108:. When Jorgensen refused to collaborate on the film, Wood wrote a new autobiographical script about his own struggle with being a closet transvestite and added stock film footage about sexual reassignment surgery. Weiss appears in the film in an uncredited cameo as "man at transvestite's suicide." Adding to the film's already extensive fantasy sequence, Weiss included incongruous scenes of scantily clad women, bondage, and whipping taken from another project inspired by the fetish films of
218:(1954), Farrell plays another degenerate drug dealer in a film noteworthy for showing the step-by-step process of preparing and injecting heroin. (Weiss did not shy away from taboo subjects in any of his films.)
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Many of Weiss' films are presented in a pseudo-documentary style accompanied by earnest voice-over narration (pretending to be an educational film was a way to circumvent censorship laws).
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As did Ed Wood, Weiss also cobbled together footage from other sources and created a flimsy plot as a framing device. From his collection of erotic burlesque films he released
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in his only film role. These films were largely an excuse for showcasing "cat fight" female-wrestling footage.
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films. The
Findlays went on to make a series of even more extreme sexploitation films, including
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In 1956, Weiss backed another Wood project, a juvenile delinquent film with the working title
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Weiss is quoted at length throughout the interview-filled oral history biography on Ed Wood:
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He played
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and starring Audrey
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255:(1967), which he also directed. The bulk of the film is recycled from
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Nightmare of
Ecstasy: The Life and Art of Edward D. Wood, Jr.
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Nightmare of
Ecstasy: The Life and Art of Edward D. Wood, Jr.
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shockers in the 1960s that openly defied the motion picture
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Another connection between Weiss and Ed Wood is actor
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304:(1969). Weiss has a brief role as a doctor in
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403:(Motion picture). Cult Video magazine.
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96:(1953) directed by
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56:1954–1995
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