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This was in the '60s in New York, and storyboards were quite new. I couldn't come out claiming to be the best asshole in the world. So he changed his priorities, which was fine because to my way of thinking, it was part of growing up. If the sales of their magazines or photo sets was strong, I would work with them again. There are people who I know had worked for other photographers, but the photographers used it as a sexual approach. From the first session I did with him until I got him to let the body hair grow took over two years.

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This was very, very restrictive.

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I mean, he did nudes of Yul Brynner, but they were just nudes. I did a lot of things at Fire Island, shooting seagulls, things like that. But not to the point where it keeps me up at night. And I think one of the reasons is, his art was a venue for his sexuality. So we came to an agreement, and in he bought me out. I am not sleazy. The transition into movies started because someone gave me a little Mizo Super 8 Camera.

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So that was the next segue from drawings to photographs. So I kept doing what I was doing professionally and then I did a set of, I think it was initially six drawings. Follow us on Twitter My Tweets. And I think one of the reasons is, his art was a venue for his sexuality. French's influence on gay male visibility is comprable only to Tom of Finland's in terms of cultural saturation.

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