In our exclusive, Trenton shares on how “Greasers” became the vehicle to finally realize the sexual promise in everyone’s coming of age story.
“The Outsiders” was written in the ’60’s, on school curriculums in the ’70’s, a mainstream movie in the ’80’s, and retold several times since on the big screen. Considered one of the most “homoerotic novels every written,” it took Trenton Ducati and NakedSword Originals to unleash that eroticism and let it become a sexual reality.
The Sword – “Ducati Directs,” what does that mean to you?
Trenton Ducati – I have directed scenes for sites before, but from concept to final edit, this was my first full movie. I could not have done it without the support of Tim Valenti, CEO of NakedSword & Falcon Studios Group who was fully behind it. Starting with writing the script, I also couldn’t have done it without Chi Chi LaRue. She was my collaborator in so many ways. Like the headlight sequence in the opening. It was Chi Chi’s idea. We all stayed two hours extra one night to get the shot.
The look and feel of “Greasers” was impressive. It was both period and modern at the same time.
The story has been told and retold but always with the same iconic imagery. The leather jackets, wife beaters, hot rods … they defined sexy my entire lifetime. I wanted to realize it and share it in a way it would pull everyone in. The locations set the tone, but we researched the authentic cars, jackets, hairstyles … down to the right Zippo lighters. We found real Hollywood sources to get them.
The casting was right on point and included some new faces. That was all your doing?
Yes! This story is so personal to me, I put a lot of effort into finding the cast to realize it in every aspect. The Curtis brothers are central to “The Outsiders” so that led me to Falcon Studios Group exclusive JJ Knight with our dueling pompadours and similar facial features. Marco Montgomery is a runway model. I knew Trent Ferris personally. Christian Taylor I thought would be the perfect “soc.” Once we started rolling, it was unbelievable and gratifying how they all completed with their bodies what they established with their words.
The spontaneity of the sex within the confines of movie making yet making it appear seamless. That’s quite a needle to thread.
That was indeed the goal. Making it look like the camera wasn’t in the room is a lot harder than it looks. A lot of the credit goes to the crew in front and behind the camera. All top notch in getting the shots perfectly. No one pulls off an under-carriage shot like Chuck Billens and I was lucky to have him.
When it came to the sex, it was unscripted yet had a particular role to play in not just advancing the story, but finally fulfilling the sexual promise we’ve been waiting forever for. That “I can take it anymore” and “you got me, Pony Boy” in many ways is the where every porno begins. In “Greasers” I wanted to show what came before and then deliver on the sexual gratification the books and films only hinted and frustrated us with.
So, one of your directorial tasks was to utilize unscripted sex to tell a scripted, very particular story?
Exactly! The sex was great because it was both authentic and true to form. Chi Chi’s script held the balance to pull it off. Each scene was crafted to be a sexual fable of its own. The chemistry of the cast made it happen. There were a bunch of young guys acting like professionals then fucking the same way.
The first scene was about revenge: me catching Kyler Ash & Kory Houston screwing around on the clock and making sure I got my money’s worth too. The second scene with JJ and Christian Taylor was the story of the forbidden: fucking across the tracks. Marco Montgomery and Trent Ferris pulled off the innocence of the third scene in a breathtaking way. Then there was JJ and me in the finale. That’s where I righted the wrong JJ committed with Christian by showing him the best fucking is right in your own … garage.
In the movie version, Francis Ford Coppola deleted the scene with the Curtis brothers (C. Thomas Howell & Brad Lowe) spooning together in bed because it was deemed too homoerotic.
The whole story is intensely homoerotic. There was also a scene where Pony Boy (Howell) and Johnny Cade (Ralph Macchio) looked like they were going to make out. My goal and vision for “Greasers” was to harness all of that and finally have it realized sexually.
Speaking of which, how did you navigate directing the movie and appearing in two of the scenes?
That was difficult. Quite a challenge. The competency and experience of the crew made it possible to let go of technical aspects and be totally at the moment.
How has the process of directing “Greasers” impacted how you are on the set now as a performer?
A lot! I have nothing but even greater respect for the directors now. As a performer, I now understand how much work has gone into just getting to the day of filming. I now see my real role when I am in front of the camera is to fulfill the director’s vision and do justice to craft and process that lead to us all to be working together.
Last question for you, Trenton. How did you craft fucking on camera that actually looks like real fucking when it alludes so many directors out there?
It’s something I learned from Chris Ward of the Falcon Studios Group when I just started. He explained the relationship between adult performer and audience in a way I try to bring to everything I do. So, let me answer the question with one simple sentence: As a performer, it’s not about my orgasm, it’s about yours.”