Corduroy LPs, a gay film & the luvvie… Who? – We dare not speak his name…

The energetic and saintly David McGillivray.

Cough, cough. I have a cough. I am now on antibiotics.

But, earlier in the week, I went to yet another launch by film producer, critic and cult movie aficionado David McGillivray.

Last week, he was launching a twice-the-original-length re-publication of his book Doing Rude Things – The History of the British Sex Film.

I blogged about it.

This week, he was back in the same upstairs rooms of a North Soho/Fitzrovia pub in London, launching the soundtrack of his controversial gay porn film Trouser Bar –  “It’s the sexy package you’ll want to fondle. A green vinyl LP lovingly wrapped in haute couture corduroy complete with lavishly illustrated insert, Paisley hankie, badge and (director) Peter de Rome‘s visiting card.”

I blogged about the film in October 2015, when it was being touted as hard-core, and in March 2016 when it was not – just well-promoted – and was first screened.

Among those appearing in cameos in Trouser Bar are Julian Clary, Barry Cryer and Nigel Havers.

This week, as last week, David McGillivray gave a speech to the assembled, definitively eclectic, audience. He said:

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Composer Stephen Thrower (left) with David McGillivray and the corduroyed soundtrack LPs. (Photograph by Alex Main)

My only purpose in being here is to lament the fact that two people who should be here can’t be here.

One is the alleged writer of the screenplay.

(LOUD LAUGHTER FROM THE AUDIENCE) 

I appreciate that response. Obviously, there’s probably nobody in this room who doesn’t know who I am referring to, but I still can’t say his name. Isn’t that marvellous?

The other person is the man for whom the alleged writer wrote the screenplay – the great erotic pioneer Peter de Rome.

How both these men would have loved both Trouser Bar and Stephen Thrower’s musical score!

Over the past year, it has been my enormous pleasure to tell the story of this collaboration throughout the world. Next week, I will be telling the story yet again in Buenos Aires – How exciting is that?

The story starts a long time ago, in 1976, when the alleged writer of the screenplay was appearing in a play on Broadway in New York. The alleged writer was a huge fan of pornography and he wrote in a letter to his friend that, while on tour with the play, he had seen in Washington the film in which Linda Lovelace was fucked by a dog. Those are his actual words.

Now, he did not say whether he liked that film but he did say, in a letter which I’ve seen, how much he admired the work of Peter De Rome.

And that is why, one day in his hotel in New York, the alleged writer wrote the screenplay of Trouser Bar. And that is his title, as well.

(Left-Right) David McGillivray, Ethan Reid and Peter de Rome

I worked on three films with Peter De Rome.

During the production of the first, he presented me with this screenplay which had been written for him in 1976. It was still in the envelope from the hotel.

Astounded is not a strong-enough word as far as I am concerned.

For the rest of Peter’s life, I tried to get him out of retirement to make this film. But, alas, he was absolutely adamant. He was fed-up with filming. He found it tiresome.

I failed.

So, when Peter died in 2014, there was nothing else for it – I had to make it for him.

I honestly assumed that, when I contacted the John Gielgud Charitable Trust – and, due to the vagaries of English law, I CAN refer to that organisation – I honestly thought they would be delighted that we were making a film based on the only known screenplay written by the alleged writer.

David McGillivray & Nigel Havers at the Trouser Bar location.

How wrong I was!

They were furious and litigation proceeded over a period of three years.

When they found out that we were due to start production – now, this is something I have never ever told the people involved in the production of the film until tonight – they threatened to sue me AND everybody involved.

Well, it was like a red rag to a bull. 

We went into production the following week.

I assumed that the film would never be released and I was quite happy to leave it on a shelf until every member of the Trust was dead. But the reason we are here tonight is because of two very important people, one of whom IS here.

Brian Robinson of the BFI during the shoot.

He is Brian Robinson of the British Film Institute who suggested that we could release the film without a screenplay credit.

The other person is my indefatigable solicitor, who isn’t here.

That is the reason the film premiered at the BFI, Southbank.

After the premiere, more than one person came to me and said: You must release the music on an LP, preferably corduroy-clad.

I said: It’s not going to happen, because how can it?

Well, I reckoned without the composer Stephen Thrower.

Because of his skill and determination, here is the record.

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You can currently hear samples from the soundtrack online.

David McGillivray is, as ever, energetically promoting it…

Now screening: a gay porn film with no script not written by Sir John Gielgud

Producer David McGillivray met me at Soho Theatre yesterday

“So what we are talking about here,” I said to David McGillivray in the Soho Theatre Bar yesterday afternoon, “is a script that you filmed – a sleazy, gay, hardcore porn film and you have conned some very respectable performers like Nigel Havers and Barry Cryer and Julian Clary into appearing in this filth.”

“Yes,” said David McGillivray. “Mea culpa. Up until very recently, I did maintain that this was a gay, hardcore porn film and it got us a lot of publicity, for which I’m very grateful. I have subsequently admitted that it could now be passed with a U certificate.”

“Was that always the case?” I asked. “Or have you edited it?”

“The script that I saw ,” replied David, “did not have any indication that the author wanted unsimulated sex in it and therefore we didn’t have any. The possibility is that, when the unknown author saw Peter de Rome’s films, a lot of them would also have been soft core. So this is the kind of film we think that the unknown author would have wanted to be made.”

“And can you confirm,” I asked, “that the unknown author was Sir John Gielgud?”

“Of course I can’t,” replied David. “The author is unknown.”

“Can you confirm,” I asked, “that the author was NOT Sir John Gielgud?”.

“I can’t,” said David. “No. I have to accede to the Trust’s demands not only that Sir John Gielgud, for example, did not write the script but also that the script in all likelihood does not exist.”

David and I talked about the film for a blog last October headlined:

BEING EDITED NOW – SIR JOHN GIELGUD’S GAY PORN FILM WHICH YOU MAY NEVER SEE.

Faithfully filmed word-for-word from a non-existent script

“People are perfectly at liberty,” David McGillivray said yesterday, “to conjecture who the author may be, but I couldn’t possibly comment.”

“As I understand it,” I said, “last year the John Gielgud Trust were saying that the script they saw was one you could not legally film because they owned copyright on it. But now they are saying that the script they saw did not exist.”

“We are getting,” said David, “into the realms of Alice in Wonderland because, when we spoke last for your blog, I assumed that the film would never be shown, because the Trust had accused me of infringing their copyright.”

“And,” I checked, “at that point, they had seen the script.”

“They saw the script in 2012,” said David.

“This is the script that they say doesn’t exist?” I asked.

“Yes. And I can prove that they saw it, because it’s all in writing. But then, after you and I spoke last year, there was a most extraordinary volte-face. After a considerable silence and having seen the film, the Trust maintained that Sir John did not write the script and that it did not exist.

“My lawyer wrote back and immediately conceded everything and told them that the film would be released unattributed. We re-edited it – we put a caption on the front, we removed all references to the author who was previously alleged to have written the script and…”

“What does the new caption at the front say?” I asked.

“It says that this film is being distributed on the condition that its screenplay is unattributed. It is now credited to ‘a gentleman’… and that is the version that will be screened in London this Sunday at NFT1 if we do not get an injunction served on us.”

“You feel,” I asked, “that you might get an injunction for illegally making a film from a script that does not exist?”

“Anything is possible, John. Every time I switch on my computer I expect another surprise.”

“Why have you not credited the script to Alan Smithee?” I asked.

“It’s probably a copyright name, isn’t it?” asked David. “There were lots of possibilities of who this film could be credited to.”

“The Sunday screening,” I asked, “is during a gay film festival at the NFT?”

Trouser Bar – gay porn – coming soon

“Yes. And I want you to be the first to say that it is so appropriate that a film called Trouser Bar is playing at a festival called Flare. We will also be screening one of (director) Peter de Rome’s shorts – one of his most beautiful, called Encounters –  and we will be showing an extract from a film I made about Peter in which he talks about the script that doesn’t exist. The film will then go on tour in the UK in the Spring and I have just had a request from San Francisco. Ultimately, it will come out on DVD.”

“Will some of the cast be at the screening on Sunday?” I asked.

“Barry Cryer has said he will come.”

“Steady,” I said. “Steady.”

“I am very grateful to the Trust,” said David. “Although they have caused me so much stress, if it had not been for them, I would have been faced with trying to sell a soft core sex film written by somebody today’s audience has never heard of. But, thanks to the Trust, thousands of people now know who the alleged author is and they want to see the film. It is what is known as the Streisand Effect.

“If the Trust had done what I wanted, which was to support me, I would have paid a substantial amount for the rights and there would have been no controversy. Now it is a scandal and I think I have been very lucky.”

Missing blogs, John Gielgud’s gay porn, James Bond’s toilet and Tony Hancock

Typical reaction to WordPress’ efficiency

My daily blog has not appeared for a couple of days because WordPress, which hosts it, had some technical problem which meant it was impossible for me to save or post anything. And, even if you pay them, they do not provide Support – you have to post on user forums with no guarantee of any response from anyone.

Giving them grief on Twitter seemed to have some slight effect – eventually. To a partial extent. I got this message:

Let us know if we can help with anything! Here’s how to export your content and take it with you.

I replied:

It might have been useful if WordPress could have sorted out the technical problem which means I cannot post any blogs. I might have thought WordPress would be more concerned with their software not working rather than helping people to leave.

After WordPress getting more Twitter and Reddit grief orchestrated by this blog’s South Coast correspondent, Sandra Smith, I got some reaction from a WordPress ‘staff’ member (whom you apparently can’t contact normally) – which was minimal and apparently transient, as I have heard no more from him.

But, about three hours later, when I tried again, the problem had disappeared. I had changed and done nothing. So I can only assume WordPress corrected the fault and never bothered to tell me.

As Facebook Friend Alias Robert Cummins succinctly put it: WordPress is amazingly shit, in all sorts of tiresome and complex ways, which I’d really rather not go into this late in the evening.

That is his real name, by the way – the one he was given at birth – Alias Robert Cummins. It is a bizarre story and one probably worth a blog at some point.

Anyway, the problem was eventually solved (I hope it has been, anyway) with the help not just of Sandra Smith but also the excellent cyber-guy and indefatigable Malcolm Hardee Comedy Awards Show person Stephen O’Donnell.

John Ward’s toilet accessory has a gun, silencer and loo roll

In the two days of missing blogs and navel-gazing, the world still turned, with John Ward, designer of the increasingly prestigious Malcolm Hardee Comedy Awards getting some publicity in Lincolnshire of all places because today the James Bond film SPECTRE is released and, a couple of years ago, John designed a combined gun-rack and toilet paper holder.

He used to own a gun licence himself: something that never made me sleep easy in bed.

When no new blogs were being posted the last couple of days, the old one getting most hits was last Wednesday’s blog, about David McGillivray’s new short film of a previously un-produced gay porn script Trouser Bar written in 1976 by Sir John Gielgud.

David McGillivray (left) during the filming with Nigel Havers

The film (still in post-production) includes performances by Julian Clary, Barry Cryer and Nigel Havers. One blog reader user-named ‘Ludoicah’ commented:

I’d say with a cast that includes Nigel Havers and Barry Cryer that there is zero chance of this being any sort of a porn film, gay or otherwise, and it is probably, at most, a mildly risqué sketch.

To which David McGillivray replied:

Incorrect. It’s utter filth, liable to deprave and corrupt. I was blindfolded while I was producing it.

Sir John Gielgud’s script was inspired, it seems, by his love of men in tight trousers, particularly trousers made from corduroy.

Last Thursday, the day after my blog on the film appeared, the following was posted (with photo) on Trouser Bar’s Facebook page:

Trouser Bar still – corduroy trousers un-creamed by Sir John

I’ve just seen the rough cut. Sir John would have creamed his corduroy jeans at this close-up.

It also quoted Sir John’s letter to Paul Anstee of 19th October, 1958:

“The students at the schools and universities [in Pennsylvania] are a wonderful audience, and a good deal of needle cord manch is worn (very badly cut, and usually only partly zipped!) so my eyes occasionally wander.”

Also posted on the Trouser Bar Facebook page was this quote from a Galton and Simpson comedy script for Hancock’s Half Hour in 1958:

Sid: “Hilary St Clair.” 

Tony: “Hilary St Clair? I bet he’s all corduroys and blow waves”

with the comment:

Even in the 1950s it seems that corduroy was associated with homosexuality.

All this, plus a photo on my blog of Sir John Gielgud with Sir Ralph Richardson in Harold Pinter’s No Man’s Land, made Anna Smith – this blog’s occasional Canadian correspondent – ask::

I wonder what kind of porn Ralph Richardson wrote?

and to mention:

Comedian Tony Hancock – Is this the face of a 1950s criminal?

I bought a Tony Hancock album last week at a junk shop. A woman wondered to me whether he was a criminal.

“He wasn’t a criminal,” I said, a bit annoyed. ”He was a comedian!”

“He looks like a criminal,” the woman countered, doubting my certainty.

“It was the 1950s,” I said, exasperated. “Everyone looked like a criminal back then.”

Being edited now – Sir John Gielgud’s gay porn film which you may never see

(Left-Right) David McGillivray, Ethan Reid and Peter de Rome

“So I guess it starts with Peter de Rome,” I said to film producer David McGillivray at the Soho Theatre Bar in London yesterday afternoon.

“Well,” said David, “I met Peter in 2007 and eventually we made three films together, the last of which – Peter de Rome: Grandfather of Gay Porn – is still going round the world. I’m introducing it in Berlin in a few hours time.”

“How did this lead to Trouser Bar?”

“Peter was a great one for pulling things…”

“Down?” I suggested.

“… out of the bag, that I never knew,” said David. “On one occasion, while we were filming him, he happened to mention that Sir John Gielgud had written him a screenplay – and there it was, in his hand. I never quite worked out why the film had never been made. He wrote it in 1976.”

“This was a porn film?” I asked.

“Yes. Peter de Rome was a pornographic film maker and Gielgud was one of his big fans. He had a lot of celebrity fans, including David Hockney, Derek Jarman, William Burroughs. I also saw letters from Sir John in which he said: Oh, I so much enjoyed that film you showed last week. Please could you show it again.

John Gielgud (right) with Ralph Richardson in No Man’s Land

“So, while he was in New York, appearing in Harold Pinter’s No Man’s Land on Broadway in 1976, John Gielgud wrote this film called Trouser Bar, which reflected his interests. Possibly until Gielgud’s Letters were published (in 2010), people didn’t know the extent of his clothes fetishism.”

“I read that he liked corduroy,” I said.

“That was his favourite fabric,” David agreed. “But he also liked velvet, flannel, leather, denim and it was inevitable that, if Sir John was going to write a script, it was going to be set in a menswear shop. And it was.”

“If he liked ALL those fabrics,” I suggested, “it was not so much a fetish about fabrics, more a general fetish on clothes.”

“No,” explained David, “he was very particular about the type of clothes he liked and how they were worn. The letters are full of his observations on men he had found attractive because they were wearing the right trousers.”

“You mean tight?” I asked.

“Tight, yes. But they had to be cut well. He was very particular about the pockets. Trouser Bar, I maintain, is a film of enormous historical interest. Nobody knew he had written it and, if Peter had not mentioned it to me, it could well have been destroyed because Peter died last June and we’re not sure what happened to all his papers. (He lived in New York and in Sandwich, Kent.)

“The budget increased. We had to buy all the vintage clothing.”

“We stuck to Sir John’s script very, very tightly when we made the film a couple of weeks ago. He was very specific about the clothes he wanted the actors to wear and, as a result of that, the budget increased enormously. We had to completely fit-out an empty shot as a men’s boutique circa 1976 and buy all the vintage clothing. Only time will tell if it was worth it.”

“How did you finance it?” I asked. “Did you just say Sir John Gielgud’s porn film and people just threw money at you?”

“No,” David told me. “I always finance my own films.”

“How much and how long?” I asked.

“£50,000 and it lasts… well, I don’t know precisely, because it’s being edited at the moment, but… about 15 minutes.”

“You didn’t direct it yourself?”

“No. I’m not a director. I haven’t got a clue. I hired a director.”

“Kristen Bjorn…”

“Yes. It’s a made-up name. He said he was given that name when he worked in porn and it was inspired by the tennis player Björn Borg.”

David McGillivray

“So Sir John Gielgud,” I said, “wrote Trouser Bar as a porn film…”

“Yes.”

“And it has been shot as a porn film…”

“Yes,”

“So it is not going to get a certificate…”

“It’s not going to get shown at all. The Gielgud Estate have come down heavily on me and it will never be shown in this country. They are claiming that they own the copyright on the script, though this is a grey area. I am convinced – and this is all conjecture – that they are determined this film will not be shown and they are using intellectual copyright as an excuse. That’s my opinion. The lawyer who represents the Estate won’t talk to me. The last letter I received was merely a threat: We will take appropriate action if this film goes ahead.”

“So the John Gielgud Estate is…” I started to say.

“It’s not the Estate,” said David, “It’s the Trust. I keep making this mistake. It’s the Trust that was set up in his name to give bursaries to drama students.”

“Who inherited the Estate?” I asked.

David McGillivray spoke to me at the Soho Theatre yesterday

“Well, his partner was Martin Hensler who was originally on the Trust’s board before he died and I think the lawyer is an executor of the Will, so I think the Trust are his beneficiaries. I don’t know why they are behaving the way they are. I use the word They because the lawyer represents several actors who are all members of this Trust. He has said in an email: We own the copyright of this script.

“My head is on the block. I don’t know what’s going to happen next. I am advised they had no jurisdiction over the making of the film, but they can prevent the exhibition of the film in this country, so I’m now looking to premiere it in America, where the copyright laws are different.”

“So why,” I asked, “did you spend £50,000 of your own money on a film that can’t be shown in this country?”

“I didn’t know that at the time. But I think I would probably have still gone ahead, because it’s a labour of love for me. I’m doing it for Peter and also because Sir John wanted this film to be made. It was his private fantasy and he would have loved to see it come to life.”

“Who is in the film?”

“Nigel Havers, Julian Clary, Barry Cryer.”

“Am I going to enjoy it if I ever see it? I’m not gay.”

“I think so. I wanted an art film that would reflect Peter’s work. I think people will appreciate the way it looks.”

“When will it be finished editing?”

Climactic orgy scene in Trouser Bar – as scripted by Sir John

“I’m seeing the first cut next Monday. We are also thinking about making a documentary about the making of Trouser Bar and I hope that will get the publicity I want:  Here is a film made about a film that you can never see. Why is this?

“We can make a film about the film being made, but we can’t use John Gielgud’s name. I have been advised I can’t quote from his letters, I can’t show his screenplay. I think it’s even risky to use the title of the screenplay. But we can talk about the film. So that documentary is the film you will see in this country and I’m hoping that will happen next year.

“I am trying to interest the likes of Nicholas de Jongh to appear in the documentary to talk about Gielgud and his interests.”

De Jongh wrote Plague Over England, a 2008 play about Gielgud’s arrest for ‘lewd behaviour’ in 1953.

John Gielgud as Cassius in Julius Caesar (1953)

Gielgud was arrested, three months after being knighted by the Queen, for ‘persistently importuning male persons for immoral purposes’ in a Chelsea public lavatory.

“What I don’t understand,” I said to David McGillivray yesterday afternoon, “is that, if he was arrested for cottaging in 1953 and it was publicised in the papers then, why did he not just come out of the closet when homosexuality was made legal in 1967? He never admitted to being gay.”

“He was a Victorian gentleman,” explained David, “and – this is my conjecture – I think he felt it was not seemly to ’come out’.”

“But he had already been caught out lurking in toilets,” I said

“But he was ashamed of it,” said David. “Deeply embarrassed. It was something he wanted to forget about. It had caused him trouble. For five years he couldn’t work in America.”

“So,” I said, “he’s embarrassed about being caught cottaging in 1953 and doesn’t want to come out as homosexual after 1967, but then he writes not just any old script or a slightly gay script but a porn script in 1976.”

Sir John dressed well (Photo: Allan Warren)

“Well,” explained David, “it wouldn’t have had his name on it at the time. He was perhaps somewhat naive. He enjoyed Peter de Rome’s company and they used to go to gay bars together in New York – he was quite open in that respect… but Peter made a film called Kensington Gorey and John said Oh, I’ll do the voice-over – forgetting that he would be instantly recognised because he had one of the most identifiably voices in the world. He didn’t think that through and possibly he didn’t think it through when he wrote this script either.

“I think it’s important we know more about Gielgud the man as opposed to Gielgud, the world’s greatest Shakespearean actor. He was human like the rest of us. He had a jolly good time ogling men in trousers. He was writing constantly to his friends about the delight he took in seeing men in tight trousers. It wasn’t a secret then and I don’t think it should be a secret 40 years after he wrote the script.”

THERE IS A FOLLOW-UP TO THIS BLOG HERE

Giada Garofalo on terrorism, porn and comedy – but don’t mention the Mafia

On their way to Shepherd’s Bush tonight (L-R): Luca Cupani, Giacinto Palmieri, Giada Garofalo and Romina Puma

Tonight, I am off to see the London-based Italian language comics of Il Puma Londinese preview their Edinburgh Fringe show at Kate Copstick’s Mama Biashara charity shop in London.

I talked to one of them – Giada Garofalo – about her upcoming Edinburgh solo show, catchily titled Live in The Staff Room (Sex, Fairytales, Serial Killers and Other Stuff)

“You are a Sicilian,” I started. “So you’re not to be messed around with…”

“I am not connected to the Mafia,” she told me. “I am a good girl, though I know people. But I don’t want to talk about that, because that could be really weird.”

“Oh,” I said. “OK. How long have you been in the UK?”

“I have been here for 13 years.”

“Why did you come over here?’

“I ran away. I was going through a tough time. My mama had passed away two years before. I was a bit lost. I was in a very serious relationship. I was going to get married soon.”

“So you came over here to marry an Englishman?”

“No. I came over to run away from my Italian. But it wasn’t just for that. I came for two months, just to refresh my English and, instead, I thought – Hey! – I don’t want to go back home. I don’t want to get married. I want to live a different life. I went back home for a month, left everything, came back to London and here I am.

“The first year, it was tough to find a job and I started to do an unpaid internship in PR because, after my degree, I did a Masters in Italy in Business Communication. Big mistake. It’s not me.”

“What is Business Communication?” I asked.

“Marketing, PR. So I did an internship here and, after a couple of internships, I got a job doing a little bit of PR, then moved into Admin because, at the same time, I had started to write bits because I wanted to be an academic.”

“In what?” I asked.

Serial killer aficionado and terrorism expert Giada

“I specialised in terrorism and security. I have written about human rights. I have written about European politics. I wanted to do a PhD. So, while I had my job in Admin here, I started to work with some universities as an external researcher and I was writing at night.”

“For British universities?” I asked.

“No. a couple of Italian ones. We wrote papers that were collected in academic books. Then I did another Masters here in Security Studies and I kept writing about terrorism, theories of the state and blah blah blah. Then I wanted to do a PhD but I didn’t get a full scholarship and thought: I can’t carry on working full-time and doing academic stuff at night. I was tired and I was also a little bit fed up with politics, a little bit cynical, and so, one day, I thought: I’ll do a comedy course.”

“Terrorism to comedy is a bit of a jump,” I suggested.

“Well, not really. You can be interested in different things. I just wanted to do one gig, just for my birthday. I had already said In another life I might be a comedian and my sister said Why do you have to wait for another life? So I did the comedy course. I did the gig. And I really enjoyed it and haven’t stopped since.”

“What is the appeal?” I asked.

“At the beginning, when you start, I think it’s the adrenaline on stage. Now I really enjoy the writing. My favourite moment in comedy is the first time I come out with ten minutes of new stuff and it’s not even polished. Then there is the editing and the things you learn. It’s a learning process. To learn how to be more concise and connect with the audience. It took me nine months to get rid of the microphone stand.

“I had always used to study, analyse, deconstruct. But with comedy – and with photography, which I started at the same time – I’m learning by doing. It comes from the inside. It’s very slow – it’s coming up to seven years now… That’s pretty much me in a nutshell… Maybe more nuts than shell.”

“How would you describe your act?” I asked.

“I do more storytelling than stand-up.”

“And, when you started…?”

“The first gigs I did were about language and being Italian but then I thought: I can’t do that, because all foreigners do that. Then I became aware of this idea that all women in comedy talk about the same things, so I thought: I’m not going to talk about these; I am NOT going to be ‘the female comedian’ or ‘the foreign comedian’. So all I had left was politics and I got into a niche: benefit gigs, the Marxist Festival. But I thought: I want to talk about other things. So I gave up for six months, then I started to do Il Puma Londinese, which was really interesting. It started three years ago and I joined about six months later.

After Il Puma Londinese show (L-R) Marouen Mraihi., Giada Garofalo, Giacinto Palmieri, Romina Puma, Alex Martini

“I stopped seeing myself as an Italian, stopped seeing myself as a female – just being me. Humour is more universal than we think, except for specific cultural references”

“Is your Italian-language comedy different from your English-language comedy?”

“No. Though some jokes are different. In Italian, I maybe play more with the language, but 95% of what I say in Italian is what I say in English.

“In Italy, we have this tradition where you do a comedy monologue as a character. In this country, you just do it as yourself. You don’t have to create a character. That’s great, because I can’t act, I don’t know how to create a character, so I can just be me.”

“And your Edinburgh Fringe show this year…?” I prompted.

“I get bored very easily with what I write so, this year, I have decided to go unscripted. I have five bullet points. Every time I go on stage, I will try to say it in a different way and improvise it.”

“When I saw the preview,” I said, “it seemed tight.”

“I’ve got a good memory. The problem is that, if I write down the script, I will remember it word-for-word immediately and, after that, it becomes a lecture. This year, I want to play the show to the room, not just play the show.”

“It is about fairy tales?” I asked.

Giada with her cutting-edge Fringe comedy

“Fairy tales with a twist, because I talk about the original fairy tales, which were horror stories. We have this idea of fairy tales as Oh! Find your Prince Charming! – Well, in fact, Prince Charming used to rape the princesses.”

“In the original version,” I said, “he did not waken up Sleeping Beauty with a kiss…?”

“No. They were really gruesome. In Cinderella, one of the sisters gets her toes cut off to try to fit in the shoe. Sleeping Beauty is really gruesome.”

“And you have this interest in serial killers…” I said.

“When someone tells me: This is how you should feel about something, I tend to go the opposite way just to see if it’s true or not. And, since I was a kid, I’ve been fascinated by serial killers.

“I think there is a potential serial killer in all of us and, I guess, being a comic means you are a bit of a psychopath. Serial killers lack empathy with their victims and, to find humour, you have to be detached, you need to lack empathy. For a comic, if they have had a good night, they say they ‘killed’.”

“Or,” I said, “the comic ‘dies’ on stage… But surely the performer has to have total empathy to ride and control the audience’s emotions?”

“That’s when you’re performing,” said Giada. “I’m talking about writing. But, even on stage, you have to assert your power over an audience – in a nice way. You do want to control the audience, to manipulate them and that’s what serial killers want. But it’s just comedy. I’m just messing around. I dunno.”

“Your show title also has the word ‘sex’ in it,” I said.

“I discovered porn at a late age,” said Giada. “I think maybe I watched a couple of movies back in the age of videocassettes. But, in the last couple of years, there has been a lot of talk of… I don’t know if it’s because of social media or because there’s been a shift in people… a lot of talk about pornography and feminism and anti-feminism and, I think, in some cases, it’s a bit trivial. So I decided to watch porn.

“Some stuff was really fun; some stuff made me feel uncomfortable. Maybe porn is to other people what serial killers are to me. Where I can explore some darker fantasies without acting upon them. And one of the theories about fairy tales is that they had that same function: to provide a safe place for children to explore their fears and darker fantasies. I dunno. I don’t have an answer. I just have questions.”

Comedy critic Kate Copstick explains her work on French porn movies

This week’s 30-minute Grouchy Club Podcast discusses porn movies, the British comedy industry and the fact that co-host Kate Copstick got gang-mugged on a bus in Kenya last week. She had been working out there over the last three-and-a-half weeks for her charity Mama Biashara.

Among other things, the muggers stole her laptop computer.

This short extract from the podcast starts when I asked her about the stolen computer.

COPSTICK
What it had on it were six of my diaries – my blogs – and the already-rejected script for a French porn movie.

JOHN
Why was it rejected?

COPSTICK
Ahhhhhh…..

JOHN
We should establish you are not a newcomer to the French porn movie industry.

COPSTICK
Absolutely not. I’m delighted to say I’ve been working in and around the professional porn industry for quite some time. In fact, at least 50% of the money that started Mama Biashara came from porn. Given that I’ve rendered myself, for various reasons, pretty much unemployable within the television industry, the only way I get to make money these days is the occasional porn script, which pays 200 quid but, y’know, that buys a lot of pot noodle.

JOHN
90-minute films?

COPSTICK
Yeah. 90 minutes. Marc Dorcel Films, Paris. Anyway, I had written a script, then they changed their minds about what they wanted, so I re-wrote it, then they changed their minds again.

First of all, they wanted it finishing with this woman, this MILF, shagging her best friend’s daughter. Then they wanted her shagging a bloke with whom there was a lot of sexual tension; then they didn’t want the sexual tension; then they didn’t want her screwing her best friend’s daughter; and then they decided the big finish was going to be a gang-bang featuring a very well-known, very beautiful porn actress who’s well-known for not even doing anal.

And this is all for 200 quid.

I am out there saving lives (in Kenya), up to my nipples in slime, poverty and cholera and trying to think: Now, mmm… How do we get round this gang-bang situation.

JOHN
So you are actually writing this in your slum in Kenya?

COPSTICK
In my slum in Kenya, yup.

JOHN
Because you don’t live in luxurious hotels…

COPSTICK
I wish. I look at them as I go past.

JOHN
You did live in a  crate at some point, didn’t you?

COPSTICK
No. I’m living in a container, but it’s made into a little house. But that’s the last time. I can’t live there any more. because they’re demolishing the entire area. That’s what happens in slums. They’re not that permanent. You can go away and come back and find out your house just isn’t there any more.

JOHN
Can’t the crate be moved? That’s the thing with crates. Crates move.

COPSTICK
But it’s not my crate and it is being moved. It’s being moved out to Rongai which is a rural area on the outskirts of Nairobi.

JOHN
So you’re squatting in someone else’s crate…

COPSTICK
So I’m squatting in someone else’s… Well, I’m paying rent.

JOHN
Hold on… To support your charity work, you’re squatting in someone else’s crate in a slum writing porn scripts.

COPSTICK
Yeah.

JOHN
Good. I thought we should establish that.

COPSTICK
I tried Bono but, frankly, I find him morally reprehensible.

JOHN
Is ‘Bono’ some sort of porn term I don’t know?

COPSTICK
Several of them around.

JOHN
Have you ever indulged? You should co-star. You would make more money, surely.

COPSTICK
Indulge? No. I’ve got a couple of friends that I’ve roped in as extras.

JOHN
When you say ‘roped in’…

COPSTICK
Well… When I say male…

JOHN
When you say ‘roped in’…

COPSTICK
… and two females. I said: Do you wanna come along, hang out with some stunningly gorgeous women who are going to be naked all day…?

JOHN
When you say ‘hang out’…

COPSTICK
Well, it was like the Porn Week series that I did (on Channel 4). People came along on a holiday and they got to hang out on a porn set, share a hotel with the cast and crew and then, depending on how close you wanted to get to the action, you could either just sit and watch the scenes being shot or you could be the ‘lube’ guy… you could hold the porn box… There were a couple of movies where there were parts for extras. You got to fondle. A bit of fondling in a monk’s robe.

JOHN
Fluffing?

COPSTICK
No, no such thing as fluffing, John.

JOHN
That’s the wrong word?

COPSTICK
No, no, no. There’s no fluffing. Nobody has fluffed since the 1960s. They can’t afford them.

…AND THUS THE PODCAST CONVERSATION PROGRESSED…

YOU CAN HEAR THE FULL AUDIO PODCAST HERE

WE ALSO TESTED IT IN VISION ON PERISCOPE AND YOU CAN SEE THAT TEST ON YOUTUBE… BECAUSE IT WAS A TEST, THE FRAMING IS DODGY

Edinburgh Fringe: Picking up girls and boys + a court case on werewolf erotica

Adam Taffler at the Grouchy Club

Yesterday in the Grouchy Club show at the Edinburgh Fringe, showman Adam Taffler picked up a girl. Literally. He does it all the time.

And a boy.

One on each shoulder.

Afterwards, he took me outside where two girls wearing snorkels and flippers were in a restaurant opposite, eating noodles from boxes.

“I’ve lost my wedding dress,” one of them told me.

“How?” I asked.

This scuba girl has lost her wedding dress

“I was walking along and it fell off my back pack in London,” she told me.

“I’ve got the bridesmaid dress,” said the other scuba girl. “So we’re going to have a bridesmaid and no bride.”

“And no husband,” added the first scuba girl.

“Is this a real wedding?” I asked.

“I’m looking for a husband,” said the first scuba girl. We will find him.”

“It was going to be Garry,” said the second scuba girl, “but he ran away.”

“Does this link up to scuba diving in any way?” I asked.

“We are giving training in how to swim,” said the second scuba girl.

Second Scuba Girl of the Scoober Doober duo

“And how to be a bride?” I asked.

“Yeah,” said the second scuba girl.

“You’ve got to be really ladylike,” said the first scuba girl.

“Yeah. Really feminine,” said the second scuba girl. “We’re good at cleaning as well.”

“We found haggis today,” said the first scuba girl, “in a tin. We didn’t eat it.”

“I’ve just had an idea,” said Adam Taffler.

“Oh dear,” I said.

“Two naked people standing on the Royal Mile completely covered in flyers,” said Adam. “The more people come and take flyers, the more naked they get.”

I was physically harassed against an Edinburgh wall (Photograph by Adam Taffler)

Then he took me outside and photographed me against a wall with the two scuba girls.

As the girls flip-flopped their way across the road in their flippers, someone asked: “Are you promoting a show?”

“We call ourselves the Scoober Doobers,” they told her.

“But are you promoting a show?”

“No,” they said.

“Are you in any show up here?”

“No.”

At the Grouchy Club itself, Mathilda Gregory had told us about writing werewolf erotica.

Mathilda Gregory – funny girl turned mistress of wolf  erotica

Mathilda was the Komedia New Act of The Year in 2000, a BBC Writers’ Room/Laughing Stock winner in 2011 and a Funny Women ‘One To Watch’ in 2013.

“Why did you stop performing comedy?” I asked.

“It was a lot of hard work,” explained Mathilda. “You had to physically go to a place. You thought: Oh God! I’ve got to go to Birmingham!”

“It was specifically Birmingham that put you off?” I asked.

“Yes,” said Mathilda. “Or maybe it was the person I was sharing a car with.”

“So you took up writing instead…” I said.

“I’ve written six novels,” Mathilda replied. “Three of them are about werewolves.”

“What are the other three about?” I asked.

“One of them is about a woman who likes to spy on gay men having sex. One is about a woman who gets obsessed with a male prostitute. And one is about a woman who has a disability fetish. I won Writer of the Year at the Erotic Awards in 2007 and I have a wonderful trophy from that.”

A highly coveted Erotic Award – the Golden Flying Penis

“Ah!” said Grouchy Club co-presenter Kate Copstick. “The penis with wings.”

“Yes,” said Mathilda. “But my wings have fallen off.”

“How did you get into this?” I asked.

“My publisher,” explained Mathilda, “told me: We’re starting a line in paranormal erotica. There’s a huge market. In America, this is going to do really well.”

“Is it sex between consenting werewolves?” asked Copstick.

“There are three books,” said Mathilda. “We get into all kinds of things.”

“Apparently,” said Copstick, “wolves are much, much better at sex than men are.”

“I can believe that,” said Mathilda. “I’ve obviously done the research now. Vampires are not really very virile.”

Mathilda Gregory and one of her close friends

“I think everybody’s fucked a vampire by now,” said Copstick.

“You have a show about your werewolf books at the Fringe this year,” I prompted. “Werewolf Erotica She Wrote.”

“Well,” she said, “one of my books had been the subject of a court case. In 2013 a male prisoner in California, who was imprisoned for the attempted murder of a member of the Mexican Mafia, took his prison to court because they wouldn’t allow him to have one of my werewolf novels in prison. There was a two-year long court case where they read my book and tried to assess whether I had enough literary merit to be allowed in prison.

“They compared it to Shakespeare. They compared it to Dostoyevsky. The court report is the most amazing gift I’ve ever been given – 30 pages, just banging on about my book. It’s like an author’s dream.”

“Were they objecting to the sex?” I asked. “Or to the werewolves?”

Mathilda at the Grouchy Club

“They said it was inter-laced with pornography and that it incited violence. But the court found against them. So legally I have literary merit. There’s a lovely quote from an author called Peter Orner who they called as an expert witness. It says something like Pelican Bay is one of the most violent prisons in California. It has a lot of serious problems. An inmate reading books about werewolves having sex is really not a concern.

“So, legally, I have a judgment that my book has literary merit and is ‘perhaps’ less than Shakespearean. I like the fact they used the word ‘perhaps’ – so there is some legal doubt as to whether or not I am better than Shakespeare.”