Daily Archives: September 11, 2007

Ron Jeremy: Prince of Porn

We swell the rolls here at Shared Darkness as
time and inclination permits, and since I seem to randomly see Ron Jeremy every couple of months (most recently loitering outside of legendary hot dog eatery Pink’s, on La Brea), I thought I’d go ahead and slap up this age-updated interview with him, originally published on occasion of the limited theatrical release of the documentary Porn Star: The Life of Ron Jeremy, in November of 2001. To wit:

To really understand Ron Jeremy one must first have an
inkling of his offscreen persona
. Of his affable desperation to please. Of his
unending quest for professional (and, by extension, personal) legitimacy. Of
how, without completely copping to it, he really, quite literally wants
everyone to like him.

Of course, these traits aren’t too difficult to glean — a
half hour phone conversation should do the trick. “What’d you think of the
movie?” presses Jeremy right out of the gate. “Be totally honest because I
didn’t make the film, I’m just the subject.”

Porn Star: The Life of Ron Jeremy, a documentary from Scott Gill detailing the
life of the clown prince of pornography. Now 54 years old, Jeremy’s been in the
adult movie business for more than half his life. His career, launched by a “Boy
Next Door” photo in the October ’78 issue of Playgirl, includes more than 1,500 blue movies and a healthy
smattering of regular film work (from TV work on Nash Bridges and bit parts in Killing
Zoe
, Detroit Rock City and The Boondock Saints to the cruel
indignity of being edited out of Ronin).
As porn’s reigning character actor, a performer who often infuses his cocksmen
with a sense of playfulness and/or self-deprecating humor
, Jeremy’s been in a
position to see firsthand the sort of industry evolution on display in Paul
Thomas Anderson’s sprawling Boogie Nights.

“I always did the comedy, I guess, more than most,” recalls
Jeremy. “I came into the porn business with training, I came in with a degree
in theater — a BA in theater, a BA in education and a masters in Special Ed
. So
I came into the business with training as an actor, and having taught theater
and done some plays off Broadway. …I took it seriously as an acting medium back
then, when you could. They had big scripts, big locations, [you were] travelling
all over the world. You might do 10 days as an actor and one day you’d have a
sex scene. So you felt kind of like an actor in a way. The scripts were
important too; they even made you read before you got a job. Nowadays they just
take a Polaroid of your body and you do or don’t work
— which I can understand,
because the market really changed when [pornography] went video and people
brought it into their homes. Couples started watching it just to see exciting
things. They’d fast forward through the dialogue: ‘Hey honey, look at this guy
trying to act!’”

Through it all — improbably, for a man nicknamed “The
Hedgehog” for his roly-poly physique and general hairiness
— Jeremy has remained
one of the most recognizable and enduringly popular faces (if not bodies) in
porn. But, as the film amply demonstrates, Jeremy doesn’t let his celebrity go
to his head. In fact, far from it — being the most famous person at any given
party is usually a drag, Jeremy asserts
. He gets a bigger kick out of
celebrities who approach him. “I’m a big ham,” he admits. “I get a real kick
when a celebrity will stop me and
ask, ‘Are you Ron Jeremy?’” (His top five kicks, by the way, consists of Billy
Joel, Richard Pryor, Eddie Murphy, Patti LuPone and Tony Curtis.)

Jeremy even has his own criteria, detailed in the
documentary, for determining whether a party is worth investing your time in:
first, and most important, is there someone there who you can brag to your
friends that you met? Second, is there anyone present who can help your career
in any way, shape or form? Third: good food? Fourth, is there quality entertainment?
And of course, finally, are there any chicks you have a chance with?

That last lingering question might be most frequently a
losing proposition for the majority of folks, but it probably keeps Jeremy at a
lot of parties (well, OK, the food seems to as well). The fuzzy math of
celebrity ensures Jeremy not only a loyal legion of college-age male fans and
minions
(indeed, Porn Star finds him
being welcomed into a fraternity almost like returning royalty) but also, for
some reason, plenty of “normal” women (read: not in the adult biz) who seem
perfectly willing — and in some cases downright eager — to view and/or test his
wares in person. “Occasionally a girl might come up to me and say, ‘Can I see
it?’ And that might occasionally lead to some fun because I’ll say, ‘Well, show
me yours and I’ll show you mine.’ And they’ll say, ‘But I’m not in the
business.’ And then I’ll say, ‘Yeah,
but I clocked out for today.’ And then we might go to some private area where
they’ll flash, I’ll flash — that gets kind of fun because it might get a little
playful.”

So what’s the upside of a documentary like Porn Star, a film that amuses,
entertains and to a degree titillates, certainly, but also highlights in
passing the cheapness, nervous aspiration and latent loneliness
of its hirsute
protagonist? “It mentions all these good things,” asserts the eternally
optimistic Jeremy, citing at length his mother’s work as a code-breaker during
World War II and his interesting family history. “They promised me they
wouldn’t try to slant the direction to just
porn, [that they would show] I’ve done decent speaking parts in major motion
pictures. I mean, you have a prolific director like Adam Rifkin saying that I’m
a very good actor and have to try extra hard to break the adult stigma. I like
the public hearing that. …It shows,
‘All right, the guy’s trying to go mainstream, he’s giving it his best shot.’”

Indiana Jones Needs More Mer-Men, Opals

Sometimes what happens in Vegas doesn’t really stay in Vegas. Take, for instance, that out-of-wedlock kid you fathered in college who’s now extorting you to fund his poorly thought out business plan for a smoke shop and Phish collectibles emporium. Or, alternately, the jokey, hush-hush revelation from Shia LaBeouf that the fourth Indiana Jones flick will in fact be titled Indiana Jones and the Kingdom of the Crystal Skull. Or course, the latter — made during Sunday night’s MTV Video Music Awards, and confirmed by fan site SpielbergFilms.com, among many others — was never meant to stay in Vegas at all. Still, the selection of the title — one of five registered with the MPAA last month, the others being The Lost City of Gold, The City of Gods, The Fourth Corner of the World and The Quest for the Covenant — definitively nixes dreams of Indiana Jones and the Opal of the Mer-Man Prince, the dryly sardonic misdirection that star Harrison Ford had floated out there. Ahh, to dream…

I just got an advance media kit for the film from the Lucasfilm and Paramount folks yesterday, and while I have to scurry off in Gollum-like fashion to a full slate of stuff today, I’ll peruse the media kit for photos later tonight. Mostly, though, it’s a teaser and series refresher, with maps of real-world locations where the movies were filmed, tidbits about historical truths behind the legendary films… and even a maze and word find, people. That’s right, it’s like Indiana Jones and the Mysterious Case of Highlights Magazine.

Crackle Launches Moving Targets

Sony is getting into the online comedy biz… tangentially. Crackle,
a Sony Pictures Entertainment Company, today announced the launch of Moving
Targets, a programmed channel teeming with all sorts of sketches, digital shorts
and laugh-out-loud animation
.

Moving Targets delivers laughs around the clock from the
comedy chops of veterans like Airplane!
director Jerry Zucker, animation innovators Starz and Jennifer Shiman (30-Second Bunnies Theatre) and Brian Dalton
(Mr. Deity), as well as open
submissions from today’s emerging talent. “Sketch comedy has been a launching pad for some of
Hollywood’s brightest stars, and with Moving Targets we’re giving content
creators the opportunity to shine, while comedy hungry audiences get quality
programming they desire,” said Tony Liano, vice president of programming
at Crackle. “Every generation has had a signature comedy program — from Laugh-In and In Living Color
to Saturday Night Live — Moving
Targets will be this generation’s.”

Crackle also produces a stable of original programs under
the auspices of Crackle Studios. Moving Targets combines licensed and produced
episodes as well as invited submissions from emerging talent participants
. For more information, click here.

Variety, The Spice of Life

TV’s Grooviest Variety Shows of the ’60s and ’70s. That’s the author, above, and while this breaks with Shared Darkness‘ informal policy of linking and/or celebrating only hot chicks, it’s the exceptions that make the rule, and this is a worthy exemption.

With cable and 24-hour news cycles, the small screen of today is vastly different than television of yore — it might as well be another galaxy, really. So examining the histories of programs like The Lawrence Welk Show, The Ed Sullivan Show, The Smothers Brothers Comedy Hour, The Flip Wilson Show and The Sonny & Cher Comedy Hour is a daunting task, particularly for a young writer. But those shows and many more get a comprehensive workout in Davidson’s tome, which is full of warm anecdotes and behind-the-scenes detail but also keen analysis of the business landscape that rose up, sustained and ultimately felled these shows (and largely the entire variety genre). For more information, and/or to purchase the book via Amazon, click here.

Dick, Emmy Share Box

The raunchy R&B parody “Dick in a Box,” from Saturday Night Live, has scored an Emmy victory at the recently held Creative Arts Emmy Awards, besting a couple songs from a musical episode of Scrubs, among other competition.

Last December’s fake music video about ornately wrapping up a part of the male anatomy and presenting it to a loved one as a holiday present, certainly aided in the meteoric rise of SNL cast member Andy Samberg, but an astute friend of mine pointed out — and I believe he’s right — that the piece could ultimately end up most helping out crooner/episode host Justin Timberlake, because it gives him a credibility with guys that he couldn’t buy, no matter the number of Alpha Dogs that he does. What’s most brilliant about “Dick in a Box,” of course, is the kernel of devastating truth at its core: guys really do wish that, 1) we could put that little effort into gift shopping, and 2) that women would be that enamored with our junk.