Rocco Siffredi titles

[Walter Burns]

I see that some (not very many) Rocco titles distributed in the USA by Evil Angel are listed in EGAFD, like Rocco Supermoto Hard, Rocco Never Dies 1, Dirty Anal Kelly in Rome 2, ...

Is EGAFD interested in adding data on other Rocco Siffredi Produzione titles distributed by Evil Angel, like the True Anal Stories series or the Animal Trainer series, or the Rocco Ravishes series, or ...?

[Walter Burns]

Same question applies to the various Christophe Clark, Nacho Vidal, Omar Galanti, Manuel Ferrara and other European directors' titles released by Evil Angel.

[jj]

My opinion [4WIW] is: yes to those in your first; no to those in your second.
The series in the first are on my [ever-burgeoning] 'to do' list.

Why the difference? Not sure really- but I'm fairly confident that the former
are essentially Euro productions and less so about the more recent Euro-EA
stuff.
My personal criterion is a [pretty arbitrary] cut-off date of around 2003. The
main problem is- as usual- where to draw the line; do we list all EA titles that
have even one Euro perf. in? What, basically, is the difference between a Euro
effort and an American one that happens to have an all-Euro cast/director?
There's also the point that if we man the barricades too strictly against the US
stuff then many Euro perfs. will have mortally depleted filmos. I believe the
current ad hoc approach, with each film considered on its merits, is the best
way to go.

In the vein that 'hard cases make bad law': I'd dearly love to submit 'Jessie
Volt is My Sexy Toy' mainly simply because I adore her. It's a Clark-directed
effort with an entirely Euro cast- but I have heroically refrained, a) because I
don't think Alec would stand still for it; and b) I regard CC as now being an
American employee.

[Walter Burns]

Is the following interpretation of your post correct?

Yes to all Rocco titles (up till present time), whether they are/were released by Evil Angel or not?

Yes to Christophe Clark titles released by Evil Angel before 2003?

No to all others?

[Len801]

Walter, you have always said to "follow the money" when making such considerations.
Many of these directors you mentioned have shot movies outside of the US territory for their own production companies.
They only have exclusive distribution deals with Evil Angel in the US (and possibly some other foreign territory, like Canada, etc). Evil Angel has to my knowledge not directly financed these movies. You will hear English dialogue in these movies for that main purpose.
I would conclude that these are not US productions in the strict sense of the word (they are shot in foreign countries, financed by non US nationals), and probably should be regarded as foreign productions. I am not sure about the pedigree of Manuel Ferrara movies as they are shot in US territory with money Ferrara has avaliable to him in the USA (I would assume).
However, when you start opening the doors to such works, you may have to consider other movies. For instance a lot of the Devil's Film and White Ghetto movies released in the past few years, are essentially foreign productions (shot in eastern Europe with completely foreign cast, and sometimes even in foreign dialogue). You will not even see a director's name in the credits, which makes their pedigree even more problematic).
Then you have the DDF titles that are invariably released in the US and elsewhere by a variety of labels. Those in my view are not US productions (they are neither shot in the USA nor are they financed by US labels).
Perhaps it is timely to reconsider the EGAFD database's policy applications to these movies, in light of the ever evolving nature of hc production and distribution around the globe.

[Len801]

Omar Galanti is the same as Siffredi and Clark. Galanti is Italian, shoots mainly in eastern Europe (Russia) and has an exclusive distribution deal with Evil Angel (as is the case with Clark and Siffredi). His movies are NOT owned by Evil Angel nor are they directly financed by Evil Angel. Although you may hear English dialogue in them, they not US productions (they are shot in English mainly for their international appeal and for Evil Angel distribution consideration).

[jj]

Walter Burns wrote:
> Is the following interpretation of your post correct?

> Yes to all Rocco titles (up till present time), whether they
> are/were released by Evil Angel or not?>
> Yes to Christophe Clark titles released by Evil Angel before 2003?
No; about 2003 for both sets- IMO. But my point was that each case should be
considered separately.... if we let in Euro Angels, why exclude, say, Angel
Perverse [no, in my view]? Or C's Beautiful Girls? [yes, imv].

[Len801]

I don't why you are drawing a line for 2003 JJ.
Evil Angel has not financed the Clark or Siffredi movies.
Evil Angel is only a US distributor.
Evil Angel has neither directly financed nor do they own those titles.

[jj]

... or we might turn the thing on its head, by considering actresses rather than
films. In that case [as with bgafd] we could list their 'non-Euro' output but loftily
ignore any US contributions to the particular film in question.
Essentially 'expat' girls like Nikita Denise and Tracy Love would still be excluded-
OTOH filmos like Liza Harper's would need [to put it mildly] massive revision....
but there is the consideration that we're then essentially duplicating [albeit
hopefully with improvement] large chunks of iafd's data.

[jj]

Len801 wrote:
> I don't why you are drawing a line for 2003 JJ.
That's why I used the words 'arbitrary' and 'IMO'.

Essentially, though, one must abide by the critical clause [FAQ 1.1]:
".....a strategy has been adopted to cut down the work. Appearances by
actresses which are already listed on iafd in general have not been included. This
in practice means American films and Private releases. There are a few exceptions
to this, usually where it is useful to list an alternative title in another language;
when a European film, by some quirk, is listed on iafd; or when an actress has
made a very limited number of appearances in American?made films and it was
easy to include them, e.g. a few films of Marilyn Jess. Therefore there isn't a
large overlap with iafd".

That's why I've found it best to argue for each submission on its own merits.
I agree it's not systematic- but then I don't have a particular mania for absolute
methodological rigour [sorry, Professor Popper] : -)