my position. I was in an odd situation because I’m the production manager—but I’m also representing the star.
GERARD DAMIANO : Chuck mystifies me. He’s innocuous, he’s not a continental lover, and he couldn’t get it up on the Deep Throat set, but you have to admit the man must have something. It mystified me then, and it still does.
There are very few relationships that I have seen in the porn industry that rival Linda and Chuck’s. Most of the girls work on their own. They are their own bosses. They do what they want—because they want to do it. It’s very seldom that I see relationships like Linda’s.
CHUCK TRAYNOR : My business was creating a superstar. And you don’t create a superstar by namby-pambyin’, kiss-assin’ around, and givin’ her roses—it just don’t work, you know? You’re fightin’ a real strong, uphill battle.
So did Linda and I have fights on the set? Yeah, we did have a disagreement, a pretty strong disagreement. She was telling me she didn’t wanna do scenes that day, that she had a headache or a backache or ass-ache or somethin’.
HARRY REEMS : When the old mafioso who was putting up the money, Anthony Peraino, Sr., dropped down to Miami to see how things were going, he asked, “Where’s da broads?”
Mr. Peraino was accustomed to going first class. He required a change of broads every night. Along with the sheets.
LINDA LOVELACE : Anthony Peraino, Sr. had given his son Butchie the twenty-five thousand dollar bankroll for the movie. That’s why it was so important to Butchie that the movie be a success. And it also explains why Butchie was so critical of me. It wasn’t just that I might ruin his first film or cost him his twenty-five thousand. I might make him look bad in front of Daddy.
HARRY REEMS : I contacted a local filmmaker who had hookers working for him. They “sunlighted” in loops and stills and cheesecake photography. So we had all the women we needed.
LENNY CAMP : This guy that I used to do stills for called me for Deep Throat, and said, “Lenny, you gotta help them.”
So I met with the director, Gerry Damiano, and we started badly, right off. I said, “You know, I want five hundred bucks for what you want me to do, and I want two hundred and fifty bucks now.”
He said, “Fat chance.”
I said, “Yeah, okay. I’ll see ya round.”
So I get home and there’s this phone call, and the guy says, “Hey, come back here; we’ve got the money for ya.”
So I go back and he hands me the money right off the bat. Most of these guys were liars and creeps and tried to get away without paying anybody.
BILL KELLY : Lenny Camp was the still photographer on Deep Throat . His name’s in the credits. He was a sex maniac. Never met a nastier guy. He used to go around conning people left and right. He rented a big mansion over in Golden Beach. And he had no intention of ever paying any rent—rented it under the name Leonard Shut-eye or something like that. I mean, this guy is notorious. Never been anybody like Lenny.
LENNY CAMP : Carol Conners’s muscleman boyfriend called me up and said he had a model for me. They came to my house, and I was gonna shoot Carol in the nude, and she’s posing, and she said, “I hate this shit.”
She said, “I’d rather fuck ya than take these pictures.”
I said, “Well, lock the door.”
Was she a good fuck? The greatest.
Within days I got her the role in Deep Throat .
CAROL CONNERS (PORN STAR / GONG SHOW HOSTESS) : It was basically a fluke getting the part playing the nurse in Deep Throat . I met a guy in Miami Beach, and he more or less talked me into meeting this director, Gerry Damiano, who asked me to read some lines from the movie. Then somebody asked me to recite “Mary Had a Little Lamb” in the funniest way I could.
GERARD DAMIANO : Was I nervous about using Linda, a girl with small tits? Well, in writing the script I dealt with it by never showing her
GERARD DAMIANO : Chuck mystifies me. He’s innocuous, he’s not a continental lover, and he couldn’t get it up on the Deep Throat set, but you have to admit the man must have something. It mystified me then, and it still does.
There are very few relationships that I have seen in the porn industry that rival Linda and Chuck’s. Most of the girls work on their own. They are their own bosses. They do what they want—because they want to do it. It’s very seldom that I see relationships like Linda’s.
CHUCK TRAYNOR : My business was creating a superstar. And you don’t create a superstar by namby-pambyin’, kiss-assin’ around, and givin’ her roses—it just don’t work, you know? You’re fightin’ a real strong, uphill battle.
So did Linda and I have fights on the set? Yeah, we did have a disagreement, a pretty strong disagreement. She was telling me she didn’t wanna do scenes that day, that she had a headache or a backache or ass-ache or somethin’.
HARRY REEMS : When the old mafioso who was putting up the money, Anthony Peraino, Sr., dropped down to Miami to see how things were going, he asked, “Where’s da broads?”
Mr. Peraino was accustomed to going first class. He required a change of broads every night. Along with the sheets.
LINDA LOVELACE : Anthony Peraino, Sr. had given his son Butchie the twenty-five thousand dollar bankroll for the movie. That’s why it was so important to Butchie that the movie be a success. And it also explains why Butchie was so critical of me. It wasn’t just that I might ruin his first film or cost him his twenty-five thousand. I might make him look bad in front of Daddy.
HARRY REEMS : I contacted a local filmmaker who had hookers working for him. They “sunlighted” in loops and stills and cheesecake photography. So we had all the women we needed.
LENNY CAMP : This guy that I used to do stills for called me for Deep Throat, and said, “Lenny, you gotta help them.”
So I met with the director, Gerry Damiano, and we started badly, right off. I said, “You know, I want five hundred bucks for what you want me to do, and I want two hundred and fifty bucks now.”
He said, “Fat chance.”
I said, “Yeah, okay. I’ll see ya round.”
So I get home and there’s this phone call, and the guy says, “Hey, come back here; we’ve got the money for ya.”
So I go back and he hands me the money right off the bat. Most of these guys were liars and creeps and tried to get away without paying anybody.
BILL KELLY : Lenny Camp was the still photographer on Deep Throat . His name’s in the credits. He was a sex maniac. Never met a nastier guy. He used to go around conning people left and right. He rented a big mansion over in Golden Beach. And he had no intention of ever paying any rent—rented it under the name Leonard Shut-eye or something like that. I mean, this guy is notorious. Never been anybody like Lenny.
LENNY CAMP : Carol Conners’s muscleman boyfriend called me up and said he had a model for me. They came to my house, and I was gonna shoot Carol in the nude, and she’s posing, and she said, “I hate this shit.”
She said, “I’d rather fuck ya than take these pictures.”
I said, “Well, lock the door.”
Was she a good fuck? The greatest.
Within days I got her the role in Deep Throat .
CAROL CONNERS (PORN STAR / GONG SHOW HOSTESS) : It was basically a fluke getting the part playing the nurse in Deep Throat . I met a guy in Miami Beach, and he more or less talked me into meeting this director, Gerry Damiano, who asked me to read some lines from the movie. Then somebody asked me to recite “Mary Had a Little Lamb” in the funniest way I could.
GERARD DAMIANO : Was I nervous about using Linda, a girl with small tits? Well, in writing the script I dealt with it by never showing her
Similar Books
