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you know, what lengths people went to for these extra long cigarettes.
    On the set, Paul and me were talking about girls and stuff—and he asked me if I wanted to do a fuck film.
    To be honest with you, for years I used to dream of some guy coming up to me and saying, “Hey kid, you wanna make a fuck film?”
     
    SHARON MITCHELL : Larry hit me—and I remembered, you know, about my mom and dad. My dad hit my mom once, and that’s all it took. Mymom said, “That’s it.” Because once that happens—it never fucking gets better. I mean, guaranteed that it never gets better. You’ve just got to move on with your life—because all of that heal-change crap will never work.
    Larry was fucking crazy. I saw him put his head through a plate glass window. He’d terrorize me, like step on the gas when I was in the car, and say, “So, you want me to do this?!!” Sheer abuse and terror.
    Eventually, Larry killed himself. Maybe eight years after we got divorced. I take no responsibility for it.
     
    MARILYN CHAMBERS : After I graduated from high school, I was going out with this guy, Patrick, who was an actor and a model. In those days they weren’t all gay, ha, ha, ha.
    He asked, “Do you want to go to see a real movie being made?”
    I said, “Yeah! I’d love to.”
    Patrick was playing either Robert Klein or George Segal’s stand-in for the movie The Owl and the Pussycat.
    So I get to the set. I’ve got my little portfolio with me. I’m nervous. I’m standing around watching, totally intrigued, like, “Wow! This is what I want to do!”
     
    HARRY REEMS : Enough money from the Wheaties commercial trickled down to Puerto Rico for me to live it up. I wined and dined Assie and took her to casinos. Then I deserted her for a week and blew a lot of money. And a lot of girls. Assie blew up like a cyclone when I crept back.
    Out came the Latin jealousy and the temper tantrums.
    “I cook dinner. You be here on time. Do those whores you go with cook dinner for you?”
    I was deeply fond of her. And I loved all the creature comforts of home, of being looked after. But finally I had to admit that she was right. We came from different worlds.
     
    MARILYN CHAMBERS : While I was on the set, Barbra Streisand started pulling some shit. She was really childish. Yeah, I really don’t want to say that, but I mean she was just horrible! Just a real witch, you know? To everybody .
    Ray Stark was the producer, and Herbert Ross was directing. So Ray Stark was walking around the set, and he came up to me and asked, “Are you an actress?”
    I said, “Oh, yes! Of course.”
    He said, “Well, you know, we just happen to be casting for the part of Robert Klein’s girlfriend. Would you be interested in trying out?”
    I said, “I’d love to!”
     
    HARRY REEMS : Back in New York, I floundered. There were a few more commercials—Ballantine Ale, JCPenney, Dickies work clothes, a toilet tissue….
    But these were test commercials, and somehow I managed to spend the bread faster than it was coming in.
     
    GEORGINA SPELVIN : I opened my own editing facility down in the West Village. It was called The Pickle Factory, and we were doing a lot of underground films at that point. I was very much into the peace movement. By the end of the sixties, beginning of the seventies, I was interested in making revolutionary films and ending world hunger.
    We were scrambling to make the monthly rent on the place to begin with, so I said, “Okay, it’s near the first of the month again, and we don’t have any money! Somebody’s got to make some money!”
    So I bought all of the local trade papers— Showbiz and Casting Call —and I just called everybody who was casting films. At that time, there was a lot of tits and ass films going on. Nudie-cuties.
    I’d say, “I know I’m not what you’re looking for in the way of casting; but, I can coil cable and make coffee. I’m looking for any kind of a job. Do you need anyone?”
    And, indeed I got