr kao špil karata i svoje situacije stalno pozicioniraju u odnosu na neku od tih karti. Nekad uzmu žanrovsku situaciju i uporede je sa realističnim kontekstom i učine je smešnom, a već u sledećem trenutku uzmu neki potpuno realističan fenomen i propuste ga kroz filter žanra i učine ga apsurdnim. I to mešanje karata rade zaista maestralno, i čine HOT FUZZ jednom filmskom rubikovom kockom koja se zaista može gledati više puta.

Ono što je još važnije da Wright & Pegg, u principu ne izlaze u parodiju, da se ne koriste, ili se barem vrlo umereno koriste nekim ekstremnim & groteksnim zahvatima. Oni se suštinski kreću apsolutno unutar vrlo decentnih radnji i karakternih postavki, ali ih kroz promene konteksta čine urnebesnim.

U tom smislu HOT FUZZ je i vrlo plot-driven film, i na nekom nivou, mogu da zamislim čoveka koji nije gledao policijske filmove da ga percipira kao istinski zastrašujući triler.

Tome doprinose odlično režirane akcione scene, koje, za razliku od finala SHAUNa ne zaboravljaju da je ovde reč o komediji; kao i niz vrlo gory momenata koji su me prijatno iznenadili. Inače, setimo se da su glavni reditelji policijskog filma uglavnom došli iz horor miljea i da su kanonski 80s filmovi imali dosta gory momenata.

Naravno, ovaj film sakm percipirao i kao jasno ljubavno pismo Cripplu pošto se u filmu intenzivno referiše na moja dva najomiljenija filma POINT BREAK i BAD BOYS II, i prosto mi je neverovatna koindcidencija da Wright pogodi baš ova dva naslova, pošto mi je POINT BREAK najomiljeniji i najvažniji film u životu.

Britanski segment filma je naravno reperezentovan kroz celu SPACED/ SHAUN priču pegga i Frosta ali i kroz snmažnu tradiciju WICKER MANa koji je film obogatio autentičnom zaverom negativaca i dobrim villainima.

U svakom slučaju, čini mi se da ću se HOT FUZZu često vraćati ovih dana.

* * * 1/2 / * * * *

Pogledao sam SPIDER-MAN 3.

Moram priznati da su meni prva dva dela nešto što sam potisnuo. Izuzev jedne scene kada nastaje Doc Ock koja me je podsetila na Raimija, sve ostalo mi je bilo ogavno i što je najgore od svega gnusna melodrama nije bila naplaćena kvalitetnom akcijom pošto je film u suštini bio preambiciozan za svoj budžet.

Međutim, trojka mi je negde legla. Tome je svakako doprinela promena scenariste pošto je umesto Koeppa tu Ivan Raimi i film je evidentno dobio jedan goofy spin.

Pošto je moja pretpostavka bila da je sa ovakvom direkcijom Raimijevih ekranizacija BUTT MAN daleko intrigantniji serijal od SPIDER-MANa, barem za one koji su još uvek u periodu između latencije i klimakterijuma, u prvom trenutku sam se uplašio da nije reč o nekoj seksualnoj disfunkciji pa mi se SM3 dopao.

Ali, roditelji kažu da nije i da sam OK, što znači da je SM3 actually možda zaista dobar film.

To poboljšanje pored Ivanovog rada na skriptu, svakako možemo vezati i za dovođenje Bill Popea na mesto direktora fotografije umesto Dona Burgessa. Naime, iako je Burgess odličan DP, i uostalom stručnjak je za filmove za obilje efekata pošto je radio sa Zemeckisom, Pope ima taj jak indie kredibilitet, uostalom radio je DARKMANa i svakako je pogodniji čovek za kanalisanje Raimijeve, naročito u comic book ključu.

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Pogledao sam Verhoevenov ZWARTBOEK, courtesy of Ginger, i moram priznati da je reč o filmu koji je gledljiv, zabavan, ali se ne može smatrati ni značajnim Verhoevenovim filmom, pa verovatno ni značajnim filmom u trenutnim kinematografskim okvirima.

Treba zaista zapinjati pa naći neki podtekst u ovom filmu. Kao i svaka priča, i ova nosi neka značenja, i ova nosi neki potencijal za tumačenje, ali mi se čini da Verhoeven sa ovim filmom nije rekao ništa značajno, i još uvek su mi njegove opservacije o ratu, izrečene u knjizi, zanimljivije od onoga što je on na tu temu rekao u svojim filmovima.

Poređenje sa OTPISANIMA nije sasvim deplasirano, s tim što sam ja fan OTPISANIH i meni su OTPISANI, naročito kao serija kudikamo i zanimljiviji od ovoga pošto su stilski čisti, to je čist bubblegum akcijaš, dok je ZWARTBOEK neka vrsta partizanskog filma o ilegalcima u kome su međutim Nemci potpuno demistifikovani.

Uostalom, ovim pitanjem se na nivou ilegalaca u sukoba sa nemcima, preplitanjem socijalističke revolucije i nacionalnog oslobođenja, isl. najozbiljnije u svetskim okvirima bavila upravo jugoslovenska kinematografija, tako da se ZWARTBOEK slobodno može nazvati prvim Verhoevenovim srpskim filmom.

Usled demistifikacije Nemaca naivnost akcionog zapleta gubi na saspensu. I nisu onoliko strašni i nezgodni koliko bi trebalo. Tu je Verhoeven platio žanrovsku cenu svojim pokušajima da koketira sa istorijom.

Ne mogu da kažem da na nekom nivou telenovele nisam uživao u tom cloak & dagger smislu, ipak je ovo film u kome se ljudi uspavljuju maramicama sa hloroformom, ilegalci se preoblače u izrešetane nemačke uniforme, što mi je inače uvek bilo omiljeni gimmick, uostalom obožavam film WHERE EAGLES DARE, i taj trashy partizanski touch nisam video dobrih 40 godina na filmu, ali s druge strane, ta demistifikacija likova i kao neka neubedljiva realistička potka me izbacuju iz čistog bubblegum uživanja.

Tkođe, žao mi je što nema prilaženja Nemcima na sttaži s leđa i lomljenje vrata, to mi je uvek bila omiljena figuera, kao što nema ni ubacivanja ručnih bombi u one visoke osmatračnice sa mitraljeskim gnezdima, kada posle eksplozija kaskosi iskaču naglavačke. Ja sam ipak, da citiram Jasenka Houru, odrastao uz ratne filmove u boji, i ne volim kada nedostaju kanonske tačke.

Što se moralnog aspekta tiče, Verhoeven ne dobacuje do emotivnosti i realističke brutalnosti koju nudi Lordan Zafranović u svojim filmovima. Još uvek niko nije dostigao sheer menace masakra u autobusu iz OKUPACIJE U 26 SLIKA, a bogami ni taj sveopšti sense dekadencije.

Sve ideološke subverzije su u tom smislu date kao totalni pulp momenat, sve to radi nekog preokreta, radi razotkrivanja na kraju, a da ne govorim o konvenciji telenovele zahvaljujući kojoj ceo zaplet i likovi funkcionišu po principima slučajnosti i nedostatka komunikacije.

Što se glumačke podele tiča, oni su svi tačni, i uglavnom u nekom underplayu, ne bih tu nikoga izdvajao, naročito ne glavnu glumicu koja ima jedan te isti izraz lica sve vreme, i čini se kao da samo čeka cue da se skine, što me malo podseća na heyday člana političkog saveta LDP Olivere Ježine koja je nekoliko svojih uloga provela čekajući cue da se razgoliti. No, to je meni sve u redu, pošto ovaj film i nije neka naročita priča o karakterima, već pulp.

Uostalom, koliko je klišetizirana podela govori činjenica da je zli Nemac ružan, zadrigao i ima loše zube, a dobri Nemac je lepotan i igra ga najveća nemačka zvbezda Sebastian Koch. To je slično podeli u onom nepodnošljivom DER UNTERGANGu gde je Speer lepotan pošto je kao i dobar & konstruktivan a zli Nemci su nakaze.

No, to i jeste prirodan izbor za ortodoksan partizanski film. I Krigera takođe igra Stevo Žigon a ne Voja Brajović.


Verhoevenova režija je krajnje konvencionalna, ima OK momenata ali nema onog žara koji je postojao u svim njegovim filmovima.

I sad, na osnovu svega ovoga ZWARTBOEK bi se mogao učiniti kao neki film koji mi se nije dopao, što ipak nije tako. Naime, pošto su i Žika Mitrović i Hajrudin Krvavac mrtvi, drago mi je da Paul gaji tradiciju partizanskog akcijaša, sakrivenog iza krinke priče o istoriji i moralu.

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Pogledao sam francuski policijski film 36 Quai des Orfèvres Olivier Marchala, i konačno sam video kako izgleda francuski odgovor na Michaela Manna. Naime, Mann već godinama uzima dosta od Francuza i vreme je bilo da vidimo kako to oni mogu da mu se oduže.

Marchal je bivši policajac, pa samim tim svopjom autentičnošću već vuče na Mannovu vodenicu. Marchal je u međuvremenu postao glumac, pisac i reditelj a 36 Quai des Orfèvres predstavlja vrhunac njegovog opusa, i najjednostavnije je reći, njegov HEAT.

Kao i HEAT, 36 Quai des Orfèvres balansira između realističkog pogleda na policijski rad i složen etičke dileme koje se postavljaju pred policajce i akcionog trilera koji u sebi nosi izvesna pojednostavljenja. U tom smislu, ne postoji siva zona iako Marchal njom uporno želi da se bavi, tako da njegov film na kraju samo na nivou dualizma liči na HEAT a zapravo znatno više podseća na INTERNAL AFFAIRS, danas već zaboravljeni film Mike Figgisa.

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Pogledao sam BLEEDER Nicholas Winding Refna, courtesy of Ginger.

Iako je reč o filmu na tragu PUSHER franšize, BLEEDER ipak nije dorastao ovoj seriji. Refn ga je preopteretio internim filmskim vicevima, a moglo bi se reći i internim referencama unutar same ekipe koja ga je uradila.

Pa ipak, Refn ima tu neku vrstu spooky kreatinosti, i iako se ponekad koristi besramno jednostavnim trikovima i predvidljivim pripovedačkim tehnikama, i iako film marinira u dugim danskim kadovima sa krupnim zrnom, BLEEDER je izuzetno gledljiv i brzo prođe, ne isporučujući apsolutno ništa.

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Pogledao sam COFFY Jacka Hilla, courtesy of Kunac.

Moram priznati da mi se dopao znatno više od FOXY BROWN pošto ima znatno prljaviju maštu, znatno je ekploatativniji u odnosu na Pam Grier, i politički je znatno agresivniji, pošto prevazilazi najtipičnije radikalne blaxploitation toucheve, i u svoju političku kritiku uključuje i licemerje harizmatičnih crnih radikalnih političara, koje ja inače, u principu volim.

Hillova režija je jako svedena i prilično nevešta, sa dosta tradicije skin flicka u sebi, ali i sa hrabrom upotrebom krvi koliko je ekipa koju je okupio znala da uradi, naravno.

U svakom slučaju, COFFY je kaloričan blaxploitation, od buta, ali bez crossover potencijala za one koji nisu fanovi žanra.

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Pogledao sam DIE NACHT DER LEBENDEN LOSER Mathiasa Dintera, courtesy of Ginger. U talasu vozdizanja savremenog nemačkog filma, jedna od karakteristika jeste i to da savremeni nemački reditelji odlično poznaju stileme američkog repertoarskog filma i da im to jako pomaže u oblikovanju priča.

Dinterov pogodak iz 2004. godine to vodi korak dalje i moglo bi se reći da se radi o preslikanom američkom filmu, gde između ostalog nemački klinci igraju ragbi, iako je štaviše u Nemačkoj američki fudbal popularniji od izvornog ragbija.

Ono gde je Dinterov film autentično nemački jeste politički edge gde se vrlo slobodno poigrava sa nacističkom prošlošću terena na kome se zbiva ovaj teenzomcom. Jako mi je zanimljiv taj politički edge pošto je to nešto što imamo i mi u DOBU NEVINOSTI.

U stilskom smislu, Dinterov film nema puno veze sa ranijim teen horor komedijama tipa NIGHT OF THE CREEPS već bi se pre mogao definisati kao SHAUN OF THE AMERICAN PIE, što je vrlo zanimljivo pošto je izašao u slično vreme kao SHAUN, sa samo šest meseci razlike. Postoje neke sličnosti između dva filma, i SHAUN jeste izašao tih šest meseci ranije, no IMDB ne kaže kada je sniman film. Pa ipak, ne deluje mi da je rađen kao neki totalni quickie da bi bio gotov za šest meseci. Mada, Švaba je to...

Naravno, Dinter nema šarm i energiju Wrightovog klasika, i boluje od tradicionalnih problema nemačkog filma poput nedostatka šarma, preciznih ali unappealing glumaca i svih ostalih predsrasuda koje su mogu gajiti prema nemačkom filmu.

Međutim, s druge strane, film je izuzetno dinamičan, pametno postavljen i gleda se vrlo prijatno, do te mere da čovek ni ne mora biti horor ili teen comedy geek da bi podneo ovo nemačko ostvarenje.

Ono što jedino ostaje kao propuštena prilika, to je da imamo scenu all out zombi invazije, koju pak imamo u sličnom mada slabijem BOY EATS GIRL.

U svakom slučaju, ovaj film zaslužuje solidnu preporuku.

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Mada, IMDB nudi ovu triviu:

Was originally scheduled for release during the summer, until actors were called back for massive re-shoots. About a third of the original material was replaced in the process, which ended with a very different final cut. Parts of the original version can be found on the DVD as deleted scenes.
Dintere, Dintere

Pogledao sam MURDER ROCK Lucio Fulcija, courtesy of Kunac.

Film mi je neobično dobro legao. Reč je o naslovu iz 1984. koji predstavlja žestoku 80s ortodosiju, sa nepogrešivim dizajnom, zeitgeističnim skorom Keitha Emersona, koji je učestvovao i u pisanju nekih pesama za film, i Fulcijem u prilično dobroj formi.

Dolaskom na plesačku scenu Njujorka, Brodvej na kome se šepuri bilbord za DREAMGIRLS mjuzikl, u prljave stanove, školske svlačionice, u svet kamera za snimanje nastupa, višesobnih domova u kojima lurkuje slasher, itd., sa fetišima raznih vrsta - od igle koju ubica ubada ispod dojke da bi ubio srce, pa sve do raskopčavanja koje vodi do toga, Fulci dolazi na De Palmin teren.

Otud je gore malo umereniji, i Fulci koliko god može pokušava da postigne De Palminu eleganciju, u čemu relativno uspeva.

Naprosto, Fulci ipak nije toliko u dodiru sa najtananijim aspektima filmskog jezika kao De Palma, i njegovi svi zahvati su vrlo eksplicitni i grubi, i nisu naročito dosetljivi, a isto tako bi se moglo reći da se Fulci ponajviše trudi u akcentovanim situacijama, dok su mnoge, naročito dramske scene, potpuno ispuštene.

U tom smislu, MURDER ROCK ponajviše unazađuje Fulcijev nemar u odnosu na likove gde se ne izdvaja nijedan appealing character, niti se likovi dovoljno razlikuju. Takođe, tu postoji i određeni problem sa glumačkom podelom koji inače muči Fulcija, gde bira prilično jednolično glumce koji ne uspevaju da kreiraju karaktere.

Međutim, kada se sve sabere i oduzme, Fulci je u slučaju MURDER ROCK napravio relevantan rip-off De Palme, a kako Kunac kaže, a nemam razloga da mu ne verujem, i svoj poslednji ozbiljan film.

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Zanimljiv članak o Shane Blacku:

King of the spec scripts rises once again

Black

Shane Black is back.
In his first deal since landing a record setting $4 million in 1994 for "The Long Kiss Goodnight," Black will make his directing debut at Warner Bros. on his noir drama script "You'll Never Die in This Town Again," re-teaming with "Lethal Weapon" producer Joel Silver. Black's also teamed with Anthony Bagarozzi to write "The Nice Guys," a buddy action spec that is now being shopped.

Black's original rise up the ranks of Hollywood's best-paid scribes was meteoric. Fresh out of UCLA, he got $250,000 for "Lethal Weapon." Soon, he and Joe Eszterhas took turns rewriting the spec record book. The arrival of a Black spec was an event that sent studio execs into a frenzy, and twice left Black's agent sorting seven-figure offers within 24 hours. Black got $1.75 million for "The Last Boy Scout" and set the still-standing spec record when New Line paid $4 million for "The Long Kiss Goodnight."

He didn't get near that on the new project, and doesn't care. The pressure attached to those big paydays, and the failure of "Long Kiss," brought on a case of writer's block that took three years to disappear.

Despite his lack of productivity, Black, who has leading-man good looks, has cut a dashing figure around town. He lives in a 14-room French chateau, replete with screening room and disco, and throws a spectacular Halloween party each year, complete with thousands of dollars in scary props, that is one of the town's hottest invites.

"For many moons, I didn't have any idea what I wanted to write," said Black. "Quick success came with a price. I'd been busy since I was 22 years old, and I sort of skipped my twenties. I'd succeeded and felt an increased sense of living up to escalating expectation levels. What I needed was to find the fun again, to reacquaint myself with why I decided to write in the first place. It's not supposed to be a burden."

When the ideas and words wouldn't come, Black hit the road. "I went to Normandy, Brussels, Italy," he said. "I was in a relationship for several years. These things supplied me with insights I had been missing."

Ultimately, the block was broken by James L. Brooks, a friend who got Black to imagine what it would be like if the Jack Nicholson from "As Good As It Gets" played Jack Nicholson in "Chinatown."

"I set out to make a romantic version of 'Chinatown,' and it opened all kinds of roads," Black said. "I did my little victory dance having finally thought of something that excited me, dragged out the typewriter and got going."

Black set the murder mystery around a movie shoot in L.A., and gave his patented buddy formula new twists. His protagonist catches a Hollywood agent about to have his way with a semi-conscious starlet. When they step outside, the agent beats the hell out of Black's chivalrous hero, who doesn't have a clue how to fight. His tough guy partner, a private eye, is gay. The characters also have a world weary sense of mortality now felt by a writer who just turned 40 and learned how quickly success is forgotten in Hollywood.

He showed his script to a young exec, who was unaware of Black's past success and told the writer he had potential.

"If there is a mistress more compelling than fame and money, it's the feeling of being useful because you are working," said Black. "I felt good again."

He felt better reuniting with Silver, who presided over four "Lethal Weapon" films before godfathering "The Matrix." Silver said yes immediately, even though Black had turned him down so many times.

"A lot of where I am today is because of Shane," Silver said. "'Lethal Weapon' was a pivotal moment in my life -- it changed the way people thought of action and me. I'd always wanted Shane to take a job and not be so precious with his talent. I asked him to write three scenes for aspiring actors to read for my NBC reality show, and he wrote great action characters and signature Shane dialogue."

Malo snimaka McTa dok se dogovara sa Anthony Pellicanom.

http://www.nytimes.com/packages/audio/business/Clip3.mp3

http://www.nytimes.com/packages/audio/business/Clip2.mp3

Pogledao sam MURPHY'S LAW, courtesy of Ginger.

Film me je vratio u heyday First Productiona i njihovih izdanja Cannonovih filmova, kada sam ga čini mi se prvi put i gledao.

U svakom slučaju, po meni je kanonski Buchinsky upravo iz faza sa Michael Winnerom i J. Lee Thompsonom, iako je nominalno najveće klasike imao znatno ranije. Kad je reč o Buchinskom in njegovom sveukupnom opusu, njegov najznačajniji film na mojoj intimnoj listi svakako je TELEFON Dona Siegela koji mi i dan-danas odzvanja u sećanju kao prvi susret sa idejom psihomanipulacije. Sećam se da sam ga gledao kada sam išao u vrtić, i da sam mesecima posle toga gledao na sve aktivnosti koje smo imali u vrtiću.

Moja majka je inače veliki fan Buchinskog i samo se njenom lakomislenošću i moglo desiti dsa maleni Cripple dođe u kontakt sa jednim tako opakim ostvarenjem kao što je Siegelinijev TELEFON. Jako dugo sam tragao za VHS kopijom filma i kada sam ga konačno nabavio, pogledao sam ga i nisam se razočarao. U njemu je Siegelini napravio amalgam svojih BODY SNATCHERSa sa detektivskom oštrinom DIRTY HARRYja, poglavlje o TELEFONu u knjizi SIEGEL FILM je takođe zanimljivo pošto je u nastanak ovog filma bila uključena i tada mlada producentkinja Sherry Lansing!

No, dosta sa geekovanjem. Dakle, od majke sam nasledio poštovanje prema Buchinskom, i u MURPHY'S LAW imamo jedan punomasan primer njegove pozne faze, iako bih za potrebe dekadentne zabave uvek radije uzeo totalni sleazefest KINJITE FORBIDDEN SUBJECTS.

U ovom filmu Buchinsky i J. Lee rade tipičan B+ eighties cop film, za koji je naročito karakteristično prisustvo horor elemenata, pošto treba imati na umu da su 80s action i 80s cop kanon stvorili reditelji sa snažnim backgroundom u hororu!

Dakle, sa jedne strane imamo shootout estetiku pandura protiv mafije a sa druge slashera osvetnika. Još je zanimljivije da se J. Lee Thompson, vrlo kompetntan reditelj, ali ne i autor, u ovom filmu zapravo bavi rimejkom svog klasika CAPE FEAR, samo u 80s cop ključu. U priči o tek puštenom psycho ubici koji se sveti čoveku koji ga je priveo pravdi apsolutno postoji eho CAPE FEARa.

da se razumemo, postavljen u kontekst vremena u kome je izašao MURPHY'S LAW je priličan šund, sa jednom od slabijih rola Chucka Buchinskog.

Međutim, u odnosu na današnje filmove, ovaj je itekako sadržajan, a Thopmpson ga vrlo sigurno vodi i režira, i iako je film krajnje nemaštovit, i zaista se derivativnost oseća na svakom koraku, Thompson čini da se cela priča formuliše u jedan zaokružen bioskopski komad, koji predstavlja odličan primer vrhunske B+ kompetencije.

Vrlo je zanimljivo da bi danas ovakav film bio doživljen kao zanimljiva karakterna studija, bio bi prepoznat kao pravi muški povratak korenima, imao bi status i prestiž kao 16 BLOCKS koji inače to uglavnom uopšte nije zaslužio, dočim bi čak i shot-for-shot rimejk MURPHY'S LAW sa Willisom itekako imao pravo na takav status, u savremenom kontekstu.

U svakom sučaju, MURPHY'S LAW je meni poslužio kao odlična prva pomoć u oskudici dobrog pandurskog filma.

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Dođavola. Nije li Brochinski? Mrzi me da idem na IMDB ali se sećam da je u Džungli na asfaltu potpisan kao Bročinski... Ili to ili me sećanje surovo vara...