Joe D'Amato | |
|---|---|
 D'Amato at the1996 Cannes Film Festival | |
| Born | Aristide Massaccesi (1936-12-15)15 December 1936 Rome, Kingdom of Italy |
| Died | 23 January 1999(1999-01-23) (aged 62) Monterotondo,Rome, Italy |
| Other names | See below |
| Occupations |
|
| Years active | 1961–1999 |
Aristide Massaccesi (15 December 1936 – 23 January 1999), known professionally asJoe D'Amato, was an Italian film director, producer, cinematographer, and screenwriter who worked in many genres (westerns,decamerotici,peplum,war films,swashbuckler,comedy,fantasy,postapocalyptic film, anderotic thriller) but is best known for hishorror,erotic andadult films.[1][2][3][4]
D'Amato worked in the 1950s aselectric and set photographer, in the 1960s as camera operator, and from 1969 onwards ascinematographer. Starting in 1972, he directed and co-directed around 200 films under numerous pseudonyms, regularly acting as cinematographer as well.[citation needed] Starting in the early 1980s, D'Amato produced many of his own and other directors' genre films through the companies he founded or co-founded, the best known being Filmirage. From 1979 to 1982 and from 1993 to 1999, D'Amato also produced and directed about 120 adult films.
Among his best known erotic films are his five entries into theBlack Emanuelle series of films starringLaura Gemser (1976–1978)[5] and his horror/pornography crossover filmsErotic Nights of the Living Dead andPorno Holocaust (both shot inSanto Domingo in 1979).[6] In the horror genre, he is above all remembered for his filmsBeyond the Darkness (1979) andAntropophagus (1980), which have gained cult status, as well asAbsurd (1981).[7][8]
Joe D'Amato was born on 15 December 1936 inRome, Italy.[1] His father was Renato Massaccesi, who after an incident on a ship had been declared a war invalid and had started to work at theIstituto Luce in Rome first as electrician, fixing power generators left by the United States army atCinecittà, and then as chief photographic technician.[9][10][11] In 1950, at the age of 14, D'Amato joined his father at work together with his brothers Carlo and Fernando (called Nando).[9][11] Being the most enterprising of the three sons, D'Amato took on the task of delivering themovie cameras his father sold.[9] D'Amato also assisted in the dubbing of Italian film productions[11] and designed title and end credits withEugenio Bava, cutting the letters out by hand.[12] In 1952, D'Amato worked as astill photographer on the set ofThe Golden Coach,[11] later aselectric.[13] In the 1960s, D'Amato eventually moved on to work as acamera operator on numerous films includingMario Bava'sHercules in the Haunted World.[11][12]
In 1969,Piero Livi'sPelle di bandito andSilvio Amadio'sNo Man's Island (Italian:L'Isola delle Svedesi) were D'Amato's first films ascinematographer.[12][11] In the next few years, D'Amato continued to work as cinematographer on Italian productions such asUmberto Lenzi'sA Quiet Place to Kill,Massimo Dallamano'sWhat Have You Done to Solange?[11] and some ofDemofilo Fidani's low-budgetSpaghetti Westerns.[14]
D'Amato took on the role of director for the first time in 1972. He started out with a number of smallwestern films (Go Away! Trinity Has Arrived in Eldorado andA Bounty Killer in Trinity) anddecamerotici (More Sexy Canterbury Tales andNovelle licenziose di vergini vogliose) which he partly directed, partly co-directed[15] before going on to direct the gothic horror filmDeath Smiles on a Murderer (1973) and the war filmHeroes in Hell (1974), both starringKlaus Kinski.[16] D'Amato briefly relinquished directing and reverted to cinematography in films such asLuigi Batzella'sThe Devil's Wedding Night,[17]Steve Carver'sThe Arena[18] and five films directed byAlberto De Martino:Crime Boss,The Killer Is on the Phone,Counselor at Crime,The Antichrist, and – two years later –Strange Shadows in an Empty Room.[17] When D'Amato was in Canada shooting a sleigh ride sequence forLucio Fulci'sChallenge to White Fang, the film's producerErmanno Donati asked him to stay and direct the adventure filmRed Coats for him,[19][20] in which D'Amato used the pseudonym "Joe D'Amato" for the first time.[21] It turned a good profit, and D'Amato later considered it his best film in this period.[22]
D'Amato's next film,Emanuelle's Revenge (1975), which he co-directed withBruno Mattei (who remains uncredited because D'Amato was a "rising name"),[23] was one of several films at the time with titles that alluded to the successful Frencherotic filmEmmanuelle (1974).[24] In retrospect, it was a kind of turning point in D'Amato's career, being his first pornographic film – though stillsoftcore.[23]
In his next film, thecommedia sexyVoto di castità (1976), scripted byGeorge Eastman), D'Amato metLaura Gemser, who would star in many of his films. In the 1980s and early 1990s, she would also regularly work as costume designer for his productions. In this first film, she only played the small part of a French maid, but it was during the shoot that D'Amato got the idea to use her as star in his next film.[25]
Eva nera, an erotic drama, stars Gemser as topless snake dancer alongsideJack Palance andGabriele Tinti – her future husband.[26] The film was produced byHarry Alan Towers and Lucio Fulcisano and shot both on location inHong Kong and at the Elios Studios near Rome.[26][27]
Gemser, who had previously starred inBitto Albertini'sBlack Emanuelle (1975), went on to shoot the following five films of theBlack Emanuelle series under D'Amato's direction.[28] (Albertini, on the other hand, had to find a new actress for his ownBlack Emanuelle 2 (1976) – a sequel only in name.)[28] Although the main character's name in the Black Emanuelle series alludes to the original French Emmanuelle, it is spelled slightly differently in order to avoid copyright lawsuits.[29] Also, the character herself is different; Black Emanuelle is an international reporter and photographer who travels to exotic locations.[24] D'Amato added some violence and horror to the series, such as the fakesnuff film footage inEmanuelle in America,[30] agang rape scene inEmanuelle Around the World (1977),[31] and gore scenes in thecannibal filmEmanuelle and the Last Cannibals.[32][17] As D'Amato later remembered, this "was a very good period in my life. Movie business was very good. We travelled round the world, finding new and fascinating locations for our movies."[33]
Of the 12 films D'Amato directed in 1978 and 1979, 9 were shot in theDominican Republic. In a 1982 interview, he said that once the trip was paid for, the costs were low and the setting suggestive ("the Caribbean... all for free"; Italian: "i Caraibi... tutto gratis").[34]
The first time D'Amato went toSanto Domingo was in May 1978 for the erotic horror filmPapaya, Love Goddess of the Cannibals.[35] He returned there in September to shoot the mercenaries-at-war filmTough to Kill.[36][37][34]
In mid-October 1978, back in Italy, D'Amato started shooting thenunsploitation filmImages in a Convent,[38][39] and in early 1979, which was to become a particularly productive year,[40] he directed the violent erotic thrillerIl porno shop della settima strada (The Pleasure Shop on Seventh Avenue[41]) on location inNew York,[42] both films produced by Franco Gaudenzi's company Kristal Film.[37] From late June to early July 1979, D'Amato went toSouth Tyrol to shoot and direct the horror filmBuio Omega starring Kieran Canter andCinzia Monreale, a remake ofMino Guerrini'sThe Third Eye[43][40][44] produced by Dario Rossetti andErmanno Donati with music byGoblin.[45]
Immediately afterwards, D'Amato went back to Santo Domingo[46] to filmParadiso blu, an Italian counterpart toThe Blue Lagoon starringAnna Bergman and Lucia Ramirez,[34] and the voodoo-themedOrgasmo nero (Sex and Black Magic) starring Ramirez,Susan Scott andRichard Harrison, before directing two films combining hardcore pornography and horror –Porno Holocaust andLe notti erotiche dei morti viventi (Erotic Nights of the Living Dead) – as well as three adult thrillers:Hard Sensation,Porno Esotic Love andSesso Nero.[47][48][29][49] ForPorno Esotic Love, D'Amato reused material fromEva nera (1976), especially those scenes D'Amato had shot with Laura Gemser in Hong Kong.[50] (Eva nera had done very poorly at the Italian box office and therefore was still relatively unknown.)[50]
The voodoo-themedSesso nero, written byGeorge Eastman, was the last film D'Amato shot in the Caribbean, at the end of 1979, and the first film D'Amato produced on his own, through his newly founded company, P.C.M. (Produzioni Cinematografiche Massaccesi). Of the Caribbean group of films it received the earliest theatrical release – the films only being released gradually throughout 1980 and 1981.[51]
After his return from the Caribbean, D'Amato also co-founded Filmirage and used the companies to produce and direct the gore filmAntropophagus (1980, produced through P.C.M. and Filmirage) and its follow-up, theslasher filmAbsurd (1981, co-produced by Filmirage and Metaxa), both of which starredGeorge Eastman and later became cult films for fans of extreme cinema.[52][53][54][37]
D'Amato also founded and co-founded two further production companies "Cinema 80" and "M.A.D." (anacronym for [Aristide] Massaccesi, Alessandroni, and [Donatella] Donati) on 15 January 1980 and 9 January 1981, respectively. For M.A.D., Alessandroni, an engineer, provided the funding, while his son acted as producer on set. Donatella Donati, the daughter ofErmanno Donati, became D'Amato's assistant and constant collaborator, usually acting as production secretary andassistant director.[37][9]
The two companies were the main vehicles for D'Amato's film production of this period. From 1980 until 1982, D'Amato produced 14 hardcore pornographic films through both companies (Cinema 80: 9 films, M.A.D.: 5), 10 of which he directed and lensed himself, while 3 of the films (Blue erotic climax,Labbra vogliose andLe porno investigatrici) were directed by Claudio Bernabei.[37] Officially, Bernabei was both executive manager and director, his pseudonym Alexander (or Alexandre) Borsky being used for almost all directorial credits although the films were for the most part directed by D'Amato personally, who was only given credit in the non-committal phrase "a Joe D'Amato film" (Italian:un film di Joe D'Amato) used for marketing purposes.[37][55] The reason for this lay in avoiding one of twocriminal charges per film since the state only charged the executive manager of the company and the director; them being the same person, only one charge was brought forth.[55] One notable exception wasPorno video (1981; sometimes:Pornovideo), which was directed entirely by Giuliana Gamba (under the pseudonym Therese Dunn);[56] it was the first film D'Amato produced for another director – a practice he would start expanding six years later in his Filmirage period.[57]Il succo del sesso (1982; a punning title which can mean both "The Essence of Sex" and "The Juice of Sex") was the only film of this period that was directed but not produced by D'Amato, being a "Promo Film" production of Giovanni Perrucci's.[58]
The average Cinema 80 or M.A.D. film cost 55 million lire, was shot in 10 days, edited over a period of two months, and had a generic title such asSuper climax,Super hard love orVoglia di sesso (literally:Lust for Sex).[59] A group of three films produced through Cinema 80 stands out. In 1981, building onTinto Brass'sCaligula (1979), D'Amato produced, shot and directedCaligula... The Untold Story in both a hardcore and a softcore version, starringDavid Brandon, Laura Gemser andGabriele Tinti. It recounted the final days of the Roman EmperorCaligula and was followed by two purely hardcore pornographic films –Una vergine per l'impero romano andMessalina orgasmo imperiale – in which D'Amato reused sets and costumes from the first film, albeit on a significantly lower budget.[60] The three films were signed by D'Amato as director under different pseudonyms and released separately in December 1982, May 1983 and July 1983. They have been called his "porno-peplumtrilogy".[61]
Messalina orgasmo imperiale (shot in 1982) also happened to be the last film of this period.[62] Another hardcore film that D'Amato originally intended to shoot himself for producer Riccardo Billy in co-production with a Chinese company,Love in Hong Kong (1983, starring Mark Shannon and Marianne Aubert), ended up being entirely delegated to his assistant Bernabei for lack of time, who directed the film on location inHong Kong.[63] It survives only in a truncated softcore version.[64]
In 1980, D'Amato had taken over a company from producerErmanno Donati. D'Amato had renamed the company to "Filmirage" and used it to produce his own and, from 1987 onwards, also other directors' films for the international market.[65]
In 1982, D'Amato used Filmirage to produce, shoot and direct the first film of theAtor series:Ator l'invincibile (Ator, the Fighting Eagle) starringMiles O'Keeffe andSabrina Siani, which was directly inspired byConan the Barbarian. It was followed byAtor 2 - L'invincibile Orion (English titles:The Blade Master andCave Dwellers) the following year, in which O'Keefe was flanked byLisa Foster.[66]
In 1983 and 1984, D'Amato produced and shot the post-apocalyptic action filmsEndgame (1983) starringAl Cliver, George Eastman, Laura Gemser andGordon Mitchell, which D'Amato directed alone, and2020 Texas Gladiators (1984) starring Al Cliver and Sabrina Siani, which D'Amato co-directed with George Eastman. The films follow the success ofMad Max (1979) andMad Max 2 (1981).[67]
In 1984 and early 1985, D'Amato briefly reactivated his company M.A.D. to produce 10 hardcore pornographic films, all of which were directed byLuca Damiano and starredMarina Hedman. D'Amato is reported to have collaborated on some of these himself as well, although it remains speculative in which function and on which ones.[37] Later in 1985 D'Amato left hardcore pornography behind and for a period of eight years exclusively shotsoftcore andhorror films.[68] According to an interview D'Amato gave in 1990, hardcore, as opposed to softcore, had only been profitable the first four years in the late 1970s and early 1980s while the novelty and controversy lasted.[12]
D'Amato began this hardcore-free period by directing four softcore dramas set duringfascism in Italy and starringLilli Carati andLaura Gemser:L'alcova (The Alcove),Il piacere (The Pleasure),Lussuria (A Lustful Mind), andVoglia di guardare (Midnight Gigolo). The four films recall the style and themes ofTinto Brass'sLa chiave (The Key) while their plots and characters are not interconnected in any way.[69]
Together withHarry Alan Towers, D'Amato co-producedWarrior Queen (working title:Pompeii), shot in 1985 at the Elios Studios near Rome to cash in on the success of theminiseriesThe Last Days of Pompeii (1984).[70] It was asword-and-sandal film starringSybil Danning,Donald Pleasence andDavid Brandon and was directed byChuck Vincent.[71] In an interview, Larry Revene, Vincent's usual cinematographer, remembered that he worked on thesync sound for this film instead, because "Aristide shot it. He wasn't only a director/producer, he was also a cameraman."[70] In the United States, the film had a brief theatrical run in a cutR rated version before being released in a longer version on video.[71]
There followed a phase in which D'Amato directed softcore films predominantly in the United States, often takes on popular American films.[67] First, he went toNew Orleans to produce and shoot two films starringJessica Moore as the novelist Sarah Asproon:11 Days, 11 Nights (1987) andTop Model (1988).[72]11 Days, 11 Nights was inspired byAdrian Lyne's film9½ Weeks but reversed the roles with the woman being the dissolute character;[73] it was a commercial success.[74] In 1989, D'Amato's main actress wasValentine Demy with whom he produced and directedAfternoon andDirty Love, the latter reminiscent of another ofAdrian Lyne's films,Flashdance.[75] After these, D'Amato produced and directed two erotic dramas withTara Buckman:Blue Angel Cafe andHigh Finance Woman.[76]
Beyond producing his own softcore films, D'Amato also used Filmirage to produce other directors' films:[57]Michele Soavi's debutStage Fright (which was also the debut of D'Amato's son Daniele Massaccesi as assistant cameraman), Deran Serafian'sInterzone,Umberto Lenzi'sGhosthouse (La casa 3) andHitcher In The Dark, Fabrizio Laurenti'sWitchery (La casa 4) andThe Crawlers (Troll 3), George Eastman'sMetamorphosis,Claudio Fragasso'sTroll 2 andBeyond Darkness (La casa 5), Franco Molé'sThe Room of Words, andLucio Fulci'sDoor to Silence.[67][77][9] D'Amato not only produced, but also partially directed the horror filmKilling Birds and but for the first scene directed thesharksploitation dramaDeep Blood.[78]
At the beginning of the 1990s, D'Amato revisited hisAtor series with a concluding entry entitledQuest for the Mighty Sword,[79] featuring the Son of Ator.[80] Then, he revived the character of Sarah Asproon in11 Days, 11 Nights 2, this time played byKristine Rose and again set in New Orleans.[81] With Rose as protagonist, D'Amato also directedPassion's Flower, a remake ofThe Postman Always Rings Twice, before shooting two softcore films starring Carmen di Pietro in 1991, both with a more violent angle than the preceding ones:Devil in the Flesh follows a group of mercenaries who encounter some nurses at an isolated hospital, andDangerous Obsession tells of a woman who turns the tables on her assailant.[82][83] After these, D'Amato directedReturn from Death (Frankenstein 2000) (1992), his last horror film, which combined a modern take on the traditionalFrankenstein story with elements of therape and revenge film.[84]
In 1993, inspired by the success of the Chinese erotic comedySex and Zen (1991), D'Amato then went to thePhilippines to shoot a number of Asian themed softcore films, for which he often used Chinese pseudonyms.[85] Among them are such diverse films asChinese Kamasutra,China and Sex andI racconti della camera rossa (translation:The Tales of the Red Chamber; named after China's classical novelDream of the Red Chamber), the latter two structurally and thematically reminiscent of Italiandecamerotici.[85][86]
Later in 1993, D'Amato went back to predominantly producing and directinghardcore pornography.[87] In order to return to adult filmmaking more easily, D'Amato initially teamed up withLuca Damiano, with whom he shot roughly 20 films before continuing on his own.[88] Althoughvideo had become the standard foradult films, D'Amato continued to shoot on35mm film for a few years before finally transitioning to video for his last productions in 1997 and 1998[89] – a development which he saw critically: When shooting on video, there was little difference between the individual films in terms of profit, which helped minimise production risk, but the overall profit and hence the quality of the individual productions that were shot on video were lower compared to productions shot on film.[90] The crew on an early 35mm shoot such asJuliet & Romeo had been much larger, including lighting staff, camera assistants, make-up artists, and set decorators; dubbing was done in post-production.[91]
Among D'Amato's best known films from this late hardcore period are his collaborations withRocco Siffredi (Tarzan X – Shame of Jane,Marco Polo,Marquis de Sade,Torero) and Kelly Trump (Messalina,Kamasutra,Lolita), his pornographic versions of Shakespearean drama (Juliet & Romeo,Anthony and Cleopatra,Othello 2000), westerns (Outlaws,Calamity Jane), swashbucklers (Raiders), the Bible (Sodom & Gamorra), Greco-Roman mythology (Olympus,Amor & Psyche,Ulysses,Hercules – A Sex Adventure), Roman emperors (Nero – Orgy of Fire,Caligula – The Deviant Emperor) and other famous people (Robin Hood,Goya,Amadeus Mozart,Thief of Love – Giacomo Casanova,Rudy – Valentino's story,Scarface).[92] Two recurring actresses in his films from 1996 to 1999 wereSelen (Raw & Naked,Queen of the Elephants,Sahara, andSelen the Girl from Treasure Island) andÉva Henger, with whom he shot the time travel filmsExperiences andExperiences 2, a trilogy on thecapital sins,Phantom (using footage from the silent filmThe Phantom of the Opera), andShowgirl.[93] Whereas D'Amato's adult films were very rarely without a plot entirely, D'Amato stated in a 1997 interview that one had used to include more plot whereas now the only thing they wanted was porn – and very hard one at that: "double, triple, quadruple penetrations, anal ...".[90]
In between shooting adult films from 1994 to 1999, D'Amato also made efforts at returning to genre films, four of which came to fruition. In 1995, he directed the erotic dramaProvocation set in the Italian countryside of the 1930s starring Erika Savastani,[94] and in 1997 the erotic comedyTop Girl set in and around an American TV station[94] and theerotic thrillerThe Hyena starring Cinzia Roccaforte, which received a limited theatrical release in Italy.[95][96] In 1998, D'Amato directed the swashbucklerI predatori delle Antille (akaSexy Pirates[97]), starring Anita Rinaldi.[98]
On 23 January 1999, Joe D'Amato died of a heart attack inMonterotondo, acomune in theMetropolitan City of Rome Capital.[99][13] According toLuigi Cozzi, his death happened unexpectedly while he was busy preparing a new film.[100] His last film was the adult filmShowgirl (1999), a take onPaul Verhoeven'sShowgirls (1995).[98][101][102]
Throughout his career, D'Amato used his birthnameAristide Massaccesi only once for a directorial credit, namely forDeath Smiles on a Murderer (1973).[22] However, it was regularly used for other credits. For his first work as camera operator, it was the only name he was credited with, and as cinematographer, writer of stories and scriptwriter, he credited himself or was credited with it regularly until the early 1980s.[103]
The firstpseudonyms used by Aristide Massaccesi were his actor's credits in theSpaghetti WesternsStraniero... fatti il segno della croce! (1968) andDead Men Don't Make Shadows (1970), for which he used puns on his birthname:Ariston Massachusetts andArizona Massachusset, respectively.[104][105]
His best known pseudonym is the anglicizedJoe D'Amato, which he first adopted as director ofGiubbe Rosse (1975).[11] In 1991, D'Amato stated he had discovered the name in some calendar and chosen to use it because it sounded promising: in its mixture of American and Italian, it was similar to those ofBrian de Palma andMartin Scorsese.[12] Joe D'Amato became the name Massaccesi was most associated with, even more than his birth name.[11] D'Amato used this main pseudonym of his exclusively for credits as producer and director and not for credits as cinematographer or writer.[citation needed]
The pseudonymFederiko Slonisko, sometimes also spelledFederico Slonisco or any mixture of these two spellings (including the short formFred and several other mis- or variant spellings), was regularly used for D'Amato's work as cinematographer starting in 1982.[106]
The pseudonymsFederico Slonisco Jr. andDan Slonisko (including variant spellings) are also sometimes considered to belong to D'Amato.[107][108] However, D'Amato's son Daniele, a camera operator and cinematographer, started his career working for his father.[109][110]
The pseudonymMichael Wotruba was used as D'Amato's directorial credit on:
This pseudonym is also to be found as directorial credit forDeath Smiles on a Murderer (1973) in the entry at Public Cinematographic Register, but was later changed to D'Amato's birthname for the release.[115]
David Hills was used by D'Amato as directorial pseudonym on the following films:
David Hills was also used as directorial credit on an early announcement ofDeep Blood (1989), but was exchanged by the allonym Raf Donato for the official release.[120] As producer, D'Amato used this pseudonym onTroll 2[121] andInterzone.[122]
For the last two films of D'Amato's "porno-peplum trilogy",Una vergine per l'impero andMessalina orgasmo imperiale (both released 1983), D'Amato usedDirk Frey as cinematographer andRobert Hall andO.J. Clarke as director, respectively.[61][123][62]
The directorial credit ofIl succo del sesso (1983), which D'Amato directed, readsGilbert Damiano - an allusion toGerard Damiano.[124][125]
The pseudonymPeter Newtonwas used for D'Amato's credit as cinematographer onParadiso blu (1980)[126] and his directorial credit onAbsurd (1981).[116] For the latter, he also usedRichard Haller for his credits as cinematographer and co-producer.[127]Kevin Mancusowas used for the directorial credit on2020 Texas Gladiators (1982); D'Amato co-directed the film with George Eastman so it can be considered a pseudonym for both Eastman and D'Amato.[117] D'Amato used the nameDario Donatias director and editor onConvent of Sinners (1986)[128] and as director onDelizia (1986).[128]
The female pseudonymJoan Russell was used for D'Amato's directorial credit onUna tenera storia (1992).[129][130] It was also used not for D'Amato, but for Donatella Donati and Antonio Tentori as story and screenwriting credit inFrankenstein 2000 (1992), which D'Amato produced and directed.[130]
For his oriental films of 1993, D'Amato used a number of new pseudo-oriental pseudonyms. ForI racconti della camera rossa he usedRobert Yip as director,Lim Seng Yee as scenarist andBoy Tan Bien as cinematographer.[89] ForChinese kamasutra he signed with the pseudonymsChang Lee Sun (director),Fu Shen (scenarist) andHsu Hsien (cinematographer).[131] And forIl labirinto dei sensi, he signed his scenario withLeslie Wong while using Joe D'Amato and Federico Slonsiko for the directorial and cinematographic credits respectively.[132]
Anallonym is distinguished from a pseudonym in that it is the given name or pseudonym of adifferent person from the one who should be credited.
Romano Gastaldi, the pseudonym of Romano Scandariato, was used for the directorial credit onMore Sexy Canterbury Tales (1972), which D'Amato directed while Scandariato was his assistant director,[133] and forFra' Tazio da Velletri (1973), which D'Amato left after a disagreement soon after the beginning of the shoot; Scandariato, his assistant, finished the film and was credited.[134]
Oskar Faradine, the pseudonym of Oscar Santaniello, was used for the directorial credit onA Bounty Killer in Trinity. The film was reportedly directed by D'Amato and Santaniello was the film's producer.[135] Lupi, however, in his monograph on D'Amato argues on qualitative grounds for Santaniello as actual director.[135]
Anna Bergman's name was also used for the directorial credit onParadiso blu (1980). Bergman was the main actress, but D'Amato directed the film. Her name was used for the directorial credit because, according to Luigi Cozzi, the producer did not want it to be seen as an erotic film (for which D'Amato was already known at the time).[136]
Alexandre Borsky, sometimes spelledAlexander orBorski, was the pseudonym of Claudio Bernabei. Bernabei stated in an interview that he created it withWalerian Borowczyk's name in mind.[37] The Borsky pseudonym was used as directorial credit for 14 of the 15 films produced by D'Amato's companies M.A.D. and Cinema 80 from 1980 to 1982. Of these 14 films, Bernabei directed 3, D'Amato 11.[37] In 1993 and 1994, D'Amato briefly reactivated this name as directorial credit for a small number of adult films starring Luana Borgia which he directed while transitioning from softcore to hardcore again. According to an interview he gave in 1995, it was to camouflage his return.[137]
Lucky Faar (or Farr) Delly, sometimes wrongly listed as a pseudonym of Joe D'Amato,[138] was in reality the pseudonym of Luciano Fardelli, who acted as administrator of D'Amato's production company M.A.D. in 1984 and 1985.[139] It was used as directorial credit for 10 films directed byFranco Lo Cascio; it is unclear in which of these films D'Amato acted as co-director.[37]
Raf Donato, a variant of Raffaele Donato's name, was used for the directorial credit onDeep Blood (1989). According to D'Amato, Donato had planned to direct the film, but only directed the first scene. D'Amato directed the rest of the film.[140]
According to the actresses who worked with him, D'Amato was sociable, humorous with a sense of irony, amiable, and supportive; to some he appeared like a father.[141] BothLaura Gemser, with whom he worked together for a long time, and Monica Zanchi pointed out his adventurous and playful approach to filmmaking.[142][143]
Gemser also remembered that D'Amato rarely got angry, and that when it happened he usually took it with irony; when deeply angered, however, he would shout and curse and become insufferable.[142] She also recalled that, much like herself, D'Amato fell asleep easily and anywhere, even in the breaks between rehearsals.[142] Donatella Donati, his regular assistant since the mid-1970s, recalled this penchant as his biggest flaw; inCannes, she once found him asleep on the office floor.[143]
In 1995, Joe D'Amato was a special guest at the London film festival "Eurofest" which took place at theEveryman Cinema, Hampstead, where he gave an onstage interview toMark Ashworth inbetween screenings ofStage Fright,Emanuelle and the Last Cannibals andFrankenstein 2000, followed by a signing session.[144][145] Parts of the interview can be found on theSeverin DVD release ofEmanuelle in Bangkok.[146]
Posthumously, on 14 April 2006, theCinémathèque Française inParis screened a D'Amato double feature from newly acquired theatrical prints under the titleLe sang et la chair (translation: The Blood and the Flesh), consisting ofAntropophagus andLe sexe noir (both 1980).[147]
TheJoe D'Amato Horror Festival, under the art direction ofPaolo Ruffini, was held for the first time inPietrasanta in April 2007.[148] It took place a second time in October and November 2014 inLivorno, moderated by Antonio Tentori.[149] Among the guests was D'Amato's son Daniele Massaccesi, who said that it had been above all the passion for cinema – to never stop making films at any costs – that D'Amato had wanted to pass on to the younger generation of filmmakers.[150]
The "Hofbauer Kongress", which takes place at least once every year since 2010 at the Komm Kino inNuremberg, Germany, has repeatedly screened D'Amato's films mostly from35 mm prints, with the 15th and 16th edition of the festival being especially devoted to the filmmaker.[151][152]
On 1–3 February 2019, honoring the 20th anniversary of D'Amato's death, theFilmarchiv Austria held a "Tribute to Joe D'Amato" at the Metro Kinokulturhaus inVienna in which 10 films he directed were shown from original 35 mm prints.[153][154]
In 1999,Andreas Schnaas shot a remake of, and homage to, D'Amato'sAntropophagus entitledAnthropophagous 2000.[155]
The Italian filmHyde's Secret Nightmare (2011, directed by Domiziano Cristopharo) is dedicated to D'Amato.[156]
| Year | Title | Worked as | Notes | Ref(s) | ||||
|---|---|---|---|---|---|---|---|---|
| Director | Producer | Writer | Cinematographer | Other | ||||
| 1951 | È l'amor che mi rovina | Yes | Still photographer | [157] | ||||
| L'inafferrabile 12 | Yes | Still photographer | [157] | |||||
| 1952 | The Golden Coach | Yes | Still photographer | [158][157] | ||||
| 1953 | Madonna delle rose[159] | Yes | Technician | [158] | ||||
| 1961 | Hercules in the Haunted World[160] | Yes | Assistant cameraman | [158][157] | ||||
| Gold of Rome[161] | Yes | Assistant cameraman | [158][162][163] | |||||
| 1962 | Il mare[164] | Yes | Assistant cameraman | [162] | ||||
| 1963 | Contempt | Yes | Assistant cameraman | [162] | ||||
| Canzoni in bikini[165] | Yes | Cameraman.[158] Cinematographer: Franco Villa[166] | [162] | |||||
| 1964 | Due mattacchioni al Moulin Rouge[167] | Yes | Cameraman. Cinematographer: Franco Villa[168] | [158][162] | ||||
| Il mito (La violenza e l'amore)[169] | Yes | Cameraman. Cinematographer: Franco Villa[170] | [158][162] | |||||
| Secret of the Sphinx[171] | Yes | Cameraman. Cinematographer: Franco Villa[172] | [158][162] | |||||
| 1965 | Soldati e caporali[173] | Yes | Cameraman. Cinematographer: Franco Villa[174] | [158][162] | ||||
| 1966 | Viaggio di nozze all'italiana[175] (translation:Honeymoon Voyage) | Yes | Cameraman. Cinematographer: Emilio Foriscot[176] | [158][162] | ||||
| Lo scippo[177] | Yes | Cameraman. Cinematographer: Franco Villa[178] | [162] | |||||
| For One Thousand Dollars Per Day[179] | Yes | Cameraman. Cinematographer: Mario Pacheco[180] | [158][162] | |||||
| Trap for Seven Spies[181] | Yes | Cameraman. Cinematographer: José F. Aguayo[182] | [162] | |||||
| È mezzanotte... butta giù il cadavere (translation:At Midnight, Throw Down the Corpse) | Yes | Cameraman. Cinematographer: Franco Villa[citation needed] | [158][162] | |||||
| Thompson 1880 | Yes | Cameraman. Cinematographer: Franco Villa[183] | [158][162] | |||||
| The Taming of the Shrew | Yes | Assistant Cameraman | [162] | |||||
| Maigret a Pigalle | Yes | Cameraman. Cinematographer: Giuseppe Ruzzolini[184] | [158][162] | |||||
| Cinque della vendetta | Yes | Cameraman. Cinematographer: Víctor Monreal[185] | [158][162] | |||||
| Due once di piombo (Il mio nome è Pecos) | Yes | Cameraman. Cinematographer: Franco Villa[183] | [158][162] | |||||
| Master Stroke | Yes | Cameraman. Cinematographer: Francisco Sánchez[186] | [162] | |||||
| 1967 | Red Blood, Yellow Gold | Yes | Cameraman. Cinematographer: Francisco Marin[187] | [158][162] | ||||
| Psychopath | Yes | Cameraman. Cinematographer: Franco Villa[188] | [162] | |||||
| Pecos Cleans Up | Yes | Cameraman. Cinematographer: Franco Villa[183] | [162] | |||||
| Your Turn to Die | Yes | Cameraman. Cinematographers: Franco Villa,Stelvio Massi[189] | [162] | |||||
| Straniero ... fatti il segno della croce! | Yes | Cameraman, assistant director, actor. Cinematographer: Franco Villa[183] | [162][190] | |||||
| Rose rosse per il führer | Yes | Cameraman. Cinematographer: Franco Villa[191] | [162] | |||||
| I'll Sell My Skin Dearly | Yes | Cameraman. Cinematographer: Stelvio Massi[192] | [162] | |||||
| Vietnam, guerra senza fronte | Yes | Yes | Second unit cameraman[157] | [193][162] | ||||
| 1968 | Shoot Twice | Yes | Cameraman. Cinematographer: Francisco Marin[194] | [162] | ||||
| Seven Times Seven | Yes | Cameraman. Cinematography: Franco Villa[195] | [162] | |||||
| A Woman on Fire | Yes | Cameraman. Cinematographer: Franco Villa[196] | [162] | |||||
| Bury Them Deep | Yes | Cameraman. Cinematographer: Franco Villa[183] | [162] | |||||
| 1969 | Una storia d'amore | Yes | Cameraman. Cinematographer:Guglielmo Mancori[197] | [162] | ||||
| Orgasmo | Yes | Cameraman. Cinematographer: Guglielmo Mancori[198] | [162] | |||||
| Passa Sartana ... è l'ombra della tua morte | Yes | Cameraman. Cinematographer: Franco Villa[183] | [162] | |||||
| A Noose for Django | Yes | Cameraman. Cinematographer: Franco Villa[199] | [183] | |||||
| Pelle di bandito | Yes | Director:Piero Livi | [162][200] | |||||
| No Man's Island (L'isola delle svedesi,Twisted Girls) | Yes | Director:Silvio Amadio | [201][162][202] | |||||
| 1970 | Disperatamente l'estate scorsa | Yes | Director: Silvio Amadio | [162][203] | ||||
| Inginocchiati straniero... I cadaveri non fanno ombra! | Yes | Director:Demofilo Fidani | [162][204] | |||||
| Arrivano Django e Sartana... è la fine | Yes | Director: Demofilo Fidani | [162][205] | |||||
| 1971 | A Barrel Full of Dollars | Yes | Director: Demofilo Fidani | [162][206] | ||||
| A Fistful of Death | Yes | Director: Demofilo Fidani | [162][207] | |||||
| Vendetta at Dawn | Yes | Camera operator. Cinematographer:Guglielmo Mancori | [208][209] | |||||
| Armiamoci e partite! | Yes | Director:Nando Cicero | [162][210] | |||||
| 1972 | Ben and Charlie | Yes | Director:Michele Lupo | [211][212][213] | ||||
| What Have You Done to Solange? | Yes | Director:Massimo Dallamano | [214][215] | |||||
| La gatta in calore | Yes | Director:Nello Rossati | [162][216] | |||||
| Crime Boss | Yes | Director:Alberto De Martino | [217][218] | |||||
| All'ultimo minuto (TV series, episodesIl rapido delle 13,30 andDramma in alto mare) | Yes | Director:Ruggero Deodato | [219] | |||||
| Le notti peccaminose di Pietro l'Aretino | Yes | Director: Manlio Scarpelli | [220][221] | |||||
| The Killer Is on the Phone | Yes | Director: Alberto De Martino | [162][222] | |||||
| Go Away! Trinity Has Arrived in Eldorado | ?a | Yes | [223] | |||||
| Bounty hunter in Trinity | Yesf | Yes | Yes | [224][225] | ||||
| More Sexy Canterbury Tales | Yesg | Yes | Yes | [226] | ||||
| 1973 | Fra' Tazio da Velletri | Yesh | Directed a third of the film. | [227][228] | ||||
| The Devil's Wedding Night | Yes | Yes | Only directed some scenes. Director:Luigi Batzella | [229][230][231] | ||||
| Novelle licenziose di vergini vogliose | Yes | Yes | Yes | Yes | Editor | [232][233] | ||
| Counselor at Crime | Yes | Director: Alberto De Martino | [234][235] | |||||
| Mean Frank and Crazy Tony | Yes | Cinematography withAldo Tonti. Director: Michele Lupo | [236] | |||||
| Death Smiles on a Murderer | Yes | Yes | Yes | Yes | Camera operator, story author | [237] | ||
| Pugni, pirati e karaté | Yes | Yes | Yes | [238][239] | ||||
| 1974 | Brigitte, Laura, Ursula, Monica, Raquel, Liz, Maria, Florinda, Barbara, Claudia e Sofia, le chiamo tutte... anima mia | Yes | Director: Mauro O. Ivaldi | [220][240] | ||||
| Heroes in Hell | Yes | Yes | Yes | [241][242][114] | ||||
| The Arena | Yes | Yes | 2nd unit director. Director:Steve Carver | [243][244][245] | ||||
| Diary of a Roman Virgin | Yes | Yes | Yes | [246] | ||||
| Professore venga accompagnato dai suoi genitori | Yes | Director:Mino Guerrini | [220][247] | |||||
| Il colonnello Buttiglione diventa generale | Yes | Director: Mino Guerrini | [220][248] | |||||
| The Antichrist | Yes | Director: Alberto De Martino | [249][250] | |||||
| Challenge to White Fang | Yes | Director:Lucio Fulci | [251][252][253] | |||||
| 1975 | Cormack of the Mounties (akaRed Coats) | Yes | Yes | Yes | [254][255] | |||
| Cassiodoro il più duro del Pretorio | Yes | Director: Oreste Coltellacci | [256][257] | |||||
| Scandal in the Family | Yes | Director: Bruno Gaburro | [220][258] | |||||
| Buttiglione diventa capo del servizio segreto | Yes | Director: Mino Guerrini | [220][259] | |||||
| Emanuelle's Revenge | Yes | Yes | Yes | Yes | [260][23][261] | |||
| 1976 | Strange Shadows in an Empty Room | Yes | Director: Alberto De Martino | [262][263] | ||||
| Voto di castità | Yes | Yes | [264] | |||||
| Black Cobra Woman | Yes | Yes | Yes | [265][266][267] | ||||
| Emanuelle in Bangkok | Yes | Yes | [268] | |||||
| Emanuelle in America | Yes | Yes | [269][270] | |||||
| 1977 | Emanuelle Around the World | Yes | Yes | [271][272] | ||||
| Emanuelle and the Last Cannibals | Yes | Yes | Yes | [273][270] | ||||
| Ladies' Doctor | Yes | Yes | Yes | Story | [274] | |||
| Mondo erotico | Yesi | [275] | ||||||
| 1978 | Emanuelle and the White Slave Trade | Yes | Yes | Yes | [276][277] | |||
| The Pleasure Shop on 7th Avenue | Yes | Yes | [278] | |||||
| Sexy Night Report n. 2 | Yes | Yes | [279][275] | |||||
| Follie di notte | Yes | Yes | Yes | [280] | ||||
| Papaya, Love Goddess of the Cannibals | Yes | Yes | [281][282] | |||||
| Tough to Kill | Yes | Yes | [283][284] | |||||
| 1979 | Images in a Convent | Yes | Yes | [285][286] | ||||
| Beyond the Darkness (Buio Omega) | Yes | Yes | [287][288] | |||||
| 1980 | Sesso nero | Yes | Yes | [289][290][51] | ||||
| Erotic Nights of the Living Dead | Yes | [291][292] | ||||||
| Porno exotic love | Yes | Yes | [293] | |||||
| Antropophagus | Yes | Yes | ?j | [294][295] | ||||
| Blue erotic climax | Yes | Yes | Yes | Director: Claudio Bernabei | [296] | |||
| Porno Holocaust | Yes | Yes | [297][139] | |||||
| Super climax | Yes | Yes | Yes | Yes | [298] | |||
| Hard sensation | Yes | Yes | [299] | |||||
| 1981 | Paradiso blu | Yes | Yes | [300] | ||||
| Orgasmo nero | Yes | Yes | Yes | [301] | ||||
| Labbra bagnate | Yes | Yes | Yes | [302] | ||||
| Le ereditiere super porno | Yes | Yes | Yes | [303] | ||||
| Porno video | Yes | Yes | Director: Giuliana Gamba | [56] | ||||
| Bocca golosa | Yes | Yes | Yes | [304] | ||||
| La voglia | Yes | Yes | Yes | [305] | ||||
| Labbra vogliose | Yes | Yes | Yes | Director: Claudio Bernabei | [306] | |||
| Sesso acerbo | Yes | Yes | Yes | [307] | ||||
| Voglia di sesso | Yes | Yes | Yes | [308] | ||||
| Le porno investigatrici | Yes | Director: Claudio Bernabei | [309] | |||||
| Caldo profumo di vergine | Yes | Yes | Yes | [304] | ||||
| L'ogre de barbarie | Yes | Director: Pierre Matteuzzi | [220][310] | |||||
| Absurd | Yes | Yes | Co-produced with Eduard Sarlui | [311] | ||||
| 1982 | Stretta e bagnata | Yes | Yes | Yes | [312] | |||
| Il succo del sesso | Yes | [124] | ||||||
| Super hard love | Yes | Yes | Yes | [313] | ||||
| Il mondo perverso di Beatrice | Yes | Yes | Yes | [314] | ||||
| Ator, the Fighting Eagle | Yes | Yes | Yes | [315] | ||||
| Ator 2 – L'invincibile Orion (akaBlade Master) | Yes | Yes | Yes | Yes | [316] | |||
| Caligula... The Untold Story | Yes | Yes | Yes | [317][318][319] | ||||
| 1983 | Una vergine per l'impero romano | Yes | Yes | Yes | [139] | |||
| Messalina orgasmo imperiale | Yes | Yes | Yes | Yes | Actor | [315][139] | ||
| 2020 Texas Gladiators | Yes | Yes | Yes | Co-directed withGeorge Eastman | [320][321] | |||
| Endgame | Yes | Yes | Yes | Yes | Yes | Editor | [322][323] | |
| Cuando calienta el sol... vamos alla playa | Yes | Yes | Director: Mino Guerrini | [220][324] | ||||
| 1984 | Jojami | k | Yes | [139][325] | ||||
| Nido d'amore | k | Yes | [139][326] | |||||
| Wendee /Wendee, la chiave del piacere | k | Yes | ?l | [139][327] | ||||
| La chiave del piacere | k | Yes | ?l | [139][328] | ||||
| Swoosie | k | Yes | [139][329] | |||||
| Pin Pon | k | Yes | [139][330] | |||||
| Fashion love | k | Yes | [139][331] | |||||
| Sesso allo specchio | k | Yes | [139][332] | |||||
| 1985 | Le due bocche ... di Marina | k | Yes | [139][333] | ||||
| Le due ... grandi labbra /La voglia di Marina | k | Yes | [139][334] | |||||
| The Alcove | Yes | Yes | Yes | [335] | ||||
| The Pleasure | Yes | Yes | Yes | [337] | ||||
| A Lustful Mind | Yes | Yes | Yes | Yes | Editor | [338] | ||
| 1986 | Midnight Gigolo | Yes | Yes | Yes | Yes | Yes | Editor | [339] |
| Convent of Sinners | Yes | Yes | Yes | Yes | Editor | [340][341] | ||
| Delizia | Yes | Yes | Yes | Yes | Editor | [342] | ||
| 1987 | Warrior Queen | Yes | Yes[70] | Associate producer | [343] | |||
| Stage Fright | Yes | Director:Michele Soavi | [344][345] | |||||
| Interzone | Yes | Director:Deran Sarafian | [101] | |||||
| Killing Birds | Yes | Yes | Yes | Co-directed with Claudio Lattanzi | [346] | |||
| Eleven Days, Eleven Nights | Yes | Yes | Yes | [347][348] | ||||
| 1988 | Top Model | Yes | Yes | [347][349] | ||||
| Ghosthouse (akaLa Casa 3) | Yes | Director:Umberto Lenzi | [350][351][352] | |||||
| Witchery (akaLa Casa 4) | Yes | Director: Fabrizio Laurenti | [353] | |||||
| 1989 | Dirty Love | Yes | Yes | Yes | [354] | |||
| Blue Angel Cafe | Yes | Yes | Yes | [355][356] | ||||
| Hitcher In The Dark | Yes | Director: Umberto Lenzi | [357][358] | |||||
| Metamorphosis (akaDNA Formula Lethal) | Yes | Director:George Eastman | [359] | |||||
| 1990 | Quest for the Mighty Sword | Yes | Yes | Yes | Yes | The 4th "Ator" film (akaThe Hobgoblin) | [316] | |
| Body Moves /Hot Steps (Passi caldi) | Yes | Director:Gerry Lively | [360][361] | |||||
| Deep Blood | Yes | Yes | Yes | [362][363] | ||||
| La Casa 5: Beyond Darkness | Yes | Director:Claudio Fragasso | [364] | |||||
| Troll 2 | bc | Yes | Director: Claudio Fragasso | [347][365] | ||||
| Contamination .7 (akaTroll 3) | Yescd | Yes | Yes | Main director: Fabrizio Laurenti | [347][366][101] | |||
| 1991 | Eleven Days, Eleven Nights 2 | Yes | Yes | Yes | Yes | [347][367] | ||
| La stanza delle parole | Yes | Director: Franco Molè | [101] | |||||
| Door to Silence | Yes | Director:Lucio Fulci | [368][366] | |||||
| Dark Tale /Favola crudele | Yes | Director:Roberto Leoni | [101] | |||||
| Return from Death (Frankenstein 2000) | Yes | Yes | [369][370] | |||||
| A Woman's Secret | Yes | Yes | Yes | [119] | ||||
| 1992 | Lezioni di sesso. 1.:Il vizio infinito. 2.:Donne di piacere. 3.:Così fan tutti. 4.:Dio mio como sono caduta in basso. | Yes | [119] | |||||
| Sul filo del rasoio /Instinct | Yes | Yes | [129] | |||||
| Una tenera storia | Yes | Yes | [129] | |||||
| 1993 | Chinese Kamasutra | Yes | Yes | Yes | [371] | |||
| I racconti della camera rossa | Yes | Yes | [372] | |||||
| The Labyrinth of Love | Yes | Yes | Yes | [373] | ||||
| The House of Pleasure | Yes | Yes | [374] | |||||
| China and Sex | Yes | Yes | [132] | |||||
| L'Atelier di Rosa | Yes | [89] | ||||||
| Roxana – Fra le gambe di Luana | Yes | [89] | ||||||
| Francesca – Goduria anale | Yes | [89] | ||||||
| Incontri anale nell'autosalone | Yes | [89] | ||||||
| Tre porcone sul biliardo | Yes | [89] | ||||||
| 1994 | Le avventure erotiche di Aladino | Yes | Co-directed withLuca Damiano[375] | [375] | ||||
| L'alcova dei piaceri proibiti | Yes | Co-directed withLuca Damiano[375] | [375] | |||||
| Amleto – Per amore di Ophelia | Yes | Co-directed withLuca Damiano[375] | [375] | |||||
| Le mille e una notte | Yes | Co-directed withLuca Damiano[375] | [375] | |||||
| Il barone von Masoch | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Il colpo dell'an(n)o | Yes | [376] | ||||||
| Il marchese De Sade | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Decamerone X | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Decamerone X 2 | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Fantasmi al castello | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Ladri e gentiluomini – Donne, gioielli e culi belli | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| La sexy caccia al tesoro | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Marco Polo la storia mai raccontata | Yes[377] | Yes | Yes | Co-directed withLuca Damiano[374] | [378] | |||
| Spiando Simona | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Il marito guardone – Sesso spiato | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Tarzan X | Yes | Yes | Yes | Yes | [347][379] | |||
| Tarzan 2 – il ritorno del figlio della jungla | Yes | [376] | ||||||
| Anal Paprika | Yes | [376] | ||||||
| 1995 | Fuga di mezzanotte akaFuga all'alba | Yes | [376] | |||||
| Homo Erectus | Yes | [376] | ||||||
| Le intoccabili | Yes | [376] | ||||||
| Adolescenza | Yes | [376] | ||||||
| Amadeus Mozart | Yes | [376] | ||||||
| Giulietta e Romeo | Yes | [376] | ||||||
| Le bambole del Führer | Yes | [376] | ||||||
| Le 120 giornate di Sodoma | Yes | [376] | ||||||
| Malizia italiana | Yes | [376] | ||||||
| Il monaco | Yes | [376] | ||||||
| Passione travolgente a Venezia | Yes | Co-directed with Cameron Grant[376] | [376] | |||||
| Penitenziario femminile | Yes | [376] | ||||||
| Le perversioni di Scarface | Yes | [376] | ||||||
| Robin Hood – La leggenda sexy | Yes | [376] | ||||||
| Saloon Kiss | Yes | [376] | ||||||
| Il siciliano (Don Salvatore) | Yes | [376] | ||||||
| Provocation (Vizio e provocazione) | Yes | [376] | ||||||
| Sogni di una ragazza di campagna | Yes | [376] | ||||||
| Black Cops...in Budapest | Yes | [376] | ||||||
| Wild East | Yes | [376] | ||||||
| Carmen | Yes | [376] | ||||||
| Scandalo al sole | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| 1996 | Antonio e Cleopatra | Yes | [376] | |||||
| Danno anale | Yes | [376] | ||||||
| Flamenco extasy | Yes | [376] | ||||||
| Kamasutra | Yes | [376] | ||||||
| Istinto fatale | Yes | [376] | ||||||
| Messalina | Yes | [376] | ||||||
| Proposta anale indecente | Yes | [376] | ||||||
| Rudy / Valentino's Story | Yes | [376] | ||||||
| Scambio di coppie | Yes | [376] | ||||||
| Il danno | Yes | [376] | ||||||
| Torero | Yes | [376] | ||||||
| Lulù | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Gipsy Seduction | Yes | Co-directed withLuca Damiano[376] | [376] | |||||
| Aphrodite | Yes | [376] | ||||||
| Caligula /Caligola follia del potere | Yes | [376] | ||||||
| Nerone | Yes | [376] | ||||||
| Lolita – Adolescenza perversa | Yes | [376] | ||||||
| Selvaggia | Yes | [376] | ||||||
| Lo stallone italiano | Yes | [376] | ||||||
| Lo stallone italiano 2 | Yes | [376] | ||||||
| Rocco last fight | Yes | [376] | ||||||
| Othello | Yes | [376] | ||||||
| Striptease – Ragazze Facili | Yes | [376] | ||||||
| Il diario proibito delle due principesse | Yes | [376] | ||||||
| Tutte le donne del presidente | Yes | [376] | ||||||
| Donna Flor e i suoi tre mariti | Yes | [376] | ||||||
| 1997 | Top Girl | e | Yes | Yes | [349] | |||
| The Hyena | Yes | Yes | [380] | |||||
| Police Department | Yes | [101] | ||||||
| Police Department 2 | Yes | [101] | ||||||
| Hercules /Le fatiche erotiche di Ercole | Yes | [101] | ||||||
| Amore e psiche | Yes | [101] | ||||||
| Olympus | Yes | [101] | ||||||
| Sodoma e Gomorra | Yes | [101] | ||||||
| Ulysses | Yes | [101] | ||||||
| Experiences 1 | Yes | [101] | ||||||
| Experiences 2 | Yes | [101] | ||||||
| La regina degli elefanti | Yes | [101] | ||||||
| Il vizio del peccato | Yes | [101] | ||||||
| Peccati di gola | Yes | [101] | ||||||
| Capriccio anale | Yes | [101] | ||||||
| I magnifici sette | Yes | [101] | ||||||
| Calamity Jane | Yes | [101] | ||||||
| Calamity Jane 2 | Yes | [101] | ||||||
| Lussuria | Yes | [101] | ||||||
| Praga amore mio | Yes | [101] | ||||||
| Il laureato | Yes | [101] | ||||||
| La figlia del padrino | Yes | [101] | ||||||
| Desiderio eterno | Yes | [101] | ||||||
| Sahara | Yes | [101] | ||||||
| Ercole e Sansone nella terra delle Amazzoni | Yes | akaSamson in the Amazon's Land[381] | [101] | |||||
| La venexiana | Yes | [101] | ||||||
| Dolce seduzione | Yes | [101] | ||||||
| 1998 | Anita e la maschera di ferro | Yes | [101] | |||||
| Selen nell'isola del tesoro | Yes | [101] | ||||||
| Harem 2000 | Yes | [101] | ||||||
| Off limits | Yes | [101] | ||||||
| Blow – Up | Yes | [101] | ||||||
| Elixir | Yes | [101] | ||||||
| Goya – La maya desnuda | Yes | [101] | ||||||
| Raiders /I predatori della verginità perduta | Yes | [101] | ||||||
| Thief of Love /Ladro d'amore - Giacomo Casanova | Yes | [101][382] | ||||||
| Il fantasma | Yes | [101] | ||||||
| Sexy Pirates | Yes | [383][101] | ||||||
| 1999 | Showgirl | Yes | [101] | |||||
| Sono positivo | Yes | Cameo appearance as "the director of porn films" | [384] | |||||
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