Contract Stars for a Risque Business

Contract Stars

Can anyone say Separation Agreement? (If one has earned the right to be cynical, one need not show shame being so. … And if one happens to serve in the position of being able to determine “earned rights," well that’s just darned handy it seems to me. Sadly Contract Stars very, very rarely have equal footing when it comes to drawing up the “termination clauses” of those agreements.)

We’ll move along to the comments of Mr. SR himself (or maybe Himself, depending on whom you ask). I should reiterate a concept that I’ve mentioned a few times before, that being that I’ve never considered any of the risqué commune members to be of typical or standard intelligence. Quite frankly too much free porn and too many overloaded jackoff sites exist on the web for that to be the reason that people hang around here. So I’m just going to quote at length from the NW_SR Majority Partner’s opinion set out in AVN. I figure y’all can draw your own conclusions. These are the words of the owner of the Spearmint Rhino chain:

When I got into this business, the whole issue of exclusivity seemed kind of puzzling to me. Cassidey’s great, and there’s no problem with Cassidey whatsoever, and we’re certainly not hurting for money, we’re a rich company. The problem that I’m having as a business guy is, to a large extent, exclusivity by a contract girl is largely an egotistical-driven matter by the film company or producer.

Today, contract girls are unknown to some extent, comparatively speaking, by the general public. If we can get the typical girl to work for $1,200 a scene, and if our movies typically have three scenes with her, that’s $3,600. And if we’re going to do six movies with her in a year, as in the typical contract girl, are we really benefiting by an exclusive contract with a girl to the tune of $40, $50, $60,000 more than you could get the typical girl for a per-scene rate? 

So for us, when Michael went out and he wanted to get all these contract girls, for us to pay them two and a half or three times what their day rate would be for the equivalent, that kind of turned my head to the side. We wanted to put more money in the movie aspect of it, special effects, et cetera. To me, the contract girl is only beneficial to us if we promote the living hell out of her, which is a lot of time and effort, and we’re largely pushing movies like The Four, which is more production than artist. You need very good girls, but in The Four, those names aren’t carrying it, it’s the fact that we dumped a shitload of money in CGI, the musical score, et cetera. So my goal is, it may not be a Jenna Jameson or Tera Patrick in it, but by God, it’s not gonna look any different than 300 did for $130 million in the mainstream theater.

John Gray, CEO, Spearmint Rhino

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