Page 102 - AVN August 2017

LIGHTS, CAMERA
(Continued from page 33)
would never be able to shoot an update for Public Disgrace. We always have to be able to improvise.”
At the new location, which is in fact decidedly larger, once the lights are in place and the cameras are
ready to roll, Steve addresses the dozen or so extras who’ve come to partake in the proceedings (and the
free drinks being provided).
“Thank you everyone for coming,” he welcomes them. “Now we are here in this bar and you are our
public. Even though I’m going to explain what’s going to happen, I want you to react a little surprised,
because imagine you’re in a bar or restaurant and all of a sudden a girl is getting fucked in the ass.”
This gets a big laugh. “You can interact, act normal,” he continues. “You can touch the model—she’s
a true slut and she loves it—but we have some limits. Please, no fluid exchange; you can spit on her
tits, but not in her mouth. You can spread her ass, but don’t use the cane, because some people have
more experience with BDSM than others. We want to be public, but we want to respect the protection
of minors, so some of you will stand in front of the windows. I will make sure our two guys will look to
make sure no little children come by and poke their noses in to see something they shouldn’t.”
He goes on to specify that while it’s OK to touch the sub (Rainbow), it is forbidden to touch the Dom
(Amber) … and absolutely no penetration allowed.
With no further ado, the action gets under way. Max Cortes’ time to shine has arrived—he assumes
the role of the bartender, gleefully pouring beers as Steve strolls in the front door with Amber and the
re-shackled-up Rainbow at his side.
“Hola!” he greets Max. “I hope we don’t disturb you, but we have a toy for you here, a little Barcelona
toy.” He gestures toward Rainbow and adds, “The problem is we have no money, but she can pay you in
a different way if you come around here.”
Feigning hesitation, Max comes out from behind the bar, and the entire room suddenly erupts in a
chant of “Pay! Pay! Pay! Pay! Pay!” Within seconds his schwantz is out and Rainbow is sucking it. “Is this
better, or you like Euros?” Steve quips before pulling his own rod out and joining the debasement.
Rainbow moves to eating Amber’s ass for a few moments, until Steve comments, “She really likes
eating young girl ass; let’s see if she likes eating old man ass.” Turning around and pulling his pants
down, he gets confirmation straightaway that she does.
Next he calls for a challenge to see if Rainbow can make Amber cum in two minutes. She goes down
on her and tries her best, but fails, thus earning 10 whacks with the cane. “Now you can go around and
show everybody your marks,” Steve instructs her.
Looking Rainbow over, the attendant skeptically asks Steve,
“How is she going to eat it?”
With a bemused guffaw, Steve responds, “How is she going
to eat it? Who says she’s going to eat it?”
Shrugging, the ice cream man assembles a red, yellow and
green cone like Steve requested and hands it to him. Without
missing a beat, Steve flips the cone over and plops it onto the
top of Rainbow’s head, then continues walking.
Turning the corner of the square, he hikes her dress up
once more and makes her walk backwards, the ice cream
now beginning to run down her face. On the opposite corner
ahead, crew members have pulled both of the vans around.
Following a few more steps in that direction, Steve calls,
“Cut!” and as though this has suddenly turned into a scene
out of a heist movie, everybody hastily piles into the running
vans and they peel off like getaway vehicles.
MOST PEOPLE TRY TO BE SNEAKY, USE LITTLE CAMERAS, BUT WE COME WITH A BIG CREW AND BOOMS AND
Steve delights behind the wheel at what just transpired. “If
people watch this scene, they probably won’t believe the ice
cream guy wasn’t part of our team,” he gloats.
It’s then that he shares maybe the most pertinent point
WE SMILE AND SHOW PEOPLE IT’S
of this entire excursion about how he’s able to get away
with all of PD’s mad shenanigans: “The key to success is the
OK, WHAT WE ARE DOING. WE ARE ARTISTS, AND THIS IS WITHIN THE RANGE OF OUR RIGHT TO FREEDOM
attitude,” he professes. “Most people try to be sneaky, use
little cameras, but we come with a big crew and booms and
we smile and show people it’s OK, what we are doing. We are
artists, and this is within the range of our right to freedom of
OF CREATIVE EXPRESSION.
creative expression.”
—STEVE HOLMES
“And also we have permits,” his wife Sylvia cracks.
We arrive at what’s slated as the third and final location
for the day, a bistro called Chingon that touts a menu of
“authentic California cuisine from L.A.” (some of the items
on said menu include “Terror Compton” and “Skate Venice”
burgers, a “Pink’s Hot Dog” and an “LA Nasty Donut”). After
stowing the production equipment in a back room, Steve
proclaims, “OK, now we have a lunch break, and then we
make some fucky-fucky.”
During lunch, as he surveys the restaurant’s confined
layout, Steve grows dubious about its conduciveness to the
logistics of what lies ahead. He tells his p.m., “It’s super
cool, but it’s going to be very difficult to shoot in this space,
ON THE SET | By Peter Warren
with the cameras and the people and moving around and
everything.”
The restaurant’s owner comes over and consults with
Steve, informing him there’s another location downtown
he can use that’s much bigger. Steve decides to relocate. A
number of extras have already come to this location, and now
he must send them in taxis to the new one, while his crew
reloads all the equipment into the vans.
Steve tells me this sort of adaptability to circumstances is
part of his game plan for every shoot. “Some directors have
a vision of what they want, and if something goes wrong,
they cancel the whole thing,” he says. “If I thought like this, I
102 | AVN.com | 8.17
Following that, he lays her across a pair of barstools and he and Max begin to double-team her. They
don’t have an abundant amount of room to maneuver, however, and soon Steve bellows for everyone to
follow him to the back room, which is much more spacious. The crowd cheers as he leads the way.
Once the crew has re-situated all their equipment and shooting resumes, the irreverent hedonism
ramps up further still, very nearly turning into a free-for-all. During a cut, Steve announces that time is
running short: “We have to finish in 30 minutes, because then they’ll have customers and start to serve
different sausages.”
They use the time wisely, keeping Rainbow front and center and very busy until both men unload their
gooey spunk bombs upon her.
Scene’s end thusly marked, the crew jumps into action to pack up and move out.
Back at the flat, there’s one more piece of business to attend to: the requisite after-interview with
Rainbow. She sits for it completely naked, save for the lavalier mic that gets taped directly to her chest.
Thanking her and telling her how much fun she was, Steve puts forth, “It almost became an orgy
today. When did you discover that you like to be the center of attention? In the U.S. we call it ‘attention
whore.’”
“Probably 13,” she tells him.
“OK, so a young whore,” he responds. “So Public Disgrace is perfect for you. Was it exciting when the
police stopped us?”
“It was very exciting,” she enthuses, “because we were doing something we should not do.”
“In the bar, I caned you, and that was painful. How painful was it?”
“It was painful, but I can take more.”
“Liz Rainbow, I hate to see you cover up your body, but let’s put on clothes and go have dinner.”
And to dinner we all go.