Tag Archives: Girlfriends Films

Let’s Go, I’m Ready

by Rich Moreland, November 21015

This is the third part to my adventure on a Dan O’Connell set. If it’s Girlfriends Films, it’s an enjoyable day with good people.

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The Veranda

The Veranda

Two on the Veranda

Break time and my lovely assistant notices Jorden Kennedy and Aidra Fox on the veranda getting into each other.  Reminds me of Julie Andrew’s ditty in The Sound of Music “Getting to know you, getting to feel free and easy when I’m with you.” Precisely.

Jorden and I had talked earlier and she loves shooting for Dan, but for reasons the other performers didn’t mention.

Jorden Kennedy Photo courtesy of Mike Towers

Jorden Kennedy
Photo courtesy of Mike Towers

In her brief time in porn, the twenty-three year old has appeared on-screen a handful of times for the company. They’ve told her, “We really like how good you are about dialogue and improvisation.”

The compliment fits Jorden’s professional agenda. The college grad likes Girlfriends “because there’s a story” in their shoots. “There’s back story, characters, and you get to act and I thoroughly enjoy that.”

Well, there’s not much acting going on outside right now as she and Aidra are getting deeper into the Julie Andrews theme!

 

We Know What You Like

Aidra Fox Photo courtesy of Mike Towers

Aidra Fox
Photo courtesy of Mike Towers

The impact of Jorden and Aidra’s playful interaction is evident when the crew sets up the next bedroom scene. Dan is going over what he wants and Aidra pleads, “Can’t we just come in and have sex?” All that bullpen action on the veranda is paying a dividend.

The girls continue their fooling around on the bed while everyone else is still getting their individual act together.

Corralling their attention, Dan gives the girls their instructions, seemingly unneeded because Jorden beams, “We know what you like” and Aidra chimes in, “Let’s go, I’m ready.”

And finally, so is the crew.

The girls get their directions, but they know what Dan likes

The girls get their directions, but they know what
Dan likes

More Touch than Kiss

The tone of this scene is the opposite of the romantic flavor of the Dani/Vanessa episode earlier. These girls are going for rough and tumble.

Like schoolgirls, they're listening to instructions, but they're ready to dive into a great scene

Like schoolgirls, they’re listening attentively, but they’re ready to give Dan a hardcore show

But Dan reins them in a little with the directive, “more touch than kissing.” At the beginning he wants some restraint because that fits the format for the opening minutes.

Once the sex really gets underway, Dan lets them go. The girls do indeed know what he prefers and the scene has an energy that electrifies the room.

Because porn is a formulaic list of sex acts, there is a limit to what performers can do. Jorden and Aidra’s enthusiasm uses up the variations with time to spare. Dan tells them  quietly, “I need ten more minutes.” Never missing a beat, the girls go into improvisation mode.

For clarification, the Jorden and Aidra scene is distinct from its Dani/Vanessa counterpart. These girls are into spitting, spanking, aggressive finger play, and crunching body movements, working each other over pretty well with heavy breathing and lustful expressions.

Aidra, in particular, smiles broadly and often, redefining the meaning of a sexual frolic.

Aidra gets the action started Photo courtesy of Girlfriends Films

Aidra climbs on board
Photo courtesy of Girlfriends Films

Unlike a constrained Vanessa an hour ago, there are no demons to exorcise here!

The girls wind things down with cuddling, a favorite Girlfriends Films romantic conclusion to hot sex.

*          *          *

The final look at a day with Dan O’Connell is next. I get an opportunity to chat with Vanessa Veracruz, Dani Daniels, and the irrepressible Aidra Fox.

 

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Box Cover

by Rich Moreland, November 2015

Here is the second installment on my visit to a Girlfriends Films shoot. It’s about the box cover, the image that captures the consumer’s eye.

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I’ve been on shoots before, but I’ve never seen a box cover being photographed. Because stills in adult film are routinely shot with few, if any retakes, I am surprised at the time invested in the cover. On the other hand, a well thought out shot sells the movie, so repeated takes make sense.

The equipment waits patiently for the cover takes.

The equipment waits patiently for the cover takes

Dan O’Connell pairs the girls on the cover according to their scenes. What astonishes me is the discussion among Dan and girls that surfaces as Mike Towers clicks away.

This part of movie-making is not solely director dictated, at least for Girlfriends Films‘ founder.

One of many shots taken to find the boxcover.

One of many shots taken to find the boxcover.

In an atmosphere akin to an open forum, Dan asks the performers for input to make this vital shot unique. Among the ideas bandied about is Vanessa’s suggestion that she kneel at Dani’s feet in an act of submission. It takes hold for the moment but we won’t know until the final product comes out if the cover designers liked it.

Try This

After Dan endorses Vanessa’s suggestion, the other two girls, Jorden Kennedy and Aidra Fox, experiment with different poses. They are sensuous with each other which makes for a terrific erotic exchange. Actually, they were getting along very well on the porch (warming up to get the juices flowing, if you know what I mean) while waiting for their scene to be shot, so anything here is simply an extension of that.

Jorden later tells me that Dan encourages input from the girls and she is more than willing to contribute.

Talking with Jorden

Talking with Jorden after the shoot

“What if you did this or tried this. Like with the praying or the kneeling or flipping your hair back or with Dani pulling my hair,” Jorden says as she describes how the cover exchange involved everyone. “That’s very normal of him. He’s very open to suggestions.”

Then she adds for emphasis, “He’s outside the norm as for as taking suggestions.”

What this tells me is that Dan O’Connell invests his performers with a stake in the movie they are creating.

Reinforcing my thought, Jorden summarizes the Girlfriends Films attitude.

“Dan actually cares about the scene looking beautiful and passionate because he cares about the viewers as well as us to make sure that we’re having a good time as well. He wants us to enjoy ourselves as much as the viewers.”

Incidentally, she hits the word “us” with emphasis, the mark of ownership Girlfriends’ performers take in their work.

Hands

Though the cover is actually two pairs of girls that offset or counterbalance each other, blending them together into a cogent artistic expression becomes the dynamic that sells the film. Everything relies on Mike’s talent in catching the right expression at the right moment.

Dan’s chief concern reflects Mike’s: what to do with hands. They have to be placed appropriately to convey sensuality. Of course, no arm behind the back can be completely hidden, it suggests an amputee. So hands cover breasts, then don’t, then go to tummies and arms, then search elsewhere . . . all for just the right pose.

What to do with hands?

What to do with hands?

Many clicks later, Mike has what he needs and I am eager to find out which shot will be the cover winner. It goes without saying the girls are panties only because full frontal nudity carries possible obscenity implications that differ from state to state.

However, there is more to this moment than just a photograph. It brings back memories for me and relates to a conversation Dan and I had a few years ago.

We shared stories of our conservative upbringing, his in Montana, mine in small town Southern Maryland. For both of us in that long ago pre-computer time, lingerie ads were about as erotic as our teen-aged eyes ever got to see, especially if you were trying to survive a religious household.

Unless, of course, the lazy days of summer meant the carnival midway and hanging around the hoochie koochie tent with only your imagination as your friend.

For a moment I am a kid again among the sideshows, listening to barkers lure passersby inside to see real flesh and hoping for a furtive peek at what I wasn’t supposed to see.

A playful look at the box cover babes! Dani, Jorden, Aidra, and Vanessa Photo courtesy of Mike Towers

A playful look at the box cover babes! Dani, Jorden, Aidra, and Vanessa
Photo courtesy of Mike Towers

*          *          *

The third installment in this series looks at the scene between Jorden and Aidra who change the tone of Women Seeking Women from romantic to aggressive.

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After the First Kiss

by Rich Moreland, October 2015

During my recent trip to LA, I was invited to a Girlfriends Films set by Dan O’Connell who founded the company several years ago. My visit with the crew and performers is in four installments, this is the first.

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Dropping in on a Dan O’Connell shoot is to be surrounded by pulchritude and comeliness, or for those who don’t want their vocabulary expanded, hot girls. When my associate (who is quite a looker herself, I might add) and I arrive, Dan is setting up a take staged in the front yard of the house he is using for this 123rd version of Girlfriends’ popular series, Women Seeking Women.

Dan lets me know what the line-up is for today's shoot.

Dan goes over the line-up for today’s shoot.

Vanessa Veracruz’s dark eyes and engaging smile greet us with a “Hi.” The starlet is playfully checking out the faces in the window. My guess is they are part of the story line because Dan likes to spin a plot around the sex. Later we’ll watch Vanessa kneel to pray wearing only her white lingerie for an interesting mixture of sex and religion Dan has in mind for the shoot.

What is striking about this moment (and what follows once we are inside) is how the girls hang around each other as if this were a sorority house. It’s obviously a relaxed atmosphere for everyone.

Dan reviews the general directives with Dani, Jorden, and Aidra. Photo courtesy of Mike Towers

Dan reviews the general directives with Dani Daniels, Jorden Kennedy, and Aidra Fox.
Photo courtesy of Mike Towers

Leaving the heat of day, we go indoors and quickly meet cinematographer Mike Towers and once again offer a “hello” to Girlfriends’ favorite PA, Sabrina. She was with B Skow when we were on his set a couple of days ago.

More Romantic

Before pairing Dani Daniels and Vanessa in the first sex scene, a brief episode involving a phone call is shot. The crew films it with Dani sitting on a toilet and Vanessa on her bed. The set is really the master bath with an open door to the bedroom so communication is easy between Dan and the girls.

A break is called and Dani readies herself while Vanessa kicks back patiently awaiting the action.

Dan and Mike setting up.

Dan and Mike setting up in the bathroom to film Dani.

Sabrina and Mike are setting up the lighting which includes Impact flood lights. They demonstrate for me how the lights can be angled to get the effect they are seeking.

No one is hurried, though everyone works efficiently.

Dan and Sabrina getting set up.

Dan and Sabrina testing the angles for the sex scene.

The girls are all set, we are quiet, and Dani walks into the bedroom.

“After the first kiss, we’re not going back to the dialogue,” Dan announces softly, then follows with more direction.

He tells Dani to be considerate of Vanessa because of the prayer scene filmed just a short time ago. “Be tender with her,” he says. Then he reminds Vanessa that her character is unsure of what she wants “because of this religious thing” and instructs her to resist Dani’s advances.

Mike and Sabrina preparing for the prayer scene.

Mike and Sabrina preparing for the prayer scene.

Vanessa gets into her role with expressions of reluctance laced with conflicting desires. Doubt versus longing fill her eyes while she offers her submission to Dani.

The curvy lass climbs onto the bed and approaches Vanessa with hushed conversation and wanton looks. Kissing, a Dan O’Connell favorite, follows.

The performers’ caressing and mutual pleasure is so believable that I feel like a voyeur rather than a writer visiting porn set. By that I mean, I have willfully suspended my disbelief, the mark of a powerful scene.

Dan reviews what he wants in the shoot.

Dan reviews what he wants when Dani moves on Vanessa.

Dani and Vanessa are established adult actresses who understand the dynamics of a girl/girl scene. Dani smiles sweetly, Vanessa rolls her head in ecstasy and the rest of the shoot moves forward with the gentleness Dan wants in this episode. He later explains that “taboo” drives this scene; it’s an internal struggle for Vanessa with her “inner demons pulling her into sex.”

Dani plays the aggressor to a tee, moving catlike over a shy Vanessa.

The actresses are facing Dan who is beside the bed which allows Mike to keep his position near the foot board. The boom tilts above the girls to pick up subtle dialogue.

Talented performers! Photo courtesy of Mike Towers

Talented performers!
Photo courtesy of Mike Towers

The scene is like a well-rehearsed musical composition, moving to its conclusion with a kind of rhapsody that good porn is capable of producing, but rarely does.

When we’re finished, I corner Mike and Sabrina for a short course in lighting, learning about balance, shadows, and how to emphasize skin tone.

Dan interjects that “lighting is more important than the cameras you use.”

Cool. Makes a non-camera person like me want to take a pic or two.

 

*          *          *

In part two of this day on the set, I get my first look at what sells a porn film, the box cover.

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Your Personality and the Passion

by Rich Moreland, October 2015

Here is the conclusion of a recent day on a B Skow shoot for Girlfriends Films. My overall impression is the same as I have on other shoots I’ve visited. With a strong sense of camaraderie, people in adult film work very hard to produce a quality product.

2015-10-08 07.41.31

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Getting everything together for the next scene

Getting everything together for the next scene

After the first sex scene is completed, everyone is breaking and moving equipment around for the next episode which will lead to Marie’s trying out this whole whorehouse business.

Out of the corner of my eye I pick up a flash passing on my left and Iris Rose scoots in front of me (a remarkable feat considering in bustier and heels!) to follow it.

Chad White, her shooting partner, has arrived and they will get acquainted, or perhaps reacquainted.

B Skow returns to his computer to finish the day’s final scene.

B Skow

B Skow

He reviews for me the schedule in getting this film made. There are four sex scenes. Two were shot yesterday with Iris also on set. The film is a two-day project though the boxcover and editing are still on the horizon.

I ask about editors and Skow mentions he uses four. Each has a different style or specialty and he selects the editor (or editors) based on what the film requires.

The Sex was very Nice

While waiting for the crew to set up, my assistant and I sit down with Marcus Bay. We’re outside on the veranda of an adjoining building.

The athletic Russian started in porn in 2006; he just recently came to America.

“I lose my virginity at eighteen,” Marcus says. Two months later he was into porn at the urging of a photographer friend. Not an easy step, by the way, because Marcus’ grandmother was raising him and the thought of shooting adult film was not in his life plan.

But he showed up on the set, saw the girls, and the rest was easy.

“I was horny,” the twenty-seven year old declares and immediately took to the business. A little help from legendary performer/director Rocco Siffredi and a move to the states happened.

Marcus talks attitude, mentioning that some performers are just in the business for the money, not the passion. Respect is also important to him. He is always accommodating to the girls as was evident in his scene today.

His secret to success is energy, Marcus says, which he gets from the people around him. That’s important because “everyday you shoot for [a] different company.” Each has its own style and expectations which requires extra zip for some scenes.

Good conversation with a rising male star on this side of the Atlantic

Good conversation with a rising male star on this side of the Atlantic

Today’s shoot was oriented toward “romantic sex” and the girl, Karter, was shy, Marcus comments. At the beginning “I was very quiet, a gentleman, and she relax,” he explains with a smile. Then Marcus repeats Rocco’s tutelage. It’s “all about your personality and the passion, how you talk.” The real “man” is inside and Marcus wants this to come out to his co-stars.

By that he means he is not like many guys in porn who are buffed and tattooed with macho attitudes to match.

The handsome Russian wants to put everyone at ease. He describes what happened today.

Karter is new to the business and getting a handle on a comfort zone is not always easy. But everything worked out and she gave a good performance. “The sex was very nice,” Marcus says.

Marcus treating Karter with the gentle touch Photo courtesy of Girlfriends Films

Marcus giving Karter the gentle touch
Photo courtesy of Girlfriends Films

Finally, he adds what we noticed. There were a lot of people around the set which made the shoot challenging for Karter. But she overcame the hesitancy of the moment.

“It was a very good scene, nice girl . . . she will grow up so much in this business,” the European star believes.

Marcus’s assessment is on target. The scene did progress well. Lots of kissing with Skow softly reminding the couple “pretend I’m not here.” A question of how to stage the pop shot arose and was quickly resolved to everyone satisfaction.

With an effective concluding touch, Skow has Marcus re-dress Karter, returning the final images to their beginning.

Next up is the conclusion for the day, the scene featuring Iris and Chad White. If Karter is quiet, Iris is an erotic thunderstorm!

Iris Rose Photo courtesy of Girlfriends Films

Iris Rose
Photo courtesy of Girlfriends Films

This is Your Fetish

Chad has smiling eyes and a boyish charm that makes him the perfect partner for the eager Iris. He is on his back in bed and Iris, as Marie, enters with a shocked look (remember she is trying out this brothel thing).

The scene is playful and erotic.

Skow explains everything before they get started

Skow explains what he wants before they get started

Skow reminds them a water fetish is the shoot’s focus and says politely, “no joking, this is your fetish and you need it . . . both of you will be clean” when the water is sprinkled and dripped around.

So the male veteran and the “fresh off the bus” starlet execute a perfect scene. There’s lots of foreplay with a wash cloth and water before the hardcore banging gets under way.

Iris Rose is a sexual dynamo and Chad guides and caresses her performance.

The water fetish precedes the hot sex Photo courtesy of Girlfriends Films

The water fetish sets the atmosphere of the scene
Photo courtesy of Girlfriends Films

To help make the shots bright and the action come alive, the crew moves the lighting around to catch the best angles.

*          *          *

While waiting for the crew to set up for the sex scene, Chad White relaxed with my assistant and me by the fireplace for a quick interview. Later when the day was complete and checks were written for services rendered, we continued on the patio.

It’s all about Mood

Chad talks about male standards of attractiveness in the business and points out that a large manhood and great abs sell films. Unfortunately, a good-looking guy may not always be a girl’s first choice in filming. Like Marcus earlier, Chad stresses the importance of attitude.

Before the shooting starts, it’s Chad’s habit to get to know the girl.

“I’ll walk straight up to her and say ‘hi,’ and try to give her a hug.”

Chad White

Chad White

This is a process the helps him “read body language to try to understand her mood.”

“If the girl is into it, if she’s sexual, if she tries to touch me a little bit,” he remarks, “that’s good.”

In other words, he’s looking for positive communication because his job is to get her primed for the sex. “I want to feel the emotional connection,” Chad says.

During his almost four years in the industry, he has come to certain conclusions about the business and the girls in it.

About half of the newbies are here for the money, he observes, though he quickly adds that is not true of Iris.

“Today, she wanted to get fucked.”

From this native Californian, that is praiseworthy of a potentially rising star. “That’s your job,” he adds, “the money should just come along with it.”

From his experience, Chad White estimates that “nine out of ten” girls who make porn a career are here primarily for the sex. That is what moves this business forward.

What the average fan often misses is how important men are to a girl’s success. Her popularity is a product of her attitude, of course, but the talented guys who work with her should never be dismissed out of hand.

Indeed. Watching Chad and Marcus Bay at work reveals how vital they are.

Wrapping Up

By late afternoon, the house is returning to its pre-shoot space. My lovely associate takes a few final pictures and gets our stuff together.

On our way back to LA, she mentions how impressed she is with everyone we met on this excursion into the north canyon country.

“Everybody is so nice,” she exclaims, then mentions without comment from me something I learned years ago. People who don’t know anything about the adult industry have such a biased judgmental view of it.

How true, but on this day at least, those within the orbit of commercialized adult film have enlightened one open-minded young woman.

Another shooting day completed

Another shooting day completed

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I Should Have Been Here from Day One

by Rich Moreland, October 2015

This is the first of a two-part series on set with Girlfriends Films director B Skow. My thanks to the company for accommodating my visit.

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Pulling into a private driveway north of Los Angeles, my trusty associate and I are unsure of our location. We’d already miscalculated once, ending up on a someone’s back country lane.

Sometimes porn is shot in the most romantic places!

Sometimes porn is shot in the most romantic places!

Everything is quiet except the heat which is reaching for 100 degrees. Then the giveaway, a shaded front yard with cars parked everywhere.

After adding ours to the group, we walk up to the home. Inside a set of open double doors I immediately notice a large painting which I had seen in a previous Girlfriends shoot.

Finally, the right place!

The first person we run into has the warmest smile imaginable. He’s Alex a cameraman for B Skow, the director of the shoot we’ve finally located.

Alex

Alex

Next we greet Sabrina, today’s PA. She and I had met previously a couple of years ago.

They show me the day’s line-up. First scene is Karter Fox and Marcus Bay; the second, Iris Rose and Chad White.

A word about Sabrina before moving on. She’s been with Girlfriends for a number of years and is a true “jack of all trades.” Today she’s doing audio, part of her repertoire of talents that includes lighting, set-up, and props. Simply put, her job is to “craft the scene,” Sabrina tells us.

For my assistant and me, Sabrina is a touch of home. She’ s a transplant from the Washington, DC area, Silver Spring on the Maryland side to be exact.

Alex and Sabrina explaining what's on the schedule for today

Alex and Sabrina explaining what’s on the schedule for today

Go Until I Stop You

Costumed as a hooker, a smiling Iris Rose is wandering around killing time. She has two scenes on the agenda with the second a raucous whorehouse slamming by Chad White who is not scheduled to arrive for another three hours.

In fact, whorehouse is the theme of the film that revolves around “taking over a family business,” Skow informs us.

He gives me a quick rundown of the story which centers on a daughter whose late mother owned the brothel that is the film’s setting.

The virginal Marie is living with her stepfather who suggests she follow in her mother’s footsteps as a businesswoman. So the girl takes up residence in the cat house to break through her prudery and find the joys of sexual licentiousness.

With that overview in mind, we follow everyone to a bedroom for the next scene.

Iris waits with her two little friends

Iris waits with her two little friends and the camera that will record her

Iris, who plays Marie, lolls on the bed as activity builds around her. Sabrina moves sound equipment; Alex readies his camera. Iris preps herself for the toys the scene demands. When the camera rolls, Skow’s only direction is “just go until I stop you.”

Sabrina has done her job, by the way. The set is filled with color, slightly tawdry in spots, characteristic of the brothel milieu. Everyone works efficiently, there is a subtle coordination among the crew in a very tight space.

Good natured as she waits, Iris yawns then smiles and feigns a little sleep.

We’re underway. Well, almost.

A Tossed Hitachi

Continuing with his preliminaries, Skow banters with Iris about a hot guy she met recently in the airport. The blonde cutie laughs and relates the story.

Amused, Skow says, “Thanks for that BTS moment.” (To those unfamiliar with “behind the scenes,” it’s an inside look at movie making that is often included in a DVD.)

With Alex ready on his left, Skow walks Iris through his expectations and gets her into character with the reminder that he doesn’t want this to look like a solo scene typical of cam girls. She’s got to come through with Marie’s frustrations.

Getting the technical stuff ready for the shoot

Getting the technical stuff ready for the shoot

Everything works beautifully. Skow encourages Iris to “talk dirty” because Marie is reluctant to seek her pleasures with the toy she lovingly calls “handsome.”

The scene ends with the guilt-ridden daughter flinging her Hitachi (not a power tool, gang, this is porn) across the room.

“I’m sorry I can’t do this,” Marie says to her dearly departed mother. “I’m not like you!”

The vibrating satisfaction is too much for this gentle flower . . . at least until she encounters Chad White in a later scene.

Talking with Karter

Talking with Karter

Pink Teddy

During the break, I briefly meet Karter Fox whose sex scene is coming up shortly with Marcus Bay. The saucy exotic dancer is a Vegas import for this shoot, she tells me, and looks adorable in her pink teddy.

Waiting to see Marie

Waiting for the cue to see Marie

Before her scene with Marcus is shot however, Karter must play through an episode in which Marie tries to flee the whorehouse. There’s lots of banging on doors to complement banging of another sort and Karter is tender in calming a distraught Marie, escorting her from the room.

The contrasts between the girls is fascinating considering both are porn newbies. Karter has a quiet demeanor, the opposite of Iris’s buoyancy, and for this scene their pairing works well.

Karter’s encounter with the troubled Marie is a solid acting moment for the dancer who comes across as the quiet girl in the back of the room. Understandable, the camera can be more intimidating than a live audience in a noisy club. It exposes the soul of a performer.

That’s it for scene nine, Skow says. Break time again.

Skow going over the script to prepare for the hallway take

Skow going over the script to prepare for the hallway take

Movie Making Comeback

The kitchen is filled with goodies so the crew and performers (and welcomed journalists) hang out for a few minutes. This opens an opportunity to talk with Alex and a bit of a friendship builds during the next few hours.

Talking with Alex

Talking with Alex

The affable cinematographer has been working exclusively on B Skow shoots for a couple of years now. A Toronto native, he went to photography school and started in adult with magazine shots and American Art nudes.

Alex worked for a host of studios that included Vivid and Elegant Angel until 2007 when he dropped out of the industry. With the renewal of the feature, he returned in 2012, emphasizing that his personal artistic spark was ignited when “movie making came back.”

The twenty-three year industry veteran and I have a common bond. I like the feature also, preferring a storyline over wall-to-wall sex in the movies I review.

The Next Customer

During their hallway scene, Karter suggests to an unsure Marie that she sneak a peek when Karter is with her next customer. It’ll be a mood builder for Marie.

Chatting with Marcus before the scene

Chatting with Marcus before the scene

That leads to the sex scene between Karter and Marcus Bay, a recent Russian émigré who is no newcomer to porn. He shot in Eastern Europe for six years. In a talent recommendation of the highest order, the noted director Rocco Siffredi brought the twenty-seven year old to American soil.

Skow sets the mood by presenting Karter as doll-like. There’s lots of foreplay which Marcus smoothly orchestrates and when the sex begins he gently opens her up for the best camera angles. In porn, that’s a must.

Iris sneaks a peek! Photo courtesy of Girlfriends Films

Iris sneaks a peek!
Photo courtesy of Girlfriends Films

As often happens, a veteran male is teamed with a girl just breaking in. It’s a mentoring process familiar throughout the business.

Amusing moments are inserted into the action when Marie playfully steals glances through the curtains as Karter serves her customer.

Afterwards, I have a quick conversation with Iris Rose.

Just Came My Way

The effervescent blonde is building an impressive resume. Iris mentions she watched porn early on and “really liked it.”

“I should have been here from day one,” the eighteen year old says because she was “really comfortable” with her first shoot.

Iris as the sultry Marie Photo courtesy of Girlfriends Films

Iris as the sultry Marie
Photo courtesy of Girlfriends Films

Iris reflects maturity beyond her years. Her charming giggles win over everyone while her serious attitude promotes taking direction well.

After high school, a move to California and signing with ATM/LA jump started her career.

Though porn “just came my way,” Iris says, she has a plan that will keep her shooting for the next few years.

On her model page Iris lists the expected porn fare of scenes she will do, but that does not include checking off everything at once. She is holding back IR (interracial) and gangbangs, though both are on her agenda and she’s eager to get to them someday.

Reflecting thinking that is right in line with the best industry advice, Iris says she is “not going to rush into what I’m down for because what am I going to have in a year or two years?”

In other words, she explains, by shooting everything now, “I got no more surprises for my fans.”

Adult film is not a normal job, of course, and careers can be short. However, compared with something more mainstream available to girls her age, Iris admits, “I would not have as much money.”

Not surprising for a hard worker who had her first job at fourteen to help out her family. Iris Rose is investing, paying her bills, and looking to the future.

Someone once said a porn shoot is waiting around and then waiting some more . . .

Someone once said a porn shoot is waiting around and then waiting some more . . .

*          *         *

In part two we will take a look at the sex scenes and the male performers who are so vital to making adult film a positive experience for the girls.

 

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Daddy’s Girl 95, Part Two: Horny Daddies

by Rich Moreland, September 2015

This is the second segment on Daddy’s Girls 2, a Girlfriends Films production directed by B Skow and written by David Stanley.

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The Villain and the Hooker

Is Bob the real deviant in the saga of Daddy’s Girls? His new prostitute Oralee thinks so because she tells him in the concluding scenes, “You’re not the good guy in this story, Robert. You’re the villain. You just don’t know it yet.”

Unlike Marla before her, Oralee dresses for the schoolgirl role with Bob. Knowing the drill to satisfy his fetish, she shows up in pigtails, knee socks, and plaid skirt. She gives him his mask, calls him as “daddy,” and gets him aroused.

Bob's cover

Bob’s cover.

Despite his disdain for Oralee (he refers to her as a receptacle for his manly jollies), Bob knows she is discrete, to be used when convenient.

Unfortunately, he has gotten himself into trouble for physically attacking Quincy’s therapist, Tom, who uses his patient’s father fetish (“you don’t have a father, you have a pimp”) to cajole her into “treatment” for his own pleasure. Of course, Tom validates what Quincy’s remaining intellectual left eye (her blinded right one represents affection) refuses to “see.” Isn’t she also a prostitute of sorts?

After dealing with the police, an emotionally bedraggled Bob calls on Oralee to sneak him back home and she doesn’t let reality go unnoticed, asking him a question with a double meaning. “Do you know where you are right now? In your driveway with your hooker who just picked you up from jail. You’re not father of the year . . .you’re just a bully.”

The gutsy harlot is just getting started, hammering Bob with his daughter is a “grown woman” who just had sex with her doctor and he’s “the one acting like a child.”

Enraged, Bob strikes back. “Don’t talk about her!”

Why? “Because I don’t know her or you don’t have your mask on?”

Oralee

Oralee

When Oralee suggests the truth hurts, Bob dismisses her, arrogantly boasting that he has things she’ll never have. Using insults when logic is muted, Bob retreats into what he is, a bully, while Oralee comes through with gold stars.

Mother and Sister

The other prostitute in Bob’s skewed world is Marla, a character in transition as the story deepens. She stands in as Bob’s wife, is trashy enough to turn him on, and offers what he needs most: a grown woman to look after him. Bob obviously appreciates her efforts to legitimate their relationship but he cannot decouple himself from his hooker fetish because Oralee is always on call.

Marla has a further issue. Beyond a wife in waiting, she performs a dual role for her soon-to-be-stepdaughter—mother and sister. In doing so, she’s the best thing that happens for Quincy, who despite Oralee’s judgment, is not quite a grown woman yet.

The complexity of the Marla/Quincy connection steps forward in the sex scene with Mr. Jeffries who, like Bob, is also bully.

“Old Like Me”

At dinner Jefferies recognizes Quincy as Daddy’sGirl95. Good fortune presents itself because he has a promotion waiting for Bob and knows Marla is flirting with him to secure it, but it’s the daughter he wants, not a pay-for-play trollop.

Finding a convenient moment, Jefferies follows Quincy to the bathroom. Shocking her with “all your horny daddies missed you greatly” in reference to her now defunct webcam, he says he knows what she wants, “old, like me.” When Quincy resists, Jeffries says Bob will be fired if she doesn’t give in. It’s quid pro quo, corporate bedroom style.

Her prostitute denial, now lame and laid bare, undoubtedly taunts Quincy’s mind, but is glossed over with a little psychological manipulation. Jeffries reminds her “people don’t change. You are who you are born to be . . . you’re the worst of yourself.”

The words really apply to everybody in this film except two, Marla and Oralee, who are the best of themselves. The viewer will take either one over the other sad souls in this charade of sordidness.

The threesome.

The Threesome.

Marla responds to Quincy’s invitation to help daddy, bonding with her future stepdaughter for the three-way with Mr. Jefferies. On the wall behind them is a painting of two young women done in the late Victorian period, one undressed; the other partially clothed. They are sister-like in both age and attitude and illustrate the theme of this second film.

Samantha/Quincy, Marla/Quincy, Marla/Oralee? Take your choice from a handful of “sisters” who have serviced “daddies.” They are all daddy’s girls.

A Slice for Everyone

After the sex, everyone returns to the dinner table. Bob is promoted and a peachy pie is served all around. Quincy, who has now been cut into pieces in a clever reintroduction of the knife that once sliced her, is symbolically consumed by the guests.

Marla quietly motions to Quincy that she has a flake of crust on her chin, right where the cum sometimes lands. A sexual covenant links them now and the audience knows that Quincy will mature under Marla’s tutelage.

Sister-Stepmom and daughter ready to roll.

Sisters or Steps, take your pick, ready to roll.

Later when Bob discovers the girls in bed together (there is an earlier fauxcest sex scene between them that reinforces Marla’s status as Quincy’s sister prostitute and a mother substitute), Marla pleads for his understanding. “We can be a family,” she says in an offer that elevates her beyond what Bob deserves.

Still refusing to “see,” Daddy stares at his own failures and blames Quincy. “Until we finally fuck, you’re just going to keep ruining my life, aren’t you.” She smiles with the knowledge that if she bends over, Marla will be there to validate her actions . . . in a sexual romp that is not really among kin.

Just as we see in the first film when Quincy beds Dale, who is the bully now?

In this duel of bullies, Bob blinks and collapses, clutching his heart. A cardiac episode, we assume, because Skow has prepared us with a well placed hint. Bob is a smoker.

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Daddy’s Girl 95, Part One: The Goodneighbor

by Rich Moreland, September 2015

This is the wrap up Daddy’s Girls, a product of Girlfriends Films and director B Skow. As I indicated with the first installment, these posts represent only one interpretation of a film that is far deeper in meaning and imagery than I’ve touched upon here.

*          *          *

Jerk off Babe

Bob’s daughter Quincy uses her Daddy’sGirl95 avatar to promote her webcam identity as a “jerk off babe.” Posing as “barely legal” with her schoolgirl outfits, Quincy is hardly a juvenile and shows a biting nastiness that festers beneath her daughter facade.

Like the film itself, Quincy is hard to pin down. She tells her mother to “fuck off” and sweetly talks to her daddy.  She is the personified bully who verbally assaults Samantha, “you took my daddy now I’m gonna take you . . . you shouldn’t take what isn’t yours,” before sexually ravaging her. The whole show is live on Quincy’s cell phone for Goodneighbor51’s pleasure.

On one hand, Quincy mirrors the dysfunctional families in this charade while challenging their character on the other. She is noticed, yes, but too often dismissed with the hope that she will blend into the background like the pastel imagery that surrounds her.

As the story progresses, Quincy increasingly orchestrates the action, particularly in the final sex scene with Dale whom she believes to be her biological father. It is a metaphorical revenge “killing,” so to speak.

She accuses him of being “the pedophile that’s been jacking off to his best friend’s daughter,” reminding Dale he’s now had sex with his best friend’s wife and daughter. Essentially, Quincy sees herself as a daughter of two fathers, one she desires and the other she loathes. It’s ugly in tone, like her taking of Samantha.

 

Quincy and Dale

Quincy and Dale

Overcome with wrath and punching Dale into unconsciousness, Quincy is immediately remorseful and calls for her “father figure” to come to the rescue.

Conveniently, the mask-wearing Bob is in the adjacent bedroom, doing the deed with his hired playmate Marla. Earlier in the film when he was having performance issues, Marla put on sunglasses, called him “daddy” and his arousal skyrocketed. No problem, covering the eyes covers the perversion which is also “covered” in her bill. Everyone pretends and “sees” nothing.

On the surface, the contrast between the daddies is obvious. Bob remains healthy; Dale is dying. But the rest is muddled because both daddies are sexually tainted. Both desire younger women with Dale’s being the online variety while Bob can’t let go of his lust for Samantha.

On the other hand, Quincy’s longing for Bob, whom she knows is not her real father and therefore fair game, won’t go away. To complicate matters, he is the manifestation of the larger “Father Complex” for both Samantha and Quincy.

Both girls are a contrast of desire and anger. Sam directs her disgust toward Bob for abandoning her and bitterly reminds him that she wore knee socks and called him daddy when they did the dirty. Quincy, as pointed out above, takes out her rage with a father rape of sorts driven by Dale’s past dalliance with her mother.

Odile and Darla Crane

Odile and Darla Crane

In the meantime, Dale’s wife Iris (played by Darla Crane) finds the “jerk off babe” and her unwilling and unsighted playmate on his phone. . . a secret revealed. Devastation follows and she rushes to Gina, Bob’s wife (played impressively by Odile), for solace. To soothe the moment, Skow throws in a MILF scene between two well-respected adult veterans.

Seeing Everything

In the closing scenes of the film, the families gather together and there are apologies all around. Sincerity floats over the room, but doesn’t really land anywhere. This sorry lot is a collection of “masks” vainly trying to make things well enough to survive. Quincy becomes the chastened child and the other “adults” lamely tuck away their past temptations to bask in the bright patio gathering.

With cane in hand, Samantha, the narrative’s emerging avenging angel, excuses herself. Wearing an actual mask, her sunglasses, she remarks that she “sees” everything and everyone can do better than ask forgiveness. It’s a criticism that carries religious implications.

On the set for Bob and Dale in hopeful reconciliation

On the set for Bob and Dale in hopeful reconciliation

Dale and Bob reconcile with Dale pontificating about their relationship, telling Bob to step up and become a father by abandoning his mask and self-pity. Bob is properly contrite, giving Dale a pass he doesn’t deserve. Dale has his own concealed perversion as Quincy’s Goodneighbor51 customer who suggests she meet him at a motel or give him a show. Quincy, who hides behind her online facade, opts for the latter and, as mentioned above,  sexually attacks Samantha for his entertainment, not knowing who he really is. Of course, circumstances now reveal the Quincy/Samantha scene to be an outright perversion between sisters, but no one seems to quite get that.

But who are the girls, really? Biological daughters incestuously entertaining their father (Dale) or metaphorical possessions of a Lolita freak (Bob)?

Always Close the Window

In the final scene, Bob tucks Quincy into bed as a father would his little girl. In contrast to Samantha’s single bed, unwelcoming to a partner but subject to violation, Quincy’s is a double, an invitation to just about any “daddy” or “mom” as we will see in sequel to this classic, Daddy’s Girls 2.

She asks Bob if Samantha or mom will ever forgive them. He responds with “sometimes you just have to live with things,” a sharp lesson Quincy will learn in the next film. Preparing to let her sleep, Bob mentions she’ll be going to the facility in the morning, implying this her last night with her parents.

The bed is awash in pastels, pink, brown, green, blue, soft colors, typical of Quincy, a sinful little girl blended into the landscape like the title frame at the film’s opening.

Before he leaves, Bob asks if he should close the window. Quincy wants to feel the breeze, she says. Folding her hands in a prayerful mode only St. Agnes could truly appreciate, Daddy’sGirl95 is likely hoping for a “do over” in the manner of kids on the playground who haven’t grasped the meaning of disappointment and failure. With eyes closed, her smile is sweet and innocent.

Like Samantha who earlier lay awake in her bed, Quincy now is waiting. But imagery takes an odd turn here. Quincy is transformed into the peaceful resolution of a corpse in an open casket funeral. Perhaps it is fitting, after all . . . metaphorical death and resurrection await a new more visible mask.

The camera pulls back a bit and the open window appears to the right. A knife is laid on the sill, then a cane. After a pause, a with face concealed by sunglasses emerges from the night riding a most evil cool breeze.

*          *          *

The cast of that brings to life this fabulous film.

The cast of that brings to life this fabulous film.

I deliberately left out the identity of the central actors who raised this movie to perfection, preferring instead to honor them at the conclusion of this analysis. They are Riley Reid (Quincy), Maddy O’Reilly (Samantha), Alec Knight (Bob), and Evan Stone (Dale). As referenced above, they are ably supported by Odile and Darla Crane. Rarely in an adult film does a combination of performances mark such excellence.

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