happened upon the process back in 1985 while filming Chad Douglas in Below The Belt. We remember Raging Stallion’s Sexovision and Jett Blakk’s anthropomorphic duovision in Nasty Nasty. But Analvision? We gave Phil a call. “Analvision is all about the point of view of the dick — the magical
point of view,” says St. John. “I call them heaven shots.” Using a
wind-up Bolex camera that shot in slow-motion, St. John moved the
camera through the arc of insertion until it passed by the not-so-pearly
gates. “Because it was a wide-angle lens, it stayed in focus.” After
filming someone who’d been plowed by Chad Douglas, we’d imagine the
lens would have to be.
St. John has used the process in numerous films, from Skateboard
Sliders to Getting It At the Rave. “Analvision is a devilish way to
enjoy anal heaven,” St. John laughs. We’re guessing “turd’s-eye view”
wouldn’t work from marketing standpoint.
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