completely nude. Remember, I had to hide her abdominal scar as well. Sometimes she wore a white slip. I tried to maintain a mystery about her by keeping some part of her anatomy clothed during the film.
LENNY CAMP : Carol Conners was in my car, and we drove over to the Voyager Hotel where they were shooting, and I said, “You got a girl with tits? Linda Lovelace has got no tits!”
CAROL CONNERS : The girl who had been originally cast as the nurse had a run-in with the director, and it just so happened I was the same size and the uniform fit me. They were ready to shoot, and there I was.
CHUCK TRAYNOR : Carol Conners—great boobs. But I don’t think they were gonna find a blond with big tits that could do deep throat.
CAROL CONNERS : I didn’t even know I was going to be fucking in the film until they had already started filming. I really didn’t know what I was supposed to do. At first, I was led to believe I would be an extra, lying in a bikini by the poolside as Linda and one of her girlfriends were talking.
At that time in Miami, not that many people were trying to break into porn films. It was more or less hard to get people to be in an X-rated film.
BUNNY YEAGER : Carol Conners—Chuck Traynor told me about her. I think she was in one of our nudie-cutie movies. I can visualize her sitting on this guy’s lap.
She had a bodybuilder boyfriend. He used to come into my studio with her, and he had full control of her. I could never really get to work with Carol because he was always hanging on her, always trying to get the best deal for her.
The girls’ boyfriends, I usually found, were only interested in one thing—the money angle. If there was enough money, they’d let them do anything.
I don’t know whether I’d go so far as to say that they were pimping them off, but I knew that if the boyfriends didn’t think they could make Playboy, they weren’t interested in posing just for me. But if they could get in Playboy and make all that money, then the boyfriend was pushing them.
LENNY CAMP : Chuck Traynor was a pimp. Always. Most of the girls that Chuck had were not models. They were just girls, that’s all.
SHARON MITCHELL : Chuck Traynor was really the first of the “suitcase pimps”—you know, boyfriends that become their girlfriends’ managers. Now the porn business is filled with them, but when I met Chuck, this wasnew, and I just knew he had some sort of weird power and control thing—and wanted control over someone’s life for the money.
I could just see him taking advantage of a person that really had the same issues that I had—about having to have attention and being a star and all that. No one gets into this business unless you got a real need for attention. I don’t think a lot of healthy people are attracted to this industry, ha, ha, ha.
BILL KELLY : I had good informants in the local film processing plants, so I knew every dirty movie that was being made in South Florida.
But I didn’t know Deep Throat was being made here because they didn’t process it down here. They took the raw film and sent it back to New York.
LINDA LOVELACE : Every evening, after we finished shooting for the day, Chuck and I drove the film out to the airport. It was shipped up to Butchie Peraino in New York, where it was processed and studied. And every day Butchie would call Damiano to complain. We could hear only Damiano’s side of the conversation—so I would hear Damiano yell that I was not too skinny, and I was not too flat chested, and I was not too amateurish.
GERARD DAMIANO : Linda was pretty naive in the early days. One night, after shooting, we went out for dinner, and Chuck ordered a shrimp cocktail for her, and when it came she was amazed. She didn’t know what it was. It intrigued me to think that one of the best cocksuckers in the world could be so impressed over a shrimp cocktail.
LINDA LOVELACE : Deep Throat itself took up only twelve
LENNY CAMP : Carol Conners was in my car, and we drove over to the Voyager Hotel where they were shooting, and I said, “You got a girl with tits? Linda Lovelace has got no tits!”
CAROL CONNERS : The girl who had been originally cast as the nurse had a run-in with the director, and it just so happened I was the same size and the uniform fit me. They were ready to shoot, and there I was.
CHUCK TRAYNOR : Carol Conners—great boobs. But I don’t think they were gonna find a blond with big tits that could do deep throat.
CAROL CONNERS : I didn’t even know I was going to be fucking in the film until they had already started filming. I really didn’t know what I was supposed to do. At first, I was led to believe I would be an extra, lying in a bikini by the poolside as Linda and one of her girlfriends were talking.
At that time in Miami, not that many people were trying to break into porn films. It was more or less hard to get people to be in an X-rated film.
BUNNY YEAGER : Carol Conners—Chuck Traynor told me about her. I think she was in one of our nudie-cutie movies. I can visualize her sitting on this guy’s lap.
She had a bodybuilder boyfriend. He used to come into my studio with her, and he had full control of her. I could never really get to work with Carol because he was always hanging on her, always trying to get the best deal for her.
The girls’ boyfriends, I usually found, were only interested in one thing—the money angle. If there was enough money, they’d let them do anything.
I don’t know whether I’d go so far as to say that they were pimping them off, but I knew that if the boyfriends didn’t think they could make Playboy, they weren’t interested in posing just for me. But if they could get in Playboy and make all that money, then the boyfriend was pushing them.
LENNY CAMP : Chuck Traynor was a pimp. Always. Most of the girls that Chuck had were not models. They were just girls, that’s all.
SHARON MITCHELL : Chuck Traynor was really the first of the “suitcase pimps”—you know, boyfriends that become their girlfriends’ managers. Now the porn business is filled with them, but when I met Chuck, this wasnew, and I just knew he had some sort of weird power and control thing—and wanted control over someone’s life for the money.
I could just see him taking advantage of a person that really had the same issues that I had—about having to have attention and being a star and all that. No one gets into this business unless you got a real need for attention. I don’t think a lot of healthy people are attracted to this industry, ha, ha, ha.
BILL KELLY : I had good informants in the local film processing plants, so I knew every dirty movie that was being made in South Florida.
But I didn’t know Deep Throat was being made here because they didn’t process it down here. They took the raw film and sent it back to New York.
LINDA LOVELACE : Every evening, after we finished shooting for the day, Chuck and I drove the film out to the airport. It was shipped up to Butchie Peraino in New York, where it was processed and studied. And every day Butchie would call Damiano to complain. We could hear only Damiano’s side of the conversation—so I would hear Damiano yell that I was not too skinny, and I was not too flat chested, and I was not too amateurish.
GERARD DAMIANO : Linda was pretty naive in the early days. One night, after shooting, we went out for dinner, and Chuck ordered a shrimp cocktail for her, and when it came she was amazed. She didn’t know what it was. It intrigued me to think that one of the best cocksuckers in the world could be so impressed over a shrimp cocktail.
LINDA LOVELACE : Deep Throat itself took up only twelve
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