Private Video's Press Relations OfficerXavier Ecolar reports: "Antonio Adamo strikes again!
"After the huge success of "Sex Shot", Antonio Adamo, the Italian director, comes back with a new film that will be one of the main blockbusters of next year, "Devil in the Flesh". Adamo continues shooting in his very personal way, taking great care of the set, the lights, the camera tracking, the angles and visual effects. The same sophistication and eroticism that characterized his first film, Sex Shoot is also in Devil in the Flesh which stars seven girls. Among them we find Julia Taylor and the awesome Betty Anderson, who was one of the females in "The Pyramid" trilogy.
"In "Devil in the Flesh" Adamo has exchanged the perversity of Laura Angel for the anguish of Julia Taylor. A famous painter, Julia has had to pay a price for her success. From university until the present day, she has seen how sexual favors open doors. She has never really liked that. She had enjoyed herself but, at the same time, she could not enjoy sex because of a sense of being used. Julia describes her experiences in 7 hardcore scenes. She explains how awkward she felt when her Arts teacher told her to touch the model she was painting. The sensual feeling turned her on. She didn't want to get involved, but slowly she lets herself go and starts playing the game. She masturbates at the University while seeing professors, models and pupils fucking. After that, she takes part in threesomes and gang bangs because she can't avoid the craving those kinds of situations provoke in her.
"She has anal sex, she is DP'd and laps up all the loads she gets in her mouth. Julia Taylor is the leading actress in "Devil in the Flesh", but there are 6 more remarkable girls. The first one is Betty Anderson, a breathtakingly seductive blonde who delights in the 4 scenes in which she stars. There is also Genevieve, Maria, Mercedes and two Czech newcummers, Nicole Taylor and busty Karma.
"Adamo provides us with 100 minutes of hard sex, but combined with great aesthetic delicacy, a lot of glamour and eroticism.
"Adamo, has just returned from his trip to Paris, and greets us in his Budapest apartment. It's a quiet place and has been decorated according to his own taste. There is nothing to evidence that we are standing in the workplace of one of the new great names of pornography in the world.
"PRIVATE: Tell us a little about your life.
"ANTONIO ADAMO: I was born in Naples, which is where I currently live. When I completed my education I had several jobs, none of which was related to the audio-visual field. Since I was a teenager, I always tried to annoy some girls who used to work near my mother's tailor's shop. To get me away from these girls, my mother forced me to go to the cinema every day. Probably these two things combined, my mother's profession as a seamstress and the fact of being forced to watch at least one movie a day, contributed to give rise, in an almost natural way, to this strong attraction that I feel for the cinema, for images and their aesthetic distribution. I instantly purchased a professional camera, I gave up my old job and I devoted myself to direct audio-visual work for some local and national stations. I produced everything imaginable: chronicles and news, sports news, documentary films and later on, during a few years, I directed TV commercials and programs on fashion on an exclusive basis.
P: How did you get introduced into the adult video business?
AA: About ten years ago, I decided to produce an erotic magazine that was to be broadcast by a national television station. I travelled to Budapest for the first time and directed a series of footage for a production of mine. In one of those video films I worked with Anita Rinaldi whose career as a porno actress was only beginning at the time. She thought that my way of working and the method I used to enhance her body were highly suggestive. A few years later she suggested that together we prepare a project that would combine my way of filming and to produce at a later stage the images with hard contents. First I felt somewhat puzzled and when I recovered from my initial astonishment I decided to take part in the project. In February of 1997 I travelled to Budapest in order to direct my first version of Planet Sex. After that, I worked with Selen, Rocco Siffredi and some other Italian big stars as a director of photography. The collaboration with Private began in May, with Sex Shot.
P: What made you decide to become a film director?
AA: Before being a cameraman and director of photography in the adult movie field, I almost invariably signed the products that I made as a director (television programs, TV commercials and promotional campaigns for large corporations in the fashion industry). I think that the natural evolution of events, further to the experiences I gathered, led me to officially sign my own creations.
P: What do you intend to convey with your films?
AA: I have always been contrary to defining my products as porno films; I'd rather define them as movies that contain extremely erotic scenes. I believe that in a film, the actions determining sex scenes are as important as the sexual scenes themselves; this is why I devote a great care to the preparation of sex scenes. In short, my movies are addressed to an audience who loves eroticism and who experience no taboo-related feelings when witnessing or watching genuine sexual actions.
P: What sort of adult movies do you like shooting most (thrillers, comedies, remakes, etc.)?
AA: In my opinion an adult movie must never forget or ignore what it is. I am contrary to remakes of traditional films. It is my belief that my colleagues who go by scripts that are far too complicated or inspired in traditional genres are in a contradiction. In an adult movie the script must be naturally inclined to introducing sexual scenes.
P: As for aesthetics, is there any issue that is particularly important to you (lights, music, moves)?
AA: I have always striven to use all the techniques of traditional cinema in my movies. To the farthest extent possible, I like to take care of photography (lights, etc.). Another important element is a good use of filming techniques (dolly, trolley and so on). I also enjoy much -although it is a tiring task- to work with the camera resting on my shoulder, since this allows me to quickly locate the ideal viewpoint while action is taking place. Surely, the choice of the music is also essential. I think that all of the films I have directed so far owe much to the soundtrack.
P: Is there anyone or anything that has had an influence on you and your work? Are there any directors that you admire (not necessarily directors of porno movies)?
AA: There are many authors that I do like. Besides those regarded as sacred monsters -Alfred Hitchcock, Stanley Kubrick-, I feel very much attracted by directors who are less well known although certainly worthy of attention. This is the case of several directors who began their career making B series terror movies (Sam Raimni, Brian Yuzna, David Cronerberg, David Lynch) and who are currently well established authors.
P: "Devil in the Flesh" is your second film with Private. What is the plot?
AA: "Devil in the Flesh" is the story of Tamara, a young painter whose career is just beginning. Before achieving success, she will have to go through difficult times and she will even be forced to become a prostitute. Her life changes when she meets Gabriele, a very well known artist. Gabriele lives with Eva, his lover, who also joins him in all of his erotic adventures. Tamara falls in love with both of them and allows the devil that dwells in her mind and in her flesh to go wild. Although the script is apparently quite uncomplicated, it features extremely controversial characters. It has been difficult to find an end for the film, and therefore there is a double conclusion. The film will available in DVD with a double end.
P: Is there any scene that is particularly remarkable in "Devil in the Flesh"?
AA: This time it is really very difficult for me to answer. I find all of the scenes extremely suggestive and at the same time, they are also spectacular. Perhaps the scene with which I have had more fun is the one that takes place in an abandoned barn between Julia Taylor and the two male characters.
P: Do you believe you have opened up a new path in porno movies, with your own style, with which you provide an aesthetic sense to these films?
AA: I do not believe I am the only one who has felt that the adult movie sector was lacking some fresh air. I think that films that just contain violent anal scenes or scenes displaying double penetrations are becoming progressively less interesting. Besides, those who are only interested in things of this sort can easily find them on products bearing illustrations. This does not mean, however, that my films only display aesthetic or erotic elements. On the contrary, I think it is very interesting to achieve a splendid anal penetration further to having duly prepared the audience with highly erotic images and situations.
P: What are your projects for the future?
AA: I believe that after this lengthy interview I should save something for my next interview, otherwise I will have nothing new to say. I'm just kidding; actually, I'm extremely superstitious. Being as I am a Neapolitan, I do not like to discuss things that are not yet quite specific. In any case, I will tell you that I still have many surprises in store for you all.
