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Otto Bauer on the Origins of Supercore and the marriage with Ninn Worx

Porn Valley- During a chat I had last week with Otto Bauer and Audrey Hollander, the inevitable question came up about the origins of Bauer’s company, Supercore and the factors which brought about a distribution deal with Ninn Worx.

“Audrey and I were very purposed and intentional when we came to the Valley,” explains Bauer. “We knew what we wanted to do. We had a short term plan to achieve short term goals, so on and so forth.

“So, the notion of us having a production company, was hatched before we even got here,” he continues. “It was all a part of the game plan. And because we were in the position to do this, we started shopping ourselves.”

According to Otto, the game plan was established for being one year in the business.

“Before Audrey ever showed up in the Valley, I shot her with static camera in the corner of our bedroom,” he says. “Over 500 hours – and I studied the footage to break down the barrier between her mind and her thoughts into the lens. She was promoting comfort with her sexuality right to the eyes of the viewer. So she had the ‘thing’ before she ever got here. It takes most girls two years but Audrey hit the ground running.

“I was fortunate enough when I was in college to work with some people I respect a lot, namely, Rick Savage; Candida Royale- two completely separate ends of the spectrum- with Neville Chambers falling somewhere in the middle. Rick, the guerilla-gonzo-guy: hey, let’s run out to Central Park or let’s go over to the subway and let’s do this. Okay. that’s cool.”

[Bauer during those days worked under the name Etic Jeter.]

“Neville did a little bit of that too,” Otto continues. “He did scenes in his loft. And then there was Candida Royalle shooting on film with a monstrous crew. So I had some connections both in the feature world and in the gonzo world. I’m strictly talking about myself. Audrey’s a beautiful girl, and her willingness to spread her legs is all she needed to get into the industry full force.

“I had a good recommendation from some well respected people from back when, and so I, too, was able to hit the ground running. I spent one or two weeks making phone calls, and, bam, I was doing scenes. Audrey the same thing. We knew exactly where to go and what to do when we got here. Within one year, we had to be doing something for ourselves. That was the plan. We wanted to own a studio as soon as possible.

“So with our penchant and reputstion for extreme sex acts, and over the top scenes with energy and a reasonable understanding of the geometry of lighting and shooting a porn scene; and with a reasonable understanding of the equation that is an edit- it’s not rocket science- we made contacts and had some people contact us.

“We knew that we really wanted to do hardcore stuff,” Otto goes on to say.

“Why bother doing anything else. We knew if we were going to accomplish that, we’d have to establish a name in Europe.”

So at the time Otto and Audrey were shooting scenes for other people here, they were shooting a scene here and there at their own expense and shipping them over to Europe. The scenes were being bought and put into European movies by other producers.

“So we immediately developed a reputation for being able to produce, direct and perform in a well-lighted, well shot, hardcore fucking scene,” states Otto. “And I say well lighted instead of well lit, of course, because of Hemingway. A clean well lighted room is the only place to work.”

According to Otto, when it came time to join forces with someone in America, Supercore had a bit of a pedigree.

“Coming up with Supercore was a lot of Audrey,” Otto concedes. “I like the word ‘super’ because I get super excited about stuff. I just like the word super, and we knew we had to have something with hardcore. But there’s Max Hardcore which is awesome. So we wanted to do something that was going to have a lot of production value so that it would be super good looking but hardcore. Audrey liked the word right away and that’s all I needed to hear.”

[Otto also mentions the company’s SuperPink label which is putting out its first all girl series called Audrey Hollander’s Sugar Pants.]

“That’s some of our favorite girls,” he notes.

In the pre-Ninn Worx phase of Supercore, Otto developed what he calls “a sweat equity.”

“We had some popularity in Europe,” he states. “That’s where the pre-Ninn enthusiasm came from. We were initially approached by Danni at Cal Vista International. They had a European distributor that was very interested in us and were buying all of our scenes. So Danni let us know that there were some guys in Germany that wanted us to produce and direct and perform for them. So we had the idea of doing a movie Live and Loaded in Switzerland. The European group funded a really fun adventure where we took eight girls through Switzerland, having sex in front of live audiences, with an aggressive soundtrack and some really, super, duper hardcore fisting. Really nasty stuff.

“The American version just does not say it all,” Otto thinks. “That happened, and at the same time, I was performing in a lot of scenes- as was Audrey- for Bobby Rinaldi of Wildlife. He’s a guy that we really respect. Bobby approached us with the idea of directing and performing in a series for him called Orro and Audrey Destroy the World. We couldn’t pass it up. It sounded like a great vehicle for us to do our thing- the Otto and Audrey juggernaut- the competition of ass stretching that we like to instill in young ladies in America.

“So that caught on really big too,” says Otto. “That being a more hard edged series, it picked up steam very quickly in Europe. So, all of a sudden, we had a lot of momentum going on in Europe. As it turns out, we were selling licenses in Europe that practically paid for a production. So why not start a production company? We joined forces with Mach 2. We had awesome foreign licensing because of Cal Vista International’s awesome reputation.

“Audrey and I didn’t do anything to hurt that with the great reputation we had nursed in Europe and elsewhere,” Otto continues. “So we had the finances in place to fund the movies and American DVD sales was of secondary importance by now. Now come Ninn.

In the logical progression, Otto and Audrey got great popularity worldwide. Otto won Best Director in Brussels; Best Performer in Paris, Best Performer in Taurino. And Audrey won Best Performer in all of those places.

“All those foreigh shows were giving us all this attention,” recalls Otto. “But in America we just didn’t have the connections that we felt like we needed to put us where we were in Europe.

“In concert with these activities, we had been shooting extensively with Michael Ninn during that period of time,” Otto goes on to say.

“Michael was feeling like he wanted to branch into some harder stuff. So here comes Catherine, shot on location in Europe with the European motif, European crews, European performers. So here’s more of that European energy. Then we started the Catfight series and Pushed and The Nympho series which I was heavily involved with. So while we were gathering steam in our own right in Europe and plugging along, okay, with US sales- we definitely stayed afloat and made a profit- Michael’s a guy I can work with.

“I worked with him so many times on the set, collaborating with him on how scenes would be approached, this and that. He takes Audrey very seriously as a performer and as a thinking entity. So when he decided that he would start his own distribution, it was a natural marriage. In fact, Filth Factory, the first movie I directed for Ninn Worx is one of their movies. So on the strength of that and the sales of that movie here in America, Michael indicated to me this is pretty good. We have some synergy there, we can speak the same language. Why doesn’t Ninn Worx distribute Supercore? Fuck, yeah.

“So I bought my catalogue [41 titles] from Mach 2 so that I could have an immediate pedigree and a product to work with. In a year and half we shot 41 movies for Mach 2 which is a pretty good body of work.

“I’m not bragging but I will say at least half of those movies received 4-A reviews and lots of attention overseas,” states Otto.

Not to brag even further, Otto mentions that when he and Audrey are overseas, they receive red carpet treatment.

“They love us and we love them,” he says. “We specifically shoot our movies, now, for the European audience and we hope was can cull a US version out of that.”

For now, Otto and Audrey have four titles out, distributed by Ninn Worx: Filth Factory, Make Her Ass Scream, Smut Merchants and Pain for Fame which just came out last week.

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