Porn Valley- The first installment of my conversation with Amber Lynn appears here: www.adultfyi.com/read.php?ID=28600

Lynn recapped for me some of the events leading to the We Are The World XXX shoot this week honoring Henri Pachard. Lynn also had to deal with some drama involving Michael Ninn who was supposed to be on the project. Before we get to that-

“It’s an entertaining satire about the creation of the world of porn,” Lynn is explaining.

“Bill Margold who’s the historian of the industry and head of PAW plays the commentator that takes you through this journey of five scenes with five directors.”

“We’re using five directors in tribute to Henri Pachard, the great director,” she continues.

“Each of these people in some way have experience or a relationship with Henri Pachard. They’re in some way bringing that relationship or experience into whatever scene it is they’re shooting. It’s their own creative angle.”

“Georgina Spelvin plays this angel and Ron Jeremy plays the devil,” Lynn also explains.

“Ron’s character is written so that he’s the devil and the devil is everything. He’s maniacal.”

“But what Ron and Georgina really are is the conscience and they pop in and out of the scene. Bill’s standing at a bar. Originally he was going to be in a bath room, but we couldn’t find one that would fit. An Henri Pachard bathroom and in California, bathroom’s are too clean.”

“The bathroom we needed didn’t exist,” Lynn chuckles, explaining that Jeremy and Spelvin wrap every scene.

“They’re going after each other, and there’s some really great bits. They’re going after each and every one of the directors. Because we had and were losing directors, we would have to be able to pull one out which we had to do with Michael Ninn. Ron and Georgina just did a great job portraying these two consciences. Then at the end they start squabbling because the devil is a rascal played as only Ron Jeremy can. And Georgina’s a fairy godmother-type. It’s really funny and is done Saturday Night Live-style.”

According to Lynn, Larry Flynt is playing the “creator” in the world of porn.

“It was a simple story but it took something to shoot,” says Lynn, including another loss on the set, Jane Waters.

“We lost him the big day of the party,” states Lynn. “He was the d.p. and his wife’s brother went into the hospital for cancer and he had to rush her to a plane to get her on one to China. And he never made it back until the shoot wrapped. So Jason Sullivan was handling all these shots and you can imagine what he’s up against right now. Because this is his father.

“There were moments where Ron came into the room and put himself into my arms. I just broke down in tears. It is about Ron, but there’s a lot more to it. In a situation like that it’s not just a loss of a friend and it’s not like Ron’s dead. But we’re shooting this with the idea that Ron has cancer, and we all know what that means eventually.”

“It had its moments of real sadness, but yet at the same time you’re shooting a porno,” Lynn points out. “And it’s got to be hot and the sex has got to be in it. So we had to continue to soldier through that and get the heat of the moment.”

According to Lynn, Michael Ninn was one of the original driving forces behind the project and was the first director, besides Paul Thomas and Ron Jeremy [as a performer], who agreed to do the project.

“With Michael Ninn, he went to his studio and he said, absolutely, I want to be on this project,” Lynn relates.

“He said you get this thing done and we’ll be behind you on it, just keep going and go with confidence.”

“Then he called me that night and said, guess what- I’m not available on the days that you’re shooting with my crew, and I don’t shoot without them,” continues Lynn.

So the deal was, Ninn would shoot a scene at his studio and it would be inserted into the movie.

“That was the catalyst for the story I wrote,” says Lynn. “That’s when I said – in order to do that – I’m going to need a story that goes like this. Because he was taking it off set. That was how I was able to make the story work.”

Nevertheless, Ninn’s photographer was on set because his girlfriend was in a scene with Manuel Ferrara which was shot by Stagliano. Then Lynn gets a call telling her that Ninn’s not going to be able to shoot his scene after all.

“The excuse that was given me was that Spearmint Rhino had done some hostile takeover of Ninn Worx and locked him out of his own office,” Lynn relates. Michael Ninn got pulled.”

[AVN described it as Ninn being on “hiatus”.]

“Michael was very apologetic and very upset,” said Lynn, noting that she had worked for him in a project titled Fade to Blue with Julie Ashton.