Barbara Nitke - American Ecstasy
The following is an exclusive excerpt from Barbara's upcoming book 'American Ecstasy' a photo book and memoir of her time as a still photographer on porn sets in the 80's. It's going to be amazing and you can help get it published by donating to her Kickstarter campaign here:
A murderous summer night, and we’re out in the suburbs working on Piggies, which is a ripoff of a teenage Hollywood hit called Porkies. We’re on the last scene of the last day. As soon as this scene’s over, they’ll break out the beer and start packing up.
It’s a threesome – two girls and a guy in the back of a Volkswagen van – with blue moonlight pouring in through the windows. It looks pretty, but nobody cares. It’s too late and we’re all exhausted. Everybody is circled around the van, ready to rush in with paper towels, lipstick, big magazines of fresh film that they’ll pop onto the camera and thread through all the little gears as fast as they can. They’re talking about how much money we’d be making if we were on a union shoot with overtime pay and meal penalties, and no sex.
“Actually it’s double time from 12 to 16 hours, then it’s triple time.”
“And a hot meal every six hours! A hot, catered meal – no cold cuts. Or else they get extra money. That’s in their contract for every shoot. Can you believe it?”
Six of us cram into the front end of the van. I find a spot on the floor, wedged in between the cameraman and a lighting guy, who’s standing by with the crotch-light in case they need closeups. The sound guy holds a boom out over my head. The director is kneeling backwards in the driver’s seat with a sour look on his face, the script girl next to him.
The scene starts out with Jeannie and Dick fucking doggie style in the backseat, and the second girl passed out on the mat in front of them. They’re going at it, banging away, making noise. The director calls for a cut, then looks over at the script. The cameraman turns off, leans back and pulls his hat down over his eyes.
“All right, so now we’ll – guys I said cut! CUT!!"
Jeannie and Dick keep right on going, making noise like there’s no tomorrow.
“Oh, oh, ooooooooohhhhhh!!!!”
“Hey, what is this? I told you two to stop! Cut! We’re making a movie here. You’re not supposed to be doing it for real!” He’s leaning out over the top of the driver’s seat, his face beet red, his head about to bang on the ceiling.
Jeannie cums. She throws her head back, moaning louder and louder. “Oh yeah!
Yeaaaaahhhhhh, yeaaaaaaahhhhhhhh!!!” Blue moonlight bounces off her hair and her back sways like a wolf. Dick’s grinning like a little kid.
I don’t know where to look, what to do with my hands. I could put the camera in front of my face, but that would look silly, after the fact. I stare off into space.
I can’t believe nobody shot that. It was probably the only real, spontaneous event that happened in the entire shoot. The only moment that would have had an impact on anybody. And not one of us recorded it.
“Jesus Christ! Now, can we get on with the scene?”
Oh well, we’re pros. We only shoot girls faking it.
The cameraman sighs, pushes his hat back and settles the camera back on his shoulder.
“Ready when you are,” he says.
And don't forget to chip into the Kickstarter.