Today I am absolutely delighted to present this recent Q&A I conducted with Steven Morowitz of Distribpix, one of most important film and DVD companies in the world. I have celebrated Distribpix, and several of their most essential releases, time and time again here at Moon in the Gutter and it was an honor getting to pick the brain of one of the leading film archivists on the planet. I know Steven is hard at work on what will be one of the most important restorations of the decade, Radley Metzger's masterpiece The Opening of Misty Beethoven, so I really appreciate him taking some time to answer these questions for us. Comments are appreciated and I hope everyone enjoys the interview, it was a real pleasure!
First off, let me say thank you for taking the time to participate in this Q@A. I think that Distribpix is doing some of the most important archival cinema-based work on the planet so this is a real pleasure. I know Distribpix has had a long and fascinating history. Can you tell me about how the company got started back in the mid-sixties?
Distribpix Inc was founded in 1964-65 in NYC, by my father and his business partner. They began by creating and producing, low budget, black and white sexual melodramas, for the cinemas of NYC. But, before long they had established such a strong base for theatrical distribution and production, they had began to attract the attention of several up and coming filmmakers, like Michael and Roberta Findlay, The Amero Brothers(John and Lem), Ron Sullivan, Joe Sarno, and even Leonard Kirtman. Now, Distribix was a major force behind much of the east coast film production, based around NYC, in the late 60's-early 70's. They had the directors, they had the theaters and they produced!
Can you tell us about some of the key works from this period the company was involved in putting out?
Some of the key films from the Distribpix Filmograpghy are as follows:
1. 1966, The Bed and How To Make It, Directed By Joe Sarno, an important film. Starred Sarno favorite, Judson Todd, and future wife, Peggy Stefans. Filmed in NYC and has cameos by both producers, Farber/Morowitz.
2. Satan' Bed, The Findlay's, Starring a young Yoko Ono.
3. The Amero Brothers' Dynamite and Bacchanale.
As the seventies arrived Distribpix really began to thrive as the premiere New York based company making and releasing adult films. It was during this period that the cream of the crop of mostly New York based players began to appear. Legendary names like Georgina Spelvin, Tina Russell, Jamie Gillis and Harry Reems became aligned with your company. In your estimation who were the key players in that period in front of and behind the camera?
Yes, once the seventies had arrived, and even before Deep Throat, Distribpix was already a major production/distribution house- theatrically(remember this was still before videocassettes). So in the early seventies, films like the Postgraduate or Sexual Customs in Scandinavia, were all over the theaters of NYC. These were perfect examples of "white coaters". These were films where the sex was looked at as acceptable, because there was some type of 'academic' angle, where sex was used to illustrate the professor's lesson, but in reality it was sex. These 'white coaters' starred the very same legendary actors who went on to star in the most well known films of the 70's, like Harry Reems, Jamie Gillis and Tina Russell. As a matter of fact, Distribpix played a major role in the landscape of sexploitation and adult cinema, as it became a grounds for actors and directors to work together, find common bonds and make magic.
The Key actors, cast, crew. etc during this time in my opinion would be the following and I am coming from an east coast standpoint, as Distribpix was based in NYC:
Directors like Joe Sarno really showed off his NY style of art house filmmaking with Distribpix. He was a major part of the company, going on to continue working with them for the next 20 years. Also, Ron Sullivan made some great films for Distribpix like, Lust Weekend and Scare Their Pants Off. Jonas Middleton, famed director of Through The Looking Glass, got his start producing Cherry Blossom, under the Distribix label. The famous Amero Brothers film Bacchanle was distributed by Distribpix, as well as many other films they directed in the 70's like, Blonde Ambition and Every Inch A Lady.
***The great Jamie Gillis is The Amero Brothers' classic Blonde Ambition, one of Distribpix's essential releases.***
The key actors of this time were the usual group of NY based actors, like Jamie Gillis, Marc Stevens, Jason Russel, Tina Russell, Harry Reems, these were the same guys that were doing 'loops', they became the face of the NY adult scene. Actually, some of them were incredibly talented.
From the beginning, Distribpix treated the adult-film genre as a viable art-form. Looking at the many titles in the seventies, what are some of the real watershed films that you are most proud of having in the Distribpix library?
Some of the best titles in our library are Through The Looking Glass, Take Off and Expose Me Lovely, The Original Inside Series(Inside Seka, Inside Jennifer Welles, Deep Inside Annie Sprinkle, Inside Little Oral Annie), Felicia, Blonde Ambition, and most of the Chuck Vincent films, like Roommates and Wanda Whips Wallstreet.
***A lobby card from Chuck Vincent's masterpiece Roommates, a future Platinum Elite release from Distribpix.***
Not too mention the super incredibly popular "Henry Paris" features.
While I am a great fan of many of the actors who worked so much with your company back in the day like Eric Edwards, Kelly Nichols, Jamie Gillis, CJ Laing, Sharon Mitchell, Samantha Fox, Seka and Jennifer Welles, I have to say that my absolute favorite is Veronica Hart.
***Veronica Hart, Kelly Nichols and Samantha Fox***
I know you are planning special editions of two of Veronica’s most important films, Roommates and Wanda Whips Wall-St, and I was wondering if you might give us a preview of those upcoming packages?
As fas as details on the Veronica Hart stuff, it is difficult for me right now, as I am fully immersed in the restoration of Radley Metzger's, The Opening of Misty Beethoven.
Even though your company houses works by truly great directors such as Sarno, Radley Metzger, Chuck Vincent and Shaun Costello I suspect you must have some opposition from certain film fans and critics who don’t take the adult genre seriously as a viable art form. Is it tough convincing the establishment that these films are much more than just ‘dirty movies’?
Great point, it is so upsetting to me and my team. I work with guys all over the world. Film experts, audio guys, videographers, etc. We take our original negatives and perform 2k scans with thousands of dollars of color correction/scratch removal, etc. We spend months producing extras, commission custom box art. Yes, it is very frustrating. We are like on our own island. We have no major distributor in the mainstream world, no this stuff will not be on the shelf at Walmart, but that is not my point. The point is that we are doing very high level work, the product sells and it should be sold by a major distributor. I sometimes wish that there was no sex in the films, as I feel we would be taken more seriously, it is a damn shame. I dare anyone out there to buy the upcoming "Misty Beethoven" package and tell me that it is not one of the best DVD packages of 2012!!!!
***Distribpix have been allowing fans to follow their behind the scenes work on their upcoming special edition of Metzger's stunning The Opening of Misty Beethoven at their blog and Facebook page!***
You recently played an important role in the edition of Brian De Palma’s Blow Out on The Criterion Collection! Can you tell us a bit about that?
Really, the Blow Out Thing was a fluke, I own and operate a large film archive, with some kool stuff in it. Some early films from some of the greats. I own the original film elements for Francis Ford Coppola's, Tonight For Sure, which will be an upcoming HD transfer, as well as other rare and odd titles.
De Palma's Murder A la Mod was one of them. They were doing a re-release of Depalma's Blow-Out and a film friend of mine, contacted me and said that he noticed that Criterion was looking for a copy of Murder A la Mod, I had the pristine 35 mm elements, so I contacted them and we made a deal. I really did not have much else to do with it, but I did take the film to the lab and Criterion let me sit in on the transfer, which was super kool! In that case, I was paid for the film rental and that helps to pay the bills. I had no plans for the film, but I do have the archive, so all in all, I was happy to help and get my name on the DVD booklet!
I think it is safe to say that your Platinum Elite Editions are the absolute finest DVDs of their kind ever released. So far you have released Blonde Ambition, Deep Inside Annie Sprinkle, The Passions of Carol and now The Henry Paris films as these super-deluxe editions. How did you go about choosing them from your vast catalogue?
For something to get a Platinum release or a major overhaul, it needs to have some sort of importance, a good cast , a great seller, or maybe it was cut/edited really bad, etc. We assemble the elements, see what we can do for extras, begin to script, and go from there. We have so many films that have been transferred and archived, that we have a lot of low hanging fruit and we can harvest them at any time. Unfortunately for us, the video market is tough and right now we are focused on the Metzger stuff-Henry Paris!
Which brings us to your Henry Paris Collection! You have released phenomenal editions of The Private Afternoons of Pamela Mann, Naked Came the Stranger, Maraschino Cherry and the rest of Radley Metzger’s ‘Paris’ films are on the way. Tell us a bit about how these landmark films came to you and the care you are taking in putting them out.
Well, The Radley Films are very special to me. First of all, My father dealt with Radley back in the late 70's and 80's. When Mature Pix was running the "World Theater", they played long runs of the Henry Paris films, and soon after my father began to operate that Theater and he knew how successful these films were, but the relationship was cemented, in the early 80's when my father was doing the VHS distribution of the Henry Paris films, under Quality-X, Sam Lake's previous label. Eventually, my father had purchased Maraschino Cherry, which was the last of the Henry Paris films, and Radley kept ownership of the rest.
This opportunity came to me, when a friend of mine found out that Radley was looking for a new distributor to handle his Henry Paris films. When I found this out, I jumped at the opportunity, as more often that not, I sit around too long. I wrote a 2 page hand written letter to him and I spilled my guts and told him that I would be the best person for this job. I heard back from him a few days later, he asked me if I would be able to work within his financial parameters and I agreed. We began to correspond and before long we had an agreement.
The work we are now doing on these Henry Paris films is by far the most in depth, we have gone, not only in the film restoration, but by adding a ton of extra value to the films, like video extras, commentary, subtitles. They are really turning into something special. People from all over the world are buying them and they love what we are doing. Some are amazed that we would even go to these lengths, but it becomes addictive, Each project gets better and you keep learning. So you never know what is next.
What are your hopes for Distribpix in the upcoming year and are there perhaps any other special releases on the way we haven’t covered here?
My hopes for upcoming year is that we continue to have great success producing the Henry Paris films. We are working on finding a licensing deal that would give us the freedom to finally release our Distribpix collection, in a proper fashion and with a mainstream distributor, not the X-rated films, but the sexploitation/exploitation stuff, all 2k scans!! And of course there will be other surprises.
Thanks again for doing this! I have always thought that a film historian who ignores adult-films is a bit like a music-buff who ignores the industrial and underground-punk scenes. Thanks for treating these films, directors and actors with the respect they deserve and I wish you much continuing success at Distribpix!
I also want to thank you for being such a huge supporter of the films that we are restoring and releasing. Your great write-ups have surely been beneficial in bringing us some attention and that is greatly appreciated.
***For more information on Distribpix, please visit their blog for behind the scenes stories, release information, links to their other sites and more!***
Thanks or sharing this great interview, Jeremy! And thanks as well to Mr. Morowitz for participating and for the great work he and his company are doing.
I've picked up several titles from them since they started releasing the Paris films (and again thanks to you for drawing my attention to those released in the first place) and have been consistently impressed with both the astonishing quality of the releases and the ease of doing business with the company (since, as he notes without the legitimate distribution they deserve you've gotta buy direct.)
Can't wait for the Misty release!
Thanks so much Daniel. I'm glad you enjoyed the interview and I really appreciate the comment!
One of my favorite people on one of my favorite blogs! Fab interview, Jeremy. Steven's amazing, as is Distribpix. They are one of the absolute best film companies and are on the forefront of film preservation.
Thanks so much Heather for reading and commenting. I appreciate it and totally agree with your thoughts on Steven and Distribpix!
Terrific interview and I share your affection for Veronica Hart. I was lucky enough to meet her in Las Vegas in December...she's working at the Erotic Heritage Museum there. What a sweetheart. Glad some of her movies are getting the Platinum Elite treatment, although the wait is becoming interminable. She and Kelly Nichols did the commentaries over a year ago.
I understand the focus on the Metzger features, though, and they're proving to be really remarkable.
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