Straight & Butch (2010) - full transcript

[birds chirping]

All right.

10 minutes, and we're ready to go.

He's out there.

He's setting up.

KELLY: Quickly give me the run down.

Yeah. OK.

So are you rolling?

KELLY: I'm rolling, girl.

This is very important, because, you know,

Paul McCartney was supposed to be dead



and so he's stepping the other way.

So you guys are all going to pose with your right--

your left foot forward, OK?

Exactly, yeah, Tony.

And I want Gervase to be in the middle.

Like Gervase to be next.

I'm going to be Paul McCartney.

And Eric, you're going to be behind me.

And there's no coming back to Heather

and Jen's, is I guess what I'm trying to say.

Thanks for the coffee.

Hey.

KELLY: I'm Kelly. -Mike.

KELLY: Nice to meet you.



You, too.

You're going to be hanging down a little bit.

Your hands are in your pockets, but you

just can be hanging down-- you're

not going to have pockets.

Right.

You're not gonna have pockets.

Work with it.

Make sure you clothes are out of the shot--

KELLY: Just run up there. MIKE: --but accessible.

KELLY: Just run up.

It's a straight guy and a gay guy

together where they're friends.

A gay guy and a straight guy naked together, comfortable.

Look how cool this is.

It challenges your concept of your sexuality

and how comfortable you are with yourself.

First time I'm gonna get-- I'm going to be

naked in front of a camera.

I've told some of my friends about it,

and they were a little skeptical and thought

it was kind of weird.

And I was like, well, it's 2008.

Get over it.

In today's world, it should be easy enough

to have somebody pose naked with somebody else

and be secure enough in their skin.

I liked how I looked nude in the picture.

I was definitely nervous.

You know, when-- when you jump in a swimming

pool and it's real cold, everything goes up inside.

I have the same thing going on.

There was nothing sexual or sensual for me in it.

It-- it-- it was art for art's sake.

Kind of the first time I've ever been nude,

so, uh, it's something different.

They-- they would just call the Jacobstown police.

But we're not doing anything illegal.

Yeah.

I think crossing the lines and seeing how far you can go

is an important part of being an artist.

This is cool.

This is different, you know.

Let's push the envelope.

Bring that tension to bear in a public calendar,

to-- to bring that into a public context.

It's a little out of the norm for me, so give it a go.

A photographic collection depicting

12 heterosexual men, one by one, posing naked for a calendar.

But there was a catch.

These 12 men would be posing naked on the set

with another man who also happened to be naked and gay.

That would be me.

[music playing]

My name is Gervase Peterson.

I was on the first season of "Survivor,"

so I've done a lot of acting, commercials,

TV, all kinds of stuff.

But one of my favorite, favorite things I've ever done,

is this show called "In Bed with Butch,"

with my best friend Butch.

Now with you, of course, we-- we've been friends for--

GERVASE PETERSON: For years.

BUTCH CORDORA: --maybe five, six years now.

And, um, what were the actual circumstances

that I approached you with?

Do you remember or--

I-- I mean, I remember getting a phone

call one day from you saying I got this great idea, you know.

Let's meet, have lunch, talk about it.

If you know Butch, he's very-- he

gets excited when he has a great idea,

but then he gets nervous, too.

So I went down into the city, we met for lunch.

And he told me that he had this idea for a calendar

that he wanted to do.

And he wanted me to be one of the guys for one of the months.

But then there was a snafu.

He wanted me to be naked in the calendar.

He called me one day and he said, Butch.

Me and my girlfriend take showers together a lot.

And sometimes when we get out of the shower, she shaves my head.

I thought, wow.

How hot would that be for me to be

naked in a bathroom with Gervase naked, and shave his head.

I was fine about it, I think, until the week

before the shoot.

And I gave Butch a call, and I-- he could tell I

was freaking out about it.

I wasn't sure if I was doing the right thing.

I was second guessing myself.

My whole concern was that this come out the way

we wanted it to come out.

And I wasn't sure if that was going to happen now.

This is a great bathroom.

I mean, it is. -Yeah.

Yeah.

It's a little tight, and it doesn't give

me a lot of mobility with the camera, but--

BUTCH CORDORA: He said to me, we're

going to do the shaving Gervase's head idea,

but we're just not going to do it in the bathroom.

So I figured we were going to do it in the kitchen.

But of course, where does he pick?

Outside.

The front porch of an Elkins Park house with soccer

moms driving by and kids on their big wheels.

It was the summer.

It was very weird.

What-- what's the legalities of it?

Oh, there's no legal problem.

They-- they would just call the Jacobstown Police.

But we're not doing anything illegal.

Yeah.

Yeah.

When I worked with Tony Ward, it was four years ago

and I was very, very insecure about this project

and photography and art.

And kind of in awe of him and that he was doing my project

and working with me.

Ordinary bathroom and all?

Yeah.

Let me get a frame set up first.

GERVASE PETERSON: So many people around, you know,

that did catch me off guard at first.

I thought it was pretty much going to be me,

Butch, and the photographer.

Silly me, knowing better than that,

that you need other people around to set things up.

WOMAN: Want a Cosmo yet?

BUTCH CORDORA: I do.

I think I want a mimosa.

Yeah.

It-- it is.

I'm-- I'm-- I'm excited.

I am excited.

Man.

GERVASE PETERSON: Get a--

I don't know.

I always get so nervous with this stuff.

Like, I think I'm going to be like, totally into it

and I'm just so fucking nervous.

More nervous about, like, people seeing us on the porch.

Like, I'm freaking out about that.

[inaudible] every damn time.

How the hell he talk me into this crap?

WOMAN: How did I get here?

WOMAN: Somebody's got to drink these

so I can make another pitcher.

BUTCH CORDORA: Oh, you guys.

WOMAN: What was like, the grossest--

Yeah.

That's a great pose for your-- your body type, Ger.

Now go to-- go to nude so we can detail your body now.

Ger, you want to go in there and spray him?

He's gonna go to nude now.

Let's get him ready.

Where is it, [inaudible]?

No, no, he's just.

TONY WARD: Stay this-- stay facing this way.

All right. Go for it.

I'm ready. -Ready?

TONY WARD: OK.

Good.

BUTCH CORDORA: Behind him?

TONY WARD: Yeah.

Let's go right into your pose now, Gervase.

Great.

And then work-- get in a little tighter body, Butch,

so you can hide your penis.

Behind his leg, like you said.

There you go.

Right there.

Assume the pose, Gervase.

Eyes this way, Gervase, right here.

Like that.

Head down just a touch.

Eyes right here.

And fill.

Oh my God.

OK.

Yeah. You got to hold it.

There, you got it.

There you got it.

GERVASE PETERSON: The only main concern I had was that,

you know, you're just trying not to get a hard on through this

whole thing, because that's-- how is that

going to come across, you know?

It's just-- it's not going to play well.

So that was my only big issue.

Like, I just don't want to get a hard on.

And if the wind blows, I get a hard on.

So that's the problem with me already.

You all right there, Butch?

BUTCH CORDORA: Yeah. Yeah.

Yeah. -You sure?

You seem a little nervous, still.

I'm not nervous about the nudity.

I'm not nervous about anything at all,

because I'm a little buzzed.

But I'm really nervous about what--

WOMAN: Nice.

TONY WARD: Now put your right hand

right in-- right at his abdomen, right on his stomach.

Hold that.

I'm getting a chubby.

WOMAN: Thanks for sharing.

GERVASE PETERSON: It was the funniest thing ever.

And I'm like, you're kidding me, right, Butch?

He's like, no.

I was like, Butch, just hold out.

He's got a couple more pictures to take.

Just hold out.

And Butch, he's like, I can't.

And Tony snaps those last ones like, all right,

you guys are done.

You can go to town on him.

Butch is like, thank you.

And he goes and grabs a towel, and it's

the funniest moment ever.

I can't believe Butch got a woody.

Can you believe that?

Off of me.

I mean, if people think I'm gay, who cares.

You know, I'm not.

And Butch knows that.

I know that.

And the people around me know that.

So if other people think that, that's cool.

I really don't care about that.

Let's have a nice round for Gervase

for doing this, Gervase.

Straight guy.

You were terrific.

GERVASE PETERSON: Checking the mail. We're all good.

BUTCH CORDORA: I immediately contacted the media.

And sure enough, this girl Ashley from City Paper

was all about it.

She emailed me and said, Butch, I love Tony Ward.

I love his photography.

I am a big fan of his.

So it really wasn't about me.

It was more about Tony Ward.

But that's OK.

And she says, if you get me an interview with him,

I will write the biggest article about you and your project.

In the meantime, she said to me, I

can do something in the adult section in the back.

I'll put just a tiny little paragraph.

And I got a few emails from that, met a couple of guys.

And this one I really liked.

His email said, my name is Bill.

I'm 6'3", 185 pounds.

You know, have a nice body, 39 tattoos, Mohawk.

Hi, I'm Bill, and I'm straight.

[music playing]

I knew who Tony Ward was.

I didn't know the dude, but I knew he was

a pretty big deal photographer.

And I wanted to take part in something

that involved him shooting me.

I really don't care what people think.

That's kind of why I wanted to do it,

because I thought it would be interesting to see

what people think.

When I first met him, he seemed to be having trouble

meeting committed-- getting committed models who

would actually do it.

So I was like, well, fuck it.

I'm going to do it. BUTCH CORDORA: I want--

TONY WARD: Oh, this is such a great room.

BUTCH CORDORA: I know.

So my one idea is to, you know, have all these bumper

cars and roller coaster cars, you know, collide,

kind of in an accident.

TONY WARD: OK. Oh, yeah.

Yeah. Like, crash.

BUTCH CORDORA: Like crash.

BILL BARTON: Butch said early on the point of the project

was to say hey, look, a gay guy and a straight guy,

naked together, comfortable.

Look how cool this is.

Like, should we [inaudible] or whatever.

Like, I'm embarrassed to do it like, in front of everybody.

BILL BARTON: Are we supposed to have hard ons?

Oh, no. Not supposed to have hard ons.

But, like, I-- I mean, I have a pretty nice sized penis,

but, like, it's like so small and I

just want to kind of like--

BILL BARTON: That's why I want to turn the heat up, dude.

Look at--

BUTCH CORDORA: I know.

So, like, hard to-- to be--

BILL BARTON: All these fucking people.

BUTCH CORDORA: --be excited.

BILL BARTON: I'm trying to think about, like, girls,

and like, girls I've been with.

MAN: [inaudible].

BILL BARTON: Just like, oh, kind of get hard, [inaudible].

I'm sorry.

This isn't anything gay.

This isn't anything gay.

BILL BARTON: [inaudible].

And-- and this-- and this is not going to make

it into the documentary.

Now, just to add another element--

Yeah.

Yeah.

I kind of like this idea.

I invited one of my friends who does

a lot of art modeling, Margo.

She's a female.

Yeah.

Maybe for a couple, after we do the main shot,

we put her in the background as a witness to the scene.

OK.

And there might be-- it might be her and another girl.

I invited two, thinking one may not show up.

Oh, OK.

But if they both show up, the space-- yeah,

there's enough space here.

I could actually incorporate both of them now.

Yeah.

OK.

And they would be just like, you know,

little accents in the picture.

Like, naked?

They would be naked?

Oh, yeah. Yeah.

Definitely.

He knows what I'm doing.

I'm doing a-- a guy thing.

I'm doing a guy vibe.

I'm doing a gay thing.

I'm doing a gay guy, straight guy vibe.

It's a guy thing.

It's about penises.

It's about guys.

Men.

Whatever.

There's no room for women.

I love women, but, you know, there's no room

for women in this project.

And Maybe Butch is in the car, standing here, giving him the--

Who's that other guy back there?

MAN: I don't know.

WOMAN: What guy?

Like, what are all these people doing here?

WOMAN: All these hang-er on-ers.

I know.

TONY WARD: You know we'll be famous, right?

WOMAN: I didn't notice any other dude.

Some guy just like, came in.

WOMAN: Oh, that man, with the beer in his hand?

Yeah. Yeah.

WOMAN: Yeah, I don't know.

I thought maybe he worked here or something.

MAN: He's with Tony.

He's with Tony?

WOMAN: Is he going to get in the shot too?

I'm sorry.

WOMAN: Seems like a big pervert, huh?

BUTCH CORDORA: Yeah. That's--

OK.

So what-- the way we're setting this up now,

we have the row of proximity of figure in a-- in a scene.

Who are you?

TONY WARD: That's Sammy.

He's an assistant. BUTCH CORDORA: Nice to meet you.

I'm Butch.

This is Butch.

I was just wondering what-- what he was.

I can't talk really loud.

But, you know, it's fine.

I guess this is how it is.

Yeah.

If you can hide it.

Just kind of have it under your body, but try to hide it.

I-- I don't know that I want to see that pull up.

TONY WARD: So if you were to save him from this crash,

what would you do?

WOMAN: Stand up on that.

I'd make out with him while he's unconscious.

He doesn't know that a gay guy's making out with him.

It would be-- it would be awesome if I got up close to--

TONY WARD: OK.

I mean, is he--

TONY WARD: No, that-- if he's comfortable with it.

I mean, did you guys discuss that?

Whatever.

TONY WARD: I don't want any swinging in here now.

WOMAN: But that-- that would be--

He loves being objectified.

WOMAN: I mean, it wouldn't be authentic if,

like, he's doing resuscitation.

Like, if he was just--

Yeah.

I mean, well, technically, it's up here,

because that's where you do it. -Yeah.

Look--

TONY WARD: Yeah, I actually like that

better, because it's really kind of humorous in a way.

No, that's great.

It's like Dr. Butch.

Here we go.

Work on your expression a bit longer.

I think he's [inaudible].

Looking great there.

We have a pretty good match in terms of the light here, see?

That's our whole [inaudible].

Yeah.

Good.

Press, Butch.

This is the part I like.

TONY WARD: Good.

Film.

Get closer to him, Butch, when you're doing this.

Like more-- a little bit more intimate, huh?

Can I go like, really low?

If he's--

TONY WARD: It's fine with me.

You got to discuss it with Bill.

I want you to go as far as Billy will allow.

Eyes closed again, Butch.

That's actually very nice.

I've been wanting to work with Margo for like, over a year.

And we haven't had the opportunity, so I just invited

her down to make a cameo.

Margo, perfect.

BUTCH CORDORA: He was very intimidating,

and I was very intimidated by the whole-- by him

and the whole process of this photo shoot.

TONY WARD: So rotate out so I see the breasts a little.

Now-- now lay-- yeah, like that.

Wonderful.

I now, after four years, am-- feel more in control.

Like, I feel like I'm the art director,

the producer, the director.

But that wasn't the case back then.

And he really threw me for a loop for-- with Billy's shoot.

And I was very, very upset about that.

So that's what made me rethink using him anymore.

And that's the Tony Ward story.

Do I have bags under my eyes?

Is that why you're putting that there?

Yeah, I'm just giving--

Thanks, Butch.

[music playing]

Evening it all out.

Evening that face out, right?

Making the-- making the bags smaller.

That's all right.

BUTCH CORDORA: The third guy I used, his name is Angelo.

And he is very simply a guy who owns a pizza place

up the road from where I live.

And I heard that he was doing this calendar

with straight guys.

And then one day, he came into the pizzeria

and I said, yo, Butch, why didn't you ask me to get

involved? He was like, what?

Are you serious?

I would have never thought to ask you.

And I said, well, I'm-- I'm in it.

I want to be in it.

He's like, yeah, OK, you're in it.

You got it.

So we went through some "Rolling Stone" magazine photos

of Janet Jackson we found.

Janet Jackson with some guy behind her, covering her boobs.

And I said, this is one that I think we could do.

You got to be behind me covering up myself.

I could-- I guess I could grab his package for two hours,

yeah.

Sounds pretty good.

Chain off.

How about the bracelets? -Yeah.

Everything off.

They don't come off very often.

I never thought once about backing out.

When I committed to Butch, I said, I'm going to do it.

He had me.

But I certainly was nervous the day of the shoot.

When-- when it came time to drop the towel,

I thought-- there was a girl over there,

makeup artist over here, guy filming from the TV

show behind us.

And, I-- you know, I was certainly-- I was nervous.

I was definitely nervous.

[music playing]

You like it?

Get like-- I mean, get down to his feet, you know.

I want to try--

Show his dick.

Great.

It was great.

No problems at all.

Yeah.

I had fun.

CAMERA MAN: Was it what you expected?

No.

You know what, I expected to be a lot more nervous.

But Butch makes you feel comfortable.

He puts you at ease.

And the photographer did a great job making

us feel real comfortable.

And it was really easy.

Yeah.

It was easy.

[music playing]

OK.

CAMERA MAN: Nervous?

Uh, no.

I'm not nervous.

This is just different, you know?

I'm not used to--

[music playing]

That feels freaky.

Is it your first time putting mascara on?

Yeah.

First time for everything, huh?

Open your eyes, please.

ANTHONY BORZOTTA: Butch approached me for the calendar

when I was at DUTV working for a different production.

I think I was putting away equipment

or something at the time.

And he comes up to me and he goes, Tony.

Tony, I have this great idea for this calendar.

He begins talking about the idea of "Straight & Butch."

Nude guys-- or straight guys posing nude with him

and so on and so forth.

And then he says, well, I think I would like

you to be one of the models.

And it was kind of an interesting moment

because I wasn't really expecting him to say that.

Although I kind of-- as he was explaining-- because he

was almost kind of nervous when he was talking to me about it.

And the more he was explaining, the more I realized,

he's going to ask me to pose naked with him

in this calendar, and I don't know what to say to that.

There was kind of my nervousness or hesitation

about being naked with another guy in general,

much less in front of the camera,

for kind of all the world to see.

You know, I didn't know if my friends

or family would be understanding or accepting of the choice.

I didn't know if they'd get why I would do something like this

or if they'd be comfortable with it.

And I don't want to-- I didn't want

to alienate anybody or-- or cause any kind of discomfort.

That and whether or not I would look good, you know?

It's not like I'm the most cut person ever, which

is kind of one of the reasons I was so flattered when Butch

asked me in the first place, because I never

really thought about myself as being model material

necessarily.

He wanted to do like, a really intense-- you know, really,

really intense tight shot like this

where he's holding my head.

And you know, you don't know if he's going to hit me or kiss me

or what-- you know, like a very, like, intense.

A lot of energy.

A lot of the tension between the photographer

and the model-- the subject, or whatever.

It's very interesting to see, too,

from the people that are willing to pose

and the very wide variety of people

that Butch has gotten to be in the calendar with him.

A lot of them are friends of his, like myself and Gervase.

But a lot of them are people that he's never met before.

Or people that came to him because they

thought the calendar was a really cool idea.

And I think there's something about it

that's very intriguing from an artistic standpoint.

Did you tan a second time?

ANTHONY BORZOTTA: No.

Oh, OK. Yeah.

You look good, though.

I mean, it looks-- you look dark.

You don't--

ANTHONY BORZOTTA: It's not-- I don't look-- yeah, exactly.

And-- and it's more even.

BUTCH CORDORA: Right. Right. Right.

ANTHONY BORZOTTA: Not quite as bad as it was.

Right.

And the-- all jewelry has to come off.

Right.

Well, not [inaudible].

But I mean, your--

Right.

Necklace was.

It's the first time I've taken this off in probably two years.

[inaudible] so funny.

He had like--

It was a graduation present.

I don't really take it off.

-From your parents? -My aunt.

But it's my-- it's my-- I'm not Catholic or anything,

but that-- he's my patron saint.

Oh.

So like, it's got a very significance.

Your mother would be so proud of you today.

I don't know about-- I don't know about proud.

Amused, possibly.

Amused.

Amused at the most.

Amused at the most.

No, the last time I was talking to her,

she-- it was funny, because she was like,

are you ready for this?

And I'm like-- I-- I-- you know.

How do you get ready for this?

How do you get ready for this, yeah.

I guess?

Did I get cold feet?

I-- I-- I would have to say to an extent, Yeah.

You-- you know, you're coming up on the calendar.

It was-- it was weird, too, because in the weeks leading up

to it, Butch likes to do this sort of thing

where he comes to your apartment.

Or he sets up a time where he can sort of scope

you out naked, you know.

Ostensibly, this is because he wants

to make sure that you've groomed yourself properly or whatever.

But I think he really just kind of wants to see your junk

more than once, you know.

But--

All right.

Well, I'm ready.

Right.

You know, what else are you going to do.

Yeah.

I think it says something-- it's trying to say something,

and I think we succeed about kind of where we are

as a country in some extent.

And more importantly, kind of where we could or should be.

The fact that he is gay and we're straight is sort of--

should be kind of irrelevant.

It's just two guys posing in a photo together.

But since the culture is as it is,

that becomes a very challenging concept.

It becomes something that people are-- that people

are going to react to.

And I think the fact that people would react to just two

guys being naked together, just because one

them happens to be gay and the other happens to be straight

is very interesting in and of itself.

And I think it's one of the reasons why I wanted

to be part of the project.

I-- I feel like it's saying something important or unique

about where we are societally.

BUTCH CORDORA: I did two photos with Tony Ward.

I did two photos with Joe Bowman.

It was-- I was feeling like it was time

to find another photographer.

And I heard about this woman named Leah McDonald who

actually studied under Tony Ward and kind of shoots

in the same vein as him, like the very big, grand,

editorial style photography.

Yeah.

I've been shooting the figure for almost over 20 years.

People always joke around with me.

And they go, why do you always taking nude photos.

And I say, well, everyone that meets me just gets naked.

I don't know what to say.

And from what I sense from him, is

his great difficulty was finding straight guys

who were willing to do it.

For various reasons, whether it was their jobs, their wives,

their girlfriends, their, you know, personal hang-ups, you

know, about-- or-- or-- and basically even

just being photographed naked.

She immediately suggested her husband as the model.

And she immediately emailed pictures

of her husband, Duncan, to-- to--

and she said, please, please, please.

You know, use my husband as a model.

He has an awesome body, He has a ton of tattoos.

He's a very sexy guy.

He has-- you know, he's an ex Hell's Angels dude.

Duncan and I have done a lot of art,

and Duncan's modeled, you know, modeled for me.

And he's really been the only guy.

And we-- we've been open with our sexuality.

So I guess in a way, I was just like, for me, I was like,

I wonder if Duncan would do this for-- for me, if I-- you

know, for-- for me.

Because I was the one that was going to ask me.

So it was like, I guess, it was kind of a test--

I guess it was a test.

Is he going to do this for me if I ask him?

Because Leah assured me that he's, you

know, such a-- he's not a professional model,

but he's done it so much that didn't need

to go through all the steps that I put the other straight guys

through.

So there was no meeting.

There was no, you know, second meeting.

There was no looking at his body.

There wasn't anything.

I said, you know there's something

I'd like you to do for me.

And-- and he was like, what?

I said, well, model naked in this sort of homoerotic

gay intense, you know, situation with this other artist, Butch.

And he-- and he said-- I think he said,

Leah, if you want me to, I'll do it.

And I think that was his answer.

And then I was like, well, are you comfortable with it?

And then we kind of went back and forth with,

are you really comfortable with it?

And then-- and then he never said no.

He never said no.

So I met him the day of the shoot.

LEAH MACDONALD: It's a late night.

-Hi, Duncan. -Hi.

Nice to meet you. How are you?

What's going on?

[music playing]

DUNCAN MACDONALD: I was kind of nervous before the shoot,

but not-- I didn't-- I didn't really consider not doing it.

I guess one of the reasons that I was a little nervous

was because it was in a friend of mine's tattoo shop.

I'm kind of not used to being naked in that environment, so--

and especially with a naked man.

It was kind of, you know.

You're sitting on a chair.

It was a little outside of the realm of normality for me.

You know, I'm not that comfortable around gay men,

to be honest.

And simply because growing up in Ireland,

I had a lot of harassment from old-- older men when I was

a young-- in my early teens.

And that led to probably a little--

I was a little homophobic for a period of time.

And I think that Butch's intentions

were-- were that-- that element of-- of awkwardness.

So in a way, I think that our-- my relationship with Duncan

and our marriage and Duncan being

a totally straight guy with Butch,

I think that's exactly what Butch wanted.

So if there was tension, I think it was all meant to be.

BUTCH CORDORA: Jo, I did my ass really good, but would it be--

JOJO CLAPSON: I'll check over.

Let me see your butt.

You don't get a very hairy butt, do you?

BUTCH CORDORA: No, I shaved it. I shaved it.

JOJO CLAPSON: Yeah, you're good. BUTCH CORDORA: Is it good?

JOJO CLAPSON: Yeah.

Unless you want me to go up in there, but I don't--

BUTCH CORDORA: No, no, no, no.

JOJO CLAPSON: We're friends and all, but--

Oh my God, oh my God.

BUTCH CORDORA: I think it was Leah's

idea to do this tattoo shot.

So basically, we-- I laid down on a massage table

with kind of like, my ass up in the air.

And he fake tattooed me.

LEAH MACDONALD: We're going to have you--

DUNCAN MACDONALD: Yeah, I got to--

BUTCH CORDORA: People don't think he's straight,

they'll know from that.

That's the straight boy tan right there.

DUNCAN MACDONALD: It didn't seem gay at all taking the pictures.

There was nothing sexual or sensual for me.

It was art for art's sake.

BUTCH CORDORA: He just held the needle

and you know, kind of fake tattooed my ass.

It was hysterical.

LEAH MACDONALD: I think I'm going to over-expose

a little bit more.

BUTCH CORDORA: He was naked with all his fabulous tattoos,

and I was naked laying on a massage table.

And it was like, this beautiful tattoo parlor naked shot.

It was-- it was OK.

I was like, you know.

Every time I model when my wife's taking the pictures,

I'm like, can I be done already?

I don't think it's really that much different, you know.

It's not like-- it's not-- it's not really like-- it's art.

It's a photograph.

It's not, you know-- it's not a big deal.

CAMERA MAN: OK.

All right.

LEAH MACDONALD: --get jellied, you guys.

And he was fantastic.

He was so cool.

And so like, eh, taking his clothes off.

Just like nothing.

Like he does it a million times a year.

And yeah, pretty funny.

So I-- I really enjoyed him and the shoot.

The pictures came fantastic.

I thought he was a cool guy.

And I'll probably never see him again.

No, no, that's not true.

[music playing]

OK.

So here's an idea of a-- a model that I find from an ad.

Now, this is a potential model that I might use.

Although, you know, he-- he answered the ad.

So, you know, I'm always suspect because you know,

you just never know if they just want to be in a photo

or whatever.

So-- so his name is Rocco.

Or Rocky, he says.

And this was his email to me. "I want

to know if you're still accepting nude models

for the Butch photo shoot.

I'm 27 and a wrestler.

I'm going to email you later tonight

with my stats and my pics."

I emailed him back and I said, OK.

So just send along a picture or two tonight,

along with your weight and your height, eye color, hair color,

and we'll take it from there.

Emails me back his stats and two pictures.

One picture was him with his shirt off in-- and jeans on.

You know, cute guy.

And the next picture was a picture of his dick.

So you know-- which I did not ask for.

So I don't know.

I'm going to meet with him, because you know,

I have to assume he's straight until I catch him.

But you know, whatever.

So that's the deal.

So I emailed back and I said, OK.

Let's meet.

Blah, blah, blah.

So I'm going to go meet him.

Hi, my name is Roc-- Rocco, and I'm-- I'm straight.

[music playing]

So let me ask you a couple questions.

OK.

OK.

So what-- like, just like, very, very like, honestly, like,

why did you answer the ad?

Um, well, actually, the reason why I looked at the ad

in the-- the first place because I actually

like showing my body off and I don't-- I

don't mind being nude or--

BUTCH CORDORA: Yeah.

Yeah.

And it's good, too, because I-- I wrestle on the side.

It would-- it would be good for that, too, because like, it

would get my name out there more and more people would

get to look at me and know me.

And they'll see that I'm a wrestler, too,

and probably come to my matches.

Is it, like, safe to say, like, you're an exhibitionist?

Like, you like to-- like, you just like to be naked?

Yeah.

Exactly.

Do you walk around your apartment naked?

Oh, no.

Let me guess.

You still live at home.

Uh, yeah.

You-- you hit it, yeah.

So I can't really walk around naked at home.

You're like, too perfect.

You're a 27-year-old Philadelphia

Italian boy still living at home, and you're a wrestler.

I love it.

Oh my God.

All right.

So let me ask you this question.

And be honest.

Why did you send me a picture of your penis?

Well, I thought that would make it good for the photo.

I mean, 'cause you wanted to see-- so I was like, all right.

Why not-- why not send him a picture of how I look below.

Oh, OK. OK.

OK.

Because I didn't ask for that.

Yeah.

Like, I just asked to see a picture.

But OK.

All right.

Just wondering.

Another thing is before the photo shoot,

I kind of do want to like, maybe like,

see you naked or whatever.

Like, you know, like, I kind of just

need to do the whole mole patrol.

Yeah.

You have to see how the person looks

before you do something, yeah.

BUTCH CORDORA: Right.

When I went there, I already had my mind made that I

really wanted to try it out.

Try posing nude and see how it felt.

BUTCH CORDORA: Like, do you want a beer or something to relax.

No.

I'm fine.

Yeah, I'm cool.

All right.

All right.

Well, you're-- I mean, do you want to just do it?

Yeah, sure.

BUTCH CORDORA: OK.

Wow.

Very good.

Yeah, you do have a flat stomach.

All right, yeah.

You do have like, weird-- yeah, you definitely have like,

weird back hair-- ROCCO CIARROCHI: Yeah?

BUTCH CORDORA: --a little up here, yeah.

Your chest has to go.

Yeah, you have a little bit of-- yeah,

like maybe-- I don't know that that's even going to matter.

Beautiful, yeah.

Very sexy.

Very nice-- very nice body. ROCCO CIARROCHI: Thank you.

BUTCH CORDORA: Yeah. Very cool.

OK.

I am finding that a lot of straight guys

are exhibitionists.

Like, a lot of people are exhibitionists.

They just like to be naked.

They just like to have their-- take their clothes off.

In public or in private or walk around the house naked.

I've interviewed a bunch of guys who actually

said no for this project, but also said, me and my girlfriend

walk around the house naked all the time.

We are-- we have naked Tuesdays, or we-- so a lot

of straight people are exhibitionists that like

to walk around the house naked.

So I'm just hoping that he's-- he's one of them.

It is just very weird, though, that he-- yeah.

Is so ridiculously comfortable with like,

taking his clothes off.

Like, so quickly and easily in front of you guys.

And saying yes to the photo shoot.

Like, he didn't flinch when I said I was going to be

naked with him and I'm gay.

And he didn't even care to see the other photos.

I liked him.

I liked him.

I just hope he's, you know, on the up

and up about this-- his sexuality, whatever.

Well, I mean, I live with my mom.

My dad lives in Jersey.

So I mean, I really don't talk-- talk to him much,

so I don't have to tell him about it.

But, um, I didn't really tell my mom.

All I said is I'm-- I'm doing a-- a calendar.

I didn't tell her what kind of calendar.

BUTCH CORDORA: Yes.

WOMAN: How do you think she'd feel?

Um.

BUTCH CORDORA: Not too good, probably.

Well--

BUTCH CORDORA: She'll never know.

Yeah.

She-- she'll never know, because she--

she's not one to surf the web.

And-- and I doubt she's going to go look at-- at nude calendars.

BUTCH CORDORA: Right.

So you feeling all right?

-Yeah. -Yeah?

You are?

OK.

Did you do sit-ups?

Oh, you doing some Pilates?

Shoot is going to be him sitting like, on a bar stool.

Or maybe we'll pump the chair up really high.

And I actually want to be painting his face.

Oh my God.

As if he's getting ready for his match.

The wrestling.

My character, and paint my face.

Do you have a picture of yourself?

I think you should be taking [inaudible].

I think you should do just your eyes.

You should do.

Just you eyes black.

And is your whole mouth black?

Yeah.

Yeah, I put it around my lips.

If you do this black and this black.

And then you do whatever other interpretations

for [inaudible].

BUTCH CORDORA: Oh my gosh.

LEAH MACDONALD: You got that on video.

No.

No, I didn't mean that.

No.

He-- he's-- he's good down there.

He's all shaved.

Is the wrestling people going to get upset

that you're shaving your chest?

Well, they really don't-- I wrestle with a shirt on.

Oh, oh.

OK.

Oh, OK.

Yeah. Yeah.

It looks good.

OK.

LEAH MACDONALD: Yeah.

And there it is.

Yeah.

Yeah, down there.

Yeah.

ROCCO CIARROCHI: I-- I really liked doing that shoot.

I liked how I looked nude in the picture.

I mean, every-- everything was-- was cool,

the way me-- me and Butch looked in the picture.

I mean, I really like how everything turn-- turned out.

And if someone does like, a family member or a wrestler

does take a look at the picture, you know,

it-- it doesn't matter, because I had

a fun-- a fun time doing it.

And if they like it or not its up to them.

I didn't care.

You know, everyone was watch-- watching the shoot.

And I just took off my clothes in the barber shop and said OK.

Here I am.

Film-- film me, you know.

[music playing]

Now I was halfway through the shoot.

I had done six photos and I had six more to go.

And at this point, like at the halfway mark,

I was starting to feel, you know,

more in control of the project.

Eric, what are we going to do, by the way?

What exactly are we going to do?

All I had are plates.

Hello.

My name is Eric.

[music playing]

I live in Philadelphia.

I'm a professional cook and a massage therapist.

The way I met Butch was through a mutual friend, Leah.

And I did some modeling for her, and she pointing towards Butch

and said that this might be an interesting project for me.

The photographer was setting up a shoot outdoors

that me and Butch were kind of working out in-- in the middle

of the woods.

I mean, do you-- you don't care if your, like,

penis shows in this photo?

You know, I-- once again, hired yet a fourth photographer.

And this guy I met at the gym.

He actually approached me one day.

You know, he was just talking to me

about this project that he had coming up,

and how he wanted to maybe sit down for coffee with me

and talk to me about it.

I was a little intrigued by what he wanted to talk about.

So I went and I Googled him.

And, uh, I-- I read about the "Straight and Butch" calendar.

So I knew right away he was trying to-- trying to pitch

me to be in the calendar.

I'm-- you know, I'm highly flattered that he'd ask me

to be in this, but I'm getting married next week

and I don't know how great this is going

to fly with my new in-laws.

And I said, Butch, you know, I have no problem with it.

In fact, I said, part of the reason that I'm not necessarily

interested in doing it is because I feel

like it might be successful.

And I'm like, I don't know if I want it.

Want me nude out there.

And I'm like, I'm more comfortable behind the camera

and that's why I'm a photographer, not a model.

I got to be honest with you.

I'm not very-- that thrilled with it.

I'm going to be down there, on that other little island.

WOMAN: Holy shit.

Is there any way to get across the--

There's a tree that goes across, but--

You have to, you know--

I am not shimmying over any tree.

Yeah.

It's like we shouldn't even be using the weights.

Maybe we should just use like, tires or something,

you know what I mean?

If you're going to be in the woods,

you're not going to carry your weights down to the woods.

WOMAN: This is true.

Yeah.

But didn't he say it would be as if you guys were in a city gym

and then like, poof, you just kind of ended up in the woods

with all the accessories.

OK.

[inaudible].

And look up.

ERIC WAGNER: You have weights?

Clink.

Clink.

[music playing]

For the-- for the spotting shot.

Would this be like a--

ERIC WAGNER: That would work.

Something that would look-- look like a real workout photo,

I guess?

I mean--

[music playing]

CHRISTOPHER GABELLO: So is that what you want?

BUTCH CORDORA: That?

CHRISTOPHER GABELLO: Like, with the stream and stuff?

BUTCH CORDORA: Yeah. I love that.

CHRISTOPHER GABELLO: But--

WOMAN: Get naked.

WOMAN: Yeah.

ERIC WAGNER: What about the people over there?

WOMAN: Gosh.

Do you want to hang on to a towel

and maybe hold it behind you, and I'll do the front,

and then turn this way so people don't necessarily see

you through the [inaudible]?

[music playing]

BUTCH CORDORA: I remember the-- the photo that I actually

ended up using for the calendar was the very last photo that we

shot, because we wanted to get a photo with the train driving--

going by.

And the train comes by every half hour,

so the train was going by in the background of the photo.

You can see it behind us, like kind of blurred.

But you can see that it's definitely a train.

Oh my God.

BUTCH CORDORA: And the train was like, blowing its horn.

And I don't know if that was because he saw

us and-- you know, so we, like, got out of there as soon

as that last photo was snapped.

I'm pretty-- I'm pretty OK with who I am,

and it doesn't really matter, like, what other people say.

They can make fun of me all they want.

And family wise, they don't really care.

My father is gay, so that kind of gives me

a whole other aspect of being comfortable being

around a gay person.

And my mom's an artist, so it works out pretty good.

[inaudible].

[inaudible].

Are you kidding?

Such a bitch.

BUTCH CORDORA: Still at The Wishing Well.

We used one of the rooms to shoot this beautiful, beautiful

John and Yoko photo.

This photo is actually pretty haunting.

You know, I've actually watched documentaries about Annie

Leibovitz and I've watched documentaries about, you know,

John Lennon and-- and John Lennon's murder.

That photo of John curling up against Yoko where

she's fully clothed and he's naked

has-- has quite a story behind it.

It was actually the last-- the very last photo of John Lennon.

Do you know that was shot the day he died?

CHRISTOPHER GABELLO: Was it really?

December 8, 1980.

That's why it's a little creepy.

Like, I don't want to die on the way home.

One of the most powerful men in the world.

Extremely talented, extremely creative, wealthy, powerful,

rock and roll.

I mean, after Elvis, who was there besides The Beatles like,

who-- you know who were extremely like, iconic.

And yet Yoko, you know, wore the pants.

That photo is very telling, because, you know,

it's very mother son.

And the fact that he was naked and she wasn't.

It was almost like child, mother child.

I really wanted to do homage to that photo.

So this really cute kid who worked at Whole Foods

at the time named Zach--

I first met Butch when I was working at Whole Foods

as a bag boy.

[music playing]

Well, I-- I don't think I stalked him,

but I-- stalked is a very strange word.

No.

I went up to him and I said, hi.

What's your name?

And he was like, Zach.

And I'm like, hi, Zach.

I'm a dirty old man.

And I want to see your penis.

I go to Whole Foods almost every day.

And I would see him every day and just,

like, look at him all the time and be like, oh, God.

When he first asked me, at first

I really thought he was a kind of creepy old gay guy.

So I was a little hesitant.

But I agreed to meet with him.

And then after I met with him, he seemed pretty genuine.

So I said, fuck it.

Why not?

Butch.

Why do you have to be so handsome?

WOMAN: Oh my God.

His hair is so pretty.

BUTCH CORDORA: I know.

MAN: Like a Pantene commercial.

WOMAN: Tell me your little secrets.

WOMAN: Would you rather? BUTCH CORDORA: Yeah.

WOMAN: OK. His eyelashes look nice.

I don't want him to look draggy, you know what I mean?

WOMAN: Really natural '70s early '80s.

BUTCH CORDORA: Very Blind Melon.

WOMAN: He's dead, right?

I do-- I do have some stuff from when

I was much younger that you might want to cover up.

BUTCH CORDORA: Nah.

WOMAN: Oh.

ZACH BRADY: That was a long time ago.

ZACH BRADY: Yeah.

WOMAN: Let me see.

BUTCH CORDORA: Well, now that you--

Well, I figured make up.

BUTCH CORDORA: Yeah.

I mean--

WOMAN: I could put powder over to blend it,

just because the scar tissue is a little shiny.

Yeah.

CHRISTOPHER GABELLO: I could take that out.

WOMAN: He could Photoshop that out, too.

CHRISTOPHER GABELLO: I could clone stamp that.

WOMAN: Would it be better for you if powder

it to get rid of the shine? WOMAN: True confessions.

BUTCH CORDORA: You did tell me that.

Yeah, I did.

BUTCH CORDORA: You did tell me that.

Are they just up here?

Yeah.

BUTCH CORDORA: Don't want my dick

to show, because I-- I just don't want any distraction.

Like, I just-- so I do want a sheet right over my-- my pubes.

Hey, Butch.

BUTCH CORDORA: Yeah?

See how this is just like, lotion-y instead of like,

greasy.

Is that good?

Because you're starting to like, de-shine and now

he's not super shiny.

Is that cool?

Or do you want him, like, baby oil shiny?

The one time I did feel uncomfortable

is when we did the-- the John Lennon Yoko cover thing.

And I actually felt for-- was it Zach, the guy's name?

Yeah.

It was like-- because Butch can be rather feisty.

And I was like, kinda feel bad for that dude.

WOMAN: Move down?

CHRISTOPHER GABELLO: You could hang off, yeah.

BUTCH CORDORA: Where-- where do you think

John Lennon's other arm is?

WOMAN: I think it's like-- you can see it.

It's like-- as if he's-- she's like this around his head.

He's like this on her head.

So like your chin wants to be here on his hand.

So maybe if it's--

My arm is--

WOMAN: Maybe if that arm, the right arm, is underneath?

CHRISTOPHER GABELLO: Yeah.

You can see his arm.

WOMAN: Yeah.

It's like you're spooning, like--

Yes.

WOMAN: So that might make a difference.

And then Butch, if you curl towards him.

Oh, all right.

Yeah.

Oh, there we go.

Chris, be careful.

This is perfect, though.

I'm right on top.

But it's like right up against.

CHRISTOPHER GABELLO: Yeah.

It's actually right at her-- at her hip.

So yeah. You're right.

You're right.

ZACH BRADY: Right there?

WOMAN: Yeah.

CHRISTOPHER GABELLO: Yeah, but wrap it around to-- so you

touch the-- touch the-- yeah.

You're good.

You OK?

WOMAN: Yeah.

But here goes this elbow, and then

there's a hand here-- unless that's

him coming all the way up?

CHRISTOPHER GABELLO: His hand. WOMAN: Oh.

CHRISTOPHER GABELLO: Looks good, right?

WOMAN: Right.

BUTCH CORDORA: Yeah. Yeah.

WOMAN: Like, kind of prop yourself up

and picture your right shoulder kind of coming up

and towards him a little bit.

It's just like-- just kind of like,

uh, let's get this over with.

ZACH BRADY: So my eyes are closed

and I'm kissing your cheek?

CHRISTOPHER GABELLO: Because she doesn't want to be here and--

ZACH BRADY: Somewhere about there.

CHRISTOPHER GABELLO: Yeah, right there.

But not really.

BUTCH CORDORA: Oh my God.

WOMAN: More like right in there, Butch.

BUTCH CORDORA: New development.

WOMAN: You want to hold his butt.

BUTCH CORDORA: Oh, sorry.

Sorry.

CHRISTOPHER GABELLO: Butch keeps going lower and lower.

WOMAN: I see where this is heading.

Do you want us to leave the room.

CHRISTOPHER GABELLO: Let's do five more.

Ready?

One.

Two.

Three.

Four.

Five.

OK.

BUTCH CORDORA: That does look like it.

Yay.

WOMAN: That was great.

ZACH BRADY: So are you satiated?

BUTCH CORDORA: Oh, Zach.

Look at you.

You shaved.

Yeah.

WOMAN: You told him to.

I know.

I talked to two of my ex-girlfriends about this.

And I told them I shaved.

And both of them had some nasty words about that,

because I didn't shave for them at their request.

BUTCH CORDORA: But you shaved for me.

Yeah.

BUTCH CORDORA: They were-- so they're pissed at me now.

ZACH BRADY: Yeah.

So pretty much, I was-- from the waist down, I was pan.

So just like, goat legs and all.

And now I have no hair on my body,

and I feel-- I feel like 10 pounds lighter.

Happy now?

BUTCH CORDORA: You have no idea.

This is the part where I get to own his ass.

CHRISTOPHER GABELLO: Pictures of his ass.

BUTCH CORDORA: And a little bit of his balls, too.

Here was the thing I was telling them.

I-- I do have four more guys.

But I'm holding out for like, flavor.

Black, Latin, Asian.

I need a red.

I'll let you know about. WOMAN: You need a red?

A redhead. WOMAN: Oh.

Like, a flaming, ridiculous, intense--

ZACH BRADY: Are-- are we staying PC here or not?

Jewish or Irish freckly firecracker redhead.

I need a redhead.

I need-- I would love like, an Iranian, Afghanistan.

I-- you know, Indian, gorgeous, like, hot Pakistan guy.

I would love some kind of Puerto Rican or Latin guy.

Another black guy besides just Gervase.

I would love an Asian guy.

Oh my God.

I-- I need flavor.

I can't have 12 skinny tatted up skater boy-- skater dudes.

And that was it.

And that was photo seven and eight.

The one thing that I started realizing

is like, I needed a cover.

Like, I needed a cover to this calendar.

Like, what was the cover of the calendar going to be?

And this-- you know, I met this guy who

actually watches my TV show.

Hi.

My name is Adrian, and I am straight.

[music playing]

I'm originally from Colombia, South America.

I do graphic design.

I'm a photographer, too.

When I saw the other pictures on the documentary,

I was completely sure that I wanted

to be part of the project.

My girlfriend is a photographer, too.

And she was OK since the beginning.

We were watching the show together

and when I told her that I wanted to be in the show,

she was like, yeah. That's great.

You should be on the show.

He wanted to be naked just very, very simply.

Like, very simple and strong and bold.

Stand naked with a sign in front of his dick,

you know, because the calendar was going to be

called "Straight and Butch."

So hold signs that said "Straight and Butch."

BUTCH CORDORA: I get a little sneak preview.

I'm sorry.

That's fine.

That's funny.

BUTCH CORDORA: My hair and makeup

person canceled for today, that's why I'm doing hair.

First time I'm going to get-- I'm going to be

naked in front of a-- a camera.

I been taking pictures.

I was naked in the-- in the army.

Oh.

You shower naked with everybody else,

but not in front of the camera posing with a gay guy.

Yeah.

Probably people will look at me in a different way.

But I definitely don't care about people, the way

that people look at me, because I've

always been really independent.

And being a minority in this country,

they always look at you differently,

so it doesn't matter what you do, if you do it right,

you do it wrong, they all just kind of look at you.

BUTCH CORDORA: You know, we're both white males

living in America, but we're still

minorities and persecuted.

So I thought the most beautiful thing you can do

is put an American flag behind us.

Ladies and gentlemen, this is us.

PHOTOGRAPHER: I'll call it right now.

Here goes uncircumcised dude.

PHOTOGRAPHER: There you go.

[music playing]

PHOTOGRAPHER: Crazy, man.

Oh.

Oh.

I told you.

And the photographer was really good.

The job that he made was amazing.

I actually look bigger than I am.

I feel completely confident that what I did

was something that I always wanted to-- to do.

Something, like, different.

Something like, to put my name outside

and be famous in a certain way.

So no regrets.

This guy is amazing.

Like, working with him is like working with your best friend.

Oh, my God.

Thank you.

We only met one time.

He was trying to turn me on, but didn't work.

It's bad.

I got turned on a little bit.

Yeah.

Adrian's number nine.

Three more to go.

WOMAN: No.

It looks like actually--

All right.

Lay down.

I mean, we'll keep our underwear on for now.

PHOTOGRAPHER: Can you turn the lights down a little bit?

Yeah.

All right.

Nice and [inaudible].

You tell me where to go.

BUTCH CORDORA: Is that too awkward?

[interposing voices]

Shit.

We should have oiled his back.

[interposing voices]

All right.

All right, cool.

OK.

Anything else, John?

You know what I mean?

Oh, with me on the-- yeah.

I've--

I've known this guy for years, and he's a really nice guy.

And he works with one of my best friends.

He did it and then I never heard from him again.

Like, he did the photo shoot and I remember while he was doing

the photo shoot, he was on the phone

with his girlfriend lying to her.

Like, telling her he was at a business

meeting in Center City.

He was a nervous wreck building up to it.

He came to the shoot, had-- downed like 100 beers.

Wanted the shoot done and over with so fast--

I mean, it was the quickest shoot.

We did it in like, 45 minutes.

And you know, photo shoots take two to three hours.

And he was out of there.

I know he's still in the area, because I know people

who work with him and stuff.

But I think he's absolutely mortified

that he did this shoot.

But you know, I don't know what to say.

I mean, I'm sorry.

I love him.

And he is an awesome guy.

I'm not mad at him or anything, but like,

I just wish he was more like, into seeing the photo.

You know, he didn't come to the after party.

He didn't come to the-- you know,

he didn't do the launch party.

He didn't do the calendar signing.

Like, none of it.

He just-- when I say goodbye to him, thanks, John.

Thanks for doing the photo.

I'll call you tomorrow or whatever-- that was it.

[music playing]

At this point, there were 10 photos

done, four photographers.

And for photo number 11, I came with the-- up with this idea

where I thought that maybe instead of like, hiring

these really well known photographers in Philadelphia

and up and coming photographers in Philly, that I would enlist,

you know, a-- like, just like, a kid right out of school.

I was like, literally at this point, after 10 photo shoots,

I was out of money.

And I had to kind of just like, breathe and get--

get some more money in my accounts

before I could try and execute this final photo.

My name is Thomas Ignatius Puleo.

And I am a photographer, photo assistants, slash barista.

And I loved his work.

Just really, really great eye.

Really artistic eye.

I felt kind of weird that-- I mean,

it was great that there's all these--

there are already names, big name photographers doing it.

So I figured, you know, couldn't hurt.

It's great publicity.

But then it sort of like, I don't

know if it's what I want to be known for,

but I figured it can't hurt to, you know.

It's a little out of the norm for me.

So I found this guy Scott who actually

Chris Gabello found him for me.

Like, through a friend of a friend of a friend,

but it trickled down to this bike messenger named Scott.

Hi, [inaudible].

Hi.

Hey, Scott.

Hi, how you doing?

What's up, man.

Oh, my God.

Hello, my name's Scott Yelity, and I'm straight.

[music playing]

When he first approached me about a calendar,

I couldn't think of anything.

Butch was pretty nice.

He's really shy on the approach about talking

to me about a calendar.

But once we talked about it and he told me his whole idea

of taking magazine photos and recreating them,

I thought it was really cool art, high art project,

and I was down.

The photo shoot was like any other photo shoot I'd been on.

I think the only big difference, to have Butch,

he actually shaved my genital area was the only difference.

All right, captain.

Don't know how bad that it is.

Oh, that's not horrible.

That's not horrible.

All right.

All right, man.

Yeah, you go-- I never shaved it myself, so, you know.

All right.

I'm just going-- I'm just going to take off

like-- tell me if it's hurting.

SCOTT YELITY: Yeah.

That's it.

SCOTT YELITY: Yeah?

[inaudible].

Straight razor.

WOMAN: Can you do it?

Can you use a straight razor?

No.

That's why I don't' shave too much.

It's like growing a beard. [inaudible].

Scratchy.

My picture with Butch is pretty much he

took "Vanity Fair" cover article with K.D.

Lang and Cindy Crawford.

K.D. Lang is in a barber chair.

Cindy Crawford is shaving K.D. Lang.

So in the photo, I pretty much play the Cindy Crawford role,

and Butch is the K.D. Lang.

There you have it.

You know, she was the biggest thing.

And she was openly gay, which was like, humongous for 1993,

evidently.

And Cindy Crawford did this photo with her.

And it got a lot of tongues wagging because, you know,

she's straight and she's a model and she's very

not butch and not masculine.

And for her to pose with a lesbian posing as a guy,

I guess, was pretty crazy.

So I needed someone with long hair

to sort of execute this photo.

And, you know, Scott's here.

Oh my God.

That's crazy.

I think, you know-- and, you know,

you're just-- I think your eyes are going to be closed,

and you're just going to be like, in-- in another world.

Like, in ecstasy.

Do I need to lean in?

THOMAS IGNATIUS PULEO: Yeah.

And show-- show your boobs.

Tilt your head back.

Yeah.

Almost-- I mean, you know--

THOMAS IGNATIUS PULEO: Although she's not-- her legs

aren't spread that much.

Yeah.

Yeah. THOMAS IGNATIUS PULEO: Yeah.

More like that. WOMAN: That's much better.

BUTCH CORDORA: Yeah.

THOMAS IGNATIUS PULEO: More like that, yeah.

Smiling?

No, she's like orgasm-ing, sort of.

Yeah.

Like that.

She's hot?

THOMAS IGNATIUS PULEO: Yeah, scoot in.

Yeah.

And lean in with the chest more.

Like, pull your butt out.

Yeah.

All right.

We're done.

I mean--

[interposing voices]

I think you guys were good.

BUTCH CORDORA: Probably 100, right?

Yeah.

At least.

All right.

You think? THOMAS IGNATIUS PULEO: Yeah.

Yeah.

I'm sure we got something really good.

THOMAS IGNATIUS PULEO: I just feel like it's-- there

should be more, you know.

I know.

Feel good. Feel great.

It looked great.

Better than I thought it would.

I look bigger than I thought I would.

I know the oil, man.

The hot oil.

Look quite muscular, man.

But that's the illusions.

So you-- you don't let strangers on the street come up

and take your picture like, in clothes.

Yet you let me--

He's on TV here.

Oh, that's what it is.

That's what it is.

The power of having my own television show.

I-- I did get the feeling that, um, he would have

liked to seduce me, I guess?

I don't know if I should be saying this on camera.

His name is Michael Itkoff.

He is one of Annie Leibovitz's assistants.

Initially, when Butch mentioned the project,

I was-- I was intrigued. ' I was interested in it.

It was very open ended.

He actually came up with this idea,

and I couldn't have agreed with him more.

The final photo was to be Abbey Road.

All right.

10 minutes, and we're ready to go.

He's out there.

He's setting up.

Here-- here it is.

This is very important, because you know,

Paul McCartney was supposed to be dead.

And so he's stepping the other way.

So you guys are all going to pose with your right--

your left foot forward.

OK.

Exactly, Tony.

And I want Gervase to be in the middle.

Like Gervase to be next.

I'm going to be Paul McCartney.

And Eric, you're going to be behind me.

And that's the--

ERIC WAGNER: Who's the last guy?

George Harrison.

ERIC WAGNER: OK.

Want to know who I am.

I have these two friends, this lesbian

couple named Heather and Jen.

And they own a-- they're going to kill me.

Tye own a house in Elkins Park.

And it's a pretty quiet neighborhood on a pretty quiet

road on-- you know, tree lined.

And it kind of looks like the Abbey Road, kind of sort of.

What's going to happen, you know,

Gervase, is that we are going to-- like, this is what I did.

I got-- like, we're going to pretend-- like, until we're

completely in place and he has it

framed, centered, ready to go, we're

going to be in clothes, OK?

Like, we're just going to be-- so I-- I-- I mean, you're-- I

mean, I guess you're good.

I mean, could we undress like, in two seconds.

Because I did bring light shorts.

Like, I brought, like-- like, I'm changing into-- like,

I'm taking my pants and my underwear off.

I'm just going to put, like, these shorts on so I could just

go like-- and they'll be off.

So-- So.

I don't know if you guys-- I brought

like, four pairs of shorts.

Like, really easy access shorts.

Like, in case you wanted.

They're all clean.

Get-- get as easy access as we-- you can to-- to being naked.

Butch insists on being easy access all the time.

I don;t know what ulterior motives you got going here.

BUTCH CORDORA: Oh, please.

I thought it would be better to use guys I've already used,

because to throw a straight guy who's never been naked before

into a situation like this, I think

would be a little unnerving.

This was going to be a very intense shoot, possible arrest.

As soon as he really, really, really knows that-- that this

is it, you guys look beautiful, then we're going to go to nude

and we're going-- he's going to go

snap, snap, snap, snap, snap, snap.

Is it going to be this angle?

BUTCH CORDORA: Yeah.

It's going to be an opposite angle.

So he's going to shoot up the street in the cross walk?

Or are we shooting down the street in the cross walk.

BUTCH CORDORA: No, he's-- he's all

the way into the block facing.

Yeah, like facing this way.

I see people in this photo watching.

WOMAN: Gervase, you're killing us.

BUTCH CORDORA: I mean--

GERVASE PETERSON: I-- I-- and why

is it that-- which one are you.

You're behind me, right?

BUTCH CORDORA: Yeah.

Yeah.

Because I need to see--

That-- that wasn't in my release form, Butch.

I don't remember that being there.

Michael works with film.

He had 10 photos that he was going to shoot.

And that was it.

So we really had to get this done like,

really good and fast and smart.

And do it.

Just do it.

And he's going to snap 10 photos and we're going to like,

run to put our clothes on.

And we're going to run in my car.

Gervase, you-- like, there's no coming

back to Heather and Jen's.

We'll call you-- I guess we won't

call you immediately, because you're gong back to bed.

Thanks for the coffee.

WOMAN: All right.

We were never here.

[inaudible].

Do you have a cigarette?

Yeah.

So your guys' arms are going to be kind

of waving a little bit out.

Yeah.

And we can't see your back arms.

You're going to be hanging down a little bit.

Your hands are in your pockets, but you

can just be hanging down-- you're

not going to have pockets.

Right.

BUTCH CORDORA: Michael, like, snap, snap, snap, snap, snap,

snap, snap, snap, snap, snap.

Is this out of frame?

These bushes?

MICHAEL ITKOFF: Uh, yes.

Actually, the other side of the bushes.

Further out.

Yeah, right there.

All right.

Let's get this done.

MICHAEL ITKOFF: I have photographed nudes.

Never in such a kind of public context.

You know, I've had girls running around in fields

or in a bedroom setting.

But never, you know, naked dudes out in the street.

So it was a-- it was a new experience for me

to be photographing like that.

Was male nudity an issue?

Not really.

I have no fear of the penis.

I actually think there's a taboo in media

in Western civilization about the penis.

It's kind of fascinating to me.

You know, I grew up going to summer camp and group showers.

It's really not a big deal.

It was an issue a little bit for them to be in the street.

I was fully clothed standing on a stool with my camera,

so you know, it was probably easier for me

than it was for them.

Butch, can you angle your chest a little bit straight on?

Angle to your left a little bit.

There you go. Yep.

Face straight on.

BUTCH CORDORA: It felt like we were

out there on the streets of Elkins Park naked for an hour.

And when I watched the footage-- from the time we went

to the time we threw our clothes back on,

it was three minutes and 25 seconds.

That felt like an eternity.

It was just the craziest thing.

But we pulled it off.

Did that fucking just happen?

BUTCH CORDORA: Yeah.

Did we fucking just do that.

BUTCH CORDORA: Great.

KELLY: So this shot was all your idea?

The Abbey Road shot? Yeah.

We were talking about doing homages,

and I can't think of a much better one.

But this is great, actually.

This is a really good spot.

It's funny how freaked out they are.

KELLY: Well, how would you feel if you were getting naked?

I mean, definitely.

Those moments, you're like, so exposed.

But then it's like, I mean, now what?

What, cops coming?

We're like, oh, I don't know what you're talking about.

KELLY: I know.

I think it was a little-- got a little-- I think we

get a little bit too nervous.

He's totally anxious about it.

KELLY: I think-- I think the people

that were hosting us were the ones that got nervous

[inaudible]. Totally.

No, it's good.

I mean, he's got a reputation to uphold, you know.

KELLY: Yes.

He's a fine, upstanding citizen.

They were scared. They were scared shit-less.

They thought the cops were going to come.

And that was really Butch's thing.

He was like, oh, someone's going to call the police on us.

There was a barking dog down the street at someone's porch.

And every time the dog barked, you

could see Butch kind of cringe and be like oh God, oh God.

He just kind of wanted get out of there and get to the diner.

I was absolutely you know, certain that we

were going to get arrested.

I did about like, three or four, you know,

out in the open photo shoots.

And I do not want to get arrested.

That's not my intention to get arrested.

But I know I'm going to at some point

if I continue with this project.

Oh my God.

That was the most riveting experience I've ever done.

That was so crazy.

I was extremely nervous, as you know,

as I always am at these photo shoots.

Yeah.

I'm more nervous than the models who don't do this for a living.

Not that I do this for a living, but I'm always

more nervous than the models.

I-- yeah.

But I was so excited at the same time.

And about halfway through, I was like, wow.

We're actually get away with this.

And that was it.

I put my baby to bed.

It was done.

There was the-- the only thing left to do

was to wait for January 1st so I could hang it.

[music playing]

BUTCH CORDORA: I really didn't think I was going

to have that hard of a time.

I thought I would do it and in a year, it'd be done.

But it actually took me about 18 months

to find 12 guys to do this project.

I was hell bent to get this done,

so there was nothing that was going

to stop me from doing this.

Even if I found one straight guy every six months,

I was going to finish this project.

I think we all learned something

about ourselves when we step outside

of our-- out of our own like.

Everything looked good on there, and I'm proud of it.

If people are hung up on the whole gay man straight man

issue, that's their problem.

But if you actually look at the picture,

it's the hottest picture in the calendar.

It's hanging in my bathroom above the toilet.

I just tell them I did a photo-- a naked photo

shoot with a gay guy, and whatever they say,

I really don't care.

I feel completely confident that what I did

was something that I always wanted to do.

If Butch asked me, I would definitely do it again.

Hopefully something more-- wilder next time.

I know that there's a couple of friends of mine

who are waiting anxiously for the calendar when it comes out.

What if somebody finds this thing or it's on YouTube

or, you know-- and just, it's no big deal.

Because when it-- when it comes-- when it really comes

down to it, it's no big deal.

My life doesn't change because I'm taking

a picture with a gay guy.

That they can go and do that and not-- not have

all these issues, you know, with work

or getting fired at work or family members disowning them.

[music playing]

These days, you know, there's a lot

of discussion about gay rights and gay marriage.

And I'm fully in support of it.

At the same time, I feel this sort of compulsion to be like,

well what the fuck?

What is the big deal after all?

BUTCH CORDORA: Of all the things that I've done,

I-- I can't remember feeling more passionate about anything.

Like, I feel like the first week that I got my TV show,

that whole like, innocent, exciting,

butterflies in your stomach feeling that you have

when something is new.

Even though I've been doing it for three, four years,

it's-- it's all consuming.

It's really, really exciting and I'm very, very still into this,

if not more today than I was four years ago when I started.

That's the story of the calendar.

Alright.

[music playing]