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"I called this guy up, a seedy-sounding character. He said, 'You got a good hanging thing?' And he hired me over the phone." (Sinema) Worried that cops might follow him, Herbert made his way over to the shoot. When he saw all the beautiful young ladies, he immediately became erect. He ejaculated quickly to the dismay of the camera crew. They went crazy. But by the time they settled down, his penis appeared ready to go again. After that first $75 loop, the secular Jew kept going, realizing he needed to buy more Christmas presents. "I did a lot of those documentary doctor-type things where they'd have a doctor talking and then six different couples doing it." (Ibid.) During his first two years in the business, Streicher worked almost ever day of the week. "There were lots of legal hassles. People were always afraid of busts and locking doors and had guards posted... It was a seedy, raunchy business. The guys were all f---ed up; the girls were all f---ed up. Lots of dope addicts." (Sinema) Porn shoots depended on the cooperation of everyone concerned. One phone call to the police could wreak havoc on a production, landing the participants in jail. That Linda never made this call argues against her later story that she participated unwillingly.
The cast and crew - soundman named Norman, cameraman Harry Flecks [Joao Fernandez], Harry the gaffer, and a couple of others - for the most profitable movie of all time stayed at the Voyager Inn on Biscayne Boulevard in Miami. Though Linda claims Chuck beat her savagely on the first night of the shoot, and that the crew heard her screams, no one else on Deep Throat remembers such an ordeal. Contrary to her claim that they stayed next door, the cast and crew resided several floors away from the Traynors. Damiano made four sex loops centered around Lovelace and a doctor played by Reems. Back in New York, Gerard shot connecting footage with Harry and Carol Connors before patching the loops into the "movie" Deep Throat. Linda and Carol never appear in a scene together and Harry sports different haircuts. Deep Throat begins with Linda arriving home to find her friend Ellen (Sharp) sitting on a table while a man licks her vagina. Linda and Ellen talk to each other while the man keeps licking. Ellen asks him if "he minds if she smokes while he's eating?" Linda says she doesn't enjoy sex. She's never had a bell-ringing orgasm. Ellen suggests they invite some men over so Linda can experiment and possibly find the excitement she seeks. She doesn't. Linda visits Dr. Young (Harry Reems). After determining that her problem is not caused by childhood trauma, Dr. Young guesses that her problem is physical. An examination proves him right; Linda's clitoris is in her throat. He tells her that the solution is to relax her muscles and take a penis "all the way down." Linda tries fellatio with Dr. Young, taking the entire length of his penis into her mouth. Grateful, Linda offers to marry him and be his slave. Dr. Young rejects her offer because his blonde nurse, Carol Connors, wouldn't like it, but he offers Linda a job making house calls as a psycho-therapist. Her duties include fellatio, vaginal intercourse and anal intercourse. One home consultation ends with the patient sipping Coke from a glass dildo in Linda's vagina, while the soundtrack plays "I'd Like To Teach the World To Screw," a parody of the famous Coca Cola advertising jingle. Deep Throat opened to the raincoat crowd in June, 1972, at the New World Theater on 49th Street. Raincoaters are men who, according to the stereotype, arrive at adult theaters wearing raincoats to allow access to their genitals while they fantasize about the women on screen. Over the next few months, millions of Americans for the first time watched explicit sex. Frank Sinatra, Spiro Agnew, Warren Beatty, Truman Capote, Nora Ephron and Bob Woodward (who used "Deepthroat" as the name for his key Watergate source) took in the film on its first run, and eventually more persons saw Deep Throat in theaters than any other porno. Deep Throat brought hardcore into popular culture, earning at least twice as much money as any other porno in history. "The business was so small in 1971," remembers Eric Edwards. "I didn't think it would go anywhere. It was just private sales to people. Then Deep Throat came out and the business went kaplewee. From that time on they got the bright idea that they could make feature films if they could find people who could act. Few people then could act and perform sexually." Deep Throat and The Devil in Miss Jones ranked among the top ten grossing films of 1973, stimulating the New York Times to coin the phrase "porno chic" to describe the growing fascination with sex on film. While Linda quit porn in 1974, her Deep Throat co-star Harry Reems worked through the late 1980s. "Linda's a sweet, sweet girl," said Reems in 1973. "She's a beautiful person, very together person. She's not super bright; she's not an actress but she's totally open and free sexually. She's got this thing where sex is to be enjoyed and not slandered, and she follows it. She really believes it. Linda loves to deepthroat... But there's not a lot of contact and warmth and lubrication in that kind of technique. It's 'Look what I can do'." "Harry Reems. It's such a stupid name. It's awful. You wonder what kind of guy has the name Harry Reems, but I'm stuck with it. "I'm promiscuous now. I love to ball and f--- anything in skirts. But if I'm like this ten years from now I'll become a sad person... You see these guys running around leching and drinking themselves to death and trying to screw everybody. It's sad..." (Sinema) Reems gave an interview to the May 20, 1974 issue of Screw where he outlines his increasing disenchantment with porn. "Pornography is not my way of life. It's a thing I do for income... I don't pursue the way of life [Tina and Jason Russell and Georgina Spelvin] have chosen, which is pornography. They're the revolutionaries, but I'm not a trailblazer." Screw: "Linda Lovelace is one person who's broken out of this field." Reems: "She's gotten notoriety the likes of which nobody else ever had. She became the first person to get pointed out. As far as a personality, Linda has got that magnetic ability to draw an audience or anybody in a room directly to her, that twinkle in the eye, that real smile without phoniness or presumptuousness. I haven't seen her since Deep Throat II where she became scared of certain things. She suddenly hit a financial plateau where she had to watch what she did and said. She's a beautiful person." Screw: "How was she in the film? And how do you view her relationship with Chuck?" Reems: "At first I thought they were into an open sexual relationship, but I felt a certain resistance whenever Chuck was present. While we were doing a sex scene she would get uptight. She didn't want to reveal to Chuck that she was enjoying herself. Indeed she was. As soon as Chuck went out of the room - and Gerry would ask him to go out and get cigarettes just to get him out of the room and get her free emotionally - the scene was five times better. "I was not supposed to act in [Deep Throat], but after six days watching everybody f--- and suck while I'm putting lights up and rigging cameras, I'm getting horny. Linda and I had worked in New York two weeks previously in those loops, so I kept eyeing her and she kept eyeing me. At this poitn Damiano was looking for a guy to play the doctor, so ultimately I played the part. At the hotel, when Chuck wasn't around, Linda and I would say, 'I can't wait until we can get it on.' We never had the chance to have sex off the set, however." Harry earned thousands of dollars from Deep Throat as a distributor of the flick, but he landed in a Memphis jail charged with conspiracy to distribute an obscene movie. Jack Nicholson and Warren Beatty raised money for his successful defense led by Harvard law professor Alan Dershowitz. Retired FBI agent Bill Kelly attended the trial and he remembers: "Harry Reems was a completely likeable guy for being so amoral. He'd joke with you. I think he was a good comedic actor. He was pretty good as opposed to Linda Lovelace who had as much acting ability as that lamp over there." Harry showed a mean streak towards women says Jim Holliday, noting his war cry. Most performers have a war cry - some particular combinations of moans, groans or words they utter when they orgasm. "Harry would always say, "s---, oh s---, s---, s---, s---." It tells you something about his attitude towards women." "Harry loved to knock women around," recalls Veronica Hart. "He was so funny, like Jamie Gillis. They loved to smash chicks around. We did Society Affairs together. I was with producer Harold Lime at the time. [They had a two year affair.] I blew my brains out for that movie [trying to get Harry hard]." Reems earned tremendous sums from porn in the '70s, but spent his $30,000 a week paychecks on alcohol and cocaine. He retired from porn in 1976 and tried to go mainstream, but his main effort, the 1981 film National Lampoon Goes To The Movies, bombed. Harry returned to porn in 1982 when Reuben Sturman funded his $75,000 salary, the most money ever paid to a person to do a porn film, and the rest of Society Affairs. Reems screws twelve women in the flick. The filming went days over schedule because Harry couldn't get his dick up on camera. The times he did achieve erection were frequently at night when he wasted his sperm in private on his girl of the evening. Heavily dependent on drugs and alcohol, Reems developed nasty tasting sperm, according to some female porn stars of the '80s. Many of them avoided taking his cum shots in the face. Between performing, Harry spent the '80s bouncing in and out of detox centers, mental institutions and jail, chased by tax problems, bad debts and outstanding arrest warrants. Reems hit bottom in 1985, when he slept behind a grocery store dumpster in Malibu. He had a two-quart-a-day vodka habit. Bill Margold, no friend of Reems, saved his life one night by pulling him out of the gutter on Sunset Boulevard. Bill took him home, called Jim Holliday for advice and acted on it. With the assistance of Robert Stoller, Bill got Harry into treatment. "Harry's never forgiven me," says Bill. "Never save someone's life. They'll hate you for it." After five days in an LA jail in 1989, and another arrest in Park City, Utah, Reems sought help in a 12-step program "I knew if I didn't stop," says Reems, "I'd die." Seven years earlier in Part City, Reems met Jeanne Sterret, a pretty redheaded waitress. After eleven months of sobriety, Reems called her, and on their first date, he proposed. Before she accepted, Sterrett, born around 1953, watched Deep Throat with friends. It's a movie still banned in Utah - a porn-free state. "I thought it was hilarious," says Jeanne. "I loved it, but I didn't think it was the Harry I knew." A trustee of his Methodist church, Reems sells real estate in Park City, Utah. Unlike his Deep Throat co-star who also found Jesus, Harry won't talk about his porn past. He evidently takes the Eighth of the Ten Commandments - against bearing false witness - more seriously than Linda. The October 1975 issue of Viva magazine interviewed Harry and filed this: Harry Reems, the mustachioed star of Deep Throat, the Devil in Miss Jones, Wet Rainbow, Sometimes Sweet Susan, and over 150 others you've never even heard of, is at twenty-eight the reigning King of Porn. Born in New York City and raised in the bosom of a middle-class family in Harrison, New York, he has done time at the University of Pennsylvania and in the Marine Corps. He is the only pornographic-film star to receive a percentage of the profits, and certainly the only one to lecture on his profession at college campuses across the country. His autobiography, Here Comes Harry Reems, was published last spring by Pinnacle Books. He acted with the National Shakespeare Company, WPA, and La Mama before lending his acting skills to such works as Keep It Up and Altar of Lust, and it may be his dramatic training that makes him what producer Gerard Damiano calls "the Steve McQueen of Porn." When Harry isn't publicizing his book, making a film in Denmark or Sweden, or hiding out at his country retreat, he lives in a comfortably cluttered Chelsea apartment with his blond roommate (not lover), Linni. Antiques jostle for floor space. The halls are lined with overflowing cartons into which Harry now and then delves to pull out such plums as satin Coney Island baseball caps, rubber wieners, Howdy Doody dolls, and souvenir rodeo buttons that read, Let 'er Buck! Under his bed is the overflow of what he swears was 40,000 gross of black plastic spider rings - a promotional gimmick for a film that never came off. Harry loves toys. He also likes to dress up in a gorilla suit on Halloween and run around the streets passing out pumpkins. For his interview with Viva contributing editor Mary Bringle, however, he was dressed in jeans with hand-sewn patches and a flannel shirt - while contemplating his costume for a scheduled masquerade. Should he perhaps go as one-third of a ham sandwich? VIVA: How did you choose the name Harry Reems? REEMS: I didn't pick it, you can be sure of that! Remember, I came up from the underground in the days when they paid porn actors in cash from a steel box; in the days when they did not want to know your name. Because I was a member of SAG [Screen Actors Guild], I'd tell them to use any name but my own so the union wouldn't catch me and fine me. They used to bill me as Peter Long, Dick Hurt… Then Gerry Damiano put Harry Reems up on the marquee for Deep Throat, and everyone was running around saying, "Who's Harry Reems?" When Sometimes Sweet Susan [the first and only SAG porn film] came along I was really scared I'd meet the union face to face. The contract was written in my own name, but I was billed as Harry Reems; I just hoped they wouldn't put the two together. There was no way around it, the cast was being paid scale, and I could just imagine them saying, "This actor is being paid - how much?" All the checks were sent over to SAG and I called and said: "Hi, this is Herb Streicher. I'd like to pick up my check," and this voice says: "Herb, I've been a fan of yours for years." Turns out they never went after porn actors because they didn't consider us a threat - we weren't real competition. They never minded! If I'd known that, I'd have used my real name! Now I'm Harry Reems. What a handle - I think I'd rather be Sam Bazooka. VIVA: Your mother? REEMS: At first she did the whole Jewish-mama thing, telling me I ought to be ashamed of myself. But then she realized I'd started to make some money. I took her out to dinner. She could see I hadn't turned into a monster, and soon it was "My son, the actor." As long as I am making a living, as long as I'm happy, she's happy. She's a fun lady. Contemporary in certain ways. If she weren't my mother, she'd be my friend. VIVA: Has she ever seen one of your films? REEMS: I tell her not to go. She wouldn't be entertained by them. She was married to the one man in her life - only had one man in her life and only will have that one man. She won't remarry. She's closed minded, sexually. Sex was never mentioned when I was growing up. There were never any displays of affection. Everything went on behind closed doors, and as a result I was a late comer. I didn't have my first real experience until I was 17 or 18. There was a lot of locker room talk with the fifteen-year old set. You know: "I got her!" "Where?" "Did you buy a rubber?" "In a drugstore?" I used to talk to. I said I used a balloon. I always had a great imagination. "My first woman… There were three of them who were willing and ready, and I bungled it. I was a little premature with one, and another got me so excited from petting and carrying on that I came in my clothes! The humiliation! And then she turns to me and sayd, "Okay!" - and I couldn't perform because I'd just done it! That was the second. The third was a beautiful little girl; we were in bed naked together and I thought I was in her, but I was only between her legs. "I was in a burlesque show in Atlantic City. I was playing straight man to these two old comics who were terrific. They knew all the classic slapstick routines - and I'd be the crazy doctor or the guy on the street corner who whistles at girls. My life is a cycle. I'm always playing crazy doctors. I must have played two hundred crazy doctors. You can't get me to play one anymore. Anyway, we were playing strip joints and there was this terrific dancer. She had twelve years of ballet, and as an exotic dancer she was a work of art. She was a Puerto Rican, an older woman, about thirty, and very bright. She got her eyes on me and just scooped me up. I was twenty years old, and from her point of view that was great! I can understand it now that I've begun to lech after little girls. We spent the whole summer together. She taught me. I didn't know about sex before that. I think every guy goes through something like that - has an experience with an older woman who opens new doors. VIVA: Did she have anything to do with your wanting to become an actor? REEMS: Not really. When I was a kid, all I wanted was to be out of school and play a lot of baseball. The burlesque job was for fun. When I was just out of the service I lived in the East Village with an actor, a friend of my brother's. I was looking around, didn't know what I wanted to do. This guy was rehearsing one night at the apartment and asked me to read some lines for him. He was a terrible actor, and I thought, "Gee, I can do this." I went and took a course at the Free School - the University of the Streets - and that was it. I took some acting and speech. It was all for free for anybody who wanted it. One of my teachers was doing a play at the Cooper Square Arts Theatre, and I was in it. It was Shakespeare - Coriolanus. I played Aufidius. I was the heavy. I loved it. It was a chance to go all the way out and it was marvelous. Acting is pleasurable in all senses. Sexual is only one of them. I got into the porn business because I was strapped [for money]. I was working for the National Shakespeare Company, and they don't pay a lot of money. Somebody told me I could make a quick $75 a day doing a stag film. The first experience was terrifying. I was afraid. Afraid sexually, physically, for my career, my family, my reputation. It was a ten minute stag film - me and two women - and I had never balled in front of people before. I applied an acting thing to calm myself: concentration. Put it there, and that's it. VIVA: Were the two actresses helpful? REEMS: One was, tremendously. I had never been with two women before in my life, sot here was a lot of titillation going for me. It helped that I was so excited, but still my fears and anxieties must have been written all over my face. I never saw the film. I never saw myself in any film until I'd made 150 of them. VIVA: What did you think when you first saw yourself perform? REEMS: The first time I saw a porno film, I was cutting it, learning to edit. I'm watching this stuff go by and I'm thinking how gross it is, how grotesque. There's no aesthetics in it, no emotion, no nothing. Since I learned this technique in an editing room, when I finally saw myself on film I was watching the lighting and camera movement as well as my acting. I'd already seen thousands of feet of people f---ing, so to watch myself was just - "Oh Jesus, so that's what I look like." I noticed in the cutting room that a sense of companionship is always lacking. I decided to apply that to my work. I try to communicate constantly with the girl I'm working with, even if she's a complete stranger. VIVA: Do you ever get together with a woman sexually before the two of you face the camera? REEMS: It used to be you'd go up for a job one day and the next day eight different people would be there. Now I work on higher-budget pictures: we have rehearsals for lines and character study before we start shooting; we get to know each other, sexually if the girl is willing. But a lot of times it's her first film and I have to play the role of babysitter. Relax her, comfort her - both socially and on the set. f---ing isn't a prerequisite to porn. There is no casting couch. It's honest: you find tremendous ethics in operation. I've been ripped off time and time again with "legitimate" projects - when I used to do commercials and the damned ad agencies wouldn't pay me my residuals - but I've never had a problem in porn. VIVA: Is there a particular personality type who's attracted to porn? REEMS: There is a core of porno regulars in New York City that have worked in these things for years. An awful lot of them are exhibitionists; sure, there are some very strange people involved. I think I'm one of the sanest people in the business, one of the most normal. Porn became a wonderful therapy for me. Suddenly I didn't have to deal with a woman only on a sexual level - after you've had so much sex you don't sit back thinking, Hey, let's f--- every woman you meet. It's more human. All my animalistic instincts are intact, but they're subdued by a more intellectual and civilized set of responses. I want to enjoy a woman's company - I can't get into bed with someone I don't like. I probably wouldn't be able to perform. VIVA: Have you ever been repelled by a woman you had to make love to in a film? REEMS: At the beginning, it was so exciting that the most repellent things wouldn't have bothered me. Even a dirty woman. The sexual stimulation was so great that - well, just imagine knowing you're going to work and you're going to ball. There are personal codes in the business: on the set you're always clean. There are all these showers and bathrooms… Most of the people are pros… They're there to f---, they know how to move for the cameras, they know what the distributor wants, what the directors wants. They're gonna lift their legs on cue so the cameras can get the right shot. That's the ridiculous standard porn formula, which I'd like to destroy. All those close-ups of genitalia. So clinical. For the first five minutes of a porno film it's exciting because here are all these people performing sex, but after a while even the most dedicated viewer gets bored. It's too explicit without being erotica. You don't know the people in bed, there's no motivation for them. Who are they? What are they thinking? If you know what the subtext is, then you can have them do anything, and it's exciting. You can have the hardest S-M scene - it will be erotica if you know where it's coming from. You need the money to hire a good writer and real actors. VIVA: Speaking of actors, how would you rate Linda Lovelace? REEMS: Linda is a phenomenon. Her success is two-leveled. First, there's the circus-act aspect of her performance in Deep Throat. The second level is her incredible warmth. She's a cuddly kitten, an amazingly vibrant girl. She may get jaded now. They kicked her out of Ascot in England last year because more people wanted to look at her than the Queen. She's a social phenomenon, too. All porn is. It came through at a time when America was ready for change. The Mafia is in pornography. Once the big money started cascading in, they came with it. I've dealt with them - reputed Mafia, anyway. Take Deep Throat. Gerry Damiano, the director, was chased right out and these two men - a father-and-son team [Anthony and Louis Peraino] who've been watched by the FBI for years - moved in and now they own Throat. They've used the real hard-sell, muscle way to get it into theaters and make sure they get paid every week. They're in porn very strongly now, unfortunately. Back in the late '50s and early '60s, you had the tits 'n'ass movies, real cuties where you wouldn't even see a nipple. Certainly no pubic hair. Then came stronger stuff. Alex deRenzy on the West Coast is like a miniature Dino DeLaurentiis; he whams out maybe 15 films a year and most of the time he doesn't even direct them, just slaps his name on them. Porn is a good place to learn film and make some money, and if you have a hit what happens is you keep on making films and pretty soon you become a machine, a factory, and the quality doesn't get any better. The majors in Hollywood always know they can spend a million and a half, because they've got twelve hundred play dates with various theater chains. With porno you know you only have four or five hundred and a budget of forty to fifty thousand dollars. There was a time when porno wasn't even advertised, but now there's immense press and publicity. Everything's handled on a mini-Hollywood scale - from conception to exhibition - and there's enormous competition. There is no room for bad films anymore. I've been working behind the camera, as well as in front of it, for five years. I produced Devil and Memories With Miss Aggies; I did the lighting on Throat; I've been a technical director, cameraman, script advisor, what have you. It's incredible the knowledge you need for directing. You can't just say "I've got great ideas, great visuals" - you have to know what a camera does to create the right ambience, texture, and mood. Without technical experience, you wind up with nothing. VIVA: Are you recognized in the streets? Do people approach you? REEMS: Usually men. They say, "Boy, would my wife like to meet you!" Or they say, "Man, you've got the most fantastic job in the world." VIVA: How about women? Do they do outrageous things to try to meet you? REEMS: They send men as their envoys. A guy will say to me, "You're Harry Reems? I've got someone who wants to meet you" - and the meeting will take place in bed. I don't always take them up on it; in fact I will rarely do a number like that. But it's nice to know I don't have to worry about meeting women… I used to think there was a whole dance - a mysterious means of communication - with women. I could never figure out how to approach a girl if I liked and wanted her. All the lines, the bulls---; I felt very uncomfortable about handling it. Society teaches us not to talk about sex, to preserve all our civilized mannerisms. But our raw instincts are in there shouting: f---! It's the ones who can't resolve the conflict who are the kinkies. Their real hidden motivations revolve around S&M. VIVA: Do homosexuals offer themselves to you? REEMS: Yeah. When I was looking for material for my autobiography, I put an ad for "fan mail" in one of the trade papers. Ninety five percent of the mail I got was from gays. I'm straight. Defensive (as opposed to honest) homosexuals will never believe a man can be straight, but I just happen to be. I'm a very good cook, though, straight or not. The girl I was with for two years couldn't cook, so for the first six months I knew her I did all the cleaning and cooking. Finally I taught her how to cook and she totally surpassed me. I sat back while she did all the work and if she complained I'd say, "Cut it out, man, you've got six months to catch up on." I sew, too. This type of stuff. I'm a Renaissance Man. I'd make somebody a very good wife. I'm sane and normal. I'm not kinky though I love to play in bed. I adore bawdy women who put you through the paces - but I've only been to one orgy in my life. I would consider marriage, but I don't believe in monogamy. The whole concept of marriage goes against our instincts and leads to frustration and cheating… I must have freedom with a woman. The trouble comes when people think of marriage as two souls and bodies forming a unit, when it should be two individuals standing on their own. But it would be nice to have a woman I could communicate with with my whole soul. Also, I love kids. I'd like to have kids. If the woman truly wanted to get married, and I loved her, I'd do it. But I don't feel it's necessary. I hate contracts. Children as possessions - what a horrible notion. It's an awful thing when two people break up and they both love their kids and yet it all boils down to a question of property. Kids are just people who are going to be adults some day. You shouldn't guide a child into your way of life - you should let him see everything, and make a few suggestions - he's got to create his own personality and ultimately his own life. If I had children and a home, I'd build a second house on my property for the kids. They'd live there, about ten yards away, and they'd have freedom and so would I. VIVA: If you had not become an actor…? REEMS: If it all went tomorrow, I'd probably take what few dollars I have and get into scuba diving - marine biology. In Puerto Rico I taught scuba diving for a while; I was your perfect classical beach bum! VIVA: What do you like to do? REEMS: Sleep. I like to get eight hours, and I love to nap in the afternoon. I love to eat, too. Meat. Fish. I fish and hunt, and I butcher my own meat. Venison. It's a way of life that's ecologically sound. Good restaurants are one of my passions. I do the Palm every week, and Sam's, Peter Luger's, Christ Cella's… I spend a fortune in restaurants. I love steaks, stuffed prunes…Pistachios. I get a lot of exercise. I'm an antiques freak. I do a lot of strenuous lifting of furniture. I tear down barns and sell the siding. I play squash. I smoke grass now and then. I've tried everything and enjoyed it. VIVA: What about women's liberation? REEEMS: I'm for it, but I can't fight for causes. I don't really see much difference between men and women, as far as jobs go. I know many women who are far more intelligent, more together, than I am. Women are equal emotionally, intellectually and sexually. Women have been oppressed in our social structure. Look at animals - lions, for example: the female does all the fighting. If we humans were in our raw, primitive forms, I'd be very interested to see how we'd divide the labor. VIVA: Do you ever meet women who feel you're being exploited? REEMS: Sure, financially. Take Deep Throat. It made twenty million dollars and I made $250. I was working my brains out and my balls off, and I wasn't even supposed to be in it. They couldn't cast the doctor, so I jumped in. I never had a piece of Devil or Throat… It's only been in the last year and a half that I've started to make money. When I realized I was selling tickets, I sat down with a distributor friend and figured it all out. A film averages a hundred and eighty thousand in box office. If I'm in it, what will it do? Maybe I'll sell five more tickets in a theater a day, and that adds up to thousands of dollars. So I said "I gotta have a chunk of that." I asked for a percentage and now I get it." Viva 10/75.
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