Industry publication Adam Film World recognized two of VCA’s longtime artists, Antonio Passolini and Veronica Hart, with Best Movie and Best Director awards for Passolini and the Best DVD trophy for Hart.
“VCA became so predictable,” VCA sales vice president Peter Reynolds told XBiz. “A lot of people left because they did not see the ways of the new VCA.”
That both Passolini and Hart are veterans of the old VCA, the company Russ Hampshire built in the late 1970s, is testament to the staying power of the brand.
While former VCA star Tina Tyler has been quoted as saying “VCA is nothing but initials that stand for Larry Flynt,” the restructured Canoga Park company is gaining recognition for releasing groundbreaking new titles as well as paying tribute to what made it a success in the past.
“There has been a tremendous flux, as recently as this year,” Reynolds admitted. "But awards for (Passolini’s) ‘Café Flesh #3’ and (Hart’s) ‘Misty Beethoven: The Musical’ represents the best of what VCA does.”
Reynolds’ plan for the new VCA involves alternative marketing such as that coordinated for Britney Rears and Eon McKai’s films. “We took Britney Rears to (Austin music conference) South-by-Southwest where we handed out her single. We advertised Eon McKai’s ‘Kill Girl Kill’ in (Gen-Y publication) Vice Magazine.”
VCA has been working with Hollywood's All Media Play to provide industry and crossover marketing. “I am very excited to be a part of the current transformation of VCA Pictures," AMP president Jeff Mullen told XBiz. The companies have collaborated to create large-scale promotions for Britney Rears, including a well-attended launch party for the porn-pop creation in March.
VCA Excessive, which Reynolds describes as the Inner-City sub-brand of VCA, recently released “Busta Nut,” and the company has reworked its compilation line, releasing a four-hour compilation series called “Filth Factory” as well as a gradually releasing to DVD its large pre-digital catalogue.
“We’re reinventing a great company,” Reynolds told XBiz.
