THIS edition of SkullGame, in honor of the international recognition for bloodthirsty fucking Commie fucks worldwide, is brought to you by CHINAMAN PROPHYLACTICS...The Prophlylactic to wear...
...WHEN YOU WANT TO BEAT THAT ASS LIKE IT WAS CHINESE...
UMA THURMAN REVENGES HERSELF ON WAYWARD HUZ BY HUMPING VINNIE; DECLARES THE EXPERIENCE "GREAT!"
UMA ABOUT TO READ VINNIE SOME POETRY AFTER FRESHENING UP HIS GODDAMNED DRINK
In the recent contretemps (French for getting your cock caught in cookie's jar) over husband ETHAN HAWKE's alleged indiscretions with 22-year old model JEN PERZOW, UMA THURMAN decided to fight back. Noting that the best way "to get over one man is by getting under another" she recently
placed a call to SKULLGAME'S own VINNIE ROSE. The following text appears as it was recorded by the ever-thoughtful MR. ROSE.
UMA THURMAN: Hey. Hello. Hi. You remember me? We met at Ingrid's party? In New York? I used to go to school with her?
VINNIE ROSE: The tall thin broad? With the cans? Yeah. I remember you.
UT: Well, I was going to be up in San Fran and...
VR:...I remember you from that fucking crappy movie you did with my friend ANDRE BRAUGHER. That one that stunk up the whole joint. What the fuck was it called? Um, Duo? Duotone?
UT: Duets. And that wasn't me. That was GWENYTH PALTROW and I didn't think that was that bad of a....
VR: Bad?!!? You don't KNOW bad!!! Try watching this goddamned flick with your dick out. One word, baby: no fucking fun. But listen cut the fucking rebop, baby. I been reading about your troubles and I just want to say that I think it's one goddamned shame when a woman. A beautiful and desireable woman such as yourself, even after two kids, has to have her name dragged through the fucking mud by a pansy like that underwear model you're married to. For some 22-year old PLUS SIZE
model?!?!
THE 22-YEAR OLD PLUS SIZE MODEL
UT: I...I...(cries).
VR: Take it easy, baby. I just want to say that when a man loves a woman. A beautiful and desireable albeit aging mother of two like you he should recognize that the fine wine that she is should be supped, savored and enjoyed with all the heady delight that she can command and indeed
deserves.
UT: Really? I mean really?
VR: Hey, baby, I wouldn't say it if it wasn't true. What? You think I just want to fuck you? I can fuck anybody, baby. YOU, I want to inhale. I want to give you the kind of pleasure that only a man like me can give. The kind of pleasure that seems like it's lasting a life time but in actual fact only lasts a few minutes. But I'm just talking, you know? I mean you're a big star and all and I'm, well, I'm just a man. A man with exquisite tastes in broads who knows what Underwear man never will: that I'd live 1000 lifetimes just to be able to bring YOU pleasure. But, ah, too bad you're not here.
UT: Well. Wait. I'm coming to San Francisco and I thought we could meet for drinks or something. Where are you staying now?
VR: If you're coming to San Fran I'm staying at the Fairmont. That's where I was last time I was there with OLIVIA. Do you know her?
O-L-I-V-I-A
UT: Um, no, I...
VR: Nevermind. But my credit card doesn't seem to be working now, so you call them and get the room and I'll meet you in the lobby.
UT: Well. OK. But this is all so sudden....
VR: Ah, no. No it's not. It's not sudden at all, baby. I mean I've been thinking about it a lifetime. Is a lifetime sudden?
UT: I'll be there.
When asked for post-coital commentary VINNIE ROSE said "Who? You mean the tall thin broad? With the cans? Married to that underwear model? How was she? You mean in the sack? A damned sight better than she was in that horrible movie Duel or whatever the fuck it was called."
HATH NOT A JEW EYES? THE MAX STEINER STORY BY STEELY ROB
MAX HARDCORE. NEXT UP: FIDDLER ON THE ROOF
“Taking part in a MAX HARDCORE shoot is like watching a bull fight,” BRANDON IRON told us prior to our meeting Max in person, “everyone involved is cool, calm and collected. No one ever raises their voice; it’s total professionalism all the way. But in the end, you know the bull’s gonna get slaughtered.”
Max’s hardcore scenes are infamous for being the most extreme, while still being within the limits of the law. And then, they’re often not.
Last time, we were talking to Max about how he got started in the business. He was about to continue when LAYLA RIVERA walked in.
Rivera is Max’s latest girl, which means she lives with him, is in a good deal of his scenes, and acts as her pseudo-agent for outside work. She had just spent the day in shackles and restraints in an S&M scene.
Just out of the shower, and wearing micro shorts and high-heeled porn shoes, Rivera looked tight and thin, which made her large fake breasts seem even more out of proportion. Before we knew it, she had pulled down her halter top at the wave of Max’s hand, and was sitting on his desk with her new assets out, all the while multitasking by taking care of some personal business on the phone.
“When you see the whole chassis, you’ll see that it’s a marvel of human engineering and human genetics,” he said.
THE WATER, THE BOWL, MAX'S HAT BEHIND HER. IN THE LITERARY WORLD WE CALL THIS FORESHADOWING.
We tried to get Max to elaborate on who exactly he was referring to when talked about the low quality porn that was so present when he first broke in. But he wouldn’t. Maybe it was Vivid?
“Regardless of what type of porno that you like, there’s no denying that Vivid put forth a tremendous effort and spent a lot of resources to make a really fine product: the best that they could do. I don’t think it’s really fair to put them in a position of not being erotic for the hardcore strokers. They certainly have a large market. There’s a much larger percentage of people that would feel comfortable and enjoy seeing a Vivid movie than would enjoy seeing one of mine. I’m quite certain of that. They put out a great product and my hat’s off to them.
Most of those features are shot on film! And if you have any understanding of putting together a movie, anytime you have film in the mix, it raises the cost two or three-fold. It also makes logistics of shooting a sex scene much more problematic in that you have to change reels every 15 minutes maximum. I think they’re doing a tremendous job in their lighting, their sets, and their costumes. I don’t feel comfortable being compared to them; and I shouldn’t be compared to them. I could have gone in that direction if I had first been introduced to PAUL THOMAS.”
So what WAS it that sucked so bad?
“What really peeved me in was BUTTMAN. I thought it was crap at the time. But what I didn’t realize 'til later was that the production values and the “crap” (as it were, the sub-par elements) were in fact the man’s genius. At first the shaky camera work and the talking, and the going up and down, up and down... headache camera, I called it... I said that I could do better.
And then there was ED POWERS, who would use incandescent lights for his sets. He had a weiner about three inches long, and hair growing up over half of that...and to this day, I’m mystified at the popularity of that. Be that as it may – I make no judgments about it – at the time, I thought I could do a much better job.
What I discovered was that the more elaborate the story, the more the sex would suffer. Some of the best stuff I had seen – the old seven-minute reels: GOLDEN GIRLS, DIAMOND COLLECTION, SWEDISH EROTICA – and in seven minutes, they would have an introduction and progress to five to six minutes of fucking. And it was well done.”
What about James Avalon’s film work for Red Light District?
“It’s fantastic. I admire what he does. I don’t have the patience [for stuff like that]. I would never have lasted in Hollywood, where a single 90-minute movie could take five years from ‘ok, we’re going to do this’ to it coming out in the theaters. So that’s why, despite the advice not to from lawyers and distributors, that I decided to make short stories – vignettes – and make it as hard as possible: gaping anal, exposed, shaved fucking pussy so the girls look more youthful and innocent, and we’re going to focus in on the fucking and sucking.”
And speaking of fucking and sucking, let’s take a look at MAX FAKTOR 16, which a propos stars BRANDON IRON, our favorite Canadian porner taking the lead as Max Steiner takes a back seat as assistant camera man.
This movie is an aberration in the storied Max line: scenes not featuring Max, and scenes with more than one guy. You can get a look at pre-boob job Layla Rivera in this movie as she tag-team fucks a baker’s dozen’s worth of guys with HAILEY YOUNG, right after helping Max plough KRISSY in the ass and give her that special, shiny, mysterious Max glow.
Finally, KELLY WELLS does the only thing that she can do best: supply a thoroughly vile, revolting, feral sexual performance. Note the arm and ankle restraints. We’ll be hearing more about those next time.....
