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Nothing was ever fulfilled, just a bit of groping and I guess sometimes I might have picked somebody up and taken them home, but not very often. When it is crowed, all sorts of things would go on. It's something that had happened to me and to a lot of people who use the subway. A film that stuck in my head was Underground, with the hippie and the business man having sex on the subway. Peter keeps a lot of his press cuttings in neat, back-to-back pocket folders. Sometimes it was two or three people and sometimes it was 20 or 30 people, depending on the situation. Usually they would say, “Can we see your photography?” because there were lots of prints going around. Yet you were playing them to your friends at parties. Your films don’t strike me as exhibitionist, rather deeply personal. Deep Throat was really the breakthrough, I guess, and I thought it was a piece of S-H-I-T. No, I hadn’t seen any male pornography, or heterosexual come to that. Was there a lot of pornography around at the time, if you wanted to get hold of it? They decided not to release a film because it contained material that they are not allowed to send over state borders. I sent it into Kodak and fortunately they came back. So I shot a few shots of me naked, masturbating or whatever, and put it right in the middle of another film. I thought, “What is it that one person can do which commercial interest cannot?” And I somehow wanted to get naked people on to film. What was the drive starting out, what were you aiming to create? Your films have been described as part masturbatory aid and part art film. So they said: “No black guys, white it down.” It would have been confusing to see black and white people in such a funny, strange play. We even did Waiting for Godot in white face. We would tour all of these plays in white America. They'd bring drama to people all over the South. So this was whilst you were working for the civil rights movement?
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I thought I’d use it for that, but I actually used it for private research, recording guys that I thought were interesting, which led me on to experimenting with nakedness. Peter: Well, I bought a camera when I went down south to work in civil rights in 1963. Peter, how did you get into making films? VICE: …and then you pushed the guy's car along with Greta Garbo? That's amazing. You should be able to pick it up from here. Two of his biggest fans were William S Burroughs and Sir John Gielgud (the latter wrote Peter a script for a porn called Trouser Bar). He had a lot of fun on Fire Island in the 1960s. He filmed what was probably Greta Garbo's last ever on-screen appearance (in a gay porn film). He appeared in Breakfast at Tiffany's because he was working on the counter there at the time. Here's a list of things we discussed that weren't interesting enough to make the interview: Peter said he'd had "too much wine" the night before, and had somehow managed to break it. I noticed that the lock on the outside of the door had broken. I went to see Peter to ask him about this and a tonne of other really interesting things.