All language subtitles for Daddy.And.The.Muscle.Academy.1991.1080p.BluRay.x264.AAC5.1-[YTS.MX]

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I need a certain atmosphere,
a certain mood, it gets me excited.

I often work dressed up in special outfits.

It inspires me when I'm developing a fantasy.

Leather is a living material.
It's organic, not like plastic.

It's stimulating, it has
an exciting smell and softness.

It gets better with age —
like many other things.

Leather has lots of lifelike qualities
that kind of rub off on its user.

I don't think leather is worn
so much for practical reasons —

but more for the contact
between leather and skin.

I sent some sample drawings
to Physique Pictorial in the USA.

The editor was really enthusiastic.

To him, Finland was somewhere
far away and exotic.

I had no idea what name to use.

I only knew that
I couldn't use my own.

It bothered me, because I'm not
an official representative of Finland.

It's a personal thing for me.

Those years that for most people
are among the best in their lives —

years you spend studying and enjoying life,
learning about yourself and the world.

For me, that time was during the war.

It was a harsh and brutal time —

but it pushed me into
new fantasies and visions.

All of my contacts
during those five years —

were related to uniforms
in one way or other.

Civilians were
suspect in some way.

There must be
something wrong with them —

because they weren't
accepted into the army.

We were full of
naive patriotism.

Everybody had to join the army —

and fight for the holy cause,
all sorts of nonsense.

Quality requirements
also started creeping in —

like a well-built body
in a tight-fitting uniform —

so they looked like real he-men.

It was more effective than
a guy in a baggy uniform.

They were increasingly
looking for an ideal.

That was of course
on a different level in Germany.

When the war ended,
things changed radically.

I felt rootless.

I had no traditional contact
with my surroundings, no family.

I felt a tremendous need for
something more sensitive —

more 'alive' in contrast to
killing people in the war.

My parents gave me a pair
of brown leather boots.

The first few days I wouldn't
take them off, even in bed.

My mother made me
take them off —

but when she left the room
I put them on again.

I wore them all night and
no doubt had pleasant dreams.

Already then I had this strong need
for contact with leather and boots.

I was born in 1920,
70 years ago.

Living conditions have changed
a lot since then, in one lifetime.

I was born in Kaarina
in south-western Finland.

Both my parents were teachers.

We lived at the school,
there was plenty of space.

But life was very primitive.

I was already at school —

when the first cars
appeared in the village.

It became fashionable to have a car,
and my father bought one too.

It was a Chevrolet,
model 25, a cabriolet.

The roof didn't work.
It wouldn't come down.

But to us it was a great automobile.

I studied music at
the Sibelius Academy.

I also graduated from
Advertising College.

I got a fabulous job at
a big advertising agency.

There was a great shortage
of graphic artists.

I started as a trainee drawer.

I was there for 15 years,
and advanced rapidly.

When I first started all this —

my characters were
exaggeratedly beautiful.

Long eyelashes and red cheeks.

To make them acceptable,
I made them young and fresh.

This was not really my style —

but I did it to please other people.

Gradually the prettiness fell away
and was replaced by masculinity —

which I personally felt was
more interesting and appealing.

I was much influenced —

by American body-building
magazines of the time —

that depicted their he-man types.

There were lots of famous guys —

who were not professional
body-builders —

but did regular modeling jobs.

I copied them.

Usually with permission,
sometimes even without.

A heavily built,
well-trimmed body.

Short hair, friendly,
sometimes over-friendly smile.

No frightening, nightmare types.

I primarily borrowed
a strong, healthy type.

I found it attractive.

It did not pay very well.

But I had another job,
so money was not so important.

But getting drawings published
was rewarding to me.

I wanted to make them
as natural as possible.

Sometimes there was a nose
or waist or something —

that had to be corrected a little.

I added elements to existing photos
and transferred them onto paper.

This automatically gave me
a photorealistic approach.

It had a special effect,
for me, at least.

I suddenly began seeing
the figures as being almost alive —

not just outline caricatures.

This is a typical example
of how I search for specific details.

I have used a photograph here.

This was done to order.
First there was this posture —

then I elaborated it
by drawing with exaggeration

Here we have
the same technique.

A living model is
transferred to a drawing.

This is a long mural,
although it's made on canvas.

The client wanted a racing scene.
In planning the composition —

I took this photo I had saved
a couple of years earlier —

because I thought it was great.

So I used it as a model
for one motorcyclist.

So, I either used an existing photo
or took a photo of a given motif.

Nowadays I use living models
as much as possible.

I like to choose them myself.

I take a photo of the model
and draw from that.

It gives me a visual image
of a living person —

and I recall their features
and gestures when I draw the picture.

Normally I use pencil.

One picture takes about a week.

I'd say I've made over 3,000 pictures.
Probably quite a lot more —

because that estimate was made
almost 10 years ago.

Of course, I'm not as
productive as I used to be —

but I must have done
a few hundred since then.

In the early '60s people
had got used to this type —

and started asking for
more exaggeration.

I also had a need to pump up things
that were important to me.

Another thing was that photography
had advanced a lot technically.

It was possible to depict muscular
super-types in photographs.

My problem was how to compete
with authentic photographs.

How to show more than the camera could.

That led to a period of exaggeration
and over-sized dimensions.

I wanted to make
a kind of universal type.

A guy who is open to anything.

One reason was that
I had met a lot of people —

who were very inhibited
in their behavior and preferences.

I was quite disappointed
with them.

Another reason was —

that I wanted to create
an ideal Finnish type —

as a counterbalance to
the American type.

Partly he was an embodiment
of my own unfulfilled dreams.

I took all the properties
that I myself did not have —

and put them into
this comic figure.

By the '70s I already had close contacts —

with publishers of erotic pictures.

I was able to express myself
in these pictures —

better than in campaigns
for a big advertising agency.

In 1973 I left my regular job
and focused on drawing.

Things had started to go
as I had hoped.

All the years that I have worked
for the American market —

have given my drawings
a certain American look.

An Italian company sent
a contact to Copenhagen.

Whenever a new issue came out,
they had it in Italy a week later.

Setting up our own business
gradually cut down piratism.

No matter how hard I try
I can't make them appealing.

I don't have the right
feeling for them.

If I try to copy a woman
from a sex magazine —

there is always something,
not negative but cold about it.

It lacks that feminine sensuality.

The first time I noticed this —

was when I saw some
superb oil paintings —

by a Mexican painter
called Quaintance.

But his figures never
made proper eye contact.

There might be two figures
close together —

but there was nothing
connecting them.

One guy's arm may be
on the other's shoulder —

but there was no sense
of human contact.

This bothered me a lot.
I wanted the eyes to show —

what they were feeling
and wanted to say.

Readers usually knew
only their native language.

So we couldn't use text
to express what the figures were feeling.

We had to use the face
and gestures and actions —

as a means of expression.

I need a certain atmosphere,
a certain mood, it gets me excited.

I often work dressed up in special outfits.

It inspires me when I'm developing a fantasy.

The uniforms date further back.

They are from the period —

when I recognized myself
and my own preferences —

namely the war years.

This urge to exaggerate
was quite obvious —

in images used in propaganda.

A striking outfit was used —

to accentuate authority and masculinity.

Leather has lifelike qualities
that kind of rub off on its user.

I don't think leather is worn
so much for practical reasons —

but more for the contact
between leather and skin.

It's like a substitute
for a partner —

identification with another role.

In the early years, when
these things were new to me —

leather was only worn
by outdoor workers —

such as lumberjacks
and truckdrivers.

Perhaps it has been
more natural for me —

to develop my own fantasies and
freedoms around this type of people.

They have become the basic
types in my collection.

It's really an idea that is
exciting to me personally.

To imagine that an unyielding
wielder of power —

not necessarily an abuser —

turns out to be a soft,
very human individual.

Unleashing the fantasies
reverses the roles.

Take a policeman, for instance —

who abuses and exaggerates
his power.

Then a group of 'troublemakers'
comes along —

and subjects this
power wielder to a situation —

where he loses his power.

Yet he enjoys, or has to
enjoy the situation —

in a new, positive way.

In the early years
homosexuality was banned —

in Finland and
most other countries.

This resulted in feelings of guilt —

which prevented people from
showing their true feelings.

Although I had to
abide by these rules —

the situation was unnatural for me.

My preferences were genuine,
I was born with them.

There was nothing learned,
or sick, about them.

I wanted to give this group
a boost, a justification —

if only in the form of pictures —

to say that they can express
their feelings openly —

that smiling and feeling
happy is permitted.

I wanted to correct the injustices
of real life through fantasy.

This was a reflection of my own life.

I needed to experience
a human relationship —

as a warm, homely
constructive thing —

where pure sex is not
the overriding element.

I also needed to show —

that a very masculine-looking
guy can have tender feelings.

There is this contrast.

The outside world expects you —

to look like a statue and
behave in a macho manner.

Yet, there is a living,
feeling person inside.

There were some 'couple pictures'
and also some individual poses —

where I think I captured
the right way to express it.

My drawings are mainly
aimed at individuals —

who may have experienced
misunderstanding and oppression —

and feel that their own lives
have gone wrong.

I want to give them encouragement.

I have never wanted
to classify people.

In my own experience —

everyone has something
of everything in them —

but in different proportions.

Nothing is totally
alien to anyone.

I want to encourage
this minority group —

to tell them not to give up —

to think positively about
their act and their whole being.