Porn Valley- Attorney Ron Miller, aka Don Hollywood, put out a news blurb last week www.adultfyi.com/read.php?ID=29502 announcing that all was well with the Henri Pachard project and that the ball was very much in play as long as the deal with the model releases can be straightened out.

And those that have been closely following the story know what that deal is and what caused it.

Miller explains that he’s the pro bono attorney assigned by the Sullivan family to straighten out some of the mess involving the paperwork and is quite confident that peace will again guide the planets and love will steer the stars. I spoke to Miller Saturday afternoon.

Miller, who’s holding a barbecue next week celebrating the project, says it’s now in the hands of Jason Sullivan who has no choice but to delete certain scenes because of how some of the paperwork process along the way got stymied.

[And the process of elimination spells out Amber Lynn’s name among the deletions and the stymies.]

“But there is enough footage left, and there are enough other scenes that will piece in,” states Miller confidently. This eliminates the bother to shoot new material.

“There’s more than enough to complete this movie,” announces Miller.

The barbecue, according to Miller, is an opportunity to extend a thank you to the people who participated in the project.

“Nothing has really changed other than the title of the project,” Miller points out.

Miller also thinks the original We Are The World XXX title was inviting trouble and possible legal repercussions.

“It would have ended up the movie in litigation. I don’t think the people that own We Are The World would like a XXX connotation to it. You’re talking about some big name talent that was involved with this back in the Eighties. I’m not so sure that was a great title- that’s the lawyer in me speaking. That’s no diss on anybody. I don’t like titles that may infringe on a trademark.”

“If you’re trying to do something non-profit you don’t want to get a trademark lawyer involved,” Miller theorizes.

According to Miller, the new title Pachard Redux was a title Ron Sullivan came up with.

“And that’s what he wants his last project called.”

“From early on the intent of the movie was clear,” Miller continues. “That is, everyone works for nothing and everyone works out of love. That’s exactly what I said in my letter and that’s what’s happening now. Anything extra that’s shot is going to be shot exactly the same way. Nobody in crew is getting paid.”

What Miller means by “extra” is perhaps more behind the scenes footage of people dispensing Henri Pachard anecdotes and recollections.

Miller says this is what Pachard wants.

“He wants more commentary. He wants people telling stories about working with him down through the years. Anybody who’s anybody talent-wise, has stories to tell. And upbeat stories.”

Which strikes me as being the major selling point of this movie.

“The [new] box has already been taken care of,” Miller adds.

“And everybody’s going to get equal billing. I don’t care if it was a P.A. or the biggest star that appeared in the movie, to all of the people who contributed time, money and resources, everybody’s going to get credit and no one’s taking a dime. The print for every performer’s name is going to be the same size.”

“None of this [the barbecue] is coming out of any budget money or any money that may have been contributed to Ron and Deloras Sullivan,” Miller also points out.

As far as the movie is concerned, Miller feels that it will be great and doesn’t shortchange the efforts of anyone who was involved in the creation of it.

“Especially where their heart was or their intentions were,” he says. “But at this point in time, there’s no time to go through the regular bullshit channels of arguing over anything.”

“I can tell you straight out, unequivocally, that Ron Sullivan has all rights, title and interest to the footage and images,” says Miller.

“Whether anyone will be able to make this a final product or not is going to depend on model releases. There are model releases and copies of ID’s that exist. So we can spend another couple of weeks of what’s left of Ron Sullivan’s life chasing after this paperwork or we can do what we’re doing now. We’re contacting everyone and everybody that I have talked to and Jason has talked to is onboard.”

Miller says he’s spoken to Amber Lynn.

“She’s contacted me,” he says. “She contacted me before the shoot and asked if I would like to take part in it. I said absolutely. I’ve worked with Ron for the last dozen years or more. And I called her repeatedly. She never returned my calls regarding location, time, anything else. And we’re hearing that from a lot of talent. A lot of really big name talent. Guys that are a hundred times better known than I am who wanted to take part in this who Amber did not return phone calls to.”

Miller says after-the fact he was contacted abain by Lynn and she said Sullivan was being very stubborn, bull-headed and can Miller talk to him.
One would get the impression it was the other way around, but Miller says he’s taking the middle ground on this issue.

“I don’t want to bash Amber,” states Miller. “If I could sit down and speak reasonably to her, I’d say, you know, Amber, you started something with the best of intentions. You can come out of this in one of two ways.

“You can come out of this as the person that came up with this idea and got it rolling and took it through a portion of the productions stages. Or you can come out of this with the entire industry or anybody else that cares, looking at you and saying Jesus Christ, Amber. What are you doing sitting on model releases that clearly do you absolutely no good?”

The question continues to puzzle and Miller says he has yet to hear from Lynn’s “counsel”.

“And I know she has a lawyer because I read it on your site,” he laughs.

Miller also makes it clear that there was never a Ron Sullivan Fund to begin with.

“And it also costs money to set up a non-profit account,” Miller hastens to add.

“It costs money to incorporate, accordingly. So what’s going to happen out of this, hopefully, the movie once done will get hard and softcore distribution. And if we can get around the tax man, we will. If we can’t get around the tax man, economically, then the taxes will be paid on it.”

“The original intent of this as a non-profit project is to benefit Ron Sullivan and his family. It’s not like this is a multi-million dollar project. We all know the realities of it. In 2008 God-willing it will be out. But it’s a pittance towards the outstanding bills that aren’t covered by insurance and other expenses that Ron and Deloras are trying to bear.”

“The biggest people of this industry have given from their heart, with their check books, with their times and the resources at their disposal.”

And Miller isn’t exactly sure, either, what Bill Margold’s function was other than being moral support.

“Bill has called me and, quite frankly, I have not responded to his calls because I don’t see where he fits into this whole puzzle other than being a supporter of Amber Lynn. I would think Bill would be one of the first to rally around Ron.”

The fact that a lot of people in the industry owe Ron Sullivan remains abundantly clear, says Miller, citing instances from his own adult career where Sullivan bailed him out.

“He showed me how to wrap a movie that I had run out of money on,” says Miller.

“He showed me how to cut corners so I could make a movie and bring it in on budget. He taught me little tricks of the business and that applies right up to the last people that Ron shot.

“I talked to one of the gals within the past year. She shot at Ron’s place and walked away just loving Ron as far as encouragement and advice was concerned. Since 1965 this hasn’t stopped. And who else is around anymore that goes back to that day and age? There are no more Bobby Hollanders and Ron Sullivans. So for all the guys that were stand up guys and have passed away or have walked away from this business, Ron Sullivan is the last of that breed. There’s not going to be another one.”