Jürgen Anger: How did you get involved in porn?
I grew up in up in Poland that was repressed by both the Catholic Church and a Communist Regime. I guess there is a sense to which making porn is my method of exploring the forbidden fruit. Porn is still illegal in Poland today, and gays are still discriminated against -- much more than most EU countries. I got involved making porn when I was living in New York City because it was obvious to me how a porn film was to be made. It came naturally, so I put my resources together and started an enterprise. Thats what America is good for -- making business. I had no illusions of changing the world, or starting sexual revolution. Porn was an economic enterprise -- a means to earn a living doing something I knew how to do well and could be independent, be my own boss, etc.

Jürgen Anger: Did you want to do something different or only produce regular gay porn films?
My main love in life is Classical Music. I hope one day to be able to set Dark Alley aside -- or get it to the point where it runs itself, supporting me, so that I can focus mainly on Music. I would also like to produce a feature film at some point, but my main love is still Music. As I have mentioned, porn is largely an economic enterprise, and there are many people drawing a living of this business, which limits the amount that I can go exploring into "experimental" genres. At the end of the day I have to have something I can sell.

However, we have tried to inject an awareness of politics and irony into our movies. For instance, "Gaytanmo" was a movie that parodied the Bush Administration's policy of Extraordinary Rendition -- taking the longstanding tradition of Abduction fantasy and giving it a modern political context. We also made a movie called "Passio" about the life of Jesus Christ. Upcoming we have movies called "Fucked at the Pump" and "Offshore Drilling" that are meant to play off the current energy crisis.

Jürgen Anger: Was it difficult to get started?
I would have to say yes. In America, in business, there is a strong spirit of competition, and no one really wants new blood. So yes, we faced many impediments right off the bat -- including several law suits from other studios. But as far as making productions, this part came naturally. There are lots of challenges on a set that you have to deal with as a director, but for these I had my instincts as well as my experience to help me. Looking back from the perspective of time, I would not have started a business in a field that was this cutthroat -- the first year brought so much stress and unpleasantness into my life and I did not expect that.

Jürgen Anger: Do you watch porn personally?
I do, or at least I did. Since producing it I have watched less and less, but I of course enjoy a good piggy fisting movie with some muscle boys :)

Jürgen Anger: Why did you decide to open also a studio in Berlin?
I wanted to move back to Europe in part to be closer to my family. Berlin was my first choice because of the exploding young cultural scene that is no longer present in New York City. I was able to make friends in Berlin easier than New York, and I was also able to meet people my age who shared my love for Classical Music. In addition, Berlin provided a base of support for a film business, and allowed us to expand our operations into Europe.

Jürgen Anger: What are the differences between working in New York and in Berlin?
Language number one. Besides that, the speed at which things are expected to get done is much faster in New York. For instance "overnight shipping" in Berlin means they will get it there sometime next week. In Berlin the pace of business is much, much slower, and people are generally more lazy than in New York -- that provides a challenge doing business as it can be hard to find the right person for a job.

Jürgen Anger: Do you see differences in the restrictions on pornography in the US and in Europe?
Not really. One could say that America has certain States with restrictions on pissing and fisting movies -- but these are also banned in the United Kingdom, which is part of Europe. So regionally on both continents there are differing ideas of what is OK and not OK to show in porn.

Jürgen Anger: What do you think about the politics towards bareback films in the US and in Europe/Germany?
In America they are all against bareback but they all take the money -- weather they are selling bareback movies on their websites, distribution companies, or putting out "pre condom movies" -- they are all following the money while saying oh how terrible it is that anyone makes them. Europeans are less double faced about this.

Jürgen Anger: Do you see any kind of influences which you would consider for your work as a porn producer?
Yes, but in a reverse way than I think you are asking the question. Our whole company and way of making films was basically reactionary to the unimaginative way of shooting sex that I observed with other studios and directors that I worked with, and porn that I had seen. So the influences were negative. There is no one that I inspire to be like as a porn producer. However, the best porn film that I have seen is called "Anal Detention" by Wurstfilm.

Jürgen Anger: Do you see any connection between art and pornography?
Who cares if porn is art or art is porn. Porn does not need to be art to be OK. It is seldom that someone tries to inject some art into porn, and in these incidences we hope that these movies have influenced the way we see art, and blurred the border that we have artificially placed between the two. It is our modern Church-oppressed society that has made nakedness forbidden and frowns upon calling anything that shows naked people -- or people engaging in sexual act -- an art, despite how artful the act can be portrayed.

Jürgen Anger: How do you feel about the so-called „alternative pornography“ - altporn. Is this at all relevant to you?
I am not familiar with this genre enough to speak about it. I think it is great that they are being made because they push the boundaries and help integrate sex -- which is a natural part of life -- into film.