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Ed Powers is an American director, producer and actor of hardcore pornographic films.

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Ed Powers Productions where you get full access to all the great Ed Powers titles. Our models are fresh faces on the adult scene and many of them will go on to become super stars! Check them out in their raw, newly discovered, talent. Time stands still for no man and Ed Powers is no exception. It has been six years. Lovely Diana Devoe comes over to Ed's place and Ed gets a little head. With lips. Volume 12 is here with four spectacular ladies. Snickers, Cee, Nikki, Kira Khan. Leggz is back, she 20 years old and she has an interracial lesbian scene with Cherry.

Filmography

October 25, 65 years old. Find where Ed Powers is credited alongside another name:. This will allow you to search for titles that have another person in the cast. It does NOT mean that they necessarily worked together. If you're not sure of the way the name is spelled in our database, use a substring, and we'll check it out on the next page Ed Powers. Height 5 feet, 6 inches cm Weight lbs 69 kg. Tattoos None Piercings None. XRCO Awards Find where Ed Powers is credited alongside another name: This will allow you to search for titles that have another person in the cast.

On the Prowl and Dirty Debutantes are two series of adult videos that have several notable aspects in common. Both of them first appeared in , both are considered watershed entries in the gonzo and pro-amateur genres, and both had a significant influence on modern day pornography.

And both were started by golden age adult film actor, Jamie Gillis. Over the years, writing about either of these two series has become a rite of passage for many porn film scholars.

Even Vice Media jumped on the bandwagon. But all the published pieces have one consistent feature: they are almost completely devoid of original research or new information. But one aspect usually neglected is a conflict that occurred behind the scenes in creating these films — between Jamie and fellow pornographer, Ed Powers.

Ten years ago, Jamie Gillis contacted us because he was writing his autobiography and he wanted to figure out how to cover the creation of these series and the conflict around them. He felt it would be easier to articulate his thoughts verbally, before attempting to put them down into writing. Making these films was one of the happiest times of his professional life, but also one of the most difficult. More details will follow shortly on The Rialto Report.

He was new to the business in the late s, and was a likeable, though fairly anonymous-looking guy possessed with a manic energy like a kid on sugar. He also had a sex drive that exceeded my own… which is really saying something. He was strictly small-time when I first met him. What he did have was contacts, and had quickly become well-connected in the business. Now I was interested, you know?

He sounded like he was on my wave-length. I enjoyed that detail. We became close very quickly. He even bored a hole in his bedroom wall so that I could look in on his escapades.

I was dividing my time between L. One afternoon I was working on a film being directed by Allan Shustak, who was better known as Duck Dumont. There was nothing else to do!

We had no real idea what we were doing or what it would be called — we just rented a limo and took off into the San Francisco night. I knew Renee Morgan would be game and ready for anything. She was a hot girl with a lot of personality. She made reference to the fact that we were going out on the prowl, and I felt immediately that that should be our title.

Just for the hell of it, I asked a woman I had recently met if she wanted to come along for the ride and she did, but when the experience started to get a little too much for her, she left. The format was simple: Allan filmed it all, I was in front of the camera manipulating proceedings, and Renee was available to whomever we found.

It was much easier than I thought. We cruised around the North Beach area of San Francisco, and found no shortage of guys that wanted to fuck, or get a blowjob, from Renee. I was getting off on the idea that Renee was being offered as an available piece of meat — even if that meant that a guy just wanted to grope her.

I had always dreamed of being in an environment where women were available to anyone, for any reason, at any time. At one point, we had to drive away from a bar where we had picked up a few guys because a small army of those who had been rejected was banging on the window trying to get in. Unfortunately, Allan was too terrified to have the presence of mind to film that moment. The first men who got into the car were a couple of sailors. One of them fucked Renee while the other just watched. The lawyer did just that, and he called me soon after to let me know that the Navy had dropped the charges.

It felt great to know that I could be of help to the poor guy. It was perhaps the only time in my life that I had a taste of what it was like to have real power. I had a ball. I was just sitting in back of the limo as Allan filmed everything. I felt liberated and relieved. No more dumb scripts. We were out in the real world. Was anyone concerned about the fact that you had used non-professional porn actors? Are you kidding?! My lawyer hated the idea… he was horrified. I explained the concept, and asked if there was anything that I needed to know, and he panicked!

Bury it..! I set up a new company, Jamie Gillis Video, to sell it. It was good to get the money sent straight to me without giving a large piece away to an intermediary, but nonetheless I was ashamed of being a businessman. It made me uncomfortable. I always imagined myself to be a different breed of cat, something a bit more outrageous, so I gave it up after a while. So I was selling it for twice as much as anyone else was asking.

After that, I shot everything myself, even grabbing photographs and video of San Francisco as we drove around looking for action. I was a one-man band pornographer. Yes, but it was liberating. I was now free to just go out to shoot and have fun. Being an actor in porn films for so many years was something I enjoyed and it was a wonderful life. The idea of getting out into the world and bringing sex into the streets was just irresistible to me. I told her to invite any fan from the audience to her room after her performance.

She chose a guy and got very hot and nasty with him. Taylor gave him an autographed picture and then started putting on lipstick for her next show which was moments away. In the end, I figured it was easier to just make them and sell the rights outright to the highest bidder. So the second one was for General Video, and the rest were for Vivid. The first one is the only one I ever owned outright.

I still sold them though my company if people wanted them — I made up a home-made ordering sheet — but I passed the main burden to the bigger companies. In reality, it was set up with all parties playing a pre-arranged role, and there was no spontaneity. The females had all been hired in advanced and told what to say. It was fake. I felt they had very little in common. It was real. The night of the awards ceremony, I sat in the audience with my heart pounding fully expecting to get up on the stage. I was amazed when Ed won.

I figured Ed must have won it because his company advertised a lot in the AVN magazine. Your definition of a gonzo film differs from others. Your vision is more ambitious, or more pure — in that you meant for it to be a film of a spontaneous event. Instead gonzo has come to mean a first-person style of filmmaking but one that is nevertheless scripted…. Gonzo basically refers to the fact that a guy picks up a camera and goes out to interact with the world.

Dear friends like John Leslie and Joey Silvera do some wonderful stuff, and John Stagliano whose company Evil Angel distributes their work is a gifted talent who is widely recognized as perhaps the most decent producer in the business. What excited me was the possibility of seeing something real and unplanned happen. This was not about two prostitutes fucking for money on film. The guys I encountered were never paid — they were just there for the sex. There were no rules.

Anything could happen. She wanted to gain some notoriety to increase her marketability as a featured dancer instead of being one of the house girls who made far less money. I thought it would be a great idea to find girls who had never done porn before, do interviews with them and then record their first on-camera sex. Not at first. I took the idea to Allan Shustak.

It turned out great, and Allan and I geared up to produce it. The next time I went down to L. Ed got tremendously excited about the idea and implored me to find a way to do the series with him rather than Allan. Do it with me, I am your friend. He was more persistent than I had ever seen anyone be. Finally, I said ok. Allan knew I had no business sense or experience, so he cautioned me to be sure I had a written contract with Ed.

It was good advice, but I was sure it would not be necessary. Ed was a friend and so a handshake would do, right?



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