BijouBlog

By Josh Eliot

The first time I met Steve Rambo was in 1992, when our general manager Mike sent him over to the set of Nutt Crackers to fill in for a model who never showed up to work. Steve knew Mike from Drake's Bookstore, which Mike also managed. I think he worked there briefly as a cashier, but I’m not entirely sure. He showed up to the set, a complete porn virgin, with no experience in front of the camera at all. He was personable, friendly and cock-hungry as hell. What started off as a bummer of a day due to the no-show ended up turning for the better once Rambo’s hungry hole(s) started doing their thing. Little did any of us realize that on that day Catalina’s new exclusive was born, and he would end up shooting 67 movies for our company. He won Best Actor at the Grabby Awards in 1999 for his amazing performance in CatalinaVille. The last time I worked with Steve Rambo was around 2006, when his contract ended and he retired from the business.

The first time I saw Will Seagers in a movie was when my roommate Brian brought home the Joe Gage classic L.A. Tool & Die on VHS from a video rental store in the Castro. I think it might have been a double bill that night as I believe we also watched, re-watched, re-wound and watched again The Biggest One I Ever Saw starring Dave Connors, Lee Ryder and Rick Donovan. As I’m sure most of you are aware, Will Seagers had an amazing career, with a couple of his earliest films being 1978's Dune Buddies (Hand in Hand) and Champs (Falcon). 1979 was a very good year for Will with headlining roles in both Fire Island Fever (also Hand in Hand) and L.A .Tool & Die, two instant gay classics. In 1980, he was in Steve Scott's Wanted (Mustang) with Al Parker. I was invited to watch the filming of the jailhouse scene, at age 18, but my nerves got the best of me and I didn’t accept the invitation from producer Frank Ross, who was my boss at the time when I sold tickets at San Francisco's Screening Room Theatre. You can read all about that and the great Frank Ross in my previous blog, “Frank Ross: The Boss.” Will brought his hotness to the screen in many more movies until he retired in 1994, according to IAFD. Will, If I’m wrong about any of this forgive me!! It wasn’t until some point in 2022, when Steven and Jules at Bijou asked me to be a contributor to their blog page, that I was fortunate enough to have an opportunity to meet Will Seagers face to face.

Being out of the industry since 2009, I kind of left “all of it behind” and focused on re-imagining my future. I worked as a manager at an incredible spa for the JW Marriott and the Westin Mission Hills in the Palm Springs area and was very happy. It was tough at first, as I had worked in the gay adult industry for 22 years and didn’t really know anything else. But slowly I adjusted, not missing the stress of production one bit! But for me it was always the creative part of developing and making movies that gave me the most joy. Being so far removed from it all, you can imagine how delighted I was when in 2023, within three weeks of each other, I sat down with both Steve Rambo and Will Seagers for breakfast, separately.

After his contract was up, Steve Rambo moved back to Rochester, NY where he was born November 25, 1956. I hadn’t heard a peep from him or about him until Covid-19 when I discovered The Catalina Collection channel on YouTube. It seemed that the movies CatalinaVille and Boy Band had gone viral, with thousands of straight and gay fans around the world watching and commenting on the camp dialogue in the PG versions posted on the channel. There were also dozens of memes created from a Boy Band scene between Rambo and Brad McGuire, one even created with AI showing them singing in Russian. Around the same time, I discovered Instagram, during those long days of staying home due to the virus. I discovered @Jeffreymixed, whose Instagram was featuring Steve Rambo Saturdays, with clips from his movies. Somehow, @Jeffreymixed was the go-between with Rambo and myself and arranged a breakfast at Palm Springs Elmer’s Restaurant for a reunion a few weeks ago, while Rambo was in town on vacation. Seeing Rambo again after 17 years was incredible, it was like we were never apart. Rambo has this intoxicating laugh that hits you like a freight train and trust me, the heads were turning at Elmer’s every few seconds. I think it's gotten much louder now that we are older! We reminisced and had such a great time; after all those years working on the set together, we really became family.

I started communicating with Will Seagers through Jules at Bijou when they got together over the holidays. After that, Will and I worked together on a few joint ventures for Bijou Blogs like our Deep Inside the Castro series and Diving Into SOMA/Folsom series. When my partner Tony and I planned a trip to Santa Fe to see our friends and go to the Pride event there, I contacted Will to see about meeting up for breakfast when we passed through his city. I was thrilled when he agreed, and we met up at a little restaurant joint named Weck’s. I recognized him immediately as he was walking through the parking lot; I have to say, he is very statuesque in height and still features his leading man good looks. We had a great time getting to know each other, sharing stories and learning about each other's interests. I was thrilled to see his blog with all of his plants, which I wish we had time to see in person, as well as his bird collection. Breakfast was yummy, of course, and it was a little surreal being surrounded by so many families who hadn’t a clue about our past histories or what we were discussing. There was definitely an alignment of the stars this summer for me to be able to catch up with both Steve Rambo and Will Seagers in the same month. I’m happy to say they both look great and are in a good and happy place!

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

By Josh Eliot

Living and working in Hollywood / West Hollywood in the 1990s for Catalina Video was very different from shooting movies at the studio we had in San Francisco in the 1980s. Most tourists come to town hoping for a sighting of their favorite celebrity when they purchase a “map to the star’s homes” from a  vendor on the border of WeHo and Beverly Hills. I know I was a little star struck when I had celebrity sightings that happened quite by chance. Once in the Century City mall, my friends and I spotted Michael Nader (Dex Dexter from Dynasty 1981-1989) after the show ended production. In LAX the timing was just right for me to pass Elizabeth Taylor, being pushed in a wheelchair on her way to the gate. I positioned myself just right to get close to her as I passed. I started my stare, and when our eyes locked onto each other I said, “I love you, you're fabulous,” and she replied, “Thanks sweetie.” It was a moment for sure! Helen Hunt used to be a regular for breakfast at Hugo’s Restaurant, and Shelley Winters pulled up and parked her ass at our table one morning for breakfast at the Silver Spoon. It started when she asked us to use our ketchup, then when she finished her meal and her friends left, she sat at our table and chatted with us. Cell phones and selfies weren’t a thing yet, and how I wish I had a photo!

 

Working with Catalina and shooting on location opened itself up to some close encounters – not with celebrities, but with their homes. Fatty Arbuckle was a silent film actor at the top of his career with Paramount, earning three million dollars over three years to star in eighteen silent movies. In the summer of 1921, he was accused of slaying 25 year old actress Virginia Rappe at a gin party in a suite at the St. Francis Hotel in San Francisco. Finally acquitted after three trials and his career in ruins, he worked behind the scenes directing under the name William B. Goodrich and died of a heart attack at age 46 on June 29th, 1933. Somehow, Scott Masters got us access to one of Fatty’s previous homes in the Hollywood Hills to shoot the movie The Bite, Directed by Chi Chi LaRue and starring Jon Vincent. I swear the people occupying the place were squatters, because there was little to no furniture, sleeping bags in an upstairs room and we needed to use generator power. It was a bit sketchy, but the character of the gothic interior was perfect for the vampire theme, and a little creepy at the same time.

The show Eight Is Enough starring Dick van Patten and Betty Buckley ran from 1977 to 1981 and I remember watching it loyally while in my teens. When Masters and I went to scout the location, I was thrilled to see the front of the house (the inside, not so much) where the cast stood in the opening credits. I found out later that they also used the house exterior for episodes of Murder She Wrote (as a mortuary), Quantum Leap and the Rockford Files. For the Scott Master’s movie Reunion (1992) starring Cody Foster, we shot the main sex scene right there on the front porch, showcasing this famous house that was unfortunately bulldozed in 1996. Cody passed away from liver cancer in 2007, but lived a tumultuous life once leaving the industry in 1995. He had numerous run-ins with the law, ending up with a four year sentence in Jefferson County, Colorado for retaliating against a person he had victimized. He was a bit of a loose cannon on the sets and could turn on a dime. I was glad that Scott Masters was directing him, not me. We heard at some point that he’d been arrested for shooting a gun at the State Capitol in Colorado. I have no way of knowing if that was true or not. He returned to the industry in 2000 and 2001 in a couple of bondage movies from Grapik Art Productions.

On a lighter note, Orson Welles  had a beautiful home just a block or two up from Hollywood Blvd. We shot the Brad Austin movie Sunsex Blvd (1993) there with Zak Spears as Norman Desmond, the Gloria Swanson role. Brad worked for some time as the personal assistant to Ms. Swanson prior to coming on board as my right hand man and head of the crew. This movie was very personal to him and a huge success. We cast Max Stone as the character Max, Norma(n)’s driver, as he was a dead ringer. Scott Masters had connections and we rented another one of Groucho Marx’s vintage automobiles for Max to drive Norman in. We had previously rented a different vintage car formerly owned by Groucho for my movie Object of Desire. The reenactment of the shooting scene with the William Holden character falling in the pool and the scene of Norman coming down the stairs for his “I’m ready for my close-up” cum-shot were brilliantly shot in black-and-white. It’s a fun movie to check out!

Last but certainly not least was shooting in Sharon Stone's previous residence. We shot Revenge of the Bi-Dolls there, and from the grand staircase to the humongous master suite, this place was divine! The rooms were so large that we had echo problems with the audio, but the look of the place made our low budget movie look like a million bucks. Chi Chi LaRue and Sharon Kane perform their incredible duet which opens the movie throughout the many rooms of the mini-mansion. I’ve attached a link so you can watch it!

Well, that’s my little contribution to the Hollywood Babylon-esque world where porn and the Hollywood elite had six degrees of separation.

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

By Will Seagers

Hi, folks! Will here with a blog for you! This time a bit more storytelling than the past few photo blogs of late. I have noticed that in my life I have a tendency to return to some of the work that I have enjoyed in my earlier life to experience "The Second Time Around."

I guess the most obvious of these returns is my return to the porn world. This time around, however, is more reminiscing about the great times I had doing "The First Time Around!" LOL. This second time started with a simple reply to the question, “What ever happened to Will Seagers?" Because of the tragedy of the AIDS epidemic, so many of my fellow screen stars had passed. When a death was not published, it was just assumed by many that one had! So, I emailed off a quick reply to the blog editor at Bijou to head that rumor off at the pass and fell into a deep and wonderful conversation that has lasted for about two years now! I did have the eerie experience of seeing myself listed as "passed" once in a gay publication... once was enough of that!

 

One of my earliest jobs (circa age 18) was selling men's clothing at a well known affiliate of Macy's on the Jersey shore. That was repeated two more times. Once in the prestigious Neiman Marcus store in San Francisco - again in the men's department (circa age 40). And, the same placement happened in New York at Bloomingdales - in the men's designer department (circa age 45). Those were tough places to work if you were a clothes horse - the temptation to spend every thing you earned was all around you!

Another realm of selling that I really enjoyed was in consumer electronics. I loved electronic gadgets of all sorts and was quite the consumer. My favorite salesman, Harold, at Eber Electronics in San Francisco, referred me to the manager for an interview. That was a slam dunk. I knew almost everything in the store already! LOL. My second time around in electronics happened in Santa Fe, NM. My partner and I had recently moved there from NYC. I was not too happy with my original job there and was on the hunt for something more satisfying. Voila. I was given a tip that the local and independently owned Video and Hi-Fi store was in need of a salesman. I arrived in a midnight blue Giorgio Armani suit (from Neimans!). The owner was from NY. and a bit taken by my dressing up for the occasion. We hit it off and I was placed as the Hi-Fi manager. Yippee! Although the owner and I would bump heads from time to time, he loved how I merchandised and laid out the sales floor.

Music, music and more music! After I left San Francisco in 1991 and returned to New Jersey, I really had no planned path in terms of my next job. So, I relaxed but kept my ear to the ground for any leads. My younger sister introduced me to her fiance's brother who worked selling organs and pianos. Organs were one of my lifelong loves. So, I scored well in that job and was soon to manage two other stores. Fast forward to 2003 and spin the globe to Tucson Arizona and I find myself playing and selling organs for the second time... albeit a briefer stay. I was too used to being a manager and didn't take kindly to this manager's tactics... so, I moved along.

Mattresses? You know you have seen me on a few of them... But, selling them? For this I needed to consult the Stars! Yes! In my more than 50 years of being an amateur astrologer, I sometimes look to the heavens for answers. In the early 2000s, after a fiery termination at the Santa Fe electronics store, I aimed my head to the sky and mused over a few possibilities. I had a natural knack for selling, from the strong Sagittarius influence in my 6th house. And my 10th house, ruled by Pisces (the career house) dealt with cinema, the arts and affairs of the bed! Selling mattresses came quite easily to me. I started off in this trade in Santa Fe (after my fiery dismissal!), took it to Tucson till 2005, then brought it back to NM where I regained my original position with the original company until my decision to retire in 2019.

So, in my life there have been many "full circles" - returning back to familiar turf. In each of these jobs, it was my intent to bring pleasure to the selling process and make every client feel enriched by the process. I don't miss the quotas and other related pressures. But, I will always miss the wonderful interactions I had.

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted careers and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model, film performer, and DJ, just to name a few. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.
 

 

 

The movie Undercover, directed by John Travis, won Best Picture and Best Director at the 1989 Adult Video News Awards. The year prior he also won for Powertool, which starred his discovery, Jeff Stryker. To put things in perspective, 1989 was the same year that I directed my very first movie called Runaways. We shared a few of the same cast members including Danny Wade and Jake Corbin. Recently I cut a trailer for Undercover, which I posted on my YouTube channel as part of a tribute for John Travis, Scott Masters, Chet Thomas and Cameron Leight. The four of them really influenced me with their talents, all in different ways, and they really all were the pioneers at Catalina Video, so I thought that since they are no longer with us it would be special to add clips and trailers from their movies to keep their legacy alive. When viewing the footage from Undercover, I was surprised to see how young Jake Corbin looked. It made me remember that we were about the same age when we shot the movie. I was 27 and he was 26 and we both shared the common bond of being born and raised in the state of Rhode Island. When I met Jake Corbin, I remember thinking that he was very sexy and I was impressed by elements of his personality. He was very East Providence, as we would have said about a street-wise guy back in Little Rhody. He was like that hot guy in high school who could easily have been a bully, but the fact that he was gay and not “gay for pay” made him even more attractive. His accent was much thicker than mine, as I moved to San Francisco at age 17 and he still lived back east in Rhode Island. When I discovered that he had passed away at the young age of 29, on September 27th, 1992, I was in a state of shock. Just three years after shooting Undercover and Runaways. Scott Masters broke the news to me and we were both very upset and saddened.

On a positive note, when revisiting Undercover’s footage for the trailer, I was pleasantly surprised by the fabulous sets that Dan Allman (aka Cameron Leight) and I built for the movie. Shortly after building the sets, Dan Allman broke the news that he was leaving the company. I was suddenly the studio manager and their only videographer. The pressure was on. Thrown onto main camera for this big budget movie was terrifying, but luckily those cool sets gave me a lot of ideas visually, assisting me on finding the best angles. These sets were the bomb, and in addition to building life sized sets I had to build a miniature set of the apartment complex. The miniature set blows up at the end of the movie, which was fun to shoot! The life sized sets included: a fire escape where Butch Taylor lays out overnight on a mattress to beat the summer heat, but once asleep, a hooded leatherman (played by George Madera) climbs up and over him; a rooftop set where undercover cop Brad Phillips busts Paul Coder for rolling a joint, then proceeds to bust his ass; and an alleyway set between buildings where Jake Corbin and Danny Wade chase down, tackle and attack sweet young twink Danny Bliss. All these locations are watched over by Tom Steele and Doug Niles from their stakeout apartment set on a high floor overlooking the complex. Rear Window at its finest, emphasis on “rear.” Detective Tom Steele gets hornier and hornier watching all the action around the complex, causing him to give up his “straightness” to detective Doug Niles, shoving his oversized cock right up the keister. The final set we built was an exterior apartment, viewed through a picture window that housed Michael Britten, who was hosting a play date with Rick Stryker. Rick Stryker, the real life brother of Jeff Stryker, made his debut in Undercover, and the crew was very excited to be a part of what we thought was going to be very important porn history. “Stryker’s brother?…OMG I can’t wait!”

 

Jake Corbin Rick, Stryker and Tom Steele

 

Well, the hype kind of fizzled while shooting the scene, so a stunt dick was brought in to handle all of the fucking. But not just any stunt dick – one who could match the length of Stryker and was a “true closer” to get in, get busy and make some magic. The stunt dick called to service was none other than David Ashfield (Surge's Therapy and Strange Places, Strange Things), already an icon in the industry. It was surprising how quickly Scott Masters could get stunt dicks to the set, almost like he had them on standby. This was my one and only time meeting and working with David, so I don’t have a vivid memory of things, but I do remember his rock hard piece going to town on cute Michael Britten, and he was also very friendly and personable.

 

David Ashfield in Therapy and Strange Place, Strange Things

 

Tom Steele was introduced to our team by John Travis when he directed the movie Powerline a month or two earlier. The first time I met him was at SFO Airport when he arrived on the “Midnight Flyer.” Scott Masters and John Travis were arriving from L.A. the next day, so I had to chaperon him for the night at the condo Catalina rented for cast members and out of town crew. It was a great two bedroom apartment, far away from the Castro and Polk Street districts to keep the models in check. One room had two queen beds for the models and the other bedroom had a king sized bed with a $1000 Airflex mattress that Masters splurged on for himself, pissing off GM Chris Mann. These days those mattresses start at around $4000. It was really comfy, but became much more so when during the night Tom Steele poked his head in and asked if he could sleep with me because the queen beds were as hard as a rock. Of course they were – Masters only let me spend like $200 on each of them. This was Tom Steele and I was 27 so let’s face it, I was hit with some major temptation. Right from the start when I picked him up at the airport I was comfortable around him. He is exactly like the character from all his movies that you see on the screen. Not too much of an actor, just him reading the lines. For such a handsome super hung stud, his personality is really sweet and down to earth, no hang ups and no attitude ever. I tried my best to be professional by offering to just switch beds with him, but he insisted on sharing the luxurious king size. King sized was right! But I did feel guilty when I saw Travis and Masters the next morning.

 

Powerline promo shot and box cover featuring Tom Steele

 

Getting back on subject, Undercover, in my book, was one of John Travis’ crowning moments. Just being on the set of this movie put him in a good mood. We experimented with the dolly tracks to get some cool shots. We lit the shit out of the sets with color gels and Travis taught me the importance of backlighting the models. At one point, midway through a scene, Travis said: “You know this is all going to look like mud once it gets down to VHS.” Going from 3/4 inch source material tape down to 1/2 inch VHS really took away so much quality. Thanks to modern technology, quality loss is a thing of the past. The cast and crew all felt like we were making something very special, so we tried everything in our power to make it look sensational. John Travis’ ultra-specific direction on framing each shot, lighting each shot and directing each shot was priceless to me. When you learn from the very best, all you can hope is that you can emulate their style and somehow make it your own. I was so honored to have worked on Undercover, and am so grateful to my mentor and idol, John Travis.

 

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

By Josh Eliot

 

The year was 1991. Catalina Video’s GM, Chris Mann, had left the company and started running things over at Video Team. As soon as Chris was OUT, The new GM, Mike, was IN. He was handpicked for the position by David Weiss, William Higgins' right hand man. Weiss and Higgins had an investment business called Drake’s Bookstore on Melrose Avenue in Hollywood. Mike had proven himself to be a great manager when they put him in charge of the high end bookstore and he kept the business in the black when tough times called for radical changes. The first was when MOM (the “Merchants on Melrose”), a group representing about 3000 residents, complained to city officials. All the peep show booths needed to be removed because the city investigators found Drake's and another shop named Taboo in violation of the zoning code intended to keep adult entertainment stores away from schools and residential areas. The battles lasted many years, before and after Mike came to manage Catalina Video’s operations. The city also demanded that they reduce the percentage of sex-related adult products in each store, replacing content with products unrelated to sexuality. Drake's eventually closed.

I’m sure it was a real pain in the ass for him dealing with this stuff over and over again. Catalina must have felt like an escape to him. We were a pretty well-oiled machine when he came aboard. Scott Masters was producer, I managed the video crew and John Travis was one of the top rated directors of the time, bringing success and big bucks in sales from movies like Powertool and Undercover. Chi Chi LaRue and his best friend, Kevin, worked in sales and promotion. TJ worked in the art department and designed all the boxes and one sheets. Costello Presley was composing and providing all the music for the movies, and Chet Thomas was the full time editor. As soon as Mike came into power, he started shopping for a new location in Reseda. Our palatial North Hollywood headquarters was too big and expensive to suit Mike’s taste and he had one thing in mind: stop the bleeding of money. In the early 90s, the sales started to decline on new releases as the market was suddenly overblown with competition. We were all kinds of shocked when we saw the size of the new place. The warehouse was a decent size, and Mike’s office could have easily been split into three, but the rest was divided into small offices just big enough for a desk and a path to walk around it. Chet had a nice space for editing, though it was also supposed to be where Costello stayed, but shortly after moving to the new location Costello Presley left the company.

 

Vintage Catalina promotional ad designed by TJ  

Josh Eliot and TJ

 

From the very start, we were shown that Mike and Chris Mann were very different in their management style. There was tension between Scott Masters and Mike regarding how things were handled in the production department. The good ole days of blowing money on non-essential things was definitely gone for good. It wasn’t so drastic that our company cars were taken away or anything like that, but we would be tightening our belts on everything that had to do with production expenses. Things started to boil over when Scott Masters and John Travis were told that royalties were a thing of the past and the company would no longer compensate them monthly on their previous movies' sales. They settled on a flat fee. All future movies would be on a flat fee basis as well.

My contract with Catalina never included royalties from the get go, so there weren’t any financial changes for me. The whole thing between Masters, Travis and Mike came to a head behind closed doors and, like a flick of the switch, Masters and Travis were OUT. Masters called to tell me they were parting ways, but assured me that they would be starting their own production company (later to be called Studio 2000). He wanted me to leave Catalina with them and join them on their venture, but could offer no financial detail on how and when I would be compensated. It was in limbo. Deep down, I really did not want to leave Catalina, because I had a great rapport with Mike and all the other associates. Luckily for me, before Masters could come back with a concrete offer, Mike pulled me aside at my 30th birthday party at the Gold Coast Bar in West Hollywood and offered me the job of Catalina’s producer, which I instantly accepted. The whirlwind began, and for the next 15 years we pumped out two to three movies a month until our very last production: Hot Buttered Cop Porn in 2006. Sometime over the next number of years, once David Weiss passed away in Amsterdam, Mike quietly purchased the company from William Higgins.

 

Hot Buttered Cop Porn original and re-release box covers

 

After wrapping Cop Porn, we spent the next three years remastering and re-releasing all of our VHS movies onto DVD. It was kind of a relief to have the pressure of producing lifted from my shoulders and I could focus strictly on video editing, something I thoroughly enjoy. Going back to my early teens when I would sit on the living room floor with my 8mm editing unit, complete with splicing tapes, editing my home movies like Avalanche, Bionic Boy vs Big Foot, Crash, Earth Quake, and The Last Voyage. You can see trailers of those movies on my YouTube channel if you like disaster movies or if you just want to torture yourself! Here’s the link to: Josh Eliot, What A Disaster.

 

 

OUT of the blue one day in 2009, Mike came to visit me in Palm Desert, where I had moved to while continuing to edit and remaster for the company. I was shocked and surprised to hear that he was selling the business known as Catalina Video to Channel 1 Releasing. C1R had several partners including Chi Chi LaRue, so it seemed like it was a great choice for the library to go to them. He explained that part of the negotiation of the sale included keeping me and a couple Catalina employees on payroll for two years from the sale date. Though I was asked to produce new content for them, the thought of producing again was a real turn off to me, so I ultimately decided to only work as an editor for them, which they agreed to.

Two years to the very date of the company’s purchase of Catalina Video, I got my walking papers, and just like that, I was OUT.

 

 

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002.