Zebedy Colt – Shooting the Breeze with the Eccentric Thespian of XXX: Podcast 161
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In this rare and intimate 1986 conversation, legendary actor and filmmaker Zebedee Colt reflects on a life of artistic reinvention, from his early days as a child actor in 1930s Hollywood to his groundbreaking work in Broadway theatre and avant-garde music. After losing his theatre job in 1974, he unexpectedly entered the world of low-budget adult films in New York, where he became a cult figure for his surreal, psychologically intense films like *Sex Wish* and *The Devil Inside Her*. In candid, barroom-style dialogue with still photographer Barbara Nicky, Colt reveals his deep philosophical views on art, identity, and the business of performance. He discusses his controversial 1969 gay album *I'll Sing For You*, which he created under the pseudonym Zebedee Cole, and reflects on how societal perceptions of sexuality and art have evolved. Colt emphasizes that his work in adult films was never about sex, but about storytelling, character, and the power of editing to transform raw material into something meaningful. He shares his disdain for the decline of 16mm film and the rise of video, and reveals that his true passion lies in editing—where he can 'create something out of nothing.' The conversation ends with a poignant meditation on artistic integrity, the allure of creative control, and the enduring need to be seen and understood.
Artistic integrity transcends medium: Colt viewed adult films not as degradation, but as a legitimate, creative outlet for psychological storytelling.
Editing is a form of creation: He found profound fulfillment in reshaping fragmented footage into cohesive, profitable films, calling it 'the godlike power' of the editor.
Identity is performance: His pseudonyms (Zebedee Cole, Zebedee Colder) were acts of rebellion and reinvention, not deception.
Sex is not the point: He refused to perform hardcore scenes, emphasizing that eroticism lies in narrative and emotional tension, not explicit content.
The business of art is real: He saw adult film as a 'high-class form of unemployment'—a necessary bridge between artistic dreams and financial survival.
…and 3 more takeaways available in PodZeus
The Unlikely Rise of Zebedee Colt
“He entered an industry that was known for being sleazy and taboo, and made it a lot more transgressive.”
The Gay Album That Shocked the World
“You should just make an album of a guy singing songs like The Man I Love, Bill, The Boy Next Door, but singing them absolutely straight.”
Artistic Identity and Pseudonyms
Colt reveals the origin of his stage names—Zebedee Cole (a playful jab at his Mormon ancestor) and Zebedee Colder (a phonetic twist). He discusses how identity is fluid and performative, especially in the entertainment industry.
The Business of Sex and Art
“It doesn't make that much of a difference. It depends on what you're shooting for.”
The Psychology of Performance and Power
“It's a desperate need to be recognized, to have someone pay attention to, to be loved.”
“An editor can turn a silk purse out of a sow's ear, and I've done it in this business more than once, and I get hung up with saying, I got to do that again.”
“It was a six-minute scene, all edited and choreographed to the theme music of the film. There's no cut shot. There's very little high court. But it's one of the most erotic films you've ever seen before.”
“You should just make an album of a guy singing songs like The Man I Love, Bill, The Boy Next Door, but singing them absolutely straight.”
Host
Guest
Zebedee Colt
person
Rialto Report
organization
Leonard Kurtman
person
Linda Lovelace
person
Damiano
person
Barbara Nicky
person
London Philharmonic Orchestra
organization
Robert Mitchum
person
Wade Nichols
person
Rob Hudson
person
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