One missing thing

You are obviously correct; if they had included Ron Jeremy he would have discussed this subject, as he is frank & outspoken and knows such secrets - I recall seeing his commentary on how easily faked (and explaining the ingredients) many of the so-called "cum" shots in porn films are done, especially when there is not the traditional pull-out for the visible "money shot".

This film, made by a sports documentarian, is a prime example of the currently popular "(blank) For Dummies" approach -aimed at a gee-whiz public. Judging from some of the IMDb comments, people are hooked on the tipster mentality -the buzz, i.e., which porn films should I watch, rather than a solid doc. In that sense it's akin, and I mean this as an insult though the filmmakers will take it as high praise, to Ken Burns' execrable "JAZZ" documentary. Ken and his brother are self-appointed experts on Americana, and Ken, who knows nothing about jazz, talked to the worst sources (Marsalis and Crouch) and came up with a very superficial and misleading treatment of the subject, hated by every serious jazz historian (minus M & C obviously) and fan I've ever asked about it.

I understand the interest in some exotic subject, whether it be porn, jazz or spelunking, that the documentary maker knows nothing about -he or she wants to learn something, and get paid for it -sort of like writing off your vacation as a business expense or donating your wine collection to your new restaurant venture as a deduction. But the viewer deserves better -an expert approach. And a willingness to take sides -not the wide-eyed, know-nothing attitude displayed here (which gets the inevitable praise as so "even-handed" from the principal Commenter on IMDb).

From my history ('80s mainly) as an entertainment industry reporter -here are a few topics about pornography that would be worthwhile and actually educational, but difficult to do (beyond the Les Blank/Christian Blackwood or even Fred Wiseman school of keep it simple docs):

(1) History of the fight against censorship -the positive side of the porn story, alluded to in a fine short docu included on the DVD release of the film QUIET DAYS IN CLICHY, showing how the owner of Grove Press & Evergreen Films fought for freedom in both literature and movies.

(2) Study of the mob (read: Mafia) connections with porn: especially exhibition and distribution, and perhaps (I haven't researched it at all lately) the diminution of such organized crime connections now in the Internet age.

(3) Study of the high mortality rates of porn people. Back in the '80s I routinely researched and wrote obits of porn talent and filmmakers, ranging from the famous (Holmes) to the obscure (Laurien Dominique), and it became obvious that their lifespan was adversely affected by their chosen profession, whether it be due to dangerous breast implants, S.T.D.'s, keeping company with unsavory types, etc. This is master's thesis territory, but even a casual perusal of the IMDb background info on porn people, famous (Rene Bond) or not will demonstrate what I observed. This matter is extremely difficult to research statistically because so many of the porn vets "disappear", i.e., little is known about their later life, again reflected in the IMDb histories which are either blank or cutoff after their career ends. Prevalent use of pseudonyms doesn't help either. Even my friend Bill Landis, who went from chronicling porn to becoming a performer, died way too young.

(4) As an extension of #3 above, a documentary about support systems for porn retirees/graduates. There is no Hollywood old folks home for the porn division, the way that both mainstream (union) talent and technicians have a future to look forward to (endangered in these tough economic times, but still there).

(5) The continuum linking mainstream filmmaking and porn filmmaking. Back in the day, whether soft or hard there would be conventional tv directors working in porn, with fake names. For performers it has always been difficult to crossover due to the visibility and various stigmas. Chuck Vincent made the greatest efforts to have his colleagues from hardcore get to act in his '80s slew of softcore films, but made hardly a dent. However, Hollywood won't admit it but there is a single Entertainment Industry and the actual links between the "straight" side and the disreputable "porn" division are interesting. For starters I recall going through the fine print of Gulf & Western/Paramount annual reports/quarterly filings and being surprised that the conglomerate owned gay porn magazines like Blue Boy (!) or when I discovered that General Cinemas, one of the leading chains back in the '70s & '80s, owned many of the hardcore porn theaters in Times Square (alas, they are all gone now). There's an interesting subject you never see documentarians touch.

(6) Ongoing racism in the Adult Film world. I see Ace, Jada Fire and Rico Strong representing black performers in this documentary, but that is clearly tokenism. Dating back to the soft porn of the '60s, minority talent has always been heavily discriminated against. In conversations I had with Russ Meyer I always heard the same canards (which recall the old Southern anti-integration arguments once espoused in general society), essentially blaming the audience and powerful distributors/exhibitors for racism, NOT the filmmakers. As Russ would put it (regarding soft porn), you couldn't book films with black actors and actresses, (i.e., integrated casts), in Southern theaters as the owners (and public) wouldn't stand for it, so you didn't employ them. Big breasts or not. Makes economic sense, like most self-serving defenses of racism do. Russ later integrated his casts -I'm thinking Lavelle Roby and several minor actresses in his '70s films, but check out his early work. Or look for blacks in the venerated Joe Sarno's softcore films. Today the best-selling, mass-audience porn is lily white, and the numerous black performers strictly work in niche videos: all-black casts or Interracial Sex videos for that sliver of the market, see for example West Coast Productions' proudly "ethnic" videos. Even Jada Fire only gets mainstream, high-profile or big-budget roles when called upon to spoof Nichelle Nichols, Condoleezza Rice or participate in the mindless "Jeffersons" takeoff. Lexington Steele and Mandingo have cottage industries of their own, but score Zero in crossover: you never see the mainstream media treat them to a spotlight the way Jenna (either one) and Sasha are. This same analysis holds true for the demeaning treatment of latina performers and of course the "exotic" Asians -racism undiluted.