The Accidental Voyeur: Face to Face With Jill Kelly

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My years of hanging out with porn stars certainly brought their share of amusing incidents, but I’m particularly fond of one memory and it involves the ever-enchanting Jill Kelly.

Back in late 2000 and into the spring of 2001, I spent a great deal of time with Jill. We’d first met when I interviewed her for a Penthouse Variations profile (published in the October 2001 issue), right after she’d started her own company Jill Kelly Productions, working out of a house on Thrasher Street in the hills north of Sunset Boulevard. Getting there was a challenge – through a labyrinth of small streets north of Doheny Drive, wending past two stop signs, a right turn for 50 yards, right again past two more streets, then heading a long way south to a house on the right once you found Thrasher — but I gradually found the drive easier the more times I went there, which ended up being quite a lot.

Jill’s an unusually warm person for a porn star, which is why so many new girls cite her as a role model, and she gave me free rein on the sets of her shoots. Sadly, Jill Kelly Productions wouldn’t last (and was eventually acquired by Penthouse, an ironic fact for me) but back then the movies came fast and furious and there was a lot of carpe diem to burn. I was then also doing on-set reportage for Fox, the hardcore spank mag from Montcalm Publishing in New York, scribing first-person “live”narratives from the shoots and getting color slides from the various art departments for my layouts.

Jill generously gave me the use of her studio in that Hollywood Hills house, to choose the slides I wanted and then get them duplicated at the film lab that she herself used (Iris Custom Color on Hollywood Boulevard – a great bunch of guys), so there I was one December afternoon, going through a mountain of slides for a movie she’d just shot, Coming of Age 2, directed by Michael Zen. It featured a long scene with her and Julian, the hunky stud with the muscular tattooed arms who was also her real-life boyfriend at the time, and I began setting aside several chromes depicting them at work  – Jill astride Julian cowgirl-style with his famously large cock penetrating her, Jill with legs spread while Julian’s tongue lapped her clitoris, Jill holding Julian’s throbbing cock in various guises of drip-and-drizzle glory.

I’d selected porn slides before and it was just another chore to complete an assignment, and so I was still hovering over the light box an hour later with one eye on my loupe and didn’t notice Jill walking back into the room until she spoke. “How’s it going?” she asked me. “Need me to help you with anything?”

“Actually, yes,” I replied. “I need one more slide. Right now, I’m looking for a shot of you with cum on your face.”

“Sure,” she offered matter-of-factly, “I’ll help you find one.” She immediately sat down opposite me and starting sorting through slides. A few minutes later, she held one up and smiled proudly. “I got it! What do you think?”

Yep, it sure was the money shot — a close-up of her face as she kept eye contact with the camera, her right fist still gripping Julian’s hard cock as his milky-white streaks coated her left cheek and lower lips. You always know the right photo when you see it. I thanked her profusely and she just grinned. “No problem, I’m just happy to help,” she shrugged, and we were done.

That image was used to open my piece in the August 2001 issue (Fox, Volume 20, Number 2, for any porn geeks wanting to track it down). I’d actually titled the piece “Jools and Jill Go Up The Hill,” in sly homage to the 1962 Francois Truffaut film Jules and Jim but I had clearly overestimated the intellectual capacity of my editors at Fox. When the issue came out, my clever headline was changed to “Cum in My Mouth, Baby!” — with the even more brilliant subhead “Auntie Jill gets throat-fucked on the set of her latest, Coming of Age 2” (not written by me, either). But I wasn’t complaining. How could I, after Jill had worked with me to find that winning shot with such nonchalant composure?

Jill wasn’t in the least bit embarrassed, after all. She knew it wasn’t the first time I’d seen her in post-fellatio pose with all that gooey goodness serving as skin moisturizer. The cum shot is a porn convention, the final set piece of a performance, and the facial cum shot illustrates what porn does best as a socially transgressive medium – it offers for the viewer’s pleasure the silent, submissive consent of the willing recipient, which I find very sexy.

Seriously, when was the last time a girl gave you a photo of herself with cum on her face? Jill Kelly will always be, for me, the paragon of cool. I’ve never told her this but l will always cherish that moment and love her dearly for it.

 

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Drew McKenzie was previously the "Cinema Blue" columnist for Penthouse Variations and also wrote for AVN Online, Fox (from Montcalm Publishing, New York) and Guld Rapport (from Stockholm, Sweden). He is also the author of seven books -- three on porn stars, all done under his real name.