Tag: interviews
Interview: Bare Essentials
by Suzan Ryan on May.01, 2013, under Interviews, The Magazine
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| Who or what inspired you to write this rather candid book? There’s a 1965 novel called In Praise of Older Women by Stephen Vizinczey, about a man reminiscing about some of the women he’d slept with many years before. It was a book, ultimately, about love, and love was a subject I was deeply interested in. Is that what Laid Bare is about? How tough was it for you to actually write the book? How common is your experience among other men? Mental illness? You mention OCD in Laid Bare. What was your particular subset? How so? |
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| How did you deal with it? I didn’t understand why these things were happening to me. I was just trying to get on with my life, but I was being assailed 24/7 with obsessions. A lot of the sex that I was involved with was a way of trying to escape what was happening to me. On the topic of sex, what kind of dating websites were you signed up to? In your experience, was RSVP more geared towards relationships or sex? So these women were chasing you? What is the perfect middle ground for online dating? |
Interview: James Deen
by Suzan Ryan on Mar.25, 2013, under Interviews, The Magazine
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| Why did you choose the stage name James Deen? James Deen came from a nickname I had when I was younger. I wore a leather jacket a lot and would cross the street from school and smoke cigarettes while leaning up against this fence. People started to call me James Dean. The nickname followed me wherever I went. When it came time to choose a stage name, I went through every combination of JD something or something Dean or Dean something, until finally I settled on James Deen. How did you get into the adult industry? How important is cock size in becoming a porn star? What’s the most difficult or annoying part about being a dude in the industry? Who are your favourite adult actresses to work with? What have you learned about women during your career? What’s the funniest thing that’s ever happened to you on set? Is it tough to keep it up and blow your load on command? You’re cast alongside Lindsay Lohan in upcoming feature film The Canyons. How did you land the part and would you like to do more mainstream acting? What’s your advice to guys who want to get into the business? What’s the biggest misconception about being a male porn star? How would you like to be remembered as a performer? |
Interview: Ben Macintyre on double agents in World War II
by Suzan Ryan on Mar.15, 2013, under Girl Galleries
British author, historian and The Times columnist Ben Macintyre reveals the true (declassified) story of Allied double agents crucial to winning World War II
How did you discover this fantastic story?
These stories would be impossible to tell without the release of the archives by MI5 [British domestic intelligence]. There’s been an incredible sea change in British secrecy in the past 10 years and they have now released pretty much all the wartime material. It’s the most wonderfully rich stuff because it’s written by people who never expected it to be released. So it’s honest in a way that most government files are not.
With such a wealth of available declassified information, how many fascinating stories did you have to leave out of your book?
Quite a lot, to be honest. This stuff is so rich that any single one of these double agents could have made a book on their own, and perhaps that’s a way of approaching it in the future, but I loved the way they combined together. But there’s a stunning amount of detail and these files keep on being released. They haven’t released all the wartime stuff yet, so there’s more to come.
Was the Abwehr [German intelligence] amateurish compared with MI5?
In some ways, they were amateurish. In some ways, you could argue they were almost too professional. I mean, the amateurs were really on the British side; kind of strange, oddball agents who had never been trained and were just using their instincts. On the German side, it was much more rigid and much more unimaginative.
When presented with the misinformation, they just swallowed it. That was partly to do with the way that the German system was structured: it was a very rigid, very straightforward system that couldn’t deal with deception on this massive scale. That said, the Germans were quite capable of attempting their own deception operations, and did so fairly often. 
The various double agents in MI5 seemed one beer shy of a six pack… That’s putting it mildly. Some of them were borderline nuts, to be absolutely honest. Many of these people would not have found employment in any other role in any other circumstance. They were gamblers, misfits and crooks, in some cases, and that’s the kind of characters that are attracted to this strange, complicated world.
They are not normal people, but this is not a normal aspect of war we’re talking about. In a way, it was the inspiration of Churchill’s spies and spymasters to employ people who were not of conventional stamp, because that’s how you get into the mind of the enemy. In a way, his genius was to choose these extraordinary oddballs and misfits: bisexual Peruvian playgirls and gamblers, and so on.
How was MI5 able to trust these oddball double agents during the war?
MI5 had one huge advantage, which the agents themselves were completely unaware of: they could track whether the agents were still trusted in Berlin via the Bletchley Park Enigma files. Without that, it would have been virtually impossible to do and I strongly doubt they would have taken such a huge gamble if they hadn’t been able to check because the stakes were impossibly high. If they got it wrong and they were rumbled, the Germans would have realised that instead of Calais being a decoy D-Day target, the real attack was coming at Normandy, and the effect of that could have been absolutely disastrous.
There are a lot of quotes about agent attractiveness in the book. Why was attractiveness so important to these people?
These are stories about psychology and personality, much more than they are about guns, wars, battles and military manoeuvres, so the interpersonal relationships between people are what define this particular world. It’s all about trust and loyalty and whether you get on or like someone, or whether you don’t. So that element of attractiveness is absolutely critical, because you’ve got to be able to seduce the other side, whether it’s by wireless or letter or in person. It is a game of sorts, of seduction and flirtation, and, therefore, attractiveness is vital.
5 Minutes With… Tom Carroll & Ross Clarke-Jones
by Suzan Ryan on Mar.13, 2013, under Interviews, The Magazine
Interview: Chewie Chan
by Suzan Ryan on Mar.05, 2013, under Interviews, The Magazine

What are some of the bigger-name comics that you have worked on?
I’ve done Iron Man for Marvel, Phantom, Cthulhu Tales and some smaller licensed characters. There’s a character I really like working with called Buckaroo Banzai, which was adapted from a movie from the ’80s.
The movie was a cult hit, but a disaster at the box office. Basically, there were too many ideas rolled into one. Buckaroo [played by Peter Weller] was a samurai and a Nobel Prize-winning rock star who carries a six-shooter; he’s also a scientist and he has this super-fast car that can travel throughout dimensions.
Do complicated ideas work more effectively in graphic novels than on film?
Comics are a long-form medium, like a HBO TV series; you have more time to let your ideas breathe. Film has only around 90 minutes to tell a story, so it was just too many ideas for Buckaroo Banzai.
Adapting that idea into a comic, though, you’d think, “Maybe I need a few more characters to have B storylines or even C storylines so we can mix and match it up again and have variety.” Slow issues, high-octane issues and stuff like that.
Those are all American titles. Do you have to work in the US to be successful?
Certainly, all of the big guns are there at the moment, but it’s not the rule. You’d go to the States for superhero-type characters. Everything else has a bigger market in Europe and Japan. Look at Shaun Tan: he did The Arrival, which is a wordless graphic novel and children’s book, but it won all the awards [see: thearrival.com.au].
What about Australia? Does the local market have a particular feel for comics?
No. We’re very much an offshoot of the American market, at the moment.
So Australia’s all about superheroes, too?
Australia is still trying to find an identity, which we’re slowly getting to. Local publisher Allen & Unwin is producing a line of graphic novels, which have been quite successful. They’ve adapted The Great Gatsby into a graphic novel, and Hamlet, which won the CBCA Picture Book of the Year last year. Superheroes don’t really work with us anymore, so we’re trying to do all sorts of different things.
How does a graphic-novel artist make a living in Australia when the industry is based primarily overseas?
To be honest, these days with technology and the Internet, you can work from anywhere. I have overseas clients, but it’s not really an issue working from Australia once you get to a certain level.
It’s hard to break into graphic novels but, fortunately, I’m past that level so now I get clients from anywhere in the world. We can work and talk ‘face to face’ through Skype. You don’t have to describe anything because they can actually see it.
Are graphic novels still a relevant industry?
I think they are, particularly because they’re one of the cheapest ways of producing an idea. And by ‘cheap’, I don’t mean nasty; it’s the easiest way [to publish] with the least amount of obstacles to get [your product] out there.
Books are more straightforward in that they’re text-only, but there’s a sea of competition if you want to get your work seen. At this stage, if you can take into account all of the factors, graphic novels are the easiest way of getting your idea into the public domain because you put it out there visually [and] it penetrates straight away.
People will gravitate towards what they like, and they can make that judgment call within a few seconds of looking at a graphic novel, since they can elevate the [illlustrative] signal over the noise very quickly.
INTERVIEW: April Flores, plus-size porn star
by Suzan Ryan on Aug.23, 2012, under Interviews
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| How did you get into the adult-movie business? In late 2005, my husband, photographer Carlos Batts, had photographed adult superstar Belladonna. She saw my pictures and she said that she liked my look. I met with her and she asked me to be in one of her movies and to do a scene with her. I was so intrigued because I had only seen a handful of adult movies and had never imagined being in one.What was the experience like? It was my first time having sex with a woman, so I wasn’t sure what to do, but I jumped right in and went down on her. Since I was so inexperienced, she took the lead and I just tried to do a good job. Before I knew it, they were telling me we were finished and I was a bit disappointed because I didn’t get the chance to try all of the moves I had planned in my head! What do you enjoy most about workingin the adult industry? What’s the response been to your work? |
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| How difficult is it for curvier women to find self-confidence? It’s very hard for women of all sizes to feel confident because from the time we are girls we are bombarded daily with messages and images that can make us feel that we can never be too thin, too young, too successful… It makes it that much harder for a plus-size woman to feel good about herself because you rarely see plus-size women represented in a completely positive way. How did you personally find confidence as a plus-size model? You have your own sex toy: the CyberSkin Voluptuous Vagina… SEE MORE OF APRIL FLORES at: http://fattyd.com/ |
Interview: Australian porn star Vince Velvet
by Suzan Ryan on Jun.06, 2012, under Interviews, The Magazine
Interview: Arthur Veno the bikie broker
by Suzan Ryan on Nov.03, 2011, under Interviews
Interview: Jonathan Karamalikis, Aussie poker star
by Suzan Ryan on Sep.22, 2011, under Columns, Interviews
Interview: Ross Noble, comedian
by Suzan Ryan on Sep.21, 2011, under Interviews
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