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October 10, 2005

a message from Jerry Douglas

"As most fans of adult films are now beginning to realize, making an explicit film is not a simple process. We don't just go out and shoot some guys having sex, then duplicate the footage, and send it out to the stores. My latest effort, for Colt Studio Group's Buckshot Productions, BEYOND PERFECT, is no exception.

For me, the process starts with the writing of the film, followed by the casting, and the assemblage of the crew. After a lengthy search, I was able to cast in the leading roles, Brad Patton and Jason Kingsley - two amazingly talented men who deserve to be called superstars in an age where the term is vastly overused. Joining them in the third most important role in BEYOND PERFECT is my old friend, the legendary award-winning director, Joe Gage, as their therapist, a non-sexual role. His contribution to this film is every bit as great as Zak Spears' was to BUCKLEROOS.

Filming - or, as I call it, mining the raw ore - is the most stressful part of making a film for me. The stress level was very low on BEYOND PERFECT, however, largely due to the professionalism and dedication of the fourteen-man cast, not to mention the crew and the dozens of extras who were also involved. By contrast, the most rewarding part of filmmaking for me is the editing of the film, during which the "raw ore" is smelted down and shaped and polished and burnished into what I always hope will turn out to be a work of art. After the film is wrapped, I have tapes made of every frame of raw footage I've shot, and I take them back to my home in New York where I study them at length and begin to piece together on paper the quilt that will eventually become the first rough cut.

During this process, I have the opportunity to study each frame, and the star power of these three men shimmers throughout every one of their scenes. In particular, the final scene, which currently runs just about half an hour, turned out beyond my wildest dreams. Although a director is probably the last person in the world to evaluate his own work, I truly believe that this is the best scene I have ever shot. I wish I could take sole credit for it, but the power of the scene, an amazing flip-flop with a surprise twist ending that I have never seen onscreen before, is largely due to the prodigious sexual energy and professionalism of both Patton and Kingsley. I'd like to think that their chemistry and enthusiasm for the project will make the scene as special for their fans as it is for me.

The paper edit I prepare in New York, which usually takes between four and six weeks, is then sent to the editor, in this case the multi-talented and award-winning Max Phillips who works at the COLT Studio Group offices in San Francisco. Max then brings this paper edit to life, following my notes and enriching them by adding his own expertise. Because he also shot the film, he has a greater knowledge of the footage than most editors, and as a result, the post production process, I suspect, will be much easier than it usually is. I'm leaving this Sunday to fly to San Francisco and put the final touches on the film, add the titles and music, and tighten its running time, in order to have it ready for its November release date. I can't wait. I just hope that watching it will be as terrific an experience for fans as making it was for me.

Happy Viewing, Jerry"

Posted by Jeremy at October 10, 2005 9:43 AM

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