Okay, you set your basic porn movie in a distinctive locale, like Cancun, New York, Hawaii, or a specific occasion, let's take Spring Break at Daytona Beach. We have a host who is pretty sensual/sexy, talking to a camcorder.

"Hi! I'm here in Hawaii, and this is so exciting, we've got word that Bruce Willis will be here and there's also the world famous beach full of surfing and little girls and sand and little girls and fun, let's go see." {The actual existence of said monument will only help to fix the location in the viewers head. This helps increase the percieved reality of said events.} This lead in is very, very, very short. The italic little girls sections are specific usually to Max Hardcore flicks, where the infantilization of women plays a key role.

The camcorder remains focused, but shaky, so the illusion of a good, but amateur, cameraperson remains in effect. Keep noting how real all this is starting to feel, and this here is the key of Gonzo Pornography: That it sexualizes life, not just certain situations and people.

Continue: Several women are asked for interviews (generally full of puns and so forth) off to the side. Some of these are real people, your neighbors, sisters, cousins, etc. Some of these are simply planted porn stars who take the painfully simple but classic fantasy lines' bait as intended, and the camera-man, woman, and the host go upstairs and the host, of course, eventually proceeds to get it on with the girl with his buddy, the cameraperson filming it all. As authenticly amateur as they can make it.

Sometimes the host/director talks actual non-professional women up to the room. This is a Max Hardcore signature. This detail I think is important.

Flash back to what I said just two paragraphs above, where the goal is the sexualization of real life, not simply the simulated life of other traditional porn. It's less like a drama as a docu-drama one would see on FOX, like Cops, etc.

Chunks of this were paraphrased from "Neither Adult Nor Entertainment" from the September, 1998 issue of Premiere magazine by Willem R. deGroot and Matt Rundlet, which are pseudonyms.

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