January 2. 01. 0 - Bondage Video Discussion Forum Archive. Ralphus knows that I'm an HOM aficionado and asked me if I wanted to post a few words about the Blakemore interview.
It's tough for me to say just a few words about anything, especially anything related to HOM, but I'll give it a try. I co- moderate the Yahoo group Chadscans that was started by Memfan in 2. HOM. Close to all the movies they made are posted there or are in my rapidshare folder as well as all the Chad collection and other scans by Charles D. And it's all free, but if it will make you feel better I'll find a way that you can put quarters into the machine.
Bring Out the GIMP (Girls in Merciless Peril) January 2010 Archives. Discussion Forum for Extreme Bondage Fantasy Video. DVDs or Web. One month of eight years worth. Wall Street Journal commercial real estate market news & analysis on development, construction & building, property investment, sales & leasing.
She spent about ten grand cash per trip and then we got them up here and sold them under the table. Not because they were pornographic, but because they hadn't been classified by the provincial film board. She got busted twice for that.
She recouped her investment by selling copies of the boxed videotapes to trusted customers who had made their selections from reviews that I had written and typed up. My reviews were a big hit and people envied my 'job, but watching and reviewing fifty movies as quick as I could so that people could read them and start ordering wasn't as much fun as they thought, but it wasn't too bad either. Incidentally, that was an example of video piracy in it's early form, but oddly the L. A. Years later I converted them to digital and shared them with fans on the net who shared anything I didn't have with me. I know this board frowns upon such activities but that's a brief background about how I became qualified to speak about this subject and one reason why I haven't participated on this board.
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Now I better start talking about the interview because we all want to know what really went on.. Blakemore doesn't mind. Some of my questions may seem accusatory and I apologize, but some of your answers are begging for more questions to be asked. One other important thing is that I hope Ralphus can carefully listen to some of the sound movies and then tell us if his voice on the screen was the same as the telephone voice, that would make us all feel better if he could validate the voices and get rid of nagging doubts as to whether he's the real deal or not. I could lip- synch every word in every movie so I'm confident that I could tell for certain, and I'm a bit concerned that Ralphus hasn't seen, or heard, all of them.
But I value his opinion so if he says it's the same voice then it's fine with me. These are some random questions and comments, I have more that I'll save for another time, this post is looking pretty long already. You use the model like paint on the canvas and draw a big X right in the middle with her and shoot the whole scene head on, and that's one reason why I was always impressed that you were really making a 'film' and not a porn loop. You kept your close- up, weird angle shots brief, unlike many Japanese movies where we never even see the complete model from head to toe, and showed the beauty of women in positions that we just don't see in ordinary life. That's one reason why I respect you as an artist. We see your boots climbing the stairs from a camera looking backwards. I've seen people put the camera on a pole so that they can shoot themselves walking, did you ever do anything like that?
But that wouldn't explain why we also see an apparently hand- held camera showing you through openings in the machinery, or the hand- held close- ups that show both you and the model in the scene plus the camera on a tripod set back to take in the whole scene head on. I'm sorry, but I can't see how you can do that with just one camera. One of the biggest questions I have is how much film was shot and is all the unseen film sitting in a drawer or was it destroyed, and if there's more than one camera going I would think that there would have to be more film shot than the ten minute loop shows.
But you sent, or hand- delivered, all the film to HOM and they edited it there or even out of country, so you won't know how much was really edited out of your original film until you saw it would you? So after you've seen them we should be able to clear that issue up for certain I hope. I'm mostly talking about the sound movies here, your in- camera editing of loops is another question. So I'm really surprised that you say there was only you and the model doing the loops. Some edits are just a few seconds, so when you were by yourself did you wind up the camera, move the camera to a different view for a few seconds, then move the camera somewhere else again and then shoot a still and then rig the model into another position and so on? And only shoot a total of 1.
How much time would you spend rigging? Your 3. 0 second wind- up camera is intriguing but it baffles me how you could do all that.
So that's why when I see all those quick edits I think that there must have been miles more film than the heavily edited final cuts show. And that's why I keep hoping that there's still some unseen film somewhere! Sometimes there were three men on camera, same with Tourist Trap and two at a time in Caught. I wrote HOM a couple of times and got replies from Barbara and Moni Bertucci. I can't remember what they were about but they seemed nice and I seem to remember that Moni did PR work and also hair/makeup/wardrobe for the shoots.
Add the sound man, three models, three cameras and maybe more people and I pictured a reasonable sized bunch of people on the set. That's more reasons why I was surprised that you didn't know you were popular, and again raises the question of how much film was shot and by how many cameras. Sorry to harp on that issue but I feel it's important. So is there or is there not any unseen film around somewhere? And how would you choose what model was going to be in what shoot? Why were there very few one- time models, and why did the same ones keep coming back?
Did Barbara or Moni in LA have anything to do with casting? I see that many models wore the same shoes more than once, so I guess they were her own. Who bought the stockings, or the dresses that got ripped?
Did you have an expense budget? I know that $1. 25 a day was the average rate for a model back then but that wasn't a lot of money to buy their own wardrobes. And they both look to be in even better shape than they used to be! Are they gymnasts or some kind of athletes? How did they stay in such great shape?
Were there injuries like dislocated shoulders? Your models all looked like they were very fit, and they all had great legs too! It's amazing that Sharon Montgomery is still doing physically demanding work, aren't the models at least 5. And it's also amazing that you never saw the finished product of your work. She hasn't been in any of the sound movies that I've seen. Are they the ones you did when you put the camera down and shot stills?
You had been doing this for several years at that point, what were you being called before? There had been plenty of magazines published before that movie was made, and I thought that the Whitman/Blakemore name had already been used in some of them. In fact, I remember one magazine spread featuring your wife Patti Whitman, she's in some chadscans. As a former photographer I know that you can get paid a flat fee to hand over your film and never see it again, but you said you were only in LA a couple of times so how did all your film get there and how did you get paid? Didn't you print any of the still photos yourself before you gave away the negatives?
You also said you handed the film to Barbara, did you give her enough for lots of loops or just one at a time? When/if you saw her would she show or give you copies of the finished product, like magazines?
Would she discuss the business with you, like that they were selling well? Why did you stop shooting in your studio/warehouse, and start using mostly different models and with tamer bondage? Usually you had a bound woman on- screen for maybe 9. If it was because of political/legal pressure then wouldn't you have understood how popular you had become?
This wasn't a one- time shoot, this lasted several years. After the Erotic Perversion loops made a stir in the peepshow business did Barbara ask you to shoot more and is that why you made the Punished or Bondage Classics series?
And weren't the sound movies made because the other ones were popular and HOM expected to make money from them? Couldn't you negotiate more money because you got more popular? I guess not if you didn't know that you were popular. Were you paid for one shoot at a time or were you on some kind of salary? After you did a whole lot of mags and vids over the years, did your pay go up after HOM saw the demand rise?
Were they shot on evenings or weekends while you had a full- time job. Can I ask if you were paid well? Does that mean that all the models came from ordinary jobs in the strictly religious city/town where you live? Is that why many women in the sound movies seemed to share the same Southern drawl? And some models looked similar to others, were they related?
And are religious settlements in the desert better places to find bondage models than in LA? Were you doing other kinds of photography/film in that studio? Tourist Trap looks like it was shot in a military compound, was that your building? Did people in the neighborhood get nervous when a bunch of people carrying guns and wearing army fatigues moved in for a couple of days? She had panties and crotchrope on, was that why? Especially since he made them himself. Did the models and you go to your homes and the L.
A. Was there any partying going on? What about drug use? A number of shoots show or talk about drugs and syringes. Were drugs supplied to some models or did they pay for them out of their $1. Did models keep returning because of the drugs or because they loved BD? Inquiring minds want to know the down and dirty on that but I can understand if you don't want to give it.