Bad Seed Titles Kick Off Adam & Eve's Big September

CHATSWORTH, Calif. – Adam & Eve’s extra-big September release schedule, culminating with the mega-production Eden, kicks off with two unusual releases on the Bad Seed imprint, according to Peter Reynolds, vice-president of marketing and promotion., Version 2.0, shipping Tuesday, September 11, is a fresh take on big-booty urban porn. “It’s about young, hip black professionals who use the Internet,” Reynolds said. “They have laptops, they’re texting-savvy. It’s also very funny, with very hip dialogue.”

It comes from the same production company that made the AVN-nominated Parkin’ Lot Pimpin’ (2005) for VCA when Reynolds was production chief there.

For Reynolds, the movie is “part of a whole new look for Bad Seed. It’s no longer just a gonzo imprint. We’re mixing things up to make it a lot more hip, more interesting than the typical gonzo lineup.

“We’re created more buzz in the last few months than we’ve had in ages. We’re doing different things with adult product.”

On September 18, Bad Seed ships Joe Gallant’s The Skin Trade, starring Sasha Grey. Reynolds calls it “alternative cinema.” Gallant—whom he hails as a “visionary”—is the first of several “creative directors” he has shooting for the imprint (movies from Carlos Batts and Joanna Angel are due later this fall).

Gallant’s title, according to Reynolds, is “an allegory about a young girl who comes to L. A. in search of fame and fortune and takes some detours that lead her into very strange places.” The New York-based director’s work is to be featured in the upcoming Los Angeles Erotic Film Festival.

Adam & Eve’s “big finale of the month,” of course, is Eden, the big-budget epic shot in HD in Hawaii, with 5.1 Dolby surround sound. It ships September 25, in a deluxe two-disc package. Starring are A&E’s three contract girls, Carmen Luvana, Ava Rose and Bree Olson, along with Zero Tolerance exclusive Courtney Cummz.

Reynolds has taken the unusual step of “offering Eden for VoD as an entire film only. This is protecting distributors who are paying a premium price for the film. I do not want it viewed in segments at a low price.

“I’m taking a very pro-active stance about how the movie is being sold. Everybody is being protected, there is no chance of the Internet cutting into sales. Everybody pays the same thing—that’s the way to go.”

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