Page 30 - AVN July 2015

ON THE SET | |By Tod Hunter
Auto Eroticism
Bonnie Rotten goes retro for ‘Busty Pin-Ups’
Directing from behind the video camera, Rotten
mimes the moves she wants Mercedes to make.
You can tell that she used to be a model. Alex
Ladd, operating camera, crouches down to get an
upskirt shot as Mercedes bends over, showing her
ass to full advantage. “Go to the front of the car,”
Bonnie says. As Mercedes moves to the front, the
camera catches the stills guy, who thought he was
safely out of frame. Oops. Cut. No big deal; it was
a transition anyway. They move the reflectors and
Rotten grabs some tape to cover the license plate.
As Carrera poses, Karlo Karrera walks up, says
hi to her. “That car looks like it belongs to you,”
he says, taking in all the red on display. “Yeah,
right?” she smiles. He pulls up her skirt and
the bright red triangle of her G-string pops out,
looking like pubic hair. “Grab your ass,” directs
Rotten and she does, pulling the G-string down.
LIGHTS,CAMERA...
rural house being used for a location for today’s
scenes in Bonnie Rotten’s new Elegant Angel
It’s unseasonably hot today, but temperate in the
production Busty Pin-Ups. Of course, the scene will
be shot outside, in the unshaded direct sunlight,
not in the air-conditioned house.
The vintage fire-engine-red El Camino being used in
the scene may have something to do with this.
“I started my modeling career as a pin-up, so I
have a lot of pin-up wardrobe. That’s where I got the
inspiration,” Rotten tells me. “I was digging through
my closet and I thought, ‘I have so much cool stuff, we
should really do something with it.’ I haven’t seen too
many pin-up movies in the gonzo format.”
Mercedes Carrera is in the first scene today, dressed
in retro black and red in front of the red El Camino,
doing pretty-girl stills and pre-scene tease in the bright
sunshine. Looking right into camera, she smiles and
licks a finger, turning so her skirt, petticoat and well-
rounded ass are all in frame.
“I’m the only one without a camera,” Rotten says, as
the guys who provided the vehicle snap away on their
cell phones. You wouldn’t think it would take three
guys to drive one El Camino, but what the hell.
30 | AVN.com | 7.15
“Wait! There’s a label!” Rotten rushes in with
scissors to cut it off. Pull ’em up, start over.
On the next take, Ladd says, “We have to light
up her butthole” and moves a reflector to do that.
Carrera struts to the back of the El Camino and
strides up into the low truck bed, lifting her skirt.
“Somebody used to be a stripper,” an onlooker says
appreciatively.
“A lot of boob stuff,” Rotten says, and Carrera
ditches the corset and skirt, leaving her dressed
in a scarf and flower in her hair. “Let me lube
those up,” says Rotten, and applies coconut oil
to Carrera’s front and arms. She gleams in the reflected sunlight. “A couple more minutes on her boobs,
then get her down with some pussy spreading,” Rotten
tells Ladd. “Nothing hardcore.”
Carrera bounces her ass with her hands as Rotten
brings bedsheets to put down on the trunk bed. Hands-on
director. They suggest having her sit on the back of the
cab. “It’ll be hot,” Carrera protests. Ladd responds with
a laconic, “We burn asses.” Carrera cautiously sits on
the cab, says she can do it. Camera rolls. She sits, opens
her legs, rubs her pussy up and down, her 10 red-nailed
fingers flanking her pussy. Still softcore.
“Another minute and we’ll bring him in,” Rotten says,
referring to Karrera. Rotten grabs her phone. “Can you
put your buttcrack on the car? I want to get a pic for
Instagram. Cover your nipple.” Under the hot sun the
shiny coconut oil has evaporated, or been absorbed, or
whatever coconut oil does. It’s gone.
Karrera enters and they start shooting sex stills,
previewing the scene to come. They whip through kissing,
the blowjob, mish, spoon, reverse cowgirl, cowgirl and
doggy, with the planned pop in doggy, “because you’ve got
all that booty,” Rotten says appreciatively.
As Carrera and Karrera get dressed to start the scene
for video, Rotten confers with her female star: “Is there
anything you don’t want to do?”
“I’m okay for anything,” Carrera responds as she fastens
the corset.
career as a pin-up, so I have
”I started my modeling
a lot of pin-up wardrobe.
That’s where I got the
inspiration.
—Bonnie Rotten
Rotten looks at her players and at Ladd. “Okay, we’re
going to do hard and soft at the same time. I want 25
minutes of hard sex,” Rotten says, emphasizing it by
thrusting her fist forward. This is a tactical decision on
Rotten’s part: It’s warm, especially where the sunlight is
compounded by reflectors, and minimizing shoot time by
not doubling back for retakes will make for a better scene.
Carrera leans over and starts to suck Karrera, bringing
him to erection before the cameras roll. Ladd confers with
Rotten, discreetly letting the performers bond in a moment
of private intimacy before starting the scene. The three
guys who came with the El Camino shift restlessly, hands
in their pockets, not sure where to look.
“Are you ready?” Rotten asks, redundantly, because
Karrera is certainly ready, rock-hard and locked in eye
contact with his costar. “Let’s go.”
“Rolling,” says Ladd, shouldering his camera. “Speed.”
“Annnnnnnnd ... Action!”
Vintage Appeal Director Bonnie Rotten, left, and Mercedes Carrera, right.