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North Bound On the 101 Freeway Searching for Boogie Nights Boulevard #1
2003-03-01 20:22:08

Fred Buccolini (mind_warp@knac.com) writes:

This five-part series is all about my experience on the set of VCA's 'The Contortionist.' Except for two taped interviews, I did not take a single note. Everything is from memory. And while memories can fool you, I think, it's the most accurate account of an on-set visit you will ever read.

I think where I failed in this piece was in trying to find a bridge from the Golden Age of porn to the present day. When I left the set I wrote some notes on what I wanted in this article as subtext: I wrote: 'It's about memories and how they get distorted through time. It's how we can fall in love with the film medium, and put porn stars on a pedestal; it's about celebrity worship and disillusionment. It's about love and rage and beauty. It's about real people.'

Looking at these notes now, I have to laugh. I may have been too passive in my approach to this article or too idealistic. Probably a little of both. But the fact is when people are shooting a movie or video, their time is limited. Ultimately, I wanted to capture in real time what it was truly like on a porn set. Here, I think I succeeded.

WHERE I'M COMING FROM: A LITTLE NOSTALGIA, A LITTLE ANGER, OR
CONFUSING GOOD PORN WITH A 24HR ADOLESCENT HARD-ON.

I grew up in Los Angeles in the 1970s. And like most adolescents
I had a healthy appetite for men's magazines like Club International, Penthouse and Hustler. I think I was like 15 or 16 and I would read the adult film reviews in Hustler magazine and take them all very seriously. Subsequently, this led me to wanting to see the movies I was reading about. I was 16 years old when I snuck into the XXX Theater on Hollywood Boulevard. They were showing a movie called Hard Candy with John Holmes. It was in 3D and an awful movie but John's first cum shot hand me ducking for cover. I think the whole experience rattled my brain because I found myself sneaking into the same theater every weekend. At least for a few weeks until they threw me out.

Porn has always been on the periphery of my life. It's not
important in the big picture--I don't thing people give it much
thought. But as a subculture, it's always fascinated me. I love
its history of mafia connections, I love the tales of dysfunctional starlets; I love the hypocrisy of a puritanical culture that embraces pornography and spits it out at the same time. Bottom line: It all make interesting reading.

But what about viewing? Well here we have a mixed bag. When
I reached 17, I became a paying customer of porn at the now
defunct Projection Room Theater on Melrose. What I saw at the
time was cheaply produced crap. I would call it the Brillo Pad era. One-hour sixteen millimeter reels of a cock going in and out of a pussy. I'd leave the theater bitter. Come back a week later hoping to find something better, only to be burnt again. Finally I stopped going all together.

Twenty-two years later I'm at a screening of a documentary on the life of John Holmes. If a terrorist wanted to take out all of the industry veterans who put out all of that sh-t on that market that I watched at that dank and smelly 40 seat theater on Melrose Avenue, well, the Egyptian Theater on Hollywood Boulevard was the place to drop the big one. I looked around the theater and all of these people were congratulating each other with hugs and smiles and they were about to watch a documentary which vilified the biggest star of the adult
industry. f-ck that. I didn't give a rat's ass about John Holmes. I was looking at these guys and thinking, 'You scumbags! You are the f-cking guys who ripped me off. Not only do I want my money back but I want my 22 years back. You stole my f-cking time!'

Well, fortunately, things did get better if only for a brief period. It was called the Golden Age of Pornography. . There was some excellent product that came out in this period: Cecil Howard's Neon Nights (1981), Henri Pachard's Babylon Pink (1979) and Budding of Brie (1980). Svetlana's Bad Girls (1981) and 800 Fantasy Lane (1979). Robert McCallum's Ecstasy Girls (1979), Coed Fever (1980), Amanda by Night (1981). Anthony Spinelli's Sex World (1977), Talk Dirty to Me (1980), Easy (1978). Henry Paris' Barbara Broadcast (1977) and
Maraschino Cherry (1978). All of these directors did fine stuff pre and and after the Golden Age, but for some reason there was this wave of excellence between the years 1977 and 1981. And it seemed like Annette Haven and Arcadia Lake were in all of the good movies.

I did not view these directors as pornographers but as filmmakers. People who knew how to use the motion picture medium. All of these directors became stars themselves within the adult industry. And as directors they created stars out of Loni Sanders, Serena, Annette Haven and Vanessa Del Rio to name a few. It truly was a golden time.

So what happened?

Technology baby, technology. It f-cked everything up. It took the taboo out of the taboo. The Pussycat theater chain slowly died. No longer could you enjoy the rush of paranoia of walking up to the boxoffice in stark daylight with the fear that your wife, sister, or God forbid grandmother would pull up to the curb to tell you that you left your wallet at home. No longer could you enjoy that odd male rite-of-passage of walking into the the theater and avoiding the candy counter like the
plague--who eats candy and popcorn while watching sex?--and
walking into the theater and sitting not two, not three, but four seats away from the next guy over. You might glance over to
see a guy with a jacket over his lap and wonder 'Why the jacket
when it is 98 degrees and sunny in Los Angeles?'

When the porn movie theater died, I think, something was lost: A piece of time gone forever.

But that was a long time ago and all I really have today are memories. Memories that become distorted through time. So, maybe my memories of the Golden Age of porn are simply a lie. Maybe, deep down, I am trying to capture something that is not even there--my teenager years. Maybe I am confusing good porn with a 24-hour adolescent hard-on.

So, anyway, I get this little invite to visit a porn set out in North Hollywood. At the time, I did not have a clue as to the name of the video or its director. But in the back of my mind I had a feeling that things were going to turn out fine. Conceptually, I knew I wanted to revisit the 1970s, revisit
Boogie Nights so to speak, in the hope that I might run into an
industry veteran who lived through that period. But, ultimately, I wanted to be a human sponge; sort of let things sweep through me, pick up a vibe or a mood.

FINDING THE OFF RAMP AND GETTING LOST IN THE ALLEY.

I arrive to the shooting location at about 3:30 PM on a Friday
afternoon. The place was very well hidden in a industrial
part of the city. I had to enter through a back entrance of a
sound stage. I see the Producer of the shoot, Rob Spallone.
He is sitting near the cast members. They are shooting the
breeze on cheap Rite-Aid lawn furniture, outside near the
stage door. After a quick greeting Rob gets up and I sit in his
chair. And I just try to fit in. I look at the cast members and the only one I recognize is Tony Tedeschi. He is wearing a blue
bathrobe and he is cracking jokes and humming Cheap Trick
tunes--he seems to be in his own zone, and at least from
appearances, he is very content. There are a bunch of girls
here. And I am clueless as to who they are. After about
a half hour of smiling and listening I am beginning to find
out who is sitting in front of me: The girl to my far left is an
up and coming porn star named Anna Mills. At the moment,
she is sans make-up and is pretty but rather plain with a girl-next door quality. Sitting next to her is Steve Hatcher, a guy who has been around a long time but I have never seen on video.
Opposite of me is Drew Barrymoor. Now her I know but not
as a brunette. Frankly, I did a double take. It was like I was
looking at a completely different person from the peroxide blonde who's in the 1998 Pirate video called 'Sins of the Flesh.' Next to Drew is a very pretty blonde Layla Jade. She is talking about something, I can't remember, and the voice is definitely British.

There is a constant flow of activity outside. People getting up and leaving, coming back; hurry up and wait sort of thing. This older guy comes out. He is wearing a baseball cap and is dressed like he is ready for a game of golf. I know the face but I am not quite sure. He approaches me and gives me a warm paternal smile. And I'm thinking---does this guy think I'm new MEAT? I mean it was a curious smile. Nothing sinister nor sexual in nature. But the paternal quality was evident.
I felt like I wanted to go up to him and confess my
obsessive compulsive masturbatory habits I had when I was a teenager. Then it hits me: This has got to be the Director. Paternal. This is my Boogie Nights connection.

So the Director guy leaves and I grab Rob Spallone and I ask him
what the name of the movie is and who was that guy who just left.

Rob says the movie is called 'The Contortionist', it's for VCA, it stars Cameron, Layla Jade, Anna Mills and Drew Barrymoor-- 'and that guy who just left: Henri Pachard.'

Bingo!

end of part 1

North Bound On the 101 Freeway Searching for Boogie Nights Boulevard #2
2003-03-02 17:24:11
Fred Buccolini (mind_warp@knac.com) writes:

It's 5PM on Friday February 22, 2003. Actors Steve Hatcher and Tony Tedeschi are bemoaning the fact that they have been on the set since eight in the morning and they have yet to shoot a sex scene. Tony and Steve have been in the business a long time. But not pre-1980s. So I don't ask them any questions because I'm on the road to Boogie Nights. But I do pick up an interesting insight. Tony and Steve are keenly aware of Mother Nature's time clock. And amongst their good natured banter is a question: How much longer can I continue in this job?

That job is to be the backbone of this industry: the male performer who can 'get wood.' And he has to 'stay hard' for the
average length of time it takes to shoot a thirteen minute sex scene. In real time, with all of the coverage-- various camera set-ups--we are talking sixty to seventy minutes depending on circumstances.

The first sex scene of the day does not happen until 9 PM. I have plenty of time to shoot the sh-t with Rob Spallone. All I have to do is roll tape and throw out a question. Oh, did I mention that Rob Spallone is funny?

I asked Rob about whether the DVD version of 'The Contortionist' will have a director's commentary. Frankly, I can't remember his answer because by the time I hit the record button he became maniacal and started talking about how hysterical his commentary was on the DVD for the Sopornos,
a movie he produced and acted in.

'People called up VCA wanting to know if it came on cassette for their cars. That's how f-ckin' sick I was.'

I should interject here that Rob is talking about 'ballbusting' something he loves doing. He does it with his cast throughout parts of the shoot. And he is very good natured about it. But sometimes in print he reads like he is deadly serious. Ballbusting is not the physical act but more of a verbal put-down. Rob continues:

' I was...'Look at this guy getting his dick sucked. Look at Hershel Savage. Just look at him there.' It's me talkin' watchin' the movie right? 'Looks like it's Weekend at Bernies. Like he's dead! Look at this guy...Tony (Tedeschi) was f-ckin'...um...Nikita Denise in the ass, right? So I'm watchin' um doin' duh thing...right? And...and I say, 'You know somethin,' I remember that day. Tony never f-cked that girl before. We broke for about twenty minutes, came back, and Tony was still f-ckin' her in the ass and the kid's got a f-ckin' dick like a horse. Her f-ckin' ass is a like a TUNNEL!.' This is me throughout the movie. I killed them all.'

Tony Tedeschi, who was sitting a few feet away while this story was being told cuts in: 'You should do stand-up. You should host the AVN sh-t. It would be a lot funnier.'

Spallone's eyes light up. He says: 'Me host the AVN? Who won
best anal? You know what? CATCH THIS! '

Rob flings his right arm out like a fastball.

KAT KLEEVAGE THE UNTOLD STORY

At this point quite a few members of the cast and crew are hanging around and they are in hysterics. Rob is funny. I ask a question about his latest production that involves fat people.

RS: 'I've done without exaggerating 11 radio interviews in the past three weeks. I shot a softcore version that nobody in the business thinks I'm going to be able to sell...because no one ever bought a gangbang softcore. But after I explain it to you and Delores (Henri Pachard's wife) has edited it, I have
a sale. I'm not worried about it.

'The tape is coming out March 3. I'm going on Howard Stern March 3. I sold it to Legend. They're putting it out March 3. The title is: The World's Biggest Gangbang.'

FB: 'How did this all come about?'

RS: 'This girl (Kat Kleevage), happens to be the nicest girl. There's a reason for that. Number one: She just is. Number two: She is not a 20-year-old kid.

'Now. I'm shooting a midget girl and I needed a girl with a strap-on to f-ck the midget. Somebody told me about this girl. I hired her over the phone--never met her. It's this girl Kat Kleevage. She comes to my set and before we were ready to shoot we were outside bullsh-tting.

'And she goes: 'I want to be famous.'

'And I looked at her and I said: 'Honey, you'll never be famous.'

'And she goes: 'Why?'

'I said 'two reasons. One you're too ugly and two, you're too old.'

'She said: 'Oh...that's not very nice.'

'I said: 'Uh, you're not that ugly.' But she goes: 'You know something? You're right.'

'I said 'what do you mean?'

'She said: 'I know this business contains 20, 22 year-old girls and I'm 35 years old.'

'We were talking and she tells me she's been an escort since she was 16 years old--A Real Escort. Street. Never had a pimp.

'I said: 'Why do you want to be a famous porn star?'

'Now, she's been an escort since she was sixteen--she took eight
years off. She had a sugar daddy for eight years. They broke up.
She went to New York to work for an agency. Escort Service.
Her first time. And there were other girls in the industry there making $1,000, $2,000, an hour. She's a three, four hundred dollar an hour girl. And they were booked from the minute they got there. And she was getting calls here and there.

'So she went and signed and she f-cked the midget with the strap-on. Now, let me tell you how much class this girl has. I'm going to stop this story for a minute.

'I met her about four months before Christmas. I shoot some weird stuff. So I gave her some old lady scenes. Christmas time came. She brought Ron Sullivan a Christmas card and my still photographer a Christmas card with a hundred dollar bill in it. I said: ' Kat....what...are-you-crazy?'

'She said: 'Oh, they're very nice.'

'I said: 'They don't work for you, they work for me.'

'She put $500 on my desk. Ok. This is a class act girl. I wouldn't take the money.

'Anyway, so she goes and does the scene. She comes out. I said
listen--now I didn't have this planned, nothing; this was just...you know, she wanted to be famous.

'I said, 'I'll make you famous'

'She said, 'How?'

'I said: 'Do you trust me?'

'She said: 'I don't even know you.'

'I said: 'You can ask around--everyone knows who I am.'

'She said: 'What were you talking about? You can make me famous.'

'I said: 'Would you f-ck 50 people at one time?'

'She looked at me like I was a little weird.

'She said: 'Umm, maybe.'

'So I said: 'Ok. Would you f-ck 50 people over three hundred pounds?'

'She looked at me like I head two heads.

'Now, it's not like I had this plan for a few months to find a girl.

'She looked at me like I head two heads.

'I said: 'What? You tell me you been an escort since you were 16; you never f-cked a bat-ugly old guy?'

'She says: 'You're right.'

'I said: 'If you'll tell me you'll do it, I'll put you on the Howard Stern show this week. We'll go to New York. We'll do the Stern show.

'About a half-hour later, she says: 'I'll do it.'

'I said: 'You're not going to back out?'

'She says: 'No.'

'I put up a website for forty dollars--I know nuttin' 'bout the internet; I don't know how to go on the computer. Forty dollars; had the website up in a half-hour. XXXfatgangbang.com. Put up a picture of her, a little thing telling you how to email Rob Spallone or call him at this number. Went on the Stern show. Announced it.

'I got thousands of emails: 'This is the greatest idea I ever heard. I'm four-hundred and eighty pounds, I'm 45 years old. I've been a virgin.'

'One guy...no arms, no legs: 'You should do one for people like me.'

'I picked 50 people. We shot the f-ckin' movie. IT WAS THE MOST
DISGUSTING, DISTURBING THING YOU'VE EVER SEEN IN YOUR LIFE!

'IT STUNK LIKE A ZOO IN HERE!

'I came out in a tuxedo. We had a stage with a scale on it. I weighed them all in.

''COME ON FATTY, GET ON THE SCALE. ONE FOOT...DON'T EVEN
PUT THE OTHER LEG--YOU WEIGH ENOUGH!'

'I brought her (Kat Kleevage) out in a wedding gown. They f-cked!

'And we were under the impression if one guy gets wood: that would be a bonus.

'EVERY SINGLE GUY HAD WOOD!

'Now, you wanna get to the best part of this whole thing? I never told you this. We're flying to New York--five hour flight. She says to me: 'Rob, I just want you to know that you don't have to pay me.'

'I said: 'What are you talkin' about?'

'She goes: 'I'm going to get a lot of business from this.'

'I'm saying to myself, 'Little does this girl know. She'll never
get laid again. Who's gonna f-ck her after this?'

'We flew to New York. Did the Stern Show. After we left the radio show I brought her to La Guardia Airport. She was going to Texas for a week.

'I came home.

'A week later she came into my office. We went out to lunch for forty minutes. If her phone didn't ring 30 times in that 40 minutes it didn't ring once.

'She was right.

'And you know how a girl does 50 guys in this business? Next girl wants to do a hundred. Houston wanted to do five hundred.

'There ain't a girl goin' to want to break this record.

'Who are you going to get to f-ck 50 fat guys? Eh?

'I thought she was going to back out at the last minute. And seven of the fifty fat people were women with strap-ons. Over three hundred pounds. There was a woman five foot tall. She was 460 pounds. She was bigger this way than she was this way.'

FB: 'Did you pay the fat guys?'

RS: 'None of the fat guys were paid. Did if for free. They were thanking me. Where are these fat guys going to get a f-ckin' half-way decent looking girl without ROB SPALLONE?

'I did my good deed.'

FB: 'Did everybody use condoms?'

RS: 'Now, this girl's used condoms since she's 16-years-old. She's 35. Yes they all wore condoms. She wanted everybody to have a test. I said, 'You f-ck people all day long--they don't have a test. NO TEST! KAT!'

'She said: 'Ok.''

FB: 'How long was the shoot?'

RS: 'Six to eight hours. It was sick! There was $600 worth of food. There was enough food to feed 150 people. There was no food left in a few hours. I had four six-foot heroes--they feed 40 people each! I had pizza from here to that wall. DONUTS! CAKE! SAUSAGES AND PEPPERS! EVERYTHING!

'They ate like they were going to the electric chair.'

end of part 2

North Bound On the 101 Freeway Searching for Boogie Nights Boulevard #5
2003-03-05 11:02:39
Fred Buccolini (mind_warp@knac.com) writes:

Finally the meeting with Hershel Savage. Still very handsome at 50, the man was a perfect gentlemen during this interview.

(FB: FRED BUCCOLINI, HS: HERSHEL SAVAGE, RS: ROB SPALLONE)

FB: The 1970s, the decade, I want to know about that era--when they had big budget films and compare it to today. Is it like night and day for you in terms of budgets and pay scales?

HS: You know what, the job is essentially the same. Only a performer today can make a lot more money. There's just a lot more opportunities to work. In the seventies there was not 15 films being shot a week. I started in New York. You know there were a few productions here and there, every month. But it was never like you could work 20 days out of the month if you were good. So, from a performer's stand point, if you were capable of doing it, it was a better time. But, financially, now is better.

It was more of a film-feel back then. We had more actors coming from the theater. But...umm...I mean, why would you do porn films outside of making money unless you have a serious jones for attention. I mean, for me, it was about makin' money. I mean...I liked the sex and everything: But Money Was King.

FB: So back then you weren't paid that much?

HS: No. Not really. In the early days, no. You do a loop, you f-ck a girl: fifty bucks. It was good money in 1976: full day feature--16 hours--one hundred and fifty bucks. And then in the eighties things started to turn. I started to set minimums. Most guys raised their rate to three hundred. And on the bigger features I got up to a thousand because I asked for it. You know, you don't get it unless you ask for it. I'd ask for it; I'd get it. You know...but that was rare.

FB: There were several films that you were in that I really liked. One was called Beauty? Any memories from that time? Loni Sanders?

HS: Oh, Loni was incredible.

FB: It was well shot.

HS: That was Fred Lincoln right?

FB: Warren Evans. Remember that name?

HS: No

FB: Maybe it was a pseudonym. He only did a few films.

HS: That was a good experience. That was like the golden time. Like, the early eighties, San Francisco. She was just beautiful. Hot. Fun girl. Great girl.

FB: Bodies in Heat.

HS: Bodies in Heat was a very good movie. They really took the time to do a good movie. It's probably one of my better roles though I had a serious flu the whole shoot. I couldn't breathe. I was close to getting an oxygen tank. So it was a real tough shoot for me.

FB: How many days shooting?

HS: Probably 6 to 8 days. Something like that.

FB: Shot that in L.A.?

HS: Shot in L.A. I was living in San Francisco. They flew me out.

FB: The Filthy Rich was a big film for you.

HS: Filthy Rich was a fun experience. That was the Lisa Deleeuw heyday. Vanessa Del Rio has a really great scene. A scene were I f-ck her on a pool table.

FB: I am drawing a blank on things to ask so I'm going to throw out a title and see if it rings any bells. The Hypersexuals.

HS: Oh yeah. That was the Wang series I did in New York. I was already living on the West Coast. I came back to New York for ...?

RS: What year was that?

FB: 1984.

RS: f-ck!

HS: They literally trapped me on the f-cking set. They wouldn't let me go back into the city. We were in New Jersey. And I was like, you know, don't trap me on a f-cking set. So it was a real brutal situation. It was almost like they were treating us like children--which most of the talent is but, you know. Give me a modicum of respect. I was finally able to take a flight
to the West Coast.

RS: (laughing hysterically) Who was that for?

QS: (under his breath) Huston? Robert? You, know, um...I bet Ron Sullivan was around at that time--he didn't direct but um, I don't know. It was an annoying f-cked up shoot. But I did meet Brook Hunter. She was great. (he meant Brook Fields.)

RS: (Rob at this point is beaming he is having so much fun. In almost a childlike tone, like a little boy asking his father a question about the past, he asks)

Herschel, you really remember back 20 years ago?

HS: I remember, yeah. Not every single moment but---

RS: How many movies have you done?

HS: You know, I really don't know.

RS: Features? You remember more than...

HS: Not necessarily. See, I'll remember girls. I'll remember hot scenes, as opposed to like, boring sets. But...we've (Rob and Hersh) had some great times.

RS: Oh yeah, we have. I know a lot of sets I'm on. I'm like, 'girl get the f-ck out of here,' but we do have some fun times.

HS: I don't forget those times. They're fun. Ya know? Bullsh-t each other, banter back and forth.

(There is a sentimental pause here. Maybe a nostalgic moment of time swept under the rug. Hersh asked me if I knew he was out of the biz for ten years. I said I did but was not sure of the reason.)

HS: You know it's funny. In my early career no one used to break my balls. When I came back: EVERYONE STARTED TO BREAK MY BALLS CAUSE THEY COULD. They tried to get my goat and sh-t.

(At this point I wanted to stay in that nostalgic moment so I threw out another question.)

FB: There was a whole New York contingent: You, Gloria Leonard, Bobby Hollander.

HS: Jamie Gillis. Ron Jeremy came in two or three years later. He started in 1978. Me, Jamie Gillis, this guy named Wade Nichols who became a soap opera star and later died of AIDS. Uh, John Leslie was a West Coast guy who came out to the East Coast and shot.

FB: Were you guys competitive against each other?

HS: You know, I really wasn't. You know...I like John Leslie. But he was like a peacock. He used to walk around...the king and sh-t. I never I never competed with the other guys. Never!

RS: Today they do.

HS: I don't.

RS: No. The young guys do.

HS: Yeah.

RS: They really do.

HS: They're worried about losing money.

RS: (Rob changes his tone to a little granny voice)

They'll brag, 'Oh I did a scene where I f-cked this girl.'

HS: I came back to the industry...guys are coming up to me...
and saying : 'Hey Hersh! I can cum six times in a day.' What the
f-ck do I care? Get-a-f-ck...get-a-way from me! You know?
I don't want to hear this sh-t. Their life is in their dick. But that's never been the case for me.

RS: (slowly and loud) IT'S SO TRUE!

HS: You've gotta broaden your interest. You know? You have to have something outside of this.

FB: There was a certain celebrity, I think, back in the seventies, when you saw your name on the marquee. When all of the Pussycat Theaters shut down all of a sudden that celebrity disappeared. Then came the VCR and home viewing. Does that affect your self-esteem?

HS: Just as the video revolution was getting into high gear--I split! (laughing) I took off. For the first time that I could really start making money--I quit. But no. I never really got a...

RS: (back to the little boy voice; almost a whisper)

What? If I went by the movie theater, your name was on the outside?

HS: No. It was always the women.

RS: There wasn't guys' names up there?

HS: Not really. John Holmes. That would be it.

I remember the first time I was in Time Square. The first time
I did this movie, it was called "The Nun's Bad Habit.Ó I play
an angel that comes down and f-cks this nun.

RS: They did that back then? And you're not allowed to do it now?

HS: Oh, they got away with so much sh-t back then.

RS: So...go ahead.

HS: So, like a schmuck! I decided to invite my sister and a couple of her friends to the movies. And we go in and there, on the screen, is this 16 foot long COCK. I was embarrassed. I'm sure my family was disappointed, because I showed promise as an actor at a very young age and they were expecting me to break through as a theater actor or a movie actor. But me being the psycho...

RS: You made the big screen.

HS: Yeah. I made the big screen. Twenty-seven inches.

RS: And then 23 years later he took his mother and his sister and all of them to the Hustler Hollywood Store to see him get his feet put in cement.

---------------

SOME CLOSING THOUGHTS

Ironically, I could never spend any real time with Henri Pachard. But there will be other opportunities. My overall feelings from spending time on Henri's set was that "this was a factory. And the days that I loved are gone forever. So be it. If you made it this far, please drop me an email and let me know your thoughts: mind_warp@knac.com