Page 38 - AVN September 2016

LIGHTS,CAMERA...
ON THE SET | |By Shawn Alff
Kross-Eyed
Manuel Ferrara and Riley Reid in ‘Kayden Kross’ Winner’s Circle’
draped over the wall of floor-to-ceiling windows. In contrast to feature pornos or vignettes, in gonzo scenes
motioning to an abstract painting
“What do you see?” Kayden Kross asks,
the sex lacks an overarching narrative. Gone are characters, back stories, motivations—all the baggage that
that dominates one of her studio
hampers sex in real life. Free from the constraints of a storyline, desire dictates the action.
walls. The clouds of gray and green
This is why I am here, to assemble meaning from the collision of bodies, to tell the story behind this raw
allow the eyes to unfocus and the mind to drift toward
sex scene.
meaning.
Manuel not only performs in these scenes, he also handles the camera during the action. With thousands of
“I bought this because it reminds me of Huckleberry
hours of fucking on film under his belt, he can work the camera on instinct, allowing his brain to shut off and
Finn,” Kayden says, pointing to a gray smudge at the
his desires to take control. As such, the sex scene can more easily flow into new, creative channels.
center of the frame, which she interprets as Finn floating
In contrast to Manuel, Kayden organizes the constellation of details orbiting the sex scene: she picks
down the Mississippi. Suddenly I see a bloated river
performers, arranges shoots, and sets the stage. She seems to prefer to stay behind-the-scenes, hiding her six-
pouring through a forest. In a blotch of color that might
figure body in a loose pink top and black yoga pants. Considering how particular she is of the minute details
be an accidental brush stroke, I see a boy on a raft.
of a porn set, I can only imagine how meticulous she must be when it comes to prepping herself for a scene.
Narrative assembles from suggestion.
Kayden adjusts the pink top hanging off her shoulder as she leans down to study the camera angle.
Kayden Kross and Manuel Ferrara’s studio is itself like
“That frame looks crooked,” Kayden says, scrutinizing the painting behind the couch. She pulls out a
an abstract representation of a house. Artistic renderings
yellow carpenter’s level that is small enough to fit in her purse and adjusts the painting.
of wild animals populate the room. A porcelain deer
In some ways, Manuel is an agent of chaos. His brawny build and perpetual scruff echo this sentiment.
head stares out of the wall. A wooden rhino stands atop
He is here to shred Riley, smear her makeup, shake books off shelves, and reduce the complexities of a
three stacked traveling trunks. Metal antlers pin down
relationship to the most primal of human interactions. And yet, much like the abstract paintings that
the coffee table. Leather padding softens the bones of
populate the studio, Kayden seems drawn to his unbridled nature, at least as it plays out in the frame of a
wooden chairs. Table legs stand on cowhide rugs to
gonzo sex scene.
protect the hardwood floor.
Manuel takes a few “before” pictures of Riley looking prim and proper on the couch. As he shoots, Manuel
A long, white sofa fences off the main space. This
sits cross-legged on the rug like a child planted in front of Saturday morning cartoons. We cannot loiter
is the canvas against which Kayden and Manuel shoot
behind-the-scenes and watch the sex scene because there is no behind-the-scenes. Every angle of the studio is
many of their gonzo sex scenes—including today’s
fair game. There are no second takes or cuts in the action. What happens between Riley and Manuel is what
shoot with Riley Reid for Kayden Kross’ Winner’s Circle.
happens in the scene.
It’s the type of couch that is referred to by its designer’s
name, something like “the Theodore Alexander” or “the
Christopher Guy.” When you stare into the fabric, the
watermarks of old stains emerge, the layered imprints of
hundreds of sex scenes.
“The salesman swore it would be easy to clean,”
Kayden says, sweeping a hand through her perfect
blonde hair as though she could set it any straighter.
“He said we could just unzip the covers and run them
through the wash.”
Riley Reid arrives at the door carrying a set bag that
looks bigger than she is. Her petite frame is disguised in
comfort: loose black shirt, gray sweats, and boots. Only
her makeup reveals her purpose here.
While Riley strips naked, Kayden digs through Riley’s
bag and assembles an outfit for the scene. The floral
dress and elegant heels she picks make Riley look fit
to stand in the winner’s circle at the Kentucky Derby
sipping a mint julep. By contrast Riley’s scene partner,
Manuel, wears gym shorts and an orange T-shirt
featuring a Wookie. In his French accent, Manuel’s
argues for Riley to wear something skimpier, but Kayden
overrides him.
“If my pimp says so,” Manuel says, chuckling, “I guess
I have to listen to her.”
“That’s why it’s called Kayden Kross’ Winner’s Circle,”
Kayden says with a smirk.
Manuel might not have a talent for piecing together
his costars’ outfits, but he is a master at undoing them.
The scenes Manuel and Kayden regularly shoot in
this tastefully stark studio are stripped down. There are
no makeup artists, sound guys, or lighting crews. The
main light source is the sun pouring through the linens
38 | AVN.com | 9.16
“The scenes Manuel and
Kayden shoot in this
tastefully stark studio are
stripped down. There are no
makeup artists, sound guys,
or lighting crews”.
Ready, Set, Gonzo... Cameraman/performer Manuel Ferrara with scene partner Riley Reid.
When the sex scene concludes, Kayden gets a text from Manuel telling me to hurry back into the studio
and snap pictures of Riley. The idea is that these “after” photos will hint at what exactly happened in the raw
sex scene. I push aside the studio’s sliding glass door and pull back the billowing curtain. The main room is
unoccupied. A cowhide rug is bunched and a stack of books leans precariously. A wet spot dries on the couch
like a Rorschach Test.
Riley walks in, using a wet wipe to remove the remnants of body fluid and makeup from her face. Her porn
persona has retreated beneath her baggy clothes.
Kayden walks in and assesses the scene with the cool gaze of a detective. What does she read into the
crooked books? What impression does she get from the dent in the couch cushions? What does she see in the
wet spot fading into her white couch?
Kayden Kross’ Winner’s Circle—starring Abella Danger, Dani Daniels, Kendra Lust and Riley Reid—is out now from
Airerose Entertainment.