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Again, I was very much a neophyte and learning. When I was the editor of Manshots magazine, he did a column for me every month for two years before he died. I had worked with Cal on stage many times, and he was just wonderful. It had a longer run there than Boys in the Sand did, but because it wasn’t the first, as Wakefield’s was, it never had the publicity of being a landmark film that Boys in the Sand was. It went together very nicely.īack Row followed Boys in the Sand into the 55th Street Playhouse. I didn’t know a damn thing about making a film, but boy did I seem to have a knack for it. Sam came to me one day and said, ‘Let’s make a movie.’ I said, ‘Fine - but it’ll have to be a gay movie.’ He said, ‘I don’t care.’ It was a baptism by fire. I partially put myself put myself through school directing community theater productions. He was the husband of a woman whom I worked with many times when I was at Yale.
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My partner on Back Row, and subsequently on Both Ways, was straight.
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I directed a number of plays that involved nudity. What do you remember about working on your first film, “The Back Row?” Now and then I would make a suggestion about the male-male scenes in the film. I just coached actors instead of him having to rehearse them. I was there, but, no, Radley directed the whole film. I always wondered if you directed the sex scenes in “Score” with Casey Donovan and Gerald Grant. Always put something in the foreground of the shot. He came up to me and said, ‘You wanna learn something, huh? Alright, here’s your first lesson. My favorite anecdote is from the very first day of the shoot. What did you learn about filmmaking from Radley? About the third day of the shoot he said, ‘You take care of the actors, I’ll take care of everything else.’ Because I directed the play, and two of the people in the cast had been in the play at one time or another, I knew what I was looking for. He was terribly generous to me, I think not totally for altruistic reasons, but because he was always so terribly interested in the camera and the technical aspects of filmmaking. Radley was just wonderful to me - in many, many ways. All my experience had been with theatrical directing. I had it in my contract that I got to be on the set, because I was very anxious to learn something about film directing. Radley bought the rights to one of my plays, Score. Was “Score” your first experience working on a film set?
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Douglas will present the film in person at the Quad on Sunday, August 27.Īhead of the Both Ways screening, Flavorwire spoke to Douglas about his experience in the industry working with other luminaries like Metzger (Douglas wrote the screenplay for Metzger’s 1974 film Score, based on Douglas’ off-Broadway play), editing the essential gay magazine Manshots, and the state of gay porn today. His Both Ways looks at deeper, intimate relationships, exploring the (explicit) bond between a married man in the suburbs and his young male lover, and all the complicated emotions that ensue - something often whispered about closeted men during the time, but never openly. He developed a reputation for directing and producing nude off-Broadway plays, and was approached about developing his first hardcore porn film not long after the release of Wakefield Poole’s landmark 1971 movie Boys in the Sand.ĭouglas’ films stood out for their attention to story, complex themes, and fearlessness in tackling gay sexual subculture in movies like The Back Row. Iowa-born Jerry Douglas arrived in New York to start a career in theater. For the next 20-some years, a diverse group of filmmakers seized the opportunity to explore taboo subjects, and collectively produced thousands of shorts and features in a wide range of styles. With the gradual relaxing of local and national censorship and obscenity laws, many directors turned their lenses towards the growing demand for sexuality-themed films. From the series’ press announcement: In the early 1960s, New York City became the national hub for independent filmmaking of all types. Erotic City, which runs today through August 31, surveys sex on the big screen in NYC.
Gay men making out at porn movie theatre series#
These filmmakers are being honored in a new series at New York’s Quad Cinema. Adult cinema is frequently left out of the discussions about independent movies, but the experimental and avant-garde works of directors like Radley Metzger, Roberta Findlay, and Joe Sarno demand a place in the canon.