Porn Valley- Amber Lynn was told there was no way she was carrying off the We Are The World XXX project which is honoring the ailing Henri Pachard and attempting to put some money in his family’s pocket.

She was told this by no less than AVN’s Paul Fishbein. Lynn says this is probably what lit the match under her ass. And this week Lynn’s still gorgeous ass was on fire.

Lynn was basically the chief cook and bottle washer at the shoot which went on in North Hollywood at Brett Bereny’s studio. And Lynn was also the dart board when a couple of people aired their grievances. But Lynn takes this in stride realizing there wasn’t much she could do to please the masses.

Lynn also realizes she wasn’t exactly making herself available to the press on press day, either.

“I was going nuts and up a lot more than can meet the eye,” she reflects. “And it was also the second day. We had all these different directors coming on the set.”

And with each director came their own individual entourage. It made for a menagerie. In all, Lynn thinks everything ran pretty smoothly although Anna Mills might have gotten her feathers ruffled. Mills had a run-in with Lynn over what was basically stringent insurance regulations and was asked to leave.

“I feel bad about that and know she’s sensitive,” said Lynn, noting how guys were just preying on the girls. The Mills drama came during the orgy scene, the last scene of the night and Lynn said people had tried to have her cut the entire scene out of the movie.

Lynn explained a lot of it had to do when she approached Vivid about having the insurance policy carried under their umbrella.

“Paul Thomas called me back and said Steve Hirsch said in no uncertain terms, absolutely not. At first I thought that was mean. I had known Stevie since I was a kid and we’ve had nothing but honest business between us. Then when P.T. explained it to me, he said I know you have a lot of integrity today, but you have to imagine the way things were in days gone by and understand the way Steve sees it.

“You’re going to have 40 to 50 of those types on the set in this party scene and that it seems like a uphill battle and you’re just setting yourself up for failure.”

Lynn explains how she got involved. She saw an article on one of the websites about Pachard’s deteriorating condition.

“I’ve known him 25 years,” she says. “I knew he had cancer, and I said we’ve got to do something. I had no idea at that moment what it was going to be. I reached for the phone but I wasn’t going to be another person making empty promises. That was it. I said I have an idea and I wasn’t certain how I could make it work, but I knew that I could.”

“I went through all these kinds of doors and through each of those doors I got resources,” she continues. “Some would follow up, some people would make promises that wouldn’t transpire. Every time I’d put out a fire there’d be another one. It was a real learning and growing experience. But I knew once I sat down with Dolores and Run Sullivan it was more than the project at hand, it was the ability to come together as a community.”

“That’s the way we did it in the old days,” Lynn says.

“Nowadays it seems to be a bigger industry with segments of it being like countries that pit themselves one against another. I knew that was the one thing I would be up against. But I got enough of the old school people who came through.”

I also asked what happened to Ginger Lynn because there were a lot of rumors and speculation circulating. According to Lynn, Ginger was one of the first volunteers for the five scenes, five directors format. And Amber was coming up with a story that would tie everything together.

“The idea is that this features people from all walks of the industry,” explains Lynn.

“Also at the end we wanted to have people in montages and BTS where they can say how they feel about Henri Pachard. The idea with Ginger was we were going to feature her in a scene together with me and Porche Lynn.”

The Lynn sisters, if you will.

Lynn got a call from Ginger confirming she wanted to be involved once she heard about Pachard. Then, later, Amber got another message from Ginger right before Erotica LA saying there was an emergency involving a family illness.

“And that was the last anyone heard from her,” says Lynn, noting that Ginger was scheduled to be roasted at the F.O.X.E. awards but didn’t make that event, either.

“And Ginger has been wrestling back and forth with her health over the years. I hope she’s okay and her family’s okay.”

While Bill Margold was all for prospecting other talent for recruitment, Lynn said she wanted to make this a strictly volunteer effort.

“And the idea was there was going to be these people chosen by the five directors according to who would fit in the scene,” Lynn goes on to say.

“I had to let the directors choose those people and tell me what their scene was going to look like. In some ways their scenes tribute Pachard whether they used props like he was famous for. Like Brad Armstrong’s scene depicts a younger Henri Pachard when he met his wife Dolores. The scene we shot that day was with Randy Spears because he had such a close relationship with Henri Pachard as a friend. He decided that was the best place for him.”

In order to get Spears, Lynn said she had to have a meeting with Wicked’s Steve Orenstein.

“I literally had to get his permission. And because it was being distributed by Vivid, you can imagine, the stuff I had to walk through. Each one of these fields had its own little land mines.”

Lynn admits things ran far from perfectly and regrets the Mills incident, although she credits Mills and her friend Kandy for showing up when Sunny Lane bailed out at the last minute.

“Sunny wanted to do a Cougar-Kitten scene with me and she was promised that by Bill Margold,” says Lynn. “The scene called for two young girls. I told Sunny I love you but I’m not a young girl. She said I have something else I need to do so I’m going to take a pass. This was the night before the shoot.”

Lynn says she called Mills at the last minute and Anna responded like a trouper. So it was, ironically, Mills who was the professional although she got blasted as otherwise.

Lynn says the schedule was so tight the first night, that Ron Jeremy walked off the set after his sex scene with Mills and Kandy and straight to a waiting car that was taking him to the airport for a mainstream shoot.

“That’s how close it got,” says Lynn.

“And everything was donated including the location,” Lynn adds. “My brother used to be in business with Brett Bereny. So we approached him about the location. But he told us we needed to insure the location.”

Then Lynn went to Vivid.

“And they did not make it easy on me,” she points out. “They said you need to pare down this orgy. I told them We Are The World is not five people. I want to shoot this the old Bruce Seven style where he’d shoot several scenes and at the end he’d have this great big free-for-all. They said you will never pull this off. They all did. Paul Fishbein told me you’re setting yourself up for failure.”

Lynn says the idea was to bring Pachard on the set but she didn’t know if he was going to make it.

“His health has deteriorated in a way where it’s starting to vacillate now. He gets sick then he gets better.”

“But here he is coming on the set,” says Lynn. “It was so emotional for me because I’ve known him for 25 years.”

The first scene Lynn ever did for Pachard was a thing called Hot Wire in New York. She was living with Jamie Gillis at the time at the beginning of her career. Pachard, who was with Gloria Leonard at the time, told Gillis he wanted to put Amber in a movie.

“They brought me on the set, and he said I’m going to stick your head in this toilet. I was in fucking shock because I was not one of these girls that would put their head in a toilet. He said you’re going to like this then went into this whole dialogue with me about the journey of sex and sexuality and letting go.”

“Up until that moment I hadn’t got in touch with my true sexuality,” Lynn continues.

“And he was one of those people that unlocked the door, as a pornographer, without injury. I worked with a lot of directors who will get the scene out of you, but you leave there and you’re traumatized. And he would get the hottest, sickest, shit. And you’d go, yeah, that was fun. I want to do that again. He was always there for me.”

Lynn explains how she left the business and how her brother Buck has a daughter who got cancer at 27 years of age.

“She got pregnant while she was having radiation treatment and told me I want you to be the guardian of my children if I die of cancer.”

Lynn says it’s funny that she’d be the stabilizing force now in her family especially after her own shit.

“But there was no way that any court in the land was going to recognize me as the guardian of three children, being in the porn business,” observes Lynn.

“So I was going to law school. I opened up a real estate business. I really went back and focused on my family. So when I was out of the business, I got a call from Ron. He said I don’t know what you’re doing with your life these days, kid, but I know a company that wants me to shoot you and I’d love to shoot you again.

“I said that would be wonderful. He was someone I remembered affectionately throughout the years.”

Lynn was shocked when she went on the set because now she had to confront the fact that Pachard was ill.

“I always remembered him being a hot guy,” she comments.

“He had a stomach tube, and he was feeding himself out of it. It was the first time I met Dolores, and he told me the story of their relationship. He was giving me directions in the scene, and I rolled over and I clipped his leg with my shoe. The tube from his stomach came out and it was everywhere. He was so upset.

“It was a humiliating moment for him, and there were tears. I said. Oh my God, I love you. You are among friends when you’re around me. You don’t have to worry about this. This is fine. Are you okay? Let’s get back to work. I think when that happened is when it hit home for me, that he was on the other side.”

Lynn’s regret is that she had not been able to do similar things for and with Bobby Hollander before he died of brain cancer. Hollander started her career and Lynn recalls Hollander’s alive wake when she was able to say a few things.

“But I wasn’t able to make my amends or piece in that relationship,” she sighs.

“I said I’m not going to do this with Ron. And he’s the only guy in this business that no one has anything bad to say about. So once we started to shoot, everyone stepped up one by one. We just put everyone’s name on a list then broke it down to how we could put a crew together and how it was going to work.”

Lynn was told by Paul Thomas the week before the shoot that he’d help with directing but got involved with the re-making of Deep Throat.

“Then he said I can’t do everything so I said I’ll get it done. And I just did. Once I took it on, it just happened.”

To Be Continued