Hi Jett, do you have any comments on Sun Gods for Pacific Sun?



You know, SUN GODS will probably go down in whatever dubious history porn has as the "lost" Jett Blakk video and probably deserves to be. Since I turned in the edited master to Pacific Sun, I've heard nothing about it: no reviews, no publicity...heck, they didn't even tell me when it was released! I don't even have a copy of it!

The project began when I was contacted by MG, the owner of Pacific Sun, about doing another movie for them. I had directed RANCH HAND MUSCLE starring MARK DALTON, and it had made a lot of money, as had my next film, DON JUAN: SINS OF THE FLESH starring BEN CAMPEZI. Now, they wanted another hit. Also, I was riding high on a wave of good publicity concerning my own Red Devil movies, and I think they wanted some of that video goodness shining in their direction. I had a video I wanted to do called MANTASIA, which would be a plotless sequence of hot outdoor sex scenes set to classical music, shot in a very "artsy" style, evocative of Disney's FANTASIA. With a budget of just under $20K, MG agreed and set up the paperwork to get the ball rolling.

Now, Pac Sun doesn't just give you the money and let you run with the project. You have to do a complicated contractual thing where essentially, they're giving you the money to make the movie, then "buying" it from you after it's done, except they've already paid you. Make sense? I'm still not sure I do. But that's the way things were done over there.

Then, I was called by DC, their new talent scout, who told me he wanted to show me the models I'd be using. Show me the models I'd be using? I always cast my movies myself. In some cases, I'd be given a list of guys I was encouraged to use, but I was the one who paired them up. This time, I was not given that option. I was to shoot four scenes and one solo with pictures! Lots of pictures! This stemmed from Csaba Borbely, who had been selling his Hungarian videos to MG for quite a while. While most shoots would result in about 600-800 stills, Csaba was sending MG thousands of pictures for each movies. THOUSANDS! So now, MG expected everyone to do that, too, not realizing that 1. Taking that many stills takes time from the shooting schedule but also 2. energy from the models. The budget wasn't big enough to shoot more than a couple of days. Of course you can take thousands of pics when you're doing a 7-day shoot which you can afford because you're paying your models $300 a day. I couldn't be shooting video and getting all those stills at the same time. He would just have to be reasonable.

You see, stills are a touchy thing over at Pac Sun. The only thing MG didn't like about RANCH HAND MUSCLE were the stills. I had hired my friend Ed Maxxx to do them, and MG hated them for some reason. "You can't use him again!" I was told. So this time I got Chris Cumming, whom I'd used before and thought was a competent photographer, although lately, I was concerned about the quality of his work, but Greg Lenzman wasn't available, and I really didn't know of any others. I gave Chris strict instructions: figure out how many pictures you shoot on other productions and triple it.

The movie was cast mostly with DC's models, and the rest on the sly from Dak King, since MG was mad at Dak about something. We were to shoot two days at a beautiful mansion at the top of a hill in Malibu. It was a sprawling estate with horses, a tennis court, roman columns, a waterfall, swimming pool, coy pond, large fountains and a lighthouse. Upon arriving, I was dismayed to discover that all the grass was dead. Where once was a large green yard was now dead brown grass. Determined to work around that, we prepped for the first scene, starring a new guy called JAKE ROBERTS. Jake was tall, muscular and sexy as hell with a boy-next-door quality that made him absolutely charming. He also had pubes so thick and bushy it would give him away for the straight boy that he was, as no gay man would be caught dead with an untrimmed rat's nest like that (check out what's behind the "U" in the logo on the box cover above, and you'll see what I mean). And no scissors in sight. Bramble patch or not, he would have to fly. His partner was BRAD PITTMAN. No, really. That was the name given him. Another straight guy who had a handsome face, but was about ten pounds heavier than his picture. DC immediately flew into a tizzy. "He's FAT! he exclaimed, and not too quietly. Brad was getting glamour pictures taken, while DC ranted only twenty feet away about how upset he was that Brad was now a tub. I told DC to keep his voice down. It was hard enough for a relative newcomer to perform, much less surrounded by strangers, much less being straight, much less with another straight guy, much less outdoors...but to hear someone calling you fat could only add mental stress, and that's not what I wanted right now.

The scene was to be shot on the rocky waterfall, and Brad was going to bottom for Jake. Funny thing about that. Jake couldn't get hard. Oh, he did during the oral (especially when he was performing it on Brad), but when it came time to stick it in Brad's behind, it went soft as a shoelace. He'd work it up, but within seconds of it touching Brad's butt, it would droop like a little flower during a heavy rain. Brad must have had a no-fly zone around his ass.

The decision was quickly made to have Jake bottom for Brad, who had stayed hard as a rock the entire time. This came as a disappointment to DC, I'm sure, who was hoping to build up Jake's reputation as a top man for a year or so, then cash in on his first big bottoming scene. But that proverbial and financial rug was to be yanked out from under him. Jake got on his hands and knees and Brad entered him. He pumped away at the taller man, stopping occassionally to ask him if he was okay. Jake answered yes.

And he WAS okay. In fact, he was so okay taking Brad's hammering that no reaction showed up on his face. Nothing. At all. He looked like he was waiting for a bus. "I need some good facial reactions from you," I told him. He nodded and remained stone-faced. "Okay," I said, "ummmm...act like you're in pain. Terrible, terrible pain. Cause very often, looking like it hurts also looks like you're enjoying it." Suddenly, I saw a look of pain flash across Jake's face, a look so horrible, you would think he was having a foot sawed off. "Okay, stop," I told him. "You look like you're in pain." "Isn't that what I'm supposed to look like?" he asked. "Yes, but you look like you're being murdered, not fucked." Meanwhile, Brad dutifully kept pumping away.

"Let's try this," I said. "Act like you're enjoying it! Action!" Suddenly, a look of bliss washed over Jake's face with his eyes closed and a sappy grin. Imagine Marsha Brady listening to Davy Jones and you'll have it. "Stop!" I said. "Look, how does it feel? You told me you've never been fucked before, but you don't seem to be bothered by it at all. Pretty non-emotional for a virgin." "Oh," he answered, "my girlfriend fucks me all the time with her dildo. I've never had a man's dick in me before."

I stood there for a few seconds thinking about that one before saying, "Look, you've seen straight porn, right?" "Yes." "Okay, act like the women do when they're getting fucked." And he did.

Cum shots took a little while, as Brad and Jake sat on a rock hip-to-hip jacking off to straight porn mags. Brad came first, then after about fifteen minutes, Jake followed. LUNCH! And did I need it.

After a soggy tuna salad sandwich retrieved from a restaurant at the bottom of the hill, we started shooting the next scene by the roman columns. This one starred ALEX BANA, who I would work with again in SQUIRT and another newcomer, JAMES PATTERSON, a gay-for-pay guy who was terrified that someone would find out he was doing gay porn. I shot an interview with him after the scene and accidently slipped twice, mentioning which state he was from and what he did for a living, then spent the next ten minutes promising him I would cut it out of the interview before it went to dvd. DC called me a few days later and asked me to try to cut out any footage of James' pierced nipples. James was afraid someone might recognize him from them, he explained. Couldn't help him there. They were in too many shots to take out.

Alex sucked James' dick against a column. James looked really good, and I got lots of footage. Then it was time for James to suck Alex. "Try to make this go fast," he told me. "I'm not really into sucking dick." Today, you are, I thought to myself as I began to roll. James had no problem staying hard and topping Alex and even came too soon, pulling out of Alex's ass to shoot his load. We faked more of the position until all I needed was Alex's cum shot. James didn't need to be in the frame, so he high-tailed it out of there, got his check and ran back to the state no one is supposed to know he came from. Alex stroked and stroked and finally shot.

We only had one more thing to do that day: a solo with a straight guy named SERGIO atop the lighthouse. This looked great. You could see the ocean behind Sergio as he jacked his dick. Sergio was a nice guy, beefy with a shaved head, but he couldn't take direction very well. Someone had told him he should always face the camera, and my repeated directions for him to turn and face the wall so I could shoot his back went unheeded for almost a minute before I physically grabbed him and spun him around. He could only cum while sitting down, so I put him at the top step of the lighthouse to finish off. The sun was setting, and we bid good night to the married couple who lived in the house until the next morning.

After I got home, DC called me to say that one of the models for the second scene tomorrow had backed out due to cold feet, and the other one had missed his plane, so there were no models for the second scene. I made some emergency phone calls and finally contacted veteran porn star MICHAEL VISTA and reletive newcommer, Belgium daddy RAPHAEL SHAWN.

Day Two began with a question. As I prepped the model releases, Peter the P.A. was helping Chris Cumming out by carrying equipment upstairs for a shoot. Finally, it dawned on me: everything upstairs was inside. I grabbed Peter and asked him where Chris was setting up. "In the shower in the bathroom," he said. I called for Chris and asked him why, with all the gorgeous settings around the house, he would want to shoot in a shower. "I have more control of the light," he said. I pointed out the large fountain and a gigantic flowering bush that would make better backgrounds and told him to use them instead of the shower.

Now, I have to amend my earlier entry about CORBIN MICHAELS. I did notice him on his agent's site and for the same reasons, but SQUIRT was not the first time we worked together. I had forgotten that this film was. Corbin arrived to top BRAD SLATER. Brad would be lying in a lounge chair and Corbin would swim across the pool to get to him. The scene went very well, and I attribute this to the fact that both men were gay. Phew. They fucked on some very hot stones, then in the pool for the second position. Quick and hot, just the way I like them.

Next, Mike Vista got fucked on the big courtyard fountain by Raphael. who has a big thick piece. I knew Michael could take it. Mike told me he had been fisted a few times, so I felt that was a good enough reference on his personal resume for me. Again, two gay men. One fast, hot scene.

As we were packing up for the day, I went to Chris to collect the film. Chris begrudgingly handed it over to me, preferring to take it somewhere he knows and preparing it himself. I never understood why he wanted to do this so badly until someone said that he would take out all the bad shots, leaving the good ones and maintaining his reputation as a great photographer. Smart. But Pac Sun had their own developer (we were still shooting on film at this time), and that's who they wanted to handle the pics. Chris gave me the rolls of film. One, two, three...twenty. Twenty rolls of film. "That doesn't seem like a lot," I told him. "Are you sure you got the amount of pictures I wanted?" I asked. He assured me he had.

The next day, I called the VP of Arena and asked, "How many stills did we get on the last movie I did for you?" He checked and said, "Twenty-one." So, not only had Chris NOT gotten three times the number we usually shot, he actually took one whole role LESS, all the while telling me he was doing what I asked him to. I was livid, but the worst was still to come.

About two weeks later, I got a call from DC at Pac Sun, asking me to come in. MG wanted to talk to me. I walked that green mile down the hallway to DC's office, where he, MG and I met. "The pictures are terrible!" MG ranted. He had them set up on a lightscreen, and I checked them out. "I don't have a box!" he cried. "There's not one good picture there! I can't make a box or a brochure! This movie cost me twenty grand! How am I going to sell it?!"

I suggested that he bring the main model, Jake, back for a special photo session with a different photographer. "While he's here, we can shoot another scene with him and a new model for a different movie," I suggested...quite reasonably, I thought, too. But MG kept pacing and groaning and grousing. Finally, the meeting was over, and I beat a hasty retreat. I knew some of the pics would work and the box cover proves me right. I also felt that MANTASIA was no longer an appropriate title for the movie and suggested SUN GODS. MG liked that better (more Csaba-esque), and agreed to change it.

"At least I'm sure it will have a good story," he said. "Uh," I began, "I think there's something you should know..."

All in all, that was the least-fun experience I've ever had on a set, and perhaps it shows. I haven't seen the movie since, but it didn't even get reviewed on Mannet.com, and if you don't get a review there, you know your film blows. And not in a good way.

JBK