Lizzy Borden Makes 'Hollywood Icons Come to Life'

LOS ANGELES — McKenzie Lee sits at a small table surrounded by giant aqua blue Tiffany boxes. Her little black cocktail dress is accentuated by a string of pearls, black elbow-length gloves, and a stylish updo kept in place by a shiny tiara. Though she’s never seen “Breakfast at Tiffany’s” — or any other Audrey Hepburn movie — the petite, doe-eyed Brit is having no trouble capturing the spirit of Hepburn’s beloved tre-fou call-girl, Holly Golightly.

Sporting a pompadour wig, gold-framed goggles and a white, glittery spandex jumpsuit, Anthony Rosano — McKenzie’s scene partner — seems a little less comfortable stepping into Elvis Presley’s blue suede shoes. It appears the all-to-snug outfit is distressing the King’s family jewels, causing Rosano to itch like a man on a fuzzy tree. The 32-year-old cock-slinger/musician is also disappointed to learn that he will be portraying the jumpsuit-and-cape Elvis instead of the arguably sexier 1968 black-leather Elvis.

Industry vet Rob Black, who is handling camera duties for director/wife Lizzy Borden, assures Rosano that the only real Elvis is “crazy, karate-fighting Elvis.” Not entirely convinced, Rosano laughs and strums an oldie-but-a-goodie from the guitar strapped over his shoulder: Pantera’s “Cowboys From Hell.”

The project is called “Hollywood Icons Come to Life” and it marks Lizzy’s third vignette feature for Tom Byron Pictures. She explains, “Basically, it’s an ode to old Hollywood. We’re pairing up different icons like Audrey Hepburn and Elvis and making them fuck. You’ll see Raquel Welch sucking cock. Cleopatra fucking Julius Caesar. It’s pretty neat.”

It’s also quite a bit of a departure for the woman who directed Extreme Associates’ “Forced Entry,” one of the famed “Federal Five” videos that led to her and Rob’s 2009 conviction on obscenity charges, for which she served nine months at Waseca Federal Correctional Institution in Minnesota (Rob did 10 months at La Tuna Federal Correctional Institution in Texas).

“This is something that I’ve always wanted to do, but never had a chance to at Extreme because we did stuff more like ‘A Clockwork Orange,’” Lizzy says. “But aside from horror, I love Old Hollywood. I’m a Hollywood junkie. I love Marilyn Monroe and Audrey Hepburn. I’m thrilled that I get to do something like this for Tom [Byron]. It’s like playing dress-up with human Barbie dolls!”

Of course, Lizzy could never totally turn her back on horror. Halloween is her favorite time of year (“I cried because I missed it when I was locked up. I didn’t cry over Christmas.”). She finds creative inspiration from the works of fright masters Rob Zombie, John Carpenter, and the incomparable Ed Wood, and plans to produce a horror-indie some day. In the meantime, she’s already begun pre-production on a sequel to “Creature Feature,” her homage to Universal Studios’ old-school monsters.

She says, “I’m definitely not going to do anything as extreme as I did before. I won’t make any more ‘Forced Entry’ just to be like ‘fuck you.’ I’m not going back to prison. Some fans may be let down, but people that care about me will understand. Prison is not worth going to for a fucking porno.”

True Lizzy fans, however, won’t be disappointed with her new direction. The concepts behind “Hollywood Icons Come to Life” — and “Creature Feature” — may be playful and lighthearted, but they’re executed with the same type of passion and madcap flavor that has made Lizzy one of adult’s most exciting filmmakers.

The sex is pretty hot, too. McKenzie, as Hepburn, trades her cigarette holder to smoke the King’s hunk of burning love giving “Breakfast at Tiffany’s” enthusiasts a pretty good idea of what Holly Golightly was doing in the powder room for $50. When the fucking is over, Rosano rewards McKenzie with a different kind of pearl necklace.

Thrilled with the footage, Lizzy is ready to face her next challenge: Getting Rob to shower. The duo has been in the studio for a week shooting “HICTL” and their upcoming “Justice League” parody. “It’s been seven days,” she stresses. “He smells like an animal.”

Rob shrugs and tells the room it was an artistic choice “for good luck,” but Lizzy ain’t buying it. “I want this in the story,” she says. “People should know how much I suffer for my art.”