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Russ Meyer - Interviews

Russ Meyer


Edited by Ed Symkus
Series: Conversations with Filmmakers Series

Hardcover : 9781496855862, 240 pages, March 2025
Paperback : 9781496855855, 240 pages, March 2025
Expected to ship: 2025-03-17
Expected to ship: 2025-03-17

Table of contents

King Leer: Top “Nudie” Filmmaker Russ Meyer Scrambles to Outshock Big Studios
Steven M. Lovelady / 1968
The King of the Nudie Movies Is Going Respectable
Marci McDonald / 1971
Sex, Violence and Drugs—All in Good Fun!
Stan Berkowitz / 1972
Pensées of a Porno Prince
Scott Eyman / 1976
Russ Meyer Thinks Big
R. Allen Leider / 1976
Russ Meyer
Nat Segaloff / 1979
Porn King: Russ Meyer Still Upfront with Films and “Fillies”
Karin Winegar / 1979
Russ Meyer
Craig Reid / 1981
The Breast of Russ Meyer
Anton Rush / 1983
Tit for Tat
Tom Teicholz / 1986
Russ Meyer
Jim Morton / 1986
Some of My Brest Kept Secrets
Paul Sherman / 1987
Mondo Russo
Dale Ashmun / 1988
Russ Meyer
David K. Frasier / 1990
Russ Meyer: Between the Valleys of My Ultravixens
Arv Miller / 1990
Russ Meyer: The World’s Breast Director
Jim Goad / 1991
Russ Meyer—Hellcats for a Modern World
Beth Accomando / 1995
Russ Meyer
Ed Symkus / 1995
Additional Resources

Thirty years of interviews with the provocative and often controversial creator of films including Faster, Pussycat! Kill! Kill!; Beyond the Valley of the Dolls; and Vixen!


Russ Meyer: Interviews offers a detailed look into the mind, life, and successful career of the maverick filmmaker Russ Meyer. Known for his audacious visual style and boundary-pushing content, Meyer (1922–2004) carved out a unique niche in the film industry with his provocative and often controversial works, including Faster, Pussycat! Kill! Kill!; Beyond the Valley of the Dolls; and Vixen! In this volume, Meyer talks over the course of eighteen newspaper and magazine interviews—conducted between the late 1960s and early 1990s—about assignments in still- and motion-picture combat photography during World War II, learning all aspects of the filmmaking craft when he was shooting industrial films after the war, later stumbling into the business of photographing pin-up girls for magazines, and how that segued into his first forays in what would become the sexploitation movie market.

Working with small budgets and small crews, Meyer became a skilled director and pitchman for his own work, hitting the road with reels of film in his car, going from town to town, getting them shown in small moviehouses, building an audience, making big profits, then using them to make his next film. The films were expertly photographed, inventively edited, and featured intriguing (and violent, carnal, and funny) storylines, and ticket sales numbers eventually caught the eyes of the Hollywood studio system, for which Meyer briefly worked, before once again striking out on his own with ever-more violent, sexual, and cartoonish features. Meyer made fortunes, he lost fortunes, then he made them again, and he was always game for getting involved in controversy, which was easy due to the content of his films. After his final theatrical feature—Beneath the Valley of the Ultra-Vixens—in 1979, Meyer reinvented himself as an entrepreneur by making his films available on the burgeoning home video market, leaving him a celebrated and very wealthy man.