George Weiss’s influence did not stop with his own productions. In 1964, he encouraged New York filmmakers Michael Findlay and Roberta Findlay to follow the commercial path opened by the Olga films. The Findlays subsequently made a series of increasingly extreme sexploitation pictures, beginning with The Touch of Her Flesh and continuing with sequels that pushed further into violence, fetishism, and transgressive spectacle. Weiss’s connection to the couple illustrates how the exploitation business operated outside the formal studio system: producers exchanged contacts, formulas, footage strategies, and market intelligence, while censorship itself became a kind of informal publicity. The Olga cycle supplied a recognizable template, and the Findlays expanded it into harsher material that helped define the dangerous reputation of late-1960s underground sex cinema.
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AI concept artworkArchive Record · 1960s
From Weiss’s Olga Pictures to the Findlays’ Even More Extreme Sexploitation
George Weiss, Michael Findlay, and Roberta Findlay / 1960s
George Weiss’s influence did not stop with his own productions. In 1964, he encouraged New York filmmakers Michael Findlay and Roberta Findlay to follow the commercial path opened by the Olga films. The Findlays subsequently made a series of increasingly extreme sexploitation pictures, beginning with The Touch of Her Flesh and continuing with sequels that pushed further into violence, fetishism, and transgressive spectacle. Weiss’s connection to the couple illustrates how the exploitation business operated outside the formal studio system: producers exchanged contacts, formulas, footage strategies, and market intelligence, while censorship itself became a kind of informal publicity. The Olga cycle supplied a recognizable template, and the Findlays expanded it into harsher material that helped define the dangerous reputation of late-1960s underground sex cinema.
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