Hey there Falcon’ers! Had a chance to check out our latest release, Overtime (FVP182)? Those of you who love a hot man in a buisness suit are sure to get off thanks to this intense office themed blockbuster.
If any of you out there haven’t had a chance to take a peek at our latest title, or are curious about how our films get made… well, you’re in for quite a treat. Jett Blakk, the director for our 2007 epic DARE (FVP180), returned to the helm to cast and direct this sharply-dressed feature. Click the cut for Jett’s personal production diary he put together while filming, and some fantastic exclusive BEHIND THE SCENES pics of our men in action.
OVERTIME—PRODUCTION: DAY 1
Let me begin with a bit about the pre-production. It was October, and DARE was in post-production. Suddenly, I get a phone call from TODD MONTGOMERY at Falcon, telling me that they had wanted me to direct their December movie, but something had changed, and they wanted to know if I was available to do their November film. I was, and we began to kick around ideas.
The one Todd liked the best was a “suit” movie set in an office. Now, I think a hot man in a suit is 2nd only to a hot man naked, and we decided to go forward with that project, which would be called OVERTIME.
Now, the shoot was coming up fast, and since I had already done my epic for them for the year, I was asked to write a simpler script, and to start the first sex scene by page 6. This wasn’t a problem. Not every idea I have is on the level of a Merchant Ivory film a la Hitchcock. lol I DID have an idea for the opening credit sequence, though, but more on that later.
The script was about 4 scenes set in an office building, each centered around what happened after hours. It turned out to be 9 pages long. Perfectly do-able for a 4-day shoot.
I began e-mailing with TROY about the cast, first asking him who HAD to be in the film (ERIK RHODES and ROMAN HEART, because they were Falcon exclusives, and CAL SKYE, HAYDEN STEPHENS, KYLE PIERCE and KOEN BRADSHAW, because they were newbies and Troy wanted to try them out). This left 2 openings (no jokes, now), so I chose TORY MASON, whom I had shot a scene with for Red Devil’s upcoming pay site. We had gotten along quite well. Secondly, I had just read that TREVOR KNIGHT had come out of retirement, so I wanted him there. We were good friends, and I knew his scene would fly. Troy said, “We LOVE Trevor Knight!” so it was a done deal.
In pairing the guys up, we decided to put Erik Rhodes with Cal Skye, because Erik was so big whereas Cal had a slight build. Since Erik was playing the “big boss”, a very rough and domineering person, and Cal was his underling, it would give the man-mountain that was Mr. Rhodes a chance to tear the smaller man up sexually.
ADAM, Falcon’s producer, said they wanted to shoot in L.A., but they couldn’t find an office space, so the decision was made to shoot in San Francisco in the Falcon office building. It would work fine.
The day before the shoot arrived, and I had gotten my flight itinerary from Adam. We were flying Virgin America, and I didn’t like the seat assignment I’d been given. I always prefer a window seat on the shady side of the plane, so my husband CVK changed it and checked me in. I was going up with MOCHA (who just received a richly deserved lifetime achievement GayVN) and ADAM KILLIAN, who would be P.A.ing. We were scattered all over the plane, so I figured it wouldn’t make a difference if I changed my seat.
I arrived at my gate and saw Mocha sitting by the window waving at me. I sat down next to him and we began to chat. Then, he said, “Do you know they had us scattered all over the plane?” When I checked in, I had them change our seats so we were all sitting in the same row together.”
“You changed our seats? When?”
“About an hour ago,” he said. “I gave you an aisle seat. I figured that you liked that.”
“Mocha!” I cried, “I had already changed my seat to a preferable one! I’ve already printed out my boarding pass, which is now no good. I have to have a new one printed up!” I got up and sought out the woman at the gate and told her what happened. She printed out a new boarding pass for me with the new seat assignment on it, and I headed back to sit with Mocha. “Killian is going to have to change his, too, if he checked in online.”
Speak of the devil, Killian arrived at the gate, and I informed him of the situation. He went to get his new boarding pass, and I warned Mocha, “I’m going to tease you about this all week.”
The plane was only half full, and as I strapped myself into my seat, I felt a tap on my shoulder. I looked up to see Tory Mason walking down the aisle to the back of the plane. After takeoff, Adam moved to sit with them, and soon they were text-messaging me on the monitors on the backs of the seats in front of us…a Virgin gimmick which was actually pretty cool.
After we landed, we headed to baggage claim where Mocha picked up his lighting equipment, then we went outside. Troy called to say they were on the way, so we stood around and dished the dirt until two big SUVs pulled up. We loaded our stuff and off we went to the hotel.
We agreed to meet in the lobby at 6 so we would all have dinner together, then Adam, Tory, Hayden and myself walked up the street to a sushi place. We started talking politics, and since one of our group was a conservative Republican (doing gay porn!), it began to get heated, so I stonewalled the conversation (note gay reference) by changing the subject. Soon, we were chatting about foreign languages, and Tory and I jibjabbered from French back and forth. Mocha arrived, and so we moved to a bigger table. Our brave waitress brought the food, and we all dove in like starving badgers. Starving gay badgers.
Adam, Tory and Hayden decided to try and find a gym, Mocha needed to go back to the hotel to charge his camera and set up his laptop, and I wanted to head out to a Casual Male to buy some shorts (I had only brought one pair), so we split up. I could not get a taxi to save my life, so I decided to go back to the hotel and plan for the next day. Soon, I fell asleep while Godzilla fought the Smog Monster on my portable dvd player.
I always sleep fitfully the first night in a new bed, and this was no exception. Upon awakening, I showered and put my contacts in, then dressed and met Mocha downstairs. Troy pulled up in the SUV and we got in, Killian joining us.
At Falcon, we gathered in the kitchen for the production meeting. COLBY TAYLOR was running late, and Adam told us that Colby had been made a full-time employee. Good for him. We were shooting sex scene #1 that day, with ROMAN HEART and KOEN BRADSHAW, and we were doing it in the office supply room on Falcon’s first floor, just outside the art department. JAMES and MATT began lighting the space, LEIF GOBO and Colby sat up the camera equipment and Troy and Adam began getting Roman and Koen’s suits ready while the models were in makeup. (Roman had briefly surprised me when he showed up with newly-blonde hair!)
JEFFREY was my p.a. that day so that Adam could assist the still photographer. I had him decorate the set, rearranging boxes and props on the steel shelving for a camera move that I wanted to open the scene with. This was probably the hardest thing of the day, as it took us several takes to get the choreography just right. The camera is looking through the shelves at a low angle to catch Koen, the assistant, enter the room, then it cranes up to a closeup of Koen looking at items on the shelf. He moves to the left, but has to see Roman sneaking in the door behind him right before the move begins. It took a few tries, but we finally got it.
Roman and Koen started the scene off perfectly: kissing passionately and groping each other through their business suits. I had to slow them down, as they would have shucked their office drag in seconds if left alone.
After sucking each other’s dicks in the same frantic manner, Roman bent Koen against the shelving unit and dug in for some deep ass-eating. Roman is versatile and was going to top in this scene, so he stroked his cock while his tongue ravaged Koen’s perky little butt.
The fucking came next, and there were a few giggles in store as the guys had trouble getting traction. Their business shoes (I had them keep their shoes and socks on) had smooth flat soles, and kept sliding on the carpet.
Finally, we were done for the day, and we headed back to our hotel. The next day was Tory and Hayden in the copier room, another mix-match of types: Hayden was big and muscular and Tory was lean and tight. It would be good, I knew. The day after was scheduled for the opening sequence shoot, and I decided to wait until the next evening to storyboard it.
A quick dinner of turkey and mashed potatoes at Mel’s, the restaurant next-door, and I head back upstairs for a quick phone call to CVK, then bed.
Production Diary, Part II
On Day 2, I got up, showered and dressed, then watched “Perry Mason” on TV before heading down to Mel’s Restaurant where I met up with MOCHA and ADAM KILLIAN for a bite of breakfast. The SUV arrived, and we all piled in, heading for the Falcon offices.
Once there, Adam showed me the copier room to make sure it had been set-decorated to my liking. It looked good. So, while JAMES and MATT lit the room, I meandered downstairs to see TORY MASON in makeup and beefy HAYDEN STEPHENS waiting his turn. There were a variety of suits in the wardrobe closet, but for today, Tory had bought a brand new suit for himself to wear, and Hayden would be in coveralls. I warned Tory that his suit might get “messed”, but he was comfortable that a dry cleaner would be able to get out any lube or cum stains.
That took me back for a minute to an ancient Penthouse magazine letter where someone had written in describing a sexual escapade in which he had gotten semen stains on his pants. At the dry cleaners, he lied and said the stains were from cocoanut milk. That has always stuck in my mind for some reason.
Because it was a work day, black-curtained partitions were set up to block our shooting from the regular Falcon workers, so they wouldn’t get distracted. lol. The boys were then told not to wander around the building naked.
Now, this was Hayden’s first video for a studio, and he was understandably nervous, but since he and Adam Killian had bonded the day before during their workout, Hayden was most comfortable around him. Even though JEFFREY was assigned to be our p.a. that day, I asked ADAM the producer if we could switch and have Killian help us out. I felt his presence on the set would give Hayden some confidence. He agreed, and James went off to help the still photographer, and Killian was sent up to us.
We started off shooting the dialogue, and the guys were great, although I had to prod Tory to act more irritated by the fact that the copy machine was down. He continues to bitch at Hayden, who’s fixing the machine, until the repairman decides he’s had enough and bends the bratty executive over the copier, yanks down his pants and stuffs his big cock up Tory’s ass!
“What?” you’re thinking, “You’re not starting out with kissing or sucking?” That’s right. I get a lot of letters and e-mails, and I DO listen to what people say. When people said they wanted to see condoms being put on dicks in a sexy way, I made sure that happened in every single scene in CANVAS. I’d gotten a lot of requests to break the formulaic sex scene, i.e.: kiss kiss/suck suck/fuck fuck/cum cum…so for at least a couple of the scenes in OVERTIME, I decided to start with a fuck position.
So Hayden fucked Tory over the copier, pressing his face against the glass. As he slams the younger man, Tory’s elbow jams the “Copy” button, and black & white Xeroxes of his moaning face spit out of the machine onto the floor. It was really funny. We thought maybe the end credits should run over those, but it didn’t work out.
Hayden did great for his first video. He had to stop a couple of times to get his dick worked back up, watching a video on a dvd player while Killian acted as cheerleader. Then he was back on the set with his dick in Tory’s mouth or butt.
The scene climaxed with Tory riding Hayden’s cock on the floor, the copies of his face strewn around him in a semi-circle. When he came, he sprayed his load onto his own face! lol. Hayden popped an impressive load next, and we were done for the day.
Tomorrow would be the scene in the doctor’s office, which was set in the space next door to the copy room. I told Adam the producer that after that scene, the black-curtained partitions would have to be removed so we could shoot the opening sequence footage on that floor. He said it wouldn’t be a problem.
Upon hearing me talk about the opening sequence, LEIF GOBO asked me if we could shoot a few tests, since the footage would consist of mostly dolly shots. We nabbed COLBY TAYLOR to act as dolly grip, and we practiced several low-angle camera shots with the dolly keeping pace with Adam Killian, who would be acting as our faceless mail deliverer, but more on that next time. The practice shots looked great, and we were confident that the shoot would go smoothly.
It was early enough that I could make another attempt to go to Casual Male, but I had trouble getting a cab again. Finally, a homeless guy told me that I might have more luck if I stood on a particular street corner. I did, and within 10 seconds a cab pulled up! I got to the store, but they had nothing I liked, so it was another cab ride to my hotel. I sought out the laundry staff and had my shorts cleaned and ready for the next morning. I was a bit hungry, but I decided not to eat dinner. Instead, I worked on the storyboards for the opening sequence.
Now, I had asked Producer Adam if I could hire my own composer, JAKE RENDER, to compose a 90-second piece of music for the opening scene. He agreed, and using Danny Elfman’s “Breakfast Machine” from PEE WEE’S BIG ADVENTURE as his inspiration, composed a wonderfully cheerful piece of music. I had loaded it into my iPod and lay in bed listening to it over and over, sketching out each shot until I had the entire piece plotted out on paper.
Leif was going to have a heart attack.
To be continued…
OVERTIME—PRODUCTION DIARIES: DAY 3
After watching my Perry Mason, I headed downstairs to the restaurant for a bite of breakfast. I sincerely expected to order toast and a tomato juice. I did. But somehow that turned into pancakes, bacon, toast, tomato juice and fat-free milk.
We were picked up and taken back to the Falcon offices for Day 3 of the shoot, where a healthy spread of apples, bananas and other snacks were laid out. (Why did I order those pancakes??)
Soon, I was upstairs with JAMES the Lighting Guru checking out the set. It was a doctor’s office, with an examination table, screen and various knick-knacks. There was a doctor’s certificate on the wall, with Dr. Castle’s name on it.
From this point, it will be exactly 10 minutes before TREVOR KNIGHT will pounce on me like a cougar on a cantaloupe, so let me take the opportunity to test your trivia knowledge: the names of the characters in this film are:
Now, you all know what a film buff I am. Can you tell me in what mainstream movie all the character names above can be found?
Perhaps I can persuade Falcon to donate a free copy of OVERTIME to the first person to get the answer correct by responding to this blog entry.
Back to the set. It’s 10 minutes later, and wham! Suddenly, I am grabbed from behind by Trevor Knight, who hugs me passionately. OVERTIME is Trevor’s first film since he came out of retirement. He is playing the doctor, and is decked out in a button-down shirt, khakis and a white doctor’s coat. He looks great. Behind him is Kyle Pierce, his scene partner, a handsome young man with a lean, tight body.
We begin the scene. Kyle has to get a physical for his company’s insurance, and Trevor is the doctor who has dismissed his nurse, since it’s the last exam of the day. When Trevor decides to check Kyle’s prostate…well, they’re going to be there for a while. The guys were doing very well, and the scene was a hot one. The room was a bit small, though, and with two models, LEIF GOBO and COLBY TAYLOR doing camera, MOCHA doing stills and ADAM KILLIAN p.a.ing all in the room together (I was about 6 feet outside the door), they were bumping into each other. But the footage looked great on my monitor, and it was probably my favorite scene of the shoot.
Lunchtime came, and after a hot Mexican spread (which for Tory Mason is just a weekend in Tijuana, lol), I showed Leif the storyboards for the opening scene while the floor was cleared of screens and equipment. His eyes bugged out, and I think he stopped breathing as I showed him the 32 shots I wanted. The sequence begins outside with buildings towering overhead and people hustling…er, hurrying (better choice of words) on their way to work. We then cut to inside the office building where a faceless mail clerk pushes a cart and delivers mail and packages to the various employees. This would be set to a jolly tune by JAKE RENDER.
“While I think it’s a great sequence,” Leif began diplomatically, “I think it’s a bit too ambitious for us to shoot in the time we have.”
“I will shoot the outdoor shots myself, later,” I said. “All we have to do is get the indoor ones. And if we start now, it will be over before you know.” I reminded him of the dolly shots we rehearsed the previous evening, and that once set up, we got 3 of them in a five minute period.
Killian showed up with the cart and the mail, ready to go. “Don’t show my face,” he said. I told him I was never planning to (which is a shame, as he’s a rather handsome fellow). We got in position, and bam-bam-bam…the shots were knocked out one-by-one.
The top floor of Falcon has a glass canopy for a roof, so I wanted a shot looking down through the glass for a long shot of the mail carrier pushing his cart around. Leif and I climbed up to the roof, but the glass was frosted just enough to obscure visibility, so we had to nix it and do something else. Then we shot the envelopes that would make up the mug shot sequence, and snap! We were done. I checked my cell phone clock. It had taken 90 minutes.
The final scene for the next day would be with ERIC RHODES as the Big Boss and CAL SKYE, who I was told was being considered as an exclusive, and the higher-ups were very interested in how he would perform.
We finished up, and Mocha and I decided to relax by going to the movies and seeing 30 DAYS OF NIGHT, which had some good bits but I found overall disappointing, especially with such a great premise. And man, was Josh Hartnett miscast.
Back in the hotel room, I called CVK and told him I missed him and would see him in a couple days. The final scene was tomorrow, but the day after would require me to re-think something I had already shot. And would re-unite me with two good friends. I thought I had closed the book on DARE…but it was about to come back into my life.
To be continued…