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Juliet Anderson Biography
Aliases: Alice Rigby, Aunt Peg, Judith A., Judith Carr, Judy Carr, Judy Fillbrook, Juliet Carr, Ruby Sapphire
Born: July 27, 1939 Burbank, California
Height: 5 ft. 5 in.
Weight: 117 lbs.
Eyes: Blue / Green
January 11, 2010 (deceased at age 71)
Juliet Anderson born Judith Carr on July 27, 1939 in Burbank, California, USA is an American porn star and noted Director an old school Legend, she was active in many aspects up to 2010.
A father who played the trumpet and a mother who wished to be an actress, "Juliet Anderson" grew up in Burbank, California. Sickness, only recently diagnosed as Crohn's Disease and manic-depression, kept her in bed and in hospital through much of her childhood.
Anderson graduated Burbank High School in 1956 and later attended Long Beach State before moving to Japan to study art. She had a brief but intense marriage to a man in the Navy. They remained as friends all time.
After teaching English language courses for several years in Mexico, Japan, Greece and Finland, Anderson returned to the United States in the 1970s and became involved in the pornography industry. Juliet leaped into pornos at age 39 in Alex deRenzy's Pretty Peaches. While attending San Francisco State, Anderson had begun working behind the scenes of porn production and because the sex seemed fun, she became a performer, adopting the name Juliet Anderson. She developed a serious reputation as a performer of voracious appetite ? she boasted of never faking an orgasm in any of her scenes.
The majority of her early career consisted of 8mm loops produced by the Swedish Erotica stable. One of these loops wound up becoming her "signature role" as Aunt Peg. The name was acquired from a throwaway line in one specific loop, where she is referred to rather emphatically as "Aunt Peg" during a threesome between herself, John Holmes, and her "niece", Sharon Kane. The name stuck, and even after Anderson moved from 8mm loops to feature films and began going by "Juliet Anderson", if she was not sub-billed as "Aunt Peg" on the posters and box cover text, she was identified as such in the reviews.
Juliet returned to porn in 1995. Her latest appearance comes in Masturbation Memoirs by House O'Chicks. She lives in the San Francisco Bay Area. In a 1997 interview with the San Francisco Chronicle, she loudly denounced the movie Boogie Nights for painting porn in a negative light.
"I'm a relationship counselor which focuses on integrating mind, body and spirit," Anderson wrote to me 11/98, "which includes ways to bring sexuality into one's life in a healthy and realistic way. I also give workshops for women and couples such as Touch As THE Play. And finally, under the banner of Afterglow Productions, I produce and direct sexual enhancement videos for "the baby boomers" featuring real couples over 50 years old."
If Kay Parker was porn's mom, Juliet Anderson was its dirty aunt, starring in quite a few of porn's great movies; she was that legendary woman whose sex drive not only kicked into high gear at 35, it turned on the afterburners and went orbital. With her distinctive short blonde hair and a spectacular body that always surprised you when the business suit came off, she always played a responsible, pragmatic older woman who reveled in sex without being desperate. She was maturity personified, calm and appreciative without being jaded or cynical. She loved her sex, and she got what she wanted. The character she created, Aunt Peg, only gave a name to the archetype she embodied.
Interview: Juliet ďAunt PegĒ Anderson
One of the most refreshing additions to adult films in the past few years has been Juliet Anderson. After being bombarded with a multitude of busty beauties who become faceless after a time, Ms. Andersonís worldly, more experienced craving for sexual fulfillment comes as a nice alternative.
In less than four years, Julietís torrid performance in Swedish Eroticaís AUNT PEG series, as well as two highly acclaimed flicks, SHOPPE OF TEMPTATIONS and VISTA VALLEY PTA, have earned her a reputation as a penis-hardener and vagina-twitcher. Juliet does it all, she does it well, and unlike many past and present erotic stars, she can get up off the bed, take a shower and assume an identity as a psychiatrist, lawyer, or surgeon without losing any credibility. Time and again she has proved that taste ass well as tit can be a turn-on.
Lately Juliet has taken up directing. Her first full-length effort behind the camera was EDUCATING NINA, recently released by Superior Video in San Francisco.
CAV: There has recently been some debate over how best to describe the explicit action thatís the core of adult films. Descriptions range from making love, to having sex, to fucking. Do you apply labels to your various erotic experiences both on and off the screen?
JULIET: First of all, making love is just semantics, the words we use. In my vocabulary there is a difference between making love, having sex and fucking. Now there are times where Iím having sex, Iím not making love. Which doesnít lessen the value of it. But itís somebody that I donít know, itís almost like Erica Jongís ďzipless fuckĒ in the train Ė the mind-blowing, incredible orgasms and nobody is hurt. Itís so exciting and itís a matter of sharing. Sometimes you get more, sometimes somebody else gets more.
As far as making love, this presupposes a relationship. Certainly in most films, there are very few relationships. Most of the time somebody drives down the street and sees a girl with a 38-D cup and says, ďHi ya, baby!Ē And she runs over to the car and says, ďOh! Look at that bulge in your pants, Iíll bet youíve got a great cock!Ē And he says, ďJump inĒ And theyíre making it right there. Well, that does happen. And I know that I personally involve myself in my private life in things like that every once in a while. Itís like a hot fudge sundae Ė something you like occasionally but not all the time.
So youíve got to be careful about what youíre talking about Ė whether youíre making love or having sex or just plain fucking. Fucking is just genital to genital.
CAV: In terms of publicity, youíre very selective about the type of image that you let get out into the streets.
JULIET: Definitely! Iím just selective period. In the way that I choose my personal friends or the type of home I live in, whatever. Letís say for some people itís a luxury, for me, itís a necessity. Iím just lucky to be in the right place at the right time and I happen to be a highly individual type. So I think it really benefits me to be patient. I mean, I have to twiddle my thumbs, maybe, waiting between films. But in the long run, I think that it imparts a certain integrity and that when I make a film, I know that itís going to be good for me, itís going to be good for the audience, and Iím really going to get my message across.
CAV: Letís talk about your image. What type of feeling is it to cater to the romanticists in the audience who fantasize making love to you as much for your demeanor as for your looks?
JULIET: Itís lovely! I love making these films. I donít take a part in a film unless I think that Iím going to have a great time, that Iím going to learn a lot, that Iím going to inspire my fellow workers, that Iím going to turn on thousands and thousands of men and women. Now thatís what I try to do, and that alone, and it has become very popular, so now Iíve started to capitalize on it.
Iím many different people and I could have played another type of character. But this feels very, very good because I want people to know that you donít have to be a 20-year-old sex bunny to be sensuous. See, I believe in sensuality in eroticism rather than political sex. You turn on people (points to her head) right up here, in between your two ears. I happen to fit a certain type that turns a lot of people on, mostly men, because I look like a teacher, librarian or businesswoman, but very realistic, like the type of woman that thousands of men have had dealings with. I appeal to their imagination, because Iím sure that as a man, you had a teacher or someone you looked at and said, ďGod, you know what sheís wearing her horn-rimmed glasses and sheís got her suit on, but geez, I wonder if she does it?Ē
Well, I show them that yeah, not only does she do it, she loves it. And underneath that suit are garter-belts and stockings and when she gets down, she gets down. Not only that, but the age factor is real important. I want people to know that your sex life does not end at the age of 30. And that both men and women can be eternally sexy if their heads are in the right place and they take good care of their bodies. So I find this particular image that I have created, or my fans have created for me, very, very satisfying. And also it gets me a very nice wardrobe (laughs). Itís a lot more fun that being in blue jeans.
CAV: Do you disapprove of the blue jeans movement that has become popular among todayís women?
JULIET: You can be sexy in blue jeans. But nowadays the dress seems to be sort of a unisex look. Women are almost defiant, theyíre trying to look like guys too much. Itís like theyíre saying: ďIf I have to put make-up on and high heels for you to think of me as a woman, well shit, Iíll go and play with my vibrator.Ē I donít believe that. I just love the difference between men and women.
A woman doesnít have to feel that sheís giving up her identity by being very, very feminine. I love being very feminine. I think that nowadays this blue jeans, T-shirt look makes sex not cheap, but common.
CAV: Could you elaborate on what you mean, by ďcommonĒ sex?
JULIET: Let me say this. I lived in Scandinavia for a long time and the prevailing attitude over there (excluding Denmark which is part of the Continent and more European) is that sex is no big deal. Itís just like eating or sleeping or anything else. In general, Scandinavians donít understand or practice eroticism. Itís just: ďHuh, okay, wear your panty hose, itís night time, take your things off and get in bed,Ē and thatís it. I donít think thatís the way it should be. I think that you have to create a romantic mood.
Itís very important to think that spontaneity can happen anywhere. Most of the people live in the younger generation have an idea of being spontaneous, like ďHey, we can do it any place that we want.Ē But thereís a difference. Itís creating a mood, getting into your fantasy, making it something different from your regular life. And thatís what I want to share with people. It turns me on, I believe it and Iím able to project this downright honest love of sexual fantasy and that, hey, you donít have to be a movie star. You, too, can do it.
CAV: Would I be putting you on a spot if I ask what actors and actresses are your favorite work mates?
JULIET: No, itís like in real life. There are certain people that you click better with than others. To date the male stars that Iíve worked with that I like the best are John Leslie and most recently Bobby Astyr. There have been men that Iíve worked with in loops, names you wouldnít know, who have been fantastic. As far as females, Veronica Hart is a relative newcomer and she is great. I take my hat off to that lady. Sheís very professional.
Let me say here that the Number One criterion in my book for working with someone is professionalism. Everyone defines that differently, but people have to have an attitude that this is a business and you give your all and youíre sincere, responsible and reliable and you believe in what youíre doing. Also you donít think of it as pornography; you donít think of your fellow actors and actresses as whores and bastards. You think of them as creative people who are very sexual and getting that message out there while trying to turn a lot of people on in a very positive way.
Getting back to favorite actresses, there are women I like to work with, whom I respect in this business, and they are Jessie St. James and Georgina Spelvin, for instance. And oh, Merle Michaels is very good. I worked with her in New York and sheís a great little actress.
CAV: So many girls take the adult film scene by storm and disappear shortly thereafter. Why do you think some actresses are more stable than others?
JULIET: Well, this is a business that most people donít feel comfortable with. It goes against the grain with a lot of people. So, theyíre living out a fantasy, or itís fast money, or itís something thatís maybe fun for the time being but nothing that you want to make a profession of. It attracts a lot of transient people. That doesnít mean that there is anything wrong with them. But they have other plans and I donít blame them. You have to have a lot of tenacity to stick in this business, because good films come along very rarely. Which means that youíve got to have some way to pay the rent. You have to get a job that gives you the freedom to be available when a film comes along.
CAV: Before we forget it, what about your new career as a director, working behind the camera for a change? Do you plan to go on directing films?
JULIET: Oh, yes indeed! I like directing. Itís much more challenging. Youíre not just a body up there in front of the lens. And Iím thoroughly sold on making movies the live video way. ALL THE KINíS LADIES, you know what shot entirely on videotape. Itís more spontaneous than the old movie method of cutting back and forth to this scene and that. Here itís shot with real continuity and thereís more drama and life to it.
Although that was my first shot at real directing, Iíve done considerable other work behind the camera. Iíve written X-rated scripts, Iím a photographer, Iíve done a lot of pre-production and post-production work, I do agenting and casting and so forth. So what Iím getting at is, I havenít had to rely on porn acting for my living. Iíve been my own boss, so Iíve been able to wait till the right picture comes along, and thatís a big thing.
CAV: With the heavy competition that has developed among adult filmmakers vying for limited movie house availability and big sales on the home video market, do you think the high production standards of people like Henry Paris, Harold Lime, Sid Niekerk and Anthony Spinelli have served notice to others in the business and pushed an upsurge in the quality of adult films?
JULIET: Definitely! The principal one of those that iĒve worked with is Anthony Spinelli. Iíve worked a number of times with him, and I do adore his talents. I think heís one of the best in this business and a real trend-setter. But still itís real hard, no matter how good you are, to convince people who are putting up the money that production values are absolutely vital. Anthony is the director and he only has so much influence.
The success of my film A GIRLíS BEST FRIEND by Henri Pachard, who won Best Director of 1980 for BABYLON PINK, went a long way in determining the future of high production values. I would hate to guess how much money went into that production. As far as I know, itís probably one of the most expensive films ever made. Itís just incredible. I was the lead and my wardrobe was worth thousands. I had a wardrobe designer design and make everything especially for me, in silks and satins. I had a Halston gown, I had a fox wrap, every little detail was taken care of, plus the locations were just Ė oh!
CAV: Sounds like a great experience.
JULIET: It sure makes a lot of difference when youíre working in conditions like that with people who appreciate the value of good talent and good production values coupled with a good director. Boy, Iíll tell you, thereís nothing I wouldnít have done for those people. I wanted to make that the best film that was ever made just because they treated me so well, like I feel I should be treated Ė with respect Ė and made to feel good so Iíd do a good job.
CAV: Despite your treatment in GIRLíS BEST FRIEND, Jessie St. James, Susan Nero, Candida Roaylle and other colleagues of yours have said that they disapprove of the way that most female roles in adult films make them out to be cheap whores or prostitute types. Would you comment on this situation?
JULIET: Itís almost like, if youíre going to be in one of these films, then basically, you must be a whore. I donít care how many years of college you have under your belt or how much of a lady you appear to be, or how nice they are to you. Letís face it, look at the age of most of the directors and producers.
Deep down in their hearts itís pretty hard for them to really accept the fact that there are liberated women Ė women who can actually have lots of lovers and do these kinds of things and still be nice women. They can accept it intellectually, but to accept it emotionally is real difficult. I donít blame them, itís just that attitude is outmoded. Something has got to be done, and I think maybe itís up to the young filmmakers coming into the business.
Iím happy to say that on occasion women are being portrayed as thinking, feeling human beings who are not exploited by men. As I said, this is very slow in coming and I donít mean to really criticize because you canít change things overnight. It has been a male-dominated market for as long as itís been in existence and it still is. We mustnít ignore this. But the fact is, there are a lot of hot, sensuous , sexy women out there who are just experimenting with this sexuality, whoíd never go into a bookstore, but they wouldnít mind watching it in their home or with a boyfriend at his home or something like that. And I think the trend is going to be more and more towards home entertainment for couples. Thereís where youíre going got have to think about liberate men and women. And donít forget, I mean liberated.
CAV: Do you have a problem getting people to separate your professional life from your private life?
JULIET: Well, we canít deny the fact that sex is a powerful force. Even if we deny it, the mere denial makes it powerful. At the beginning, I ha a difficult time accepting what I was doing in regards to my friends that I had, and my family. It was like, gee, Iíve been a rebel before, but this is ridiculous (laughs). You know. Whatís a woman my age doing out there showing her buns to the world? So it took me a while to reconcile that, and I had a difficult adjustment period for a very short time. Iím resilient. Iíve very flexible. Iíve traveled a lot in my life, and I just size up a situation and either accept it and make the most out of it, or I abandon ship.
In the beginning, I associated with the wrong kinds of men. Then I found them to be either totally intimidated by me, like ďOh my God, sheís been with John Holmes, I couldnít measure up to that!Ē A lot of men are really insecure about their sexuality, as are women. Or, Iíd run into attitudes like: ďWow! A sex star, I canít wait to get her into the sack!Ē It was like theyíd ravaged me, thinking I was something fantastic.
CAV: An object, more or less.
JULIET: Oh yeah! It was just like, ďIíve got to get her in bed!Ē This really distressed me because Iím a very sensitive person. Iím a Leo and I needs lots of affection, lots of attention and love. And I wasnít getting that because I wasnít putting it out. I had a lot of fears and I was projecting them. Once I relaxed with what I was doing and felt proud of what I was doing and I told my family and my friends, it was like taking a yoke off my back.
Suddenly I was able to breathe freer, and I started to project a very wholesome, positive image. Then I started attracting the most incredible, beautiful, wonderful men. Now, I find that I have no problems at all. I know some absolutely marvelous men who relate to me as who I am in my private life, not what I am on the screen. And actually, the two do not mix.
They do overlap in that if Iím working on a film, then Iím not feeling very sexual. I put all my energies into the film. But in my private life at home, I have a very normal kind of sex life (smiles) except when I get a little kinky (she cracks up). Hey, listen, I practice what I preach, I believe in spontaneity, I believe in romance, I believe in glamor. I have a number of very exceptional men in my life right now. Itís delightful to be able to pick and choose and pick up the phone and say, ďHi! Would you like to get together? Why donít we go to the theater or something like that?Ē The next time you pick up the phone, call somebody else and have that choice!