Tag Archives: Scott Taylor

Love in the Digital Age, Part Two: Humanized Sexuality

by Rich Moreland, September 2018

In Part Two of “Love in the Digital Age,” we’ll take a look at the production side of filmmaking that makes the award-winning Jacky St. James/Eddie Powell style one of the finest in the business.

[My thanks to Jeff Koga, Jacky St. James, and New Sensations for the photos in this post.]

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“Love in the Digital Age” is another Jacky St. James feature film that reveals just how precise and demanding the writer/director can be.

Jacky is fond of saying that she’s not concerned with how popular her performers are in the fan world of adult film. Fame built on gonzo scenes and horny bodies is not what drives her casting. In fact, standards of hotness aren’t even in the equation when it comes to the on-screen expectations Jacky has for her hires.

To make a feature film come alive as an artistic statement, Jacky looks for performers who can take direction, deliver lines, and get into their characters. Some adult directors settle for line readings as benchmarks to create their characters; Jacky insists on acting ability. In this romantic comedy, she gets what she demands in spades.

Gia and Logan

Take Gia Paige. Her performance is superb.

Here’s an example. After an unsavory discovery, Sara confronts Griff (Logan Pierce) as she is walking out on him. She wants to know what category of undesirable females she falls under in his mind. “Dumb sorority girl, bad chick, crazy chick,” she growls. It’s Gia’s finest acting moment in the film. She expresses her frustration, anger, and feelings of deception.

For his part, Logan’s performance is also top-of-the-line. When Griff talks to his radio audience about screwing up “the best thing he had in his life,” he admits to being a jerk and doesn’t want his audience to be like him. The pain on Logan’s face illustrates the contrition and deep sense of loss Griff feels.

Bottom line? Expect good acting and character development in this film. The script is lively, but the actors’ energy moves the production into the fast lane.

Fit the Narrative

Eddie Powell and his filming cohort Paul Woodcrest frame the sex scenes to fit Jacky’s directing philosophy. She focuses on female pleasure and wants it evident on-screen. That requires a special commitment because extracting intimate performances from actors who are often limited to all-sex shoots is not easy. Too often spitting, deep throating, and facials limit the artistic boundaries, such as they are, in those types of scenes. On the other hand, romance scripts demand a different approach.

Jacky wants her cast to be engaged in the story but they must go a step further with the sex scenes because they must fit the narrative.

In this production, the women initiate the sex, moving the female characters from the object of sex to its subject in the eyes of the viewer. There’s lots of kissing, loving gazes, and passion.

As always, Eddie’s camera work reflects Jacky’s story telling mission. When framing the performers during their sex scenes, he focuses on both bodies equally. He and Paul build the intimacy with facial closeups as opposed to relying on genital action. In other words, the pure up-close piston shot is absent. In its place is a humanized sexuality, a Jacky St. James/Eddie Powell trait that has forged their legendary talent.

To put it another way, Jacky and Eddie step away from the traditional male gaze and rough sex that present women as merely bodies with no larger reality. It’s a departure from run-of-the-mill porn.

There is one more ingredient in the mix. Eddie’s camera is always in motion, swirling and floating in an expression of what happens in the minds of lovers who are absorbed in each other. His shooting mimics what lovers experience when passions are high, a trait that elevates his work above most cinematographers in the business.

A Cowgirl Sexcapade

There are four sex scenes, as mentioned previously. The first is Gia and Tyler Nixon. It’s a sample of Sara’s previous relationship that is ultimately doomed because of a social media post that inflames her.

The second is Kenna James and Small Hands. Lizzie meets Jeremy at the bar. He takes her home and the sex heats up.

The third is Gia Paige again, this time with Logan Pierce in a triumph of their new-found romance.

The fourth involves Mona Wales and Marcus London. Janine is at first turned off by her coffee date with Mark, but he gets a do over and love ensues.

The favorite sex position to begin each scene is cowgirl. The female controls her pleasure and relishes the expressions of her lover as she rides to ecstasy. This is not to minimize mish (missionary), spoon, and doggie. They are there, of course, as is oral sex. Incidentally, there is a lot of that for her enjoyment, something not found in abundance in adult film unless the scene is girl/girl.

In the final analysis, porn is often in a hurry. Chuck clothes, get to the blow job, then run through the standard positions with the pop shot that is most often a facial. Jacky will have none of that. Her performers warm up to each other, a necessity in a true romantic comedy.

Once again, Jacky St. James and Eddie Powell have made a Hollywood-worthy adult film. Because of their exceptional talent, “Love in the Digital Age” belongs in every porn library in a prominent place on the feature film shelf.

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Here’s the YouTube trailer for “Love in the Digital Age.”

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Love in the Digital Age, Part One: The Old-Fashioned Way

by Rich Moreland, September 2018

Once again New Sensations teams up award-winning filmmakers Jacky St. James and Eddie Powell and the result is another Hollywood-worthy motion picture. Produced by Scott Taylor, “Love in the Digital Age” is a romantic comedy starring Gia Page, Kenna James, Mona Wales, Tyler Nixon, Logan Pierce, Small Hands, and Marcus London.

The DVD also offers a BTS, photo gallery, and trailers highlighting other New Sensations productions. It can be ordered here.

[Photos in this review are credited to photographer Jeff Koga and director Jacky St. James]

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Jacky St. James’ latest romantic comedy is all about our tech driven age and the sexual hookups it offers us. Take notice of the montage of social media images that begin the film as we hear in voice over,

“Social media is how we connect now. Everything is at our fingertips. Why should we ever feel like we need something else?”

That question sets in motion a porn film that is as much social commentary as it is “doggie” and “cowgirl.” Be prepared for a thoughtful look at today’s online dating scene and the love, authentic or otherwise, that emerges out of it.

Four superbly shot sex scenes explore the realities of modern romance Jacky St. James presents in her script. Kenna James, Gia Paige, and Mona Wales fire up the screen with female pleasure that is a far cry from gonzo’s “rough her up” sex. But more on that in the next post.

First, let’s take a look at what the film is all about.

Testing a Theory

Lizzie (Kenna James) lives with her mom Janine (Mona Wales). The household welcomes a newcomer, Lizzie’s cousin Sara (Gia Paige). Sara has just dumped her boyfriend whose insensitivity trashed her on social media.

From there the story develops around a “theory,” as Janine proposes it, that the girls can’t survive without their cell phones. In return, Lizzie and Sara insist that Janine get a smart phone and go to dating apps to find a love life. She has, after all, been a “weird single lady” since “dad left,” Lizzie says, and celibate far too long.

The adventures from there are humorous and filled with carnal desire. But there is a deeper message in Jacky’s film. As the narrative progresses, she touches on subtle examples of how modern life is consumed by social media.

Here are some highlights.

After they agree to give up their phones, Lizzie and Sara drive to a bar, not an easy task because Lizzie doesn’t know how to get there without her phone’s GPS.

Sitting at the bar, the girls are listless. Boredom quickly sets in. No phones; no fun. They’ll have to create their own.

The bartender is mixing drinks and checking out his phone at the same time, something that fascinates Lizzie. She never noticed him before, of course, because she was always engrossed in her own phone. From her perspective, Sara observes that the people in the bar remind her of zombies attached to their phones and she feels out-of-place.

To occupy her time, Lizzie wanders outside to the bar’s patio and lights up a cigarette. She meets Jeremy (Small Hands) who muses that two friends in the bar are arguing and texting at the same time. It’s a comment on multitasking with a downside.

Jeremy, who doesn’t have a mobile phone, tells Lizzie, “We have our heads down so much we miss what is right in front of us.” In other words, too often social interactions are cell phone dependent at the cost of real human expression.

Never More Connected

“Love in the Digital Age” also addresses other issues technology has brought into our lives. One is the internet’s impact on our privacy. Another is somewhat more egregious: when we worship at the altar of technology, we sacrifice our imagination.

But all is not lost. Without a cell phone, Sara must learn to negotiate a landline setup to talk with her new-found love interest, Griff.

They’ve already communicated through letter writing (the earliest form of texting, by the way) and have moved to the next step. She doesn’t know what he looks like, of course, he’s just a voice on the other end of the wire. But she draws on her imagination to picture Griff and admits she’s never felt more connected to someone than she does to him.

Sara later confesses to Janine, “You can’t get to the heart of who a person really is online.”

The older woman is on board with that conclusion, but must explore dating apps as part of their deal. She’s now learning what technology offers.

When her weekend with Griff heats up (it’s Easter, by the way, the season of renewal and rebirth), Sara is immensely happy. “I was just living my life in real-time with someone I was getting to know the old-fashioned way.” Despite her upbeat revelation, Sara’s remark is a scalding comment on what we’re losing in this modern digital age.

The Sum of the Entire Picture

There is much more to this story. We see an older couple, Janine and Mark (Marcus London) navigate their more traditional relationship and witness how Lizzie’s face-to-face meeting with Jeremy generates an immediate connection. And not surprisingly, the Sara/Griff romance takes a rocky turn that delves into how technology fosters deception and embarrassment.

The voice over that ends the film simultaneously warns and reassures the viewer about our digital world. They are Sara’s words.

“We should remember that the things we hear or read online aren’t always the sum of the entire picture. If you want to know someone, really know someone, I suggest you do it the old-fashioned way.”

Jacky St. James wants us to understand that human interaction does not differ from generation to generation regardless of the platforms we use. Technology may move us forward, but the basics remain in place. For better or worse, social media, whatever its form, reflects our maturity, compassion, and values.

Mobile phones are designed to co-exist with traditional living, not redefine or overtake it. They can enrich personal connections and, on the flip side, be used in emotionally destructive ways. But whatever our conclusions about that handheld device, it can’t and doesn’t replace real human contact and the feelings that go with it.

This is the wisdom of “Love in the Digital Age.”

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In Part Two, we’ll look at the sex scenes (this is a porn film don’t forget!) and Eddie Powell’s cinematography.

Watch the trailer compliments of New Sensations.

 

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Interview with Scott Taylor: Part Two

by Rich Moreland, December 2017

This is the second part of my interview with New Sensations/Digital Sin owner Scott Taylor.

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After a quick break to adjust the digital recorder, Scott and I get back to our conversation. I’m interested in how Eddie Powell and Jacky St. James hooked up with New Sensations. Scott is more than happy to tell the story.

Incredibly Creative

Eddie Powell was with the company before Jacky came on board, Scott begins.

He is effusive in his praise of the director/videographer.

“Eddie embraces any new technology or challenge,” Scott exclaims.  “He’s self-taught, an incredibly creative and a brilliant individual. It’s been amazing what he has contributed to this company in the several years he’s been here.”

Furthermore, Scott believes Eddie’s talent at special effects, editing, lighting, and videography makes him “second to none in the industry.” High praise indeed!

Scott explains it this way:

“When I was shooting I could express myself artistically from the angles to the lighting to the emotions I’m trying to capture in the frame. There’s a huge difference between someone who knows how to do that and someone who doesn’t. It can be a slight tilt of the camera, it can be framing in a different way that feels and tells a different story. Trying to teach that to somebody is kinda difficult. You understand what that looks like or you don’t.

“I’m lucky in Eddie. He’s so creative. We leave him completely alone on whatever he turns in. It’s so good on a regular basis.”

What about Jacky?

Scott next fills in the blanks about Jacky St. James.

It started with scripts.

“When I read a script I look at it from more of a mainstream point of view. I don’t want it to be the pizza man shows up. I want the entire story to make sense. There should be real integrity for what we put out here, not just words on a page.”

By the way, the delivery man scenario Scott references is an old stag film formula involving a knock on the door and a bored housewife that goes back almost a hundred years. No story, really, just sex.

A paucity of good writers encourages New Sensations to run a contest to find new talent.

Scott continues:

“Jacky wins this contest. She’ll come in, write for us, and that’s all she’ll do.”

That, of course, was only the beginning. Like the old delivery man scenario, Jacky got her foot in the door. She took over the studio’s PR work and continued to do scripts. Of course, she meets Eddie.

“Jacky’s an excellent writer and I can see that she’s working with one of the best videographers at the time.’” Scott explains, then continues as if speaking directly to Jacky.

“You’ve got this. You need to start directing. You see the script in your head when you’re writing it. You already know in your mind what this looks like. You need to get out there and Eddie can shoot it for you. You can’t run a camera, that’s fine. He can do it and you guys can work together.”

It’s a blueprint for how Jacky’s collaboration with Scott and Eddie changed the porn feature by leading it in a more artistic direction.

Scott sums it up this way:

“She slowly took the reins at the very beginning, to trying out this new field to ultimately becoming a very confident director. She still is the best writer I’ve ever seen. She floats between different genres very well and she’s been a real joy to have along for the ride. That’s how we got Jacky.”

Working Together

I know from my research on Jacky’s relationship with Scott that they have bonded professionally. I wanted to get his point of view on this.

He mentions the Emma Marx series (which I’ve reviewed on this blog) and Torn as memorable moments. Emma Marx came along at the time Fifty Shades of Grey was the rage. New Sensations had a parody in mind, but it was abandoned in favor of a more serious approach.

“We wanted to tell our own story. Jacky knew the characters and we agreed on the direction of where it would go.”

Torn was also a serious film that the company is” every proud of.” He says. “She did an excellent job (writing and directing it).”

The film is about an older man and the young lover who comes into his life as his marriage is crumbling.

Scott quickly follows with what everyone in the adult biz knows about Jacky as director.

“Jacky can get acting performances out of people that are really inspirational.”

 

Do they have a give and take professional relationship?

“Absolutely!” he replies and explains that a concept for a film might be his or hers, “but we generally work together. If I see the script and I like it, then we do it, but if I want some changes, then we change some things.”

That was early on, however.

Once we began working together for a number of years,” Scott says, “I didn’t have any changes to her work. She’d hand it in and I was floored by it every time.”

It bears mentioning that Scott does not smother his talent to do things his way. In fact, he’s hands off, but he’s always available for advice.

“If they need it, I’ll be there. I generally embrace talented people and let them go do their work and critique it afterwards.”

For Eddie, it was learning process that sparked “a lot of conversations along the way,” Scott says, before coming full circle today.

As for Jacky, he exclaims, “I wouldn’t say that Jacky’s writing ability is any less than it is today,” though early on he established the parameters he wanted.

Considering she was working in a genre new to her, that’s understandable.

“When she started writing the romance movies that we were doing at the time, we needed to follow a certain formula. She adopted to that relatively quickly. We’re not talking about multiple rewrites. It was ‘let’s do this’ and she has an idea and she puts it together,” Scott says.

The Company Secret

I mention that when I review a Jacky film, the story and the cinematography are my focus, but I know these things are less important to the average fan who is just waiting for the next sex scene.

“I’m afraid that is true,” Scott admits. He wishes there was a greater appreciation of what New Sensations puts out there and uses Eddie as an example.

“Eddie is so deserving of best director for so many years from what he does. His creativity is well thought out. It is not by accident. That’s how he tells his story.

“Eddie edits his own movies and writes his own music because he’s really trying to create a feeling. He’s a secret if anybody wants to know the secret to the company. It’s this guy who’s been such a rock in so many ways. His cinematography most people don’t even notice, but I notice and gasp!”

Crossing Over

Finally, I want Scott’s opinion on crossing over, the idea that adult performers and directors can move between Porn Valley and Hollywood.

He mentions that the Emma Marx series has made an appearance on Showtime. “When I see those movies on there I think they hold up very well. It makes me feel very proud to see that movie on a mainstream channel and it looks as good as it does.”

That being said, Scott assesses Jacky’s attempts to make a splash in mainstream film.

“Jacky has actually stepped into that world and it’s proven to be pretty difficult. She is able to work with more veteran actors. I wouldn’t say they’re big Hollywood stars, but they are honing the craft of acting more than the craft of having sex. It helps to tell your story with people that can bring the emotion to the characters that’s necessary.

“For crossing over the only success we’ve had is Showtime embracing ‘after hours’ programming even though it’s not. They’ll show it at eight o’clock in the evening. But you’re still working with primarily adult actors and actresses.”

Scott is not sold on the idea that crossing over is realistic.

“I don’t think you take anything X-rated and go with it no matter what the budget is. I don’t see it really catching on.”

Interestingly, Scott sees an additional issue with the jump to Hollywood: a true lack of performing talent.

Remy LaCroix

“You need really good actors and there are some . . .I think Penny (Pax) is an excellent actress, Remy LaCroix is an excellent actress. There are guys who are excellent actors compared to other people in this business.”

But they are the few.

On the other hand, Scott has a more positive view of directors.

“Could a director cross over and make a mainstream movie? Yes, I think it’s very possible.”

 

Where does this place Jacky and Eddie?

Scott is honest but with reservations.

“What Jacky is trying to do now is bridge that gap. She’s doing it with an R-rated series, but I would love to see her transition into something that is fully mainstream if it is beneficial to her. Mainstream work is very, very difficult from what I’ve seen. It’s very difficult to break into.”

Scott offers a final thought.

“I think Eddie can get out there and run that camera on a mainstream set in a second. I think Jacky can write mainstream all day long. But to carry the X-rated market into a mainstream market, even if it is a little bit softer, is limited.

“It’s just the way most of the country views it. It’s still porn and is classified as the dirtiest thing you’ve ever seen or heard of. Porn falls into the porn bucket, that’s what it is.”

Perhaps, but a New Sensation/Digital Sin product is the cream at the top of that bucket, so who knows?

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Interview with Scott Taylor: Part One

by Rich Moreland, December 2017

On my recent trip to the sunny wonderland of Southern California I had the distinct privilege of interviewing Scott Taylor, owner of New Sensations/Digital Sin, one of Porn Valley’s top production companies.

Scott has done it all from shooting to directing and offers some valuable business insights into the ever-changing world of adult film.

We sat in his office in Chatsworth and discussed a variety of topics. Here are some highlights.

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From Army Brat to Business Owner

I was an “army brat,” Scott  begins, so moving around (in other words, frequent change) was his version of normal. In his teens he became a drummer and later gave college a go, but education was not his calling.

“I really wanted to pursue music and moved to LA to become a rock star.”

Of course, bursting onto the music scene takes time and the nineteen-year-old recognized the rent had to be paid.

“I don’t have a degree, so I’m taking any job I can. I play in a band, work in a warehouse, do whatever, until I stumbled onto adult video,” Scott continues.

He caught on with a distributor and spent a couple of years learning the business before his entrepreneurial instincts sensed bigger opportunities.

How did all this lead to becoming a respected company owner?

While still involved in the music industry (he cut a record), Scott wanted to start his own distribution company because adult film was becoming his future. Before long the next logical step was to produce his own content.

“I decide I wanted to go into making movies and I’m going to shoot with two cameras,” he says.

It was the 1990s and gonzo shooting, a POV style popularized by Evil Angel’s John Stagliano, dominated the market. Scott hitched his wagon to that train and turned out the award-winning Dirty Debutantes.

“I do all the interviews. I learned how to edit. I’m learning photography,” he mentions with a go-to pride.

Scott had a company in place: Video Virgins/New Sensations with Video Virgins being the pro-am package, he explains. At this point, the enterprise represented “a change between pro-am and a more gonzo related product,” he says, adding that Jewel De’Nyle was “our first contract girl.”

With New Sensations underway and more opportunity on the horizon, Scott and his business partner Joone initiate a new venture, Digital Playground (DP).

“We’re doing CD ROMs at the time and the business became moderately successful. I created a series called ‘Virtual Sex With.’ We shot Jenna Jameson as our first girl. It was interactive,” he explains, and relied on “new technology’ that involved switching  “between cameras.”

The result? More innovation.

“By the time I left Digital Playground the CD-ROM industry had been replaced by DVD. Digital Playground was a leader in the emerging DVD marketplace,” Scott adds.

Scott’s eye for talent was vital to his early success. He brought on Peter North and Nic Andrews, whom he recognizes as “an excellent filmmaker.” Working with the best behind the camera became a Scott Taylor trademark and, at that time, determined the future of New Sensations because it underscored “the difference between pro-am and becoming a gonzo/feature film company,” he proudly states.

Though I had several questions prepared for the interview, I let Scott Taylor’s passion for what he does take over and the outline of an adult film company’s evolution took shape.

Gonzo v. Feature

Scott and DP ultimately parted ways.

“I had controlling interest (in the company) when I left, but elected to take a buyout and start over. This was one of the best decisions of my career.”

The move allowed him to invest in a new enterprise, Digital Sin, to go along with the existing New Sensations. His maneuvering yielded a single entity he defines this way:

“Digital Sin is a DVD company releasing a New Sensations product.”

This transition allowed Scott to experiment with interactive video.

I inquire if the interactive idea is like today’s virtual reality.

“It is as best you could do at the time,” he says. The action is prerecorded obviously, but the control is left up to the viewer. In other words, Scott adds, “it’s POV, the intent is to make you think you’re in the scenario.”

He goes on to say that the shortcoming of interactive video reflects what virtual reality also currently lacks, the “touch and feel” that personalizes the viewing experience. Over time, Scott asserts, achieving this has been difficult and there is no guarantee for the future.

“Maybe it will happen, maybe it won’t,” he comments.

At this point in New Sensation/Digital Sin’s development, Scott makes a market decision that defines what we see today.

“I decide that Digital Sin is going to become its own company. It’s going to produce its own series of movies and release them through New Sensations/Digital Sin.”

The result shaped his future because he determines that “Digital Sin will be gonzo driven, New Sensations more feature oriented.”

Bear in mind, however, that the business model is flexible. The company will stay fresh because sales will determine the direction of the collective product.

Either label will become more of what the other label is creating depending on what the customer wants, Scott explains. Originally Digital sin was more feature oriented and “rested on New Sensations’ shoulders.” Then it began “outselling New Sensations” and that sparked the necessary adjustments.

It’s All About Talent

To ensure a strong path, Scott brings in the best film making talent he can find because that ensures success.

“It’s important to me that the integrity of the company is maintained,” he says.

Incidentally, a high-quality product means one more thing to Scott.

“I’m very loyal. I attach myself to certain people even if they move on.”

He emphasizes the “excellent working relationship” he’s nurtured with “everyone who has passed through here” and stresses that friendships have remained in place.

“It’s been fantastic working with all these creative people” and when they go on to enhance their careers elsewhere, there’s no animosity on anyone’s part.

Lee Roy Myers

Like a proud parent, Scott Taylor runs through a list of porn talent that is recognizable across the industry landscape. Among them are Jonni Darkko, who started as a cameraman, Greg Lansky and Mike Adriano, whom Scott met at a European trade show.

“Mike is more the performer where Greg is more the director,” Scott interjects, offering them up as any porn company’s dream team.

Throw in Nacho Vidal, Jeff Mullen (aka Will Ryder), Lee Roy Myers, and Axel Braun, all award-winners with impeccable credentials, and you get a sense of Scott’s ability to find innovative talent.

That leads me to Jacky St. James and Eddie Powell.

Scott is eager to talk about both and that takes us to Part Two of this interview.

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Some of the awards on display in Scott’s office

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A Gonzo Afternoon: Part One

by Rich Moreland, December 2017

During my recent trip to Los Angeles, I had the privilege of visiting an Eddie Powell set.

Eddie’s work is praised throughout the industry and for good reason. I’ll let New Sensations/Digital Sin boss Scott Taylor sum it up.

“Eddie is so deserving of best director for what he does. His creativity is well thought out. It is not by accident.”

Is he Hollywood ready?

Scott responds, “Eddie can get out there and run that camera on a mainstream set in a second.”

Yes, film fans, that’s how good Eddie Powell is.

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Mandy

Today’s shoot is a gonzo adventure for New Sensations/Digital Sin that features Mandy Muse, a girl who has made her reputation in these kinds of scenes.

Shortly after my photographer and I arrive, Eddie Powell, with camera in hand, begins chatting with Mandy in what will become the BTS (Behind the Scenes) segment of the shoot.

The sexy brunette tells the viewer she is twenty-three and a local girl from Orange County. Eddie encourages her to talk about her mom who is fifty-six, we discover, and knows what her daughter does and supports her one hundred percent.

Today’s action is anal and Mandy is elated. She loves to “switch it up,” she says, and is blessed with a “snap back butthole” which, we assume, keeps her flexible for the long and large!

She loves to watch porn, Mandy continues, and knows that “people get excited about what they haven’t done before.” So for the viewers who want to enjoy backdoor sex, her performance should be a winner.

There’s one more element that will make today super fun. Mandy likes it rough, to be “handled aggressively,” she declares, which carries over to her private life.

Steve

Mandy’s co-star is porn legend Steve Holmes. In his mid-fifties, Steve is a stellar performer who has been in the business for over twenty years, quieting the ageism argument when it comes to older men and younger women.

While everyone getting ready, my photographer passes time with the affable actor who also directs and produces.

Their conversation turns to southern culture and Steve mentions an eighteen-year-old newbie with whom he recently worked who does everything but IR (interracial) porn. Some of the old attitudes still prevail.

To entertain anyone who wants to watch, Steve has one of his shoots with porn superstar Angela White on his laptop. With this European all-star, there is never a dull moment.

Focus on Her Butt

Eddie shoots the box cover in front of the French doors that open into a space enclosed by an imposing privacy wall. Steve pours oil over Mandy’s rear while the lights are being set up. To past the time, Steve spanks Mandy a bit. She smiles.

Next come the stills (the “pretty girls” are first) shot using a living room setting. Eddie mentions everything will “focus on her butt” so that rules the next few minutes of activity.

I take a minute to speak with the boom operator/PA. His name is A.J. Westwood and he tells me he’s worked with Eddie, Jacky St. James, and Paul Woodcrest for over a year. He’s a Southern California lad in his twenties, amiably pleasant and knows his job.

Steve has joined Mandy for the next round of stills. They’re going at it (to be polite, “warming up”) for the shoot to come.

Eddie lets them know what he wants. “All positions that increase shots of her butt are great,” he says, and later asks for a “standing doggie.”

Speaking of frisky critters, the house has a couple of pet dogs running around but they are more fascinated by the squirrels in the yard.

Porn doesn’t do much for them, I’m thinking, though the squirrels appear to have each other scoped out for whatever rodents do for amusement.

For now, the stills are finished. This is gonzo, of course, and it’s time-honored selling point, the facial, will comprise the final pics later.

Peanut Butter and the Squirrels

All the while, Steve and Mandy are continuing to get to know each other with enough penetration to shoot a whole other movie. When they take a break, Steve and my photog chat again.

Eddie and AJ are setting up a tripod on a dolly constructed of two long pipes so the camera can glide through the opening sequence.

Steve’s brings up a director in Japan who didn’t want any “hankie-pankie” on set, much different from other countries (twenty-one in all) in which he has worked. There are few limits here to speak of and he and Mandy are delighted.

Steve Holmes is urbane and cosmopolitan, a stark contrast to Mandy who is every bit as local as he is international. Nevertheless, they blend together artfully when the filming begins.

It strikes me the whole setting this afternoon is a bit bizarre in the most pleasant of ways.

While Steve and Mandy fall into “warming up” again, Eddie sets up the equipment. He’ll use a handheld camera throughout the filming to get the best angles.

Meanwhile, in the yard the squirrels are sated with gobs of peanut butter to keep them occupied.

A Well-Schooled Gonzo Girl

Mandy stands in front of the French doors (the squirrels are munching away outside) and “sees” Steve approaching.

“Don’t acknowledge him, don’t even say ‘Hi,’” Eddie says.

The camera moves toward Mandy as Steve walks in and begins to caress her. There is no dialogue and this part of the scene wraps up quickly. The dolly is taken apart. Steven and Mandy don’t miss a beat and continue “warming up.”

The main event is next.

More oil and spanking for Mandy’s butt. She’s good to go with lots of oral (or should we say choking and gagging), there’s another standing doggie, and then a break. AJ gets Mandy a glass of water.

When we resume, there’s more oil, more spanking, more oral (Steve does his part). Mandy sighs a lot. She’ll break into an ongoing chorus of “oh, my gods” and “oh, shits” that are standard dialogue for a well-schooled gonzo girl.

Next is a transition to a sheet-covered table and Mandy has to re-position herself as part of the scene. It’s awkward at first, so there’s a retake. No problem. Everyone is a professional.

Of note is whispering. Steve and Mandy work together well and communicate. More on this later.

Another break and it’s time for a reminder.

Eddie explains once again it’s all about Mandy’s backside which means the cowgirl position is vital to give Eddie what he wants.

Steve encourages Mandy to “shake that booty.” She offers to spin around while holding the penetration; Eddie responses with, “what works best for you.”

So, the porn starlet turns smoothly to a reverse cowgirl, the mark of a true pro. Eddie moves closer with the handheld to get the full benefit of the penetration.

To conclude the day’s work, Mandy gets off the table and sits on her heels to prepare for the facial. A slip causes a retake but all ends well when Steve does his duty.

Finally, Mandy poses for the camera, face properly splattered, to get just the right shots to complete the stills and it’s a wrap.

Our stars head for the shower while Eddie takes a break before he and AJ pack up the equipment.

*          *          *

In Part Two, we’ll take a few moments to talk with Mandy and Steve on the veranda.

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Why Can’t We Have It All? Part One

by Rich Moreland, March 2015

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The Submission of Emma Marx: Boundaries is Jacky St. James’ sequel to her award-winning masterpiece, The Submission of Emma Marx which I had the pleasure to review in three parts here in August 2013. With cinematic partner Eddie Powell, St. James now boldly continues Emma’s odyssey.

Before moving into the film, it’s worth mentioning that sequels are financial risks. Though supportive of her project, New Sensations President Scott Taylor was cautious. “Sequels often flop.” St. James remembers him telling her. “They don’t sell as well. They seldom find that magic of the original.”

Perhaps, but in the case of Boundaries it is every bit as good as it’s older sister and I encourage watching the first film before enjoying the second. If not, the viewer will feel like a late arriving movie goer who takes a seat half way through a story with no understanding of its origin.

Boundaries‘ success is complemented by the reassembled cast. Penny Pax reprises her role as Emma, as does Richie Calhoun as Mr. Frederick. Though porn flirts with the edges of mainstream Hollywood, both players remind us its acting can be every bit as good. Pax is learning her trade, building a resume that separates her from adult’s usual “just give me the sex and don’t ask if I can act.” No doubt St. James’ directing is a crucial factor in the diminutive model’s professional evolution.

Jacky, Penny and Richie.  Photo courtesy of Jacky St. James

Jacky, Penny and Richie.
Photo courtesy of Jacky St. James

Riley Reid is perfect as Nadia and Van Wylde likewise as Ray. Their roles are not an easy sell because Reid and Wylde must come across as a vanilla “cookie cutter suburban couple” snug and homey in their conventionality.

In making the film, St. James confesses that “staying true to Emma and her sexual journey” could not be compromised. The result is Emma as a complexity that intrigues the viewer on various levels. I can imagine that her shadow seductively passes through the corridors of St. James’ mind just as she does in the film’s opening credits and its denouement.

Conceding that her “screenplays hold very deeply personal connections to experiences I’ve had or people I’ve known,” Jacky St. James faces a near impossible task with Boundaries, write a flawless script that moves Emma along bit by bit while confronting the viewer with unsettling issues. The question that captures the film’s raison d’être and St. James’ good storytelling is simple: Does sexual and emotional turbulence reach a satisfactory resolution that spells the end of the story?

Or, is there room for Emma redux, part three?

One thing is evident, Boundaries’ tightly written script is worthy of industry accolades. Indeed, it is as close to impeccable as an adult film can be.

Part of News Sensation’s Erotic Stories line, this second Emma Marx falls into the couples porn genre, yet it is sexually groundbreaking for a date night film. The carnal scenes are integral to the story; nothing is thrown together or gratuitous. Some of the action, however, directly challenges the formula for what the industry touts as comfortable for lovers. But more on that later.

Just Drawing Lines

Emma Marx and Nadia are sisters whose relationship is close considering their sexualities are anything but. In the first Emma Marx, Nadia and Ray “silently judged” Emma’s fetishes. Now they are outspoken, letting her know of “their aversion” to BDSM.

Is this progress?

Over a bland vegan dinner she believes is suitable for everyone (one size fits all, if you will), Nadia announces she doesn’t understand why being tied up and spanked is not abuse. Deprecating BDSM kinkiness with her sappy smile and haughty attitude, Nadia tacitly reinforces her normalized sexuality in a way only modern moralists can appreciate. When Emma mentions consensuality, she is ignored. In an amusing moment, Ray condemns suspension and cattle prods while disgustingly holding a fork with two pieces of the vegan mystery food hanging from it. The real torture in this scene is inflicted on Ray.

But, apparently the happily married duo is not opposed to a little experimentation.

With the superficiality of a Valley Girl who thinks a sip of wine makes her a connoisseur, Nadia announces to Emma the next morning, “Ray and I totally tried BDSM last night and I’m totally a sub.” Kudos to Emma for respecting her sister’s asinine interpretation of sexual enlightenment.

Jacky setting up the scene for Riley and Van Photo courtesy of Jeff Koga

Jacky setting up the scene for Riley and Van. Blurred flowers framed on the wall.
Photo courtesy of Jeff Koga

Here’s the story. In the film’s first sex scene with Nadia and Ray, a blindfold is about as deviant as they get. (She does ask him if she can call him “master” in a laughable attempt to identify with what Emma authenticates.) Having now seen the light while not being able to see, Nadia tells Emma she “completely” understands what a BDSM relationship is all about.

Incidentally, the sex is classic Riley Reid, who is an industry gem. Considering it’s a script-driven vanilla encounter–necessary to set up Emma’s future sexual experimentation–Riley’s smile, spirit, and energy carry the show. On the wall bedside the bed is a black and white photo of two flowers that lord over the sex in front of it. The flowers are blurred, an important image for this film.

Blindfold in place, ready to shoot. Photo courtesy of Jeff Koga

Blindfold in place, ready to shoot.
Photo courtesy of Jeff Koga

Later when the sisters are in the gym, understanding suddenly vanishes. As she gives the elliptical machine a workout, Nadia is clearly irritated. “Trying BDSM was the biggest mistake of my life.” Now Ray wants a three-some, but Nadia slammed the door on that idea, proclaiming that men put women in “sexual situations solely for their benefit.”

Emma’s hint that Ray might want to expand Nadia’s horizons falls flat. “Men do that,” a fired up Nadia says. “They pretend it’s all about you and it’s really about them. They wait for the moment you say, ‘yes,’ and they push your limits.” Annoyed with Emma’s suggestion that Ray wouldn’t cheat, Nadia digs in. “I’m just drawing lines.”

But doesn’t everybody?

Open to New Experiences

Nadia’s indignation spurs Emma to confront her own crisis. Mr. Frederick has presented her with a new contract which she reads line by line in an earlier scene. It is a quest for “Why can’t we have it all?”

Preparing for an office shot. Photo courtesy of Jeff Koga

Preparing for an office shot.
Photo courtesy of Jeff Koga

When she reviews the contract, equality and symmetry are visually emphasized to reflect the supposed state of their relationship. Emma is sitting on a long desk with her legs extended to a Mr. Frederick who massages her feet. The shot has perfect balance regarding the desk: two half full glasses of red wine on each end and a pair of tall plants in floor urns on either side of it. In the background, French doors halve the scene like the entrance into a Georgian manor.

As this segment progresses, brief glimpses of Emma and Mr. Frederick’s encounters are revealed as she goes through the contract.

In one, symmetry is repeated when she talks about training. It is a shot of interior French doors at the end of a hall. Framed prints are on opposite walls to balance the scene. Mr. Frederick leads Emma from left to right across the screen, moving her symbolically from an old definition of her sexuality to a new experience.

“I will not just play the role,” Emma says in reference to being a submissive, “I will become the role.”

When she is bound to pillars in the kitchen a la Fay Wray in King Kong, Emma says, “my body is his to do with as he pleases.”

The Kitchen Pillars. Photo courtesy of Jacky St. James

The Kitchen Pillars with Eddie Powell in the background.
Photo courtesy of Jacky St. James

Incidentally, in the provision having to do with enjoying her orgasms, there is a quick flash of them having sex in a hallway that doglegs to the right, an image that is revisited later.

When Emma gets to the item that involves having sex with other people, she balks. Tense and unsure, she asks if he is bored with her, that fatal relationship blow everyone fears.

This moment sets up the rest of the film. Mr. Frederick orders her to stand up, face him, and masturbate while thinking about someone who sexually arouses her. With eyes closed, she confesses it is Shane (Logan Pierce), the new guy in the office. Emma loses her bearings in a rush of endorphins and says, “I wonder if he’d like me.” Projecting her sexual preferences into Shane, Emma says he’d be down and dirty and insist on violating her with anal.

Logan Pierce Photo courtesy of 101Modeling.

Logan Pierce
Photo courtesy of 101Modeling.

It’s the opening Frederick wants and sex scene number two begins with anal its focal point, a clear break from the couples’ porn formula. To emphasize this shift, Eddie Powell moves his camera over Richie Calhoun’s shoulder to get the standard male masturbatory gonzo shot of a kneeling Penny Pax, mouth at work and adoring eyes looking upward.

St. James and Powell have a dual purpose with this scene. For story purposes, Emma’s exploration is picking up steam, but on another level, they are forging a new path in romance porn. The bondage remains light, adhering to the submission pornography genre popular in today’s market, but the sex is edgier.

Several questions in the film are present here. Mr. Frederick claims he is turned on by Emma’s self discovery, but is he engaging in his own fantasy of whoring out Emma and role playing Shane? In her mind, is Emma mocking her sister, knowing Nadia would never be this unconventional? Or does this exercise add to the unpredictability of Emma relationship that keeps it from getting stale?

There is a deeper question. Is Mr. Frederick gently and firmly nudging Emma forward or is he applying subtle pressure with the bet that Emma’s devotion will give him carte blanche to ratchet up his demands?

Or perhaps what Frederick tells her is straightforward and eerily true. “You don’t have to do anything you don’t want to do. I just want you to be open to new experiences.”

Mr. Frederick and Emma exploring. Photo courtesy of Jacky St. James

Mr. Frederick and Emma exploring.
Photo courtesy of Jacky St. James

At any rate, as Mr. Frederick anally penetrates his submissive, Emma sees and feels the new guy in her imagination. Before the pop, she begs, “Cum on me please, Shane.” Is Emma transitioning to a new experience or enjoying a healthy fantasy?

Whatever St. James’ intention, the scene explores the emotional complexities of BDSM characteristic of submission pornography, or what might be called in today’s culture, bondage chic. For raw sexuality, it steps beyond the inanity of Fifty Shades while pulling up way short of the hardcore fetish elements found on many extreme internet tube sites.

Dumbbells

Back in the gym the options posed for both Nadia and Emma are carefully defined. As the camera moves in on Emma’s treadmill next to Nadia’s elliptical, it floats past a rack of dumbbells that illustrate the choices available to each woman.

The top row contains two smaller dumbbells, both round and equal in size, with a exercise baton nestled in the juncture between them. This is Emma’s next possibility. Both weights are side by side and sexually open with the option of welcoming in a third person. In the same row, but to the far right, are two larger six-sided dumbbells of equal size representing Nadia’s view of her marriage, closed off and solid, or so she hopes.

Should either woman choose an unequal relationship, open or closed, in which her stature is diminished , the options are on the bottom row. Two round dumbbells and two six-sided ones, with the larger dominant one snuggled next to the smaller. Curiously, off to the right of the closed dumbbells is a single and smaller six-sided one, perhaps it is Ray’s suggestion that so infuriated Nadia and her no nonsense answer.

Where will all this drama leave Emma?

 

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