My novel, "Stacking in Rivertown," was due to be released by Simon & Schuster in July 2000 and so I was visiting New York to keep in touch with my agent. But also, I was ready to get out of the stifling culture of Indiana and celebrate finally breaking into publishing. I met Anna (zeta) at a private party in New York in 2000. It was then through her that I met PD.

PD has a fascinating personality. He is not someone that you can be lukewarm about. Just when you think you have him pegged, he'll completely surprise you. His personality and his vision controlled every aspect of the Insex product and the climate at the studio, from how and when everyone ate to every detail of the bondage in the shoots. And PD was intrigued with me because "Stacking in Rivertown" contained very realistic BDSM content, had been published through a major house, had an urgent storyline, and received very good reviews in spite of having such edgy content. PD wanted to create more “story” around his work. He has been quite influenced by Hollywood and horror movies and was interested in the intersection of bondage and a solid story.

So for about a year or more, I visited the studio if I happened to be in New York, watching shoots and an occasional Live Feed. PD paid me to write a screenplay that was never shot. It was during this time, as I experienced my first Live Feed, that I began to see the potential of utilizing the characters and situation at the Insex studio in a movie. The individuals that came and went at the studio were better than anyone could make up. The whole brew – the atmosphere at the studio, the staff (most of which were artists trying to pick up some extra cash) – was rich with human drama.

After 9/11, I visited New York less often. I didn’t see PD or zeta for a year or two. Then out of the blue in the spring of 2003, PD called me and wanted me to work with him on a special project. He wanted to create a website for a mainstream audience, a web serial broadcast based upon strong characters and plot that would include bondage and SM. He threw out a couple possible story lines and asked me to come up with something and we’d talk. I broached the idea that we should make Insex the story – a quasi-reality show with scripted parts. PD didn’t like that idea, so instead, we came up with a very basic plot and I wrote the screenplay for the pilot. It ended up being very Hitchcockian. Zeta put together the cast, which included Donna and AZ (both of whom we interview in GSH). It was during our collaboration on that project that zeta and I learned that we worked well together. That piece was shot and edited, but never released by PD.

But I kept the idea of Insex as a movie in my head. I’d already constructed characters and scenarios. So when zeta and I began to talk doing a project together, it was clear from our excitement in talking about the studio, that we should follow the energy. When somebody drops a golden egg in your lap, you should pay attention. So we decided to do a documentary of Insex. That was in the spring of 2006.

Slamdance asked us to create Production Notes for the press kit.
But for the fellow filmmakers and fans, here it is: Graphic Sexual Horror Production Notes SYNOPSIS GRAPHIC SEXUAL HORROR “If you won’t let me teach your children, then I will corrupt them.” Brent Scott

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