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Excerpt from Interview with Joe Sarno |
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R/S: Have producers ever changed your films? JOE SARNO: I made one film, Every Afternoon, with a British actress, Diana Dors. It had good people in it, but the producer screwed it up. I didnŐt have the editing rights on it and he actually added in scenes and wrote new material for it. The basic story was about two people meeting in the park—a young guy and a young woman—back to fantasies! The young woman is in a ballet outfit—practice clothes—and the guy is wearing ŇpilotŐs wings,Ó and he tells her heŐs a pilot. Well, neither one of them is—he works at an airline loading cargo and she is a prostitute who reads a lot, etc. Each day they meet and they have this tremendous fantasy. Finally he finds out who she is. HeŐs given a birthday party and a girl is brought there, and sheŐs the girl. Then they avoid each other for a long time, but finally they meet again in the park and they carry on the conversation. She now knows that all he is is a freight handler, but they talk as if heŐs still an airlines pilot and sheŐs a ballet dancer. ItŐs one of those weird little stories that could have been beautiful, but the producer totally wrecked it. It should have been a small film but he tried to make it a big one. The little sensitive story was lost . . . Producers are always a problem—usually I donŐt have problems with producers, but on this one I did . . . R/S: ItŐs not just luck that your filmmaking team functioned so efficiently— JOE: No! ItŐs not an accident. You choose it. I think by force of will (back to the ŇforceÓ) you avoid things and people that donŐt fit in. For example, there are many people who shouldnŐt be doing pornographic films, or who are doing them for the wrong reasons. The right reason is one that is not commercial: because they like to perform in front of people (in a sexual way or otherwise); because theyŐre turned on by doing it. Otherwise they shouldnŐt be doing it. I tell people they shouldnŐt be doing it, or that they should be. For example, Annie Sprinkle should be doing it, because she loves to and is so involved in this whole feeling of sex. She is so crazy and sweet and nice it kills you . . . The big thing with films—a film is the result of a human relationship,
and when you write it to begin with, itŐs got to be about a real human relationship. Each actor or
actress must filter the chaacter through their own personality. And thatŐs the whole secret of the
thing. Without that, you have nothing.
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