In less than four years, Juliet's torrid performance in Swedish Erotica's AUNT PEG series, as well as two highly acclaimed flicks, SHOPPE OF TEMPTATIONS and VISTA VALLEY PTA, have earned her a reputation as a penis-hardener and vagina-twitcher. Juliet does it all, she does it well, and unlike many past and present erotic stars, she can get up off the bed, take a shower and assume an identity as a psychiatrist, lawyer, or surgeon without losing any credibility. Time and again she has proved that taste ass well as tit can be a turn-on.
Lately Juliet has taken up directing. Her first full-length effort behind the camera was EDUCATING NINA, recently released by Superior Video in San Francisco.
CAV: There has recently been some debate over how best to describe the explicit action that's the core of adult films. Descriptions range from making love, to having sex, to fucking. Do you apply labels to your various erotic experiences both on and off the screen?
JULIET: First of all, making love is just semantics, the words we use. In my vocabulary there is a difference between making love, having sex and fucking. Now there are times where I'm having sex, I'm not making love. Which doesn't lessen the value of it. But it's somebody that I don't know, it's almost like Erica Jong's "zipless fuck" in the train - the mind-blowing, incredible orgasms and nobody is hurt. It's so exciting and it's a matter of sharing. Sometimes you get more, sometimes somebody else gets more.
As far as making love, this presupposes a relationship. Certainly in most films, there are very few relationships. Most of the time somebody drives down the street and sees a girl with a 38-D cup and says, "Hi ya, baby!" And she runs over to the car and says, "Oh! Look at that bulge in your pants, I'll bet you've got a great cock!" And he says, "Jump in" And they're making it right there. Well, that does happen. And I know that I personally involve myself in my private life in things like that every once in a while. It's like a hot fudge sundae - something you like occasionally but not all the time.
So you've got to be careful about what you're talking about - whether you're making love or having sex or just plain fucking. Fucking is just genital to genital.
CAV: In terms of publicity, you're very selective about the type of image that you let get out into the streets.
JULIET: Definitely! I'm just selective period. In the way that I choose my personal friends or the type of home I live in, whatever. Let's say for some people it's a luxury, for me, it's a necessity. I'm just lucky to be in the right place at the right time and I happen to be a highly individual type. So I think it really benefits me to be patient. I mean, I have to twiddle my thumbs, maybe, waiting between films. But in the long run, I think that it imparts a certain integrity and that when I make a film, I know that it's going to be good for me, it's going to be good for the audience, and I'm really going to get my message across.
CAV: Let's talk about your image. What type of feeling is it to cater to the romanticists in the audience who fantasize making love to you as much for your demeanor as for your looks?
JULIET: It's lovely! I love making these films. I don't take a part in a film unless I think that I'm going to have a great time, that I'm going to learn a lot, that I'm going to inspire my fellow workers, that I'm going to turn on thousands and thousands of men and women. Now that's what I try to do, and that alone, and it has become very popular, so now I've started to capitalize on it.
I'm many different people and I could have played another type of character. But this feels very, very good because I want people to know that you don't have to be a 20-year-old sex bunny to be sensuous. See, I believe in sensuality in eroticism rather than political sex. You turn on people (points to her head) right up here, in between your two ears. I happen to fit a certain type that turns a lot of people on, mostly men, because I look like a teacher, librarian or businesswoman, but very realistic, like the type of woman that thousands of men have had dealings with. I appeal to their imagination, because I'm sure that as a man, you had a teacher or someone you looked at and said, "God, you know what she's wearing her horn-rimmed glasses and she's got her suit on, but geez, I wonder if she does it?"
Well, I show them that yeah, not only does she do it, she loves it. And underneath that suit are garter-belts and stockings and when she gets down, she gets down. Not only that, but the age factor is real important. I want people to know that your sex life does not end at the age of 30. And that both men and women can be eternally sexy if their heads are in the right place and they take good care of their bodies. So I find this particular image that I have created, or my fans have created for me, very, very satisfying. And also it gets me a very nice wardrobe (laughs). It's a lot more fun that being in blue jeans.
CAV: Do you disapprove of the blue jeans movement that has become popular among today's women?
JULIET: You can be sexy in blue jeans. But nowadays the dress seems to be sort of a unisex look. Women are almost defiant, they're trying to look like guys too much. It's like they're saying: "If I have to put make-up on and high heels for you to think of me as a woman, well shit, I'll go and play with my vibrator." I don't believe that. I just love the difference between men and women.
A woman doesn't have to feel that she's giving up her identity by being very, very feminine. I love being very feminine. I think that nowadays this blue jeans, T-shirt look makes sex not cheap, but common.
CAV: Could you elaborate on what you mean, by "common" sex?
JULIET: Let me say this. I lived in Scandinavia for a long time and the prevailing attitude over there (excluding Denmark which is part of the Continent and more European) is that sex is no big deal. It's just like eating or sleeping or anything else. In general, Scandinavians don't understand or practice eroticism. It's just: "Huh, okay, wear your panty hose, it's night time, take your things off and get in bed," and that's it. I don't think that's the way it should be. I think that you have to create a romantic mood.
It's very important to think that spontaneity can happen anywhere. Most of the people live in the younger generation have an idea of being spontaneous, like "Hey, we can do it any place that we want." But there's a difference. It's creating a mood, getting into your fantasy, making it something different from your regular life. And that's what I want to share with people. It turns me on, I believe it and I'm able to project this downright honest love of sexual fantasy and that, hey, you don't have to be a movie star. You, too, can do it.
CAV: Would I be putting you on a spot if I ask what actors and actresses are your favorite work mates?
JULIET: No, it's like in real life. There are certain people that you click better with than others. To date the male stars that I've worked with that I like the best are John Leslie and most recently Bobby Astyr. There have been men that I've worked with in loops, names you wouldn't know, who have been fantastic. As far as females, Veronica Hart is a relative newcomer and she is great. I take my hat off to that lady. She's very professional.
Let me say here that the Number One criterion in my book for working with someone is professionalism. Everyone defines that differently, but people have to have an attitude that this is a business and you give your all and you're sincere, responsible and reliable and you believe in what you're doing. Also you don't think of it as pornography; you don't think of your fellow actors and actresses as whores and bastards. You think of them as creative people who are very sexual and getting that message out there while trying to turn a lot of people on in a very positive way.
Getting back to favorite actresses, there are women I like to work with, whom I respect in this business, and they are Jessie St. James and Georgina Spelvin, for instance. And oh, Merle Michaels is very good. I worked with her in New York and she's a great little actress.
CAV: So many girls take the adult film scene by storm and disappear shortly thereafter. Why do you think some actresses are more stable than others?
JULIET: Well, this is a business that most people don't feel comfortable with. It goes against the grain with a lot of people. So, they're living out a fantasy, or it's fast money, or it's something that's maybe fun for the time being but nothing that you want to make a profession of. It attracts a lot of transient people. That doesn't mean that there is anything wrong with them. But they have other plans and I don't blame them. You have to have a lot of tenacity to stick in this business, because good films come along very rarely. Which means that you've got to have some way to pay the rent. You have to get a job that gives you the freedom to be available when a film comes along.
JULIET: Oh, yes indeed! I like directing. It's much more challenging. You're not just a body up there in front of the lens. And I'm thoroughly sold on making movies the live video way. ALL THE KIN'S LADIES, you know what shot entirely on videotape. It's more spontaneous than the old movie method of cutting back and forth to this scene and that. Here it's shot with real continuity and there's more drama and life to it.
Although that was my first shot at real directing, I've done considerable other work behind the camera. I've written X-rated scripts, I'm a photographer, I've done a lot of pre-production and post-production work, I do agenting and casting and so forth. So what I'm getting at is, I haven't had to rely on porn acting for my living. I've been my own boss, so I've been able to wait till the right picture comes along, and that's a big thing.
CAV: With the heavy competition that has developed among adult filmmakers vying for limited movie house availability and big sales on the home video market, do you think the high production standards of people like Henry Paris, Harold Lime, Sid Niekerk and Anthony Spinelli have served notice to others in the business and pushed an upsurge in the quality of adult films?
JULIET: Definitely! The principal one of those that i"ve worked with is Anthony Spinelli. I've worked a number of times with him, and I do adore his talents. I think he's one of the best in this business and a real trend-setter. But still it's real hard, no matter how good you are, to convince people who are putting up the money that production values are absolutely vital. Anthony is the director and he only has so much influence.
The success of my film A GIRL'S BEST FRIEND by Henri Pachard, who won Best Director of 1980 for BABYLON PINK, went a long way in determining the future of high production values. I would hate to guess how much money went into that production. As far as I know, it's probably one of the most expensive films ever made. It's just incredible. I was the lead and my wardrobe was worth thousands. I had a wardrobe designer design and make everything especially for me, in silks and satins. I had a Halston gown, I had a fox wrap, every little detail was taken care of, plus the locations were just - oh!
CAV: Sounds like a great experience.
JULIET: It sure makes a lot of difference when you're working in conditions like that with people who appreciate the value of good talent and good production values coupled with a good director. Boy, I'll tell you, there's nothing I wouldn't have done for those people. I wanted to make that the best film that was ever made just because they treated me so well, like I feel I should be treated - with respect - and made to feel good so I'd do a good job.
CAV: Despite your treatment in GIRL'S BEST FRIEND, Jessie St. James, Susan Nero, Candida Roaylle and other colleagues of yours have said that they disapprove of the way that most female roles in adult films make them out to be cheap whores or prostitute types. Would you comment on this situation?
JULIET: It's almost like, if you're going to be in one of these films, then basically, you must be a whore. I don't care how many years of college you have under your belt or how much of a lady you appear to be, or how nice they are to you. Let's face it, look at the age of most of the directors and producers.
Deep down in their hearts it's pretty hard for them to really accept the fact that there are liberated women - women who can actually have lots of lovers and do these kinds of things and still be nice women. They can accept it intellectually, but to accept it emotionally is real difficult. I don't blame them, it's just that attitude is outmoded. Something has got to be done, and I think maybe it's up to the young filmmakers coming into the business.
I'm happy to say that on occasion women are being portrayed as thinking, feeling human beings who are not exploited by men. As I said, this is very slow in coming and I don't mean to really criticize because you can't change things overnight. It has been a male-dominated market for as long as it's been in existence and it still is. We mustn't ignore this. But the fact is, there are a lot of hot, sensuous , sexy women out there who are just experimenting with this sexuality, who'd never go into a bookstore, but they wouldn't mind watching it in their home or with a boyfriend at his home or something like that. And I think the trend is going to be more and more towards home entertainment for couples. There's where you're going got have to think about liberate men and women. And don't forget, I mean liberated.
CAV: Do you have a problem getting people to separate your professional life from your private life?
JULIET: Well, we can't deny the fact that sex is a powerful force. Even if we deny it, the mere denial makes it powerful. At the beginning, I ha a difficult time accepting what I was doing in regards to my friends that I had, and my family. It was like, gee, I've been a rebel before, but this is ridiculous (laughs). You know. What's a woman my age doing out there showing her buns to the world? So it took me a while to reconcile that, and I had a difficult adjustment period for a very short time. I'm resilient. I've very flexible. I've traveled a lot in my life, and I just size up a situation and either accept it and make the most out of it, or I abandon ship.
In the beginning, I associated with the wrong kinds of men. Then I found them to be either totally intimidated by me, like "Oh my God, she's been with John Holmes, I couldn't measure up to that!" A lot of men are really insecure about their sexuality, as are women. Or, I'd run into attitudes like: "Wow! A sex star, I can't wait to get her into the sack!" It was like they'd ravaged me, thinking I was something fantastic.
CAV: An object, more or less.
JULIET: Oh yeah! It was just like, "I've got to get her in bed!" This really distressed me because I'm a very sensitive person. I'm a Leo and I needs lots of affection, lots of attention and love. And I wasn't getting that because I wasn't putting it out. I had a lot of fears and I was projecting them. Once I relaxed with what I was doing and felt proud of what I was doing and I told my family and my friends, it was like taking a yoke off my back.
Suddenly I was able to breathe freer, and I started to project a very wholesome, positive image. Then I started attracting the most incredible, beautiful, wonderful men. Now, I find that I have no problems at all. I know some absolutely marvelous men who relate to me as who I am in my private life, not what I am on the screen. And actually, the two do not mix.
They do overlap in that if I'm working on a film, then I'm not feeling very sexual. I put all my energies into the film. But in my private life at home, I have a very normal kind of sex life (smiles) except when I get a little kinky (she cracks up). Hey, listen, I practice what I preach, I believe in spontaneity, I believe in romance, I believe in glamor. I have a number of very exceptional men in my life right now. It's delightful to be able to pick and choose and pick up the phone and say, "Hi! Would you like to get together? Why don't we go to the theater or something like that?" The next time you pick up the phone, call somebody else and have that choice!
(January 1983)
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