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《深喉》蟄伏33年之後再曝光
當年被禁播，卻紅遍全美國，勁賺四十七億票房
色情片女明星，變成反色情運動的標誌人物

一齣解開《深喉》背後故事的電影

2005柏林影展參展作品
《有你終生美麗》《太陽神13號》奧斯卡金像監製白賴．仁基沙
聯同HBO 攜手製作

《深入深喉》(INSIDE Deep Throat)

故事大綱：

《深入深喉》(INSIDE Deep Throat) 乃一齣解構1972年備受爭議的著名色情電影《深喉》(Deep Throat)的紀錄片，當中剪輯了大量熱辣露骨的性愛場面。

紀錄片大膽談「情」之餘還探討60年代一場傳統保守派對性解放潮派的道德戰。性革命、反淫穢法、婦權主義以及成人娛樂發展的課題亦一一解讀，從《深喉》帶出社會及文化遺產。

片中更有博學多才的學者及作家如艾倫‧德蘇韋茲 (Alan Dershowitz)、哥爾‧韋度 (Gore Vidal)、拿文‧密拉 (Norman Mailer)、甘美‧柏麗雅 (Camille Paglia)、約翰‧屈打士 (John Waters)、艾麗加‧莊 (Erica Jong)、迪‧加菲爾 (Dick Cavett)、標‧馬艾 (Bill Maher)為大家深入淺出地解說《深喉》。

上映日期：		2005年10月20日
電影網址：		www.insidedeepthroatmovie.com
片長：		90 分鐘
級數：		III 級
院線：		百老匯電影中心、UA金鐘、UA沙田、嘉禾旺角
發行公司：		狄龍國際電影有限公司

關於《深喉》

在1972年，一套色情片《深喉》(Deep Throat)刀仔鋸大樹，以二十萬製作費，帶來了四十七億票房，成為美國最賺錢電影之一。電影不但賣座，亦極具爭議性。片中有大膽的愛慾場面，故事講述女主角沒辦法擁有高潮，後來經醫生診斷才發現她的陰蒂長在喉嚨，只有口交才能滿足她。

當年正漫延性解放思想，此片題材敏感，加上著名的雜誌 "Variety" 及"New York Time"大力吹谷，認為是"必看"之作，使各省的戲院場外大排長龍。電影引起了各界人士的關注及爭論，其中以政治家、婦女團體、潮流先鋒最為激進‧在1973年，一班律師及政客成功地禁制此片的上映。

而片中的女主角琳達．拉弗蕾絲（Linda Lovelace）從此成為反色情運動的標誌人物。男主角哈利．雷恩斯（Harry Reems）更以「傷風敗德」的罪名被控，荷里活大明影星如華倫比提、莎莉麥蓮和積尼高遜等相繼聲援，並籌錢給他打官司，那時的社會可說是為此電影沸騰了。而後來的水門事件，傳媒更用上《深喉》為告密者的稱號。

《深喉》蟄伏33年後，在英國再次曝光，成為英國第二部上映的R18級電影。電影只能在色情電影院放映，而觀眾在買票及進場時要出示年齡證明。

《深入深喉》(INSIDE Deep Throat)　－　監製的話
憑《有你終生美麗》榮獲奧斯卡金像監製的白賴仁‧基沙指出當年《深喉》上映時，自己年紀還小，但已從祖父母口中得悉觀眾排隊買票的「盛況」。長大後，他在華納公司當律師助理時參與了公司的派對，在會場上，他們播放了《深喉》。他對當時社會高談闊論此電影的回憶一湧而至，而看畢電影後，他迷上了它，他迷上的不是那些色情場面，而是一種文化現象。

基沙說：「並不是色情片的受歡迎程度令我嘖嘖稱奇，而是色情內容如何公然地打破長久以來所謂藝術的界定，而這，其實一直在蘊釀，比性革命還要早，而《深喉》成為了導火線。此狀況，時至今日，一直在影響我們的文化。」

基沙乃潮流文化的狂熱者，他對於電影如何影響不同的世界如政治、藝術、時裝、法律等都感興趣。而《深喉》一詞迅即被用在水門事件上，便能反映電影的影響力。基沙指出：「《深喉》像原子彈爆發，產生了連鎖式效應，不單是有很多觀眾渴望欣賞此片，還有它能使法律界及政界引起回響及爭議，他們不惜一切去壓制此片。最後為此片定出的第一修正案更是我要製作《深入深喉》的最大原因之一。」

《深入深喉》(INSIDE Deep Throat)　－　HBO紀錄片總裁的話
HBO紀錄片總裁舒娜‧妮芬說她第一次接觸白賴仁‧基沙時被他對製作有關《深喉》紀錄片的熱誠所感動。而她亦深深認同基沙的一席話，她憶述：「基沙非常有說服力，他問在一個奉行自由民主的地方，人們該享有表達己見的自由，但是，不論是在1972 或2005年，美國在這30年間都沒有太大改變，始終是有人有力量去阻止一些聲音。因此我覺得做一齣圍繞《深喉》的故事會有刺激度及代表性。」

妮芬認為在1972 甚至今時今日在性這個話題或行為上仍有許多阻力。「說出這些東西其實是重要的。《深喉》本身是有權在民主社會中供人觀看。卻後來成為政治電影，在不解的情況下，成為首套第一修正案的電影。」

《深入深喉》(INSIDE Deep Throat)　－　導演的話
導演費頓‧比利和蘭狄‧巴巴圖都是白賴仁‧基沙不二之選。巴巴圖說：「我想基沙一直在想用什麼形式去講《深喉》，最後他決定用紀錄片。我們與他見了幾次面，當我們得悉會成為《深入深喉》導演時，感到那一刻的重要性，知道要做一些對文化有意義的事。」

比利：「即使你用今天色情片的角度去看《深喉》，你仍會覺得此片是有趣的。你可以爭辯故事的女性主義，講述一名女子如何尋找滿足感，電影有開端、中段及結尾，用的是35mm菲林，間中有拉闊鏡。但我們覺得它的成功之處在於其幽默，雖然它有許多性愛場面，但重要的是那是一齣關於性的幽默片。亦因此，人們可以公開地談論。它的性質，像是批准觀眾去看去講『性』。」

關於監製 - 白賴仁‧基沙
奧斯卡得獎者、金牌監製及著名作者的白賴仁‧基沙擁有逾20年電影及電視劇製作經驗，是著名作家及監製。

他曾3次被提名奧斯卡，在2002年，他憑《有你終生美麗》(A Beautiful Mind) 奪得最佳影片獎。《有》片亦使他獲頒首屆美國精神健康關注運動 (National Mental Health Awareness Campaign)的關注大獎。

白賴仁‧基沙參與的電影及電視合共獲 39次奧斯卡27次艾美獎的提名。而他監製的影片，在全球票房及副產品（音樂及影像等）的收入累積超過100億美元。他卓越的成就而令荷里活商業協會(Hollywood Chamber of Commerce)在1998年為他在星光大道( Hollywood Walk of Fame)設置一粒星星，在電影史上只有少量的監製能有此殊榮。而在2001年，美國監製協會(Producers Guild of America)更給予他終生成就獎。

白賴仁‧基沙的名作品有《太陽神13號》　(Apollo 13) 、《8里公路》( 8 Mile)、《聖誕怪傑》 (Dr. Seuss ' How the Grinch Stole Christmas) 、《愛情差錯腳》 (Intolerable Cruelty) 《肥佬教授》(The Nutty Professor)、　《大話王》　(Liar, Liar)、《贖金風暴》(Ransom) 、《烈火雄心》 (Backdraft)、《幼稚園特警》(Kindergarten Cop) 等。

關於導演 - 費頓‧比利、蘭狄‧巴巴圖
擅長拍紀錄片的孖寶導演費頓‧比利(Fenton Bailey)、蘭狄‧巴巴圖(Randy Barbato)以拍紀錄片打出名堂，他們為HBO拍製的The Eyes of Tammy Faye獲IFP獨立精神大獎及被提名Sundance 評審團獎。而他們曾拍攝多齣關於以性為題材的紀錄片及電影。其中長達六小時，分四集的Pornography: The Secret History of Civilization在英國電視台播放後備受讚賞。

幾年前，他們把獲獎的紀錄片《妖精派對》(Party Monster) 改編成電影，找來當事人參與，用五光十色的燈光、華麗浮誇的衣服活靈活現地展現紐約酒巴玩樂場面。此片曾在2003年的香港同志影展中播放。

關於HBO紀錄片總裁　-　舒娜‧妮芬
舒娜‧妮芬是HBO紀錄片及家庭影院的總裁，主要管理監管其業務及發展。她曾經監製13齣榮獲奧斯卡金像紀錄片，這包括She has Chernobyl Heart (2003)、Murder on a Sunday Morning (2001)、Big Mama (2000), King Gimp (1999)、The Personals (1998)、One Survivor Remembers (1995)、I Am a Promise (1993)、Educating Peter (1992)、Common Threads: Stories from the Quilt (1989) 及 You Don't Have To Die (1988)。另外在她掌舵期間，其下的製作榮獲34個主要時段艾美獎、37個新聞及紀錄片艾美獎等。

－　完　－

Movie :		Inside Deep Throat
Website :		www.insidedeepthroatmovie.com
Release Date :		October 20, 2005
Cateogry :		III
Running Time :		90 mins
Theatre :		Broadway Cinematheque, UA Pacific Place, UA Shatin, GH Mong Kok
Distributor :		Delon Film International

Production Information

It was a $25,000 movie that became a $600 million phenomenon.
It caused an administration to declare war on freedom.
It turned buying a ticket into an act of revolution.

Generally considered the most profitable motion picture of all time, the 1972 adult film Deep Throat was more than a titillating curiosity and a huge moneymaker. Released at the very moment when the nation's movements for sexual liberation, equal rights and counter-cultural values were reaching a fever pitch, this sexually explicit film unexpectedly became the flashpoint for an unprecedented social and political firestorm-a major cultural phenomenon whose impact continues to affect us today.

Now, more than 30 years after Deep Throat first burst upon the public consciousness, INSIDE Deep Throat-the new documentary from Imagine Entertainment in association with HBO Documentary Films-examines the chasm between the modest intentions of the movie's makers and the unforeseen legacy they inadvertently created.

Academy AwardR-winning producer BRIAN GRAZER takes moviegoers behind the scenes of a film that was made for next to nothing and changed everything. Grazer, whose own films have explored a wide array of themes in popular culture-from rap music to high school football to classic children's literature-pitched his documentary idea to HBO's SHEILA NEVINS, president, HBO Documentary, and then joined forces with two directors whose documentary film work has transformed the genre. With such acclaimed films as HBO/Cinemax's The Eyes of Tammy Faye and Monica in Black and White, FENTON BAILEY and RANDY BARBATO have earned a reputation for casting an unblinking eye on modern life, making documentaries that illuminate the nature and meaning of popular culture with vital, exciting and entertaining looks at the stranger-than-fiction stories from the headlines, happenings and zeitgeists of our time.

Joining Grazer, Bailey and Barbato behind the camera are directors of photography DAVID KEMPNER and TEODORO MANIACI, music supervisor BILL COLEMAN, composer DAVID BENJAMIN STEINBERG and editors WILLIAM GRAYBURN and JEREMY SIMMONS, with KIM ROTH serving as executive producer and MONA CARD as co-producer.

And sitting in front of Bailey's and Barbato's probing lens is a parade of larger-than-life personalities that includes not only some of the filmmakers and stars of Deep Throat-director Gerard Damiano (a.k.a. Jerry Gerard), production manager Ron Wertheim and assistant cameraman turned leading man Harry Reems-but also an array of esteemed authors, filmmakers, opinion-makers and idealogues representing virtually every side of the sexual revolution and battle for First Amendment rights-among them Alan Dershowitz, Gore Vidal, John Waters, Norman Mailer, Erica Jong, Camille Paglia, Hugh Hefner…and many more. Providing narration is acclaimed actor and filmmaker DENNIS HOPPER.

ABOUT THE PRODUCTION...

For OscarR-winning filmmaker Brian Grazer, his initial encounter with Deep Throat was not first-hand. Rather it came courtesy of the observations of a candid and trusted figure in his life: his grandmother Sonia.

"It was 1972 when the film had just been released," Grazer remembers. "My grandmother had come over to our house and announced that she and my grandfather had waited in line and seen 'that film.' When I asked her which film, she said, 'Deep Throat.' To be quite honest, I didn't know what the movie was and I certainly didn't know what the term meant at the time. But within days, maybe hours, I learned that Deep Throat was a pornographic film-perhaps the first one-to really cross over into mainstream society. And the way that I was able to understand this was that my 65-year-old grandmother was telling me, a teenager, that she and her husband, along with hundreds of other people, had been standing in line in the daytime on the west side of Los Angeles to see an enormously popular film. This popularity had come from the many celebrities, including Bob Hope and Johnny Carson, who had talked about it on television and had injected it into the mainstream-which is what made grandma Sonia go see it."

Grazer's next encounter with the hot-button title came when he was in his early 20s and it was every bit as serendipitous as his first. This time, however, it included an actual viewing of the movie. While working as a law clerk at Warner Bros., he attended an older co-worker's party in Beverly Hills. With the party in full swing, the hosts turned on the movie projector-and the film Deep Throat began to roll. "And that provoked even more intrigue," Grazer says. "Ever since then, Deep Throat has really stuck in my mind as a cultural phenomenon."

Years later, Grazer-who had by then become the Academy AwardR-winning producer of such blockbusters as Apollo 13, A Beautiful Mind, 8 Mile, Friday Night Lights and many, many others-was introduced to the idea of making a film of the life of Linda Lovelace, the female lead catapulted to national celebrity by her starring role in Deep Throat. Ultimately, Grazer decided against making the movie. But Lovelace's connection to the landmark adult film re-lit his curiosity and enthusiasm for investigating "how we got to a place where pornography has proliferated so much in our culture." As Grazer notes today, "It wasn't just the widespread popularity of just pornographic films that fascinated me, but how overt sexual content has breached artistic walls constructed long before the sexual revolution, years before Deep Throat…and how the phenomenon of Deep Throat became the igniting factor, in many ways, that led us to where we are today in the popular culture of 2005."

An unabashed pop culture enthusiast, Grazer was particularly intrigued by the shockwaves the film sent through the various worlds of politics, art, fashion, the law-anything and everything having to do with what influences and shapes Americans in their day-to-day lives. Grazer wanted to look at Deep Throat as a cultural phenomenon, "and so, therefore, I dissected or granulated not only the movie itself but its impact on every aspect of popular culture, whether it's art forms or fashion, politics, even language…of course that phrase, 'deep throat,' transitioned very quickly into Watergate."

Summing up, Grazer says, "Deep Throat became an explosive atomic chain reaction, for as much as people wanted to see it and the great popular reaction it caused, there was an equally strong reaction among the legal and political authorities, who wanted to suppress it. This resulting First Amendment case study was, for me, one of the greatest reasons to make INSIDE Deep Throat."

X x X

For Sheila Nevins, president, HBO Documentary-who oversees development and production of all documentary programming and has executive-produced 13 Academy AwardR-winning documentaries-her first memories of Deep Throat involve doing what a lot of people did…waiting outside a theater.

"Although I remember standing in line to see it, I remember not being so terribly shocked by it," recalls Nevins. "Much ado about nothing, really. All this fuss about so little."

But when Grazer paid a visit to Nevins, it got her filmmaker's brain to thinking. "Brian came to see me about a project, and I wasn't sure exactly what it was-but I was sure who Brian Grazer was! When he said, 'Deep Throat,' he was very energized about it. His enthusiasm about the project was incredibly compelling. And I was interested in trying to find out what the 'meat and potatoes' was behind this enormous hoopla. He seemed to feel, and rightly so, there was a history of repression that developed around this movie. It had more to do with a political environment than it had to do with a sexual environment. And that's what documentaries are about, they make you look at something twice, or three times. And see it in a different way."

Both agreed that Deep Throat was much more than a silly comic romp that featured fellatio as its centerpiece. In fact, the movie became an emblem of repressive forces attempting to halt a certain kind of expression. Nevins adds, "Brian was incredibly convincing when he talked about the freedoms that we have to express ourselves in a free country. He talked about how, in some ways, 1972 and 2005 aren't so very different in terms of repressive forces and that maybe America hadn't changed so much in three decades. So to do a documentary about the events that swirled around Deep Throat, we thought, would be both a good adventure and a timely story."

Nevins also notes the historical context. "Go back to the 15th century and Chaucer's Canterbury Tales and read about sex," she says. "If you read Shakespeare carefully, you see that sexual practices haven't changed. Go back to Pompeii and look at frescoes and mosaics on the wall. But somehow in 1972, and even in 2005, there were repressive forces squashing sexual freedom. It's important to talk about those things. Not that Deep Throat is a great movie, but it has a right to exist in a democracy. It became a political movie, it almost became a First Amendment movie in a strange way."

Even before meeting with Nevins, Grazer had already started casting about for filmmakers with just the right mix of talents to make a film dealing with the panoply of issues raised by the Deep Throat firestorm. On his list of leading possibilities were Fenton Bailey and Randy Barbato, the award-winning filmmakers of numerous projects that blended documentary storytelling with an entertaining style-in particular, such offerings as The Eyes of Tammy Faye (nominated for Sundance's Grand Jury Prize and IFP's Independent Spirit Award, among others). Nevins echoed Grazer's feelings about the pair and their skillful and accomplished filmmaking.

Grazer notes, "I saw HBO's The Eyes of Tammy Faye and Monica in Black and White and I thought they were so well-executed in terms of their authenticity. They were juicy and exciting at the same time-I think it's somewhat of a challenge to be both entertaining and authentic in a documentary and Fenton and Randy found a way to accomplish that as artists."

One of the projects that Bailey and Barbato had on their list of successes was of particular interest to producer Grazer: a six-hour series completed for Britain's Channel 4 entitled Pornography: The Secret History of Civilization. The larger themes explored in their survey course of the kind of sexuality that has not always been welcomed by the surrounding world were strikingly similar to much of what fueled the 1972 ruckus generated by Deep Throat.

Nevins' experience with Bailey and Barbato extended back several years, when she first viewed another UK television project of theirs, Video, Vigilantes and Voyeurism (which later was to air on HBO as Shock Video and garner a CableAce nomination). Since then, the filmmakers had collaborated with the cable network on a variety of projects, including additional Shock Video installments and then other projects, including Monica in Black and White and the Emmy Award-winning documentary Party Monster.

She comments, "I thought Video, Vigilantes and Voyeurism was extremely well produced. So I called the distributor and I said, 'Who are these guys?'…I could never get the names straight. And they said they lived in New York and I said, 'What? And I don't know them?' That's how I got to know them. And now I definitely have their names right. And when Brian mentioned their names, I thought it was the perfect match."

Fenton Bailey's recollection of the genesis of INSIDE Deep Throat features the trademark dry wit that has come to be associated with his and Barbato's films: "Well, it kind of goes back to Sundance a few years ago, when there was this rumor going around that there was going to be a feature film made about the life of Linda Lovelace. And we discovered that Imagine and Brian Grazer were behind this. We sort of volunteered ourselves to direct that film. And that got us in the door at Imagine, so we had a meeting. Later, after Linda died, the idea of doing a film about her life was kind of problematic because her story is a difficult one to tell-kind of a mystery that eludes us to this day. So, it was Grazer's idea to make a documentary instead of a feature film and he had a sort of beauty contest, I believe, of highly noted documentarians…and fortunately we seemed to win that particular pageant."

Barbato says, "I think Brian for a long time had wanted to make a film about Deep Throat in some way, shape or form, and initially he was considering doing a narrative, later deciding on a documentary. After meeting with him a few times and razzling and dazzling him, we were brought on board as the directors. We knew going into the collaboration that we wanted to make a film about Deep Throat, but that was kind of it. We knew it was an important moment and we knew that it had some significant cultural impact. But we didn't know much more than that."

For the filmmakers, their first viewing of Deep Throat was far from the experiences of Grazer and Nevins. Fenton Bailey remembers, "It was over the Christmas holidays after we'd signed to do the film. We had a bunch of people there, we'd just had dinner-turkey and everything-and we were talking about the film and thought, 'Well, why don't we watch it? It's what people did in the '70s, right?' So we popped it in and the Christmas spirit sort of evaporated. The director, Jerry Damiano, himself says it isn't really a good film. Some of it is out of focus, out of sync, it's not well edited and the acting, well, it's not so good. And the notions of what was attractive on film then has really changed in the decades since. So we ended up taking it out and playing a party game instead."

But what had distinguished the film was not lost on Barbato and Bailey. As Bailey puts it, "What made the film interesting by today's standards of pornography was evident: you could argue that the story is almost feminist, in that it's the story of a woman seeking fulfillment; it had a beginning, middle and end; it's shot on 35mm, with occasional wide shots. But why it really succeeded, we think, was because although it contained hard-core sex, first and foremost, it was a comedy; it was a comedy about sex. And this gave people permission to go and see this thing in public and to talk about it. Up until this point, this granting of permission was something that had really been denied. So as a device that people could start talking about fellatio and sexual practices, that was really the secret of its success, rather than any of its actual hard-core content."

X x X

For such a modest film-in both its funding and its aspirations-to have struck so many chords with so many people over so many years may be an unfathomable event to anyone not present during the turbulent years associated with long-germinating, post-Vietnam, "what the world needs now is love" Sexual Revolution. Generally speaking, prior to the emergence of "mainstream" porn in the 1970s, adult movies had been classed as blue or stag films and relegated to backrooms or back-alley screening rooms.

Gerard "Jerry" Damiano had made a couple of stag films before casting a young actress appropriately re-named Linda Lovelace in his latest romp. A suburban girl from Long Island who dreamed of opening a boutique or becoming a flight attendant, Lovelace turned out to possess an affinity for fellatio. Although Damiano didn't discover this until the cameras started rolling, once her ability became apparent, he quickly realized it was something that should and could command center stage in a film and he set about constructing a story in which to present his latest find.

With this in mind, he asked his backers for money to fund his proposed adult sex comedy (he had written the script in a weekend)-the price tag: $25,000. Production headed to Florida, to escape the New York winter, and Deep Throat was filmed there over six days in January, 1972. Joining Lovelace onscreen was the production's assistant cameraman, a New York actor with Shakespearean aspirations named Harry Reems (née Herbert Streicher) who had ventured into pornography for the money, the experience and the connections and who was drafted into service when the male porn star originally engaged to play opposite Lovelace failed to show.

While for many people the pornographic film industry is and always will be regarded as nothing more than "smut," in the 1970s it found itself in more or less respectable company, linked to the burgeoning movements of sexual liberation, equal rights and resistance to and questioning of authority. For some, making pornography was at least partially motivated by the belief that adult films were a natural offshoot of the spirits of self-expression, liberation and experimentation that permeated popular culture at the time. There was also a belief-which may sound alarmingly familiar-that experience in the adult film industry could lead to legitimate gigs in mainstream, non-pornographic projects. (And indeed, there are more than a few now-acclaimed filmmakers who cut their professional teeth working in pornographic film production. This was not, however, the case with the anyone connected with Deep Throat-despite the national attention that quickly focused on the film after it first opened in a midtown Manhattan adult theater in June 1972.)

Once the film began to garner nationwide public attention-thanks in part to reviews in such publications as Variety and a piece in The New York Times, mentions by everyone from Johnny Carson to respected newsmen and a seeming "must see" power that lured socialites and celebs into the theaters-Deep Throat got more than it bargained for when it became the target of politicians intent on cleaning up what they regarded as the backwater of filth that the '60s and '70s had washed upon North American shores.

Legal action was instigated on the city, state and federal levels in a barrage of attempts to clamp down on the film in particular and on the entire pornography industry in general. Not only were theater owners and distributors who handled Deep Throat charged with a variety of offenses but, in a blatant attempt to intimidate anyone who might, in the future, even consider participating in the making of an adult film, federal prosecutors tried to make an example out of actor Harry Reems, charging him with conspiracy to transport obscenity across state lines-as if the actor (who was paid $250 for his work) were in any way responsible for the movie's content or distribution. (Both Damiano and Lovelace were also brought up on charges but, unlike Reems, they cooperated with authorities and were able to plea-bargain their way out of trouble.)

When Reems was found guilty in 1976, an impressive list of civil liberties groups, along with a number of major Hollywood figures-including Jack Nicholson and Warren Beatty-rallied to his side and eventually, his conviction was overturned.

Observes Randy Barbato, "The government saw the mainstream media paying attention and the movie's popularity starting to spread, and so it needed to act. Deep Throat had all the elements-the comedy, the popular acclaim, the approachability-for people to actually feel as if they had permission to go see it. This terrified conservatives and the government, who acted to stop it…though, of course, all they did was fuel its popularity. No porn films before Deep Throat had ever successfully told a story and had characters the way it did. And so, even though it's not the greatest film, it was able to do something that the porn films before it were unable to do-cross over into everyday culture. The fact that it had such a great title was the icing on the cake."

Adds Bailey, "We live in a sexually saturated atmosphere where sex is everywhere; it's used to sell everything. But no one really talks about it and it's still considered taboo. So it's this big elephant in the room and I think that was intriguing to us as filmmakers…why is it still that way? By looking at this film that really did cross over into mainstream in a way that no other artifact of pornography has, we thought we might be able to find some answers. I think that's what has always appealed to us-making a film because we have a question or there's a problem we don't know the answer to. And we don't necessarily know the answer, even in the end, so that is what excites us, trying to figure out answers to some unanswerable, complicated questions."

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Key to the filmmakers in posing and perhaps answering some of these questions was finding the right subjects to interview. Once the project began, Bailey and Barbato spent the next two years interviewing more than 100 subjects and combing countless, geographically dispersed locations in search of file footage, source materials and other puzzle pieces necessary to reconstruct and illustrate the story of the making and aftermath of Deep Throat.

As producer Grazer notes, "Even though INSIDE Deep Throat looks at sex in our culture through the prism of this pornographic film…following the trials and tribulations and legal battles that Deep Throat created could have been a rather dry course. But Fenton and Randy found a way to make it very interesting by going through film archives and finding footage of some really fascinating people who were caught up in the storm. In addition to those directly connected with the film, we also interviewed pundits and authors like Alan Dershowitz, Gore Vidal, Norman Mailer, Camille Paglia, John Waters, Erica Jong, Dick Cavett, Bill Maher and many others. Fenton and Randy combined all of these images and interviews seamlessly-and, in the process, made this exploration extremely entertaining."

"We probably ended up with more than 800 hours of interview material," Barbato explains. "Then when it came time to 'shaping' the story, we spent more than a year of editing, cutting, pasting and figuring out what the story was. For this film, it was particularly challenging because we have our three main characters and then there's the character of Deep Throat itself. We're trying to weave a number of narratives throughout the entire film, as well as these sort of subplots involving the Feds and the mob. It took a lot of very late nights before it all emerged."

While the filmmakers were huddling in the editing rooms during those late nights in the year or so preceding the film's completion, the country outside was once again becoming embroiled in a national debate over many of the same themes examined in INSIDE Deep Throat-debates involving artistic expression, indecency and responsibility. The nation was also going through a protracted presidential campaign during which similar moral issues found themselves spotlighted, intentionally and unintentionally, in both parties' platforms.

Comments Randy Barbato, "These occurrences really made us feel as though there was a relevance to what we were doing. We didn't want to make an overtly political film, but what was going on in the country certainly made us feel like there was something significant in terms of what we were examining. And all of that definitely had an impact during post-production, particularly the last several months while we were putting the finishing touches on the film."

Fenton Bailey continues, "When we set out to make INSIDE Deep Throat, we didn't think there would be any problem with people talking about their experiences. And what was amazing was that we very quickly discovered that even though this was only 30 years ago, we were actually making a historical documentary-we had to use techniques that were far more appropriate to investigating ancient civilizations and unearthing the truth about people who died millennia ago, rather than something that just happened the other day. We found that a lot of the people who were either involved or participated in the Deep Throat phenomenon at the time-and the sexual revolution in general-didn't want to speak about it. And we realized quite quickly that we were trying to unearth a hidden history, a history that had become hidden not by chance, but quite deliberately. Everybody knew Deep Throat, everybody heard of Linda Lovelace, but the real story remained completely hidden from view."

Part of the hidden history and deepening mystery left by Deep Throat is the whereabouts of the $600 million in profits the film has reportedly generated over the years. Backed and supported by financiers with known ties to organized crime, the film was not distributed through customary studio channels or a recognized distribution system; it was literally hand-carried to theaters, with couriers returning to collect the rental profits. As a result, no official accounting of the cash flow exists. Wherever it went, none of the proceeds ever ended up in the pockets of Damiano, his crew or his performers.

Bailey observes, "There was this amazing, unofficial distribution network of checkers and sweepers, flying all over the country, dropping off prints and returning for the cash. So where did it all go? The hundreds of millions of dollars, it seems, genuinely just got lost in this incredibly corrupt pyramid system-it just was a very leaky distribution system. Everybody was probably skimming, because it was an unofficial distribution system, it was all in cash, everybody was taking a bit here and a bit there, and so it just evaporated."

The huge financial success achieved by the "little porn film that could" is symbolic for Sheila Nevins. "Basically, when somebody tries to stand for something, they run the risk of becoming a victim," she observes.

X x X

For Grazer, the resulting, somewhat cracked mirror held up to both 1972 and 2005 makes for an intriguing documentary. He says, "Our documentary takes you on a journey, both legally and culturally, down different paths that demonstrate the importance of the First Amendment in relation to this film. This story is not only compelling, but relevant to today's generation in the way they proceed forward, both within our culture at large and as they move forward with their careers. Ultimately, it's a cautionary tale."

Nevins is also optimistic about the viewing habits of the increasingly savvy, "reality"-friendly viewers who, in recent years, have become ready, willing and able to go along with documentarians on their quests to present truths, however relative they turn out to be. She states, "Reality shows explore how human beings behave in various, usually artificial, situations, so I don't use the word 'reality' in relation to a documentary. Documentaries really document human experience. While I don't think documentaries necessarily change your opinion about anything, they do explore what may be a variant position. And I do think audiences are more documentary friendly and I think that the search for truth in a sort of universe in which lies are offered up as gospel is a relevant and important pursuit…and a documentary stands for truth."

Barbato offers his closing thought on what INSIDE Deep Throat ultimately explores: "It's about Deep Throat but it isn't really about Deep Throat. I mean, maybe it's about a sexually dysfunctional nation. Maybe it's about how politics often corrupts. Part of the enduring legacy of the film is that it was the flashpoint for the kind of objectification of sex that we are currently surrounded by."

For Fenton Bailey, while the implicit messages of INSIDE Deep Throat may resound more with some moviegoers than others, that shouldn't limit the size and type of audiences the filmmakers want to reach: "I think we want to reclaim for the audience this kind of hidden, missing history about the film, and share with them a part of our culture and heritage that's kind of been shoved to the side. We want to put it center stage-and as filmmakers or story tellers, there's no limit to the number of people we want to tell our story to. We want everyone to hear it."

Imagine Entertainment, in association with HBO Documentary Films, presents a Brian Grazer production in association with World of Wonder, a film by Fenton Bailey and Randy Barbato: INSIDE Deep Throat. It is edited by William Grayburn and Jeremy Simmons. The original music is by David Benjamin Steinberg. The music supervisor is Bill Coleman. The directors of photography are David Kempner and Teodoro Maniaci. The original film Deep Throat was distributed by Arrow Productions. The co-producer is Mona Card. The executive producer is Kim Roth. INSIDE Deep Throat is produced by Brian Grazer and written, produced and directed by Fenton Bailey & Randy Barbato.

www.insidedeepthroatmovie.com

ABOUT THE PARTICIPANTS...

Award-winning film directors and producers RANDY BARBATO (Written, Produced and Directed by) and FENTON BAILEY (Written, Produced and Directed by) founded World of Wonder Productions after meeting at NYU Graduate Film School in 1990. Since then they have directed and produced a wide variety of films, many featured on US and UK broadcasters, such as HBO, BBC, Bravo, Channel 4, Vh1, Showtime, AMC, Trio and Court TV.

Their documentaries Monica in Black and White (HBO) and The Eyes of Tammy Faye (Cinemax) gave audiences a fresh perspective on the much maligned and misunderstood Monica Lewinsky and Tammy Faye Bakker.

They have created defining work for several of America's most exciting cable channels-from Showbiz Moms & Dads (Bravo), an in-depth look into the lives of fame-hungry families on Bravo, to creating and produced all 100 episodes of The RuPaul Show for Vh1.

Bailey and Barbato have enjoyed a long and close working relationship with the critically acclaimed Trio network, creating much of its smart, popular and edgy programming for Brilliant But Cancelled, a telling look inside television's most creative but commercially unsuccessful shows that has also become the channel's signature series. Other specials produced by World of Wonder and executive-produced by Fenton and Randy for Trio include A Christmas Special Christmas Special, The Blockbuster Imperative and Flops 101.

They are also a creative force to be reckoned with in the UK and have created, through their London office, numerous specials and series: The Adam and Joe Show (C4), Takeover TV (C4), Rock Around the Block (ITV), Hot Property (C5), Housebusters (C5), all of which are signature productions. They are also the creators of world class documentary series Pornography: The Secret History of Civilization (C4 and HBO) and Andy Warhol: The Complete Picture (C4 and Bravo, and which won a Rockie Award in 2004).

Fenton and Randy have never shied away from controversial topics or been afraid to tackle sexual themes. The variety of their work reaches from the gay themed School's Out: The Life of a Gay High School in Texas (MTV) and 101 Rent Boys (Cinemax) to the straight Porno Valley (Sky UK)-a reality series on the Vivid Girls and their careers in the pornography industry-to the simply bizarre Plushies and Furries (MTV), about cuddly toy fetishists.

World of Wonder won a CableAce Award for their exploration of comedian Steve Moore in Drop Dead Gorgeous and an Emmy for their documentary Party Monster: The Michael Alig Story.

In 2003 the filmmakers released their first dramatic feature film, Party Monster, starring Macaulay Culkin and Seth Green. The film, which they wrote, directed and produced, centers on the club kid and convicted murderer Michael Alig. Screened at the Sundance, Berlin and Edinburgh film festivals, the film was later released in theaters nationwide.

This past year, World of Wonder has created and produced the documentary Gay Republicans for Trio (which also won the Audience Award at the AFI Festival) and The Hidden Führer (Cinemax), a bold exploration of rumors that Hitler might have been gay.

They are currently in production on a Showdogs Moms & Dads, which delves into the world of enthusiastic dog owners and breeders, and Tammy Faye: Death Defying, which follows the televangelist's life and death struggle with cancer.

For more on their exciting slate, check out The Wow Report, their daily blog at http://www.worldofwonder.net, written by legendary scribe Stephen Saban.

Academy AwardR-winning producer BRIAN GRAZER (Produced by) has been making movies and television programs for more than 20 years. As both a writer and producer, he has been personally nominated for three Academy AwardsR, and in 2002 he won the Best Picture OscarR for A Beautiful Mind. In addition to winning three other Academy AwardsR, A Beautiful Mind also won four Golden Globe Awards (including Best Motion Picture Drama) and earned Grazer the first annual Awareness Award from the National Mental Health Awareness Campaign.

Over the years, Grazer's films and TV shows have been nominated for a total of 39 OscarsR and 42 Emmys. At the same time, his movies have generated more than $11.2 billion in worldwide theatrical, music and video grosses. Reflecting this combination of commercial and artistic achievement, the Producers Guild of America honored Grazer with the David O. Selznick Lifetime Achievement Award in 2001. His accomplishments have also been recognized by the Hollywood Chamber of Commerce, which in 1998 added Grazer to the short list of producers with a star on the Hollywood Walk of Fame.

In addition to A Beautiful Mind, Grazer's films include Apollo 13, for which Grazer won the Producers Guild's Daryl F. Zanuck Motion Picture Producer of the Year Award as well as an OscarR nomination for Best Picture of 1995; and Splash, which he co-wrote as well as produced and for which he received an OscarR nomination for Best Original Screenplay of 1986.

Grazer's list of upcoming projects includes Cinderella Man, starring Russell Crowe and Renée Zellweger, directed by Ron Howard; the animated Curious George, with the voice of Will Ferrell; the big screen adaptation of the international bestseller The Da Vinci Code, directed by OscarR-winner Ron Howard; the comedy Fun With Dick and Jane, starring Jim Carrey; and the thriller Flightplan, with Jodie Foster in the lead.

Other feature film credits include the recent Friday Night Lights; 8 Mile; Blue Crush; The Missing; Intolerable Cruelty; Dr. Seuss' How the Grinch Stole Christmas; The Nutty Professor; Liar, Liar; Ransom; My Girl; Backdraft; Kindergarten Cop; Parenthood; Clean and Sober; and Spies Like Us.

Grazer's television productions include Fox's 24 (receiving 8 Emmy nominations this year), Fox's Arrested Development (which won Best Comedy and garnered 7 Emmy nominations), Fox's Quints, NBC's Miss Match and ABC's The Big House. His additional television credits include the WB's Felicity, ABC's SportsNight, as well as HBO's From the Earth to the Moon, for which he won the EmmyR for Outstanding Mini-Series.

Grazer began his career as a producer developing television projects. It was while he was executive-producing TV pilots for Paramount Pictures in the early 1980s that Grazer first met his longtime friend and business partner Ron Howard. Their collaboration began in 1985 with the hit comedies Night Shift and Splash, and in 1986 the two founded Imagine Entertainment, which they continue to run together as co-chairmen.

SHEILA NEVINS is president, HBO Documentary and Family for Home Box Office, responsible for overseeing the development and production of all documentaries and family programming for HBO and Cinemax and their multiplex channels. She was named to this position in February 2004, promoted from executive vice president, original programming, a title she had held since 1999.

During her tenure, HBO's critically acclaimed documentary and family programs have won numerous awards including 34 Prime Time Emmy Awards, 37 News and Documentary Emmys, 22 George Foster Peabody Awards, including a Personal Peabody for her outstanding work in Documentary and Family Programming. She has executive-produced 13 Academy AwardR-winning documentaries including: Chernobyl Heart (2003), Murder on a Sunday Morning (2001), Big Mama (2000), King Gimp (1999), The Personals (1998), One Survivor Remembers (1995), I Am a Promise (1993), Educating Peter (1992), Common Threads: Stories from the Quilt (1989) and You Don't Have To Die (1988). The series Cinemax Reel Life has featured a number of award-winning documentaries including Breathing Lessons: The Life and Work of Mark O'Brien, which won the 1996 Academy AwardR for best short subject.

In 1998 she garnered two career achievement awards: the IDA Career Achievement Award and the New York Women in Film & Television Muse Award for Outstanding Vision & Achievement. For the past three consecutive years, she was named one of The Hollywood Reporter's Top 50 Women in Hollywood. In 2000, Sheila was honored with the Doubletake Documentary Film Festival's first Industry Award and was inducted into Broadcasting & Cable's Hall of Fame and NATAS' Silver Circle. In Spring 2001, she was awarded the Tribute to the Human Spirit Award by the Wellness Community of West Los Angeles for her contribution to the education and inspiration of cancer patients and their families. In 2002, the National Board of Review presented her with the Humanitarian Award for her contribution to the advancement of social reforms and the promotion of human welfare through film. In 2003, Women in Film honored Nevins with a Lucy Award for her outstanding achievement in television.

Nevins joined HBO in l979 and worked for four years as HBO's director of documentary programming. During this period, she supervised the production of more than l50 programs, winning 35 CableAce Awards for programming excellence from the National Cable Television Association, as well as the first George Foster Peabody Award presented to a cable program, She's Nobody's Baby, produced with Ms. Magazine. She also served as executive producer for HBO's Braingames, which won a l985 George Foster Peabody Award. She was named senior vice president, original programming, in 1995.

Before joining HBO, Nevins worked as a producer with Don Hewitt for CBS' Who's Who, as a producer/writer for the Children's Television Workshop and as a writer for Time-Life Films. She earlier worked as a field producer for ABC and as a producer for National Educational Television's Great American Dream Machine. Before she was named HBO vice president, she worked for three years as president for Spinning Reels, based in New York City.

Nevins is a member of the Writers Guild of America, the Producers Guild of America, is on the Board of Creative Capital, Full Frame Film Festival at Duke, the Independent Feature Project and The Film Forum.

Nevins holds a BA from Barnard College and an MFA from Yale University School of Drama.

An acclaimed actor and filmmaker with an iconic and distinctly American voice, DENNIS HOPPER (Narration by) was born in Dodge City, Kansas and grew up in San Diego, California. Following stage performances at the Old Globe Theatre and the La Jolla Playhouse as well as early television appearances, Hopper made a lasting, national impression with his performance in Nicholas Ray's classic Rebel Without a Cause, opposite James Dean and Natalie Wood. He quickly followed this with equally revelatory performances in George Stevens' epic Giant and John Sturges' Gunfight at the O.K. Corral. He expanded his range and career after relocating to New York City where he studied with one of the giants of the craft, Lee Strasberg; while in New York, Hopper starred in a myriad of television shows, including The Rifleman, Naked City, The Defenders, The Twilight Zone and Wagon Train.

Following a return to Hollywood and continued work in cutting-edge, independent films (as both an actor and second-unit director), Hopper forever changed the face of American cinema with the 1969 film Easy Rider, which Hopper directed, co-wrote (with co-star Peter Fonda and Terry Southern) and headlined. The film received an Academy AwardR nomination for Best Screenplay, as did another of its stars, Jack Nicholson (for Best Supporting Actor). The film, made for $350,000, went on to gross in excess of $50 million and garnered Hopper the Best New Director prize at the Cannes Film Festival.

Since Easy Rider, Hopper has been a familiar presence both in front of and behind the camera for more than three decades. He has been in over 140 television shows and has starred in more than150 films including Apocalypse Now, River's Edge, Blue Velvet, Hoosiers, True Romance, Speed, Waterworld and EdTV.

Hopper received the prestigious CIDALC award at the Venice Film Festival for The Last Movie (1971), which he directed, co-wrote and starred in. He received Golden Globe and Academy AwardR nominations for his role in Hoosiers. He also received a Golden Globe nomination for his role as Frank Booth in David Lynch's now-classic Blue Velvet.

More recently, Hopper completed a starring role in father-of-the-zombie-genre George A. Romero's Land of the Dead. He became Chair of the CineVegas Film Festival in June of 2004. Hopper has also appeared on the television show Las Vegas with James Caan, in the USA Networks feature The Last Ride and on the acclaimed series 24; he also starred as legend Frank Sinatra in the independent film The Night We Called It a Day.

Upcoming film projects for Hopper are: 10th & Wolf (starring opposite James Marsden, Giovanni Ribisi and Brad Renfro), Out of Season (opposite Gina Gershon) and The Keeper (with Asia Argento). Hopper also recently played opposite outstanding cast members Joseph Fiennes, Sam Shepherd, Elisabeth Shue and Debra Unger in the feature Leo.

In addition to acting and directing, Hopper is a noted photographer and painter.

Dennis Hopper is married to Victoria Duffy, who gave birth to their first child, daughter Galen, in March 2003. Hopper remains close to his three other children from previous marriages: Marin, Ruthanna and Henry.

London-born DAVID KEMPNER (Director of Photography) began his career as a still photographer, working at times in the fields of press, public relations and fashion. After two successful years photographing everything from current events to glamour layouts, Kempner segued into video editing for documentaries and current affairs. Leveraging his skills from his previous experience with both still and motion photography, David then started his current career as a lighting cameraman and cinematographer on a myriad of differing projects including light entertainment, advertising, current affairs and documentaries for a lengthy list of outlets, including BBC, ITV, Channel 4 and Sky.

Previous to INSIDE Deep Throat, Kempner collaborated with filmmakers Fenton Bailey and Randy Barbato on their well-received series documentary Pornography: The Secret History of Civilization, the three-hour documentary Aircrash and the Channel 4 docu-series History of Surveillance.

His extensive list of additional credits as documentary and series cinematography/lighting cameraman includes On Air: The Truth About TV, Dispatches: A Matter of Life and Death, Sex from 8 to 18, Our Toon and Property Ladder-all for Channel 4; Battle of Salamis for the Learning Channel; Star for a Night, BBC1; In Search of Elizabeth, Trio; and When Celebrities Attract, Sky 1. He also served as lighting cameraman on the Carlton projects Thames Lifeboats, The Secret Life of Kids, Inside Crime and Frontline-Mayoral Election.

As director of photography, TEODORO MANIACI (Director of Photography) has shot a large volume of work that includes feature films, feature documentaries, music videos and commercials. For Bailey and Barbato, he most recently shot the Killer Films feature Party Monster; prior to that, he worked on the HBO special Monica in Black and White.

His other recent editing credits include: The Business of Strangers, directed by Patrick Stettner and starring Stockard Channing and Julia Stiles, which world-premiered in competition at the Sundance 2001 Film Festival; Myra Paci's Searching for Paradise, starring Susan May Pratt, which was invited to the Sundance Director's Lab; Jenniphr Goodman's The Tao of Steve, starring Donal Logue (Best Actor Award at the Sundance 2000 Film Festival), which The Wall Street Journal called "a signal event…handsomely shot by Maniaci"; Sundance 2000 Film Festival offering The Opportunists, starring Christopher Walken, which The New York Times cited Maniaci's "eye-catching cinematography" and called the film "one of the best-photographed pictures of the year."

Other films shot by Maniaci include Bette Gordon's Luminous Motion; Lodge Kerrigan's multiple Independent Spirit Award-nominated Claire Dolan; Tarantella, starring Mira Sorvino; Mark D'Auria's Smoke and Predictions of Fire; and Kerrigan's feature film debut Clean, Shaven, which screened at Cannes, Sundance and the Telluride film festivals. Maniaci has also shot a variety of music videos and commercials.

As a director, Maniaci's credits include the feature-length documentary One Nation Under God, as well as several award-winning short fiction films.

Throughout his diverse 17-year career in the music business as a producer, remixer, consultant or production coordinator, BILL COLEMAN (Music Supervisor) has worked with an impressive list of recording artists including Lenny Kravitz, Brandy, Scissor Sisters, The Pretenders, Jody Watley, Sinead O'Connor, Julee Cruise, Bette Midler, Nellee Hooper, Apollo 440, Neneh Cherry, Khaled, David Byrne, Crystal Waters and countless others.

As a film music supervisor, consultant or contributor, Coleman has enjoyed success on a number of acclaimed features. His endeavors have included the independent features Party Girl, Jeffrey, All Over Me, The Watermelon Woman and Restaurant; the street basketball documentary Soul in the Hole; and the award-winning documentary series New York on the Edge. Coleman also served as music supervisor for the television pilot of Party Girl and the Jada Pinkett Smith/Tommy Davidson full-length feature Woo.

Coleman was music supervisor on the recent, acclaimed indie teen drama Manic; the independent King of the Jungle; and The Prime Gig, which starred Vince Vaughn and Ed Harris. As of late, Coleman worked on the 2003 Sundance entries Party Monster for filmmakers Barbato and Bailey and PBS' poignant women's prison documentary What I Want My Words To Do To You. He has also been responsible for contributing prominently featured music to the films Formula 51, 24-Hour Woman, 54, I Know What You Did Last Summer and American Psycho and television shows such as Queer as Folk and Six Feet Under.

Coleman has just completed the acclaimed 2004 Sundance winner and festival favorite Brother to Brother. He is also an acclaimed, nationally known and in-demand club DJ; the head of the music-oriented companies Peace Bisquit (management) and Peace Bisquit Media (online record company); one of the musical forces behind "Whatever, Girl," responsible for two top 10 club hits; a regular performer with the 'crunkadelic' act The Daisy Spurs; and a regularly published music critic and columnist.

Accomplished musician and composer DAVID BENJAMIN STEINBERG (Original Music by) graduated from USC with a degree in journalism, but fashioned his early career in music as a studio session drummer in Los Angeles. After he began branching out as a sound designer and mixer, Steinberg crossed paths with filmmakers Bailey and Barbato and began working with them in a variety of roles. The multifaceted Steinberg collaborated with the duo for a myriad of projects for such networks as HBO, Trio and Bravo, working as either composer, music supervisor and/or sound designer-but usually in some combination of all capacities.

Most recently, Steinberg composed the original music for Bailey and Barbato's three hour documentary project for the UK's Channel 4 entitled Aircrash.

Additionally, Steinberg continues to work in advertising with a growing list of prestige clientele. For the musician/journalist, "Writing music is just another form of storytelling."

British-born editor WILLIAM GRAYBURN (Edited by) has a longstanding relationship with filmmakers Fenton Bailey and Randy Barbato, having edited several of the filmmakers' projects, including their groundbreaking series Pornography: The Secret History of Civilization, as well as the documentaries 101 Rentboys, 20/1, Video Killed the Radio Star and others.

Grayburn's often seen work is a regular presence on both the UK and US networks-his award-winning work has aired on HBO, the BBC, HBO, Vh1, Channels 4 and 5, Court TV, Discovery, AMC and Sky One. He has also collaborated extensively with a large group of documentary directors, including Nadia Hall (Body Shock: Orgasmatron), Andy Stevenson (Conspiracy: The Illuminati), Ricardo Pollack (Crowded Skies, Lost Worlds: Persepolis, Panorama: A Warning From Hollywood, Hidden Love: The Spy Who Loved Me, Shoot Out), Polly Renton (Sex Bomb, 2003 RTS Winner for Best Independent Programme), Clio David (Cannabis Psychosis), Eamonn Hardy (Panorama: License to Murder, 2003 BAFTA nomination for News & Current Affairs), Lucy Willis (The World's Most Wanted Woman), Jon Ronson (The Double Life of Jonathan King, The Secret Rulers of the World) and Kathryn Avery (Inside Big Brother). His work was also seen in The History of Surveillance and The Hollywood Fashion Machine.

After graduating from USC film school in 1998 with several festival awards for his student films-including a National Student Emmy Award ('97) and a Directors Guild Award for Student Filmmakers ('98)-JEREMY SIMMONS (Edited by) edited and directed the GLAAD Award-nominated documentary School's Out: The Life of a Gay High School in Texas, which went on to air on MTV and Channel 4 in the UK.

Highlights of Simmons' editing career include Monica in Black and White, an HBO America Undercover premiere, exploring the sensational scandal that brought Monica Lewinsky to the limelight; Party Monster (starring Macaulay Culkin, Seth Green, Chloe Sevigny, Natasha Lyonne and Marilyn Manson), a Sundance festival feature film that traces the life of club kid Michael Alig; and most recently, INSIDE Deep Throat, a feature documentary film that explores the historical and social role of the most profitable film of all time: Deep Throat.

As a producer and director, Jeremy recently completed Gay Hollywood, a AMC original documentary that follows five gay men through the course of a year as they struggle to make it in Hollywood; and is currently the supervising producer of a six-part Sundance Channel documentary series entitled Transition Year (working title), that follows four transgender students through the course of a college school year.

KIM ROTH (Executive Producer), an Imagine Entertainment Sr. Vice-President of motion pictures, joined the Academy AwardR-winning production company in 1999, after more than 10 years with Witt-Thomas Productions. In addition to INSIDE Deep Throat, Roth's other credits include executive producer on Undercover Brother, a Universal/Imagine film directed by Malcolm Lee, and Insomnia, a Warner Bros./Witt-Thomas film directed by Christopher Nolan. While at Witt-Thomas Films, Roth co-produced the Warner Bros./Village Roadshow film Three Kings, directed by David O. Russell. She also contributed to the films Mixed Nuts, Final Analysis and Dead Poet's Society while working for Paul Witt. She is currently working on Fun With Dick & Jane, a Sony/Imagine film directed by Dean Parisot and starring Jim Carrey and Téa Leoni.

MONA CARD (Co-Producer) joined Bailey and Barbato's World of Wonder Productions in March 2001. Since that time, Card has worked on several of the filmmakers' projects in a variety of capacities, including Monica in Black and White (for HBO), Aircrash (for UK Channel 4) and INSIDE Deep Throat (Imagine Entertainment/HBO Documentary Films). Previously, Card worked as a freelancer in production, collaborating with such companies as Vh1, MTV and Nickelodeon, to name a few.

-INSIDE deep throat -

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