Page 39 - AVN August 2017

LIGHTS, CAMERA
THE FUTURE’S SO DARK
On the set for Brad Armstrong’s dystopian ‘Takers’
“Softcore!” Akira scoots up, moving her hips to profile, then heads back down, her hair
concealing the action but slurping and sucking as he groans, overplaying for the softcore
footage. She slips the condom on, climbs up and effortlessly inserts, groaning “Oh fuck!”
“Put baby in the corner,” Armstrong directs, and she pushes Corvus into the corner of the
couch, aggressively fucking down on him, groaning, low and throaty and then high-pitched
and loud. Either she’s a really good actress or she’s all nerve endings right now. Looks good,
though, and that’s all that matters. She leans down, getting her face in the shot. “Softcore!
We need gentle romantic kissy-kissy,” Armstrong says. They comply, then reposition, and
she’s bouncing on his cock, moaning and rubbing her clit. Corvus pulls her legs wide, and
then she plants her feet and he starts driving up into her, hard. She explodes with “FUCK!
Ohyesrightthere!” Armstrong lets that ride and then calls “Softcore” and Asa closes up her
legs and plays to camera. These moans are more controlled. They move to mish and Corvus
is playing it up, driving hard as she howls in pleasure. He turns her over on her side, her legs
splayed wide, him pumping hard and fast, pulling out to tickle her clit, then going back in.
They build to a peak, and Armstrong calls for a water break.
During the break, Armstrong confers with Akira and Corvus, who keep caressing each
other and kissing as Armstrong tells them he needs another minute of softcore romantic
footage before they can go for the fip, and then shoot the actual pop.
“Let’s go,” Akira moans, impatient to continue. “I’m dick drunk.”
Takers will be released by Wicked Pictures in August.
foreseeable near future. “Medicare and insurance have gone completely
haywire. The healthcare system is a hot mess, there are back-alley
operations going on because nobody can afford anything,” Armstrong
explains. “An unscrupulous businessman gets together a number of
women to seduce men and drug them, and they become unfortunate,
unwilling organ donors. They wake up sans kidney. He targets women
in support groups for people with terminal illnesses, so they have a
BBrad Armstrong’s new drama Takers is a dystopian fantasy, set in the
THE PEOPLE THEY GO AFTER
stake in the game. That’s how he gets Asa in, because her fiancé needed
an operation. He is the recipient of one of the stolen organs, and joins
the group to pay it off. Another girl—Ana Foxxx—is waiting for a good
donor, so she’s paying in advance. Kleio Valentien’s character is fuck-
the-society, fuck-the-insurance-company because they said her loved one
ARE MEDICAL CEOS, INSURANCE PEOPLE, BASICALLY PEOPLE WHO CAUSED THE PROBLEM
was too much of a risk, the outcome didn’t look good so they didn’t want
to risk the time, money and effort. The insurance company fucked him
BY FUCKING PEOPLE. THEY’RE
because they said he lied on his insurance form. She joins the group to,
GETTING THEIR DUE. THEY
basically, fuck the system.
“The people they go after are medical CEOs, insurance people,
AREN’T GOING AFTER THE
basically people who caused the problem by fucking people. They’re
getting their due. They aren’t going after the innocents, they’re going
after the bad men who caused the problem. Lately I’ve been getting
INNOCENTS, THEY’RE GOING AFTER THE BAD MEN WHO
political, or having some kind of social message in the porno. Not that
I’m particularly political: The Preacher’s Daughter had that social church
CAUSED THE PROBLEM.
hypocrisy thing. It’s not just ‘Hey, let’s fuck.’”
—BRAD ARMSTRONG
The five-day schedule is different from Armstrong’s usual production:
“Rather than have big crews and jam it into three days, I am shrinking
my crews a lot. The other day we only had four of us there plus the
two talent. It lets me stretch my money and get a lot more locations,
and finesse the acting and make it a lot more interesting. It’s a lot less
stressful, too. I like having those extra days.”
Today’s main scene involves Asa Akira and Xander Corvus, sitting on a
living room couch, picking up from a previous dialogue sequence. As the
crew makes last-minute adjustments Armstrong says, “Let’s start with
the kiss,” followed by somebody crooning “Because your kiss” and then
an impromptu group sing-along of Hall and Oates’ “Kiss On My List.”
On “Action,” Asa leans into the kiss, her hips undulating over Corvus’
crotch. She sits up straight, then leans back as he moves in, kissing his
way down her torso, pulling off her G-string and tossing it aside. As
he tongues her clit, his hand snakes across her middle, moving slowly,
deliberately. As she groans, she raises her leg, eclipsing his face, which
goes behind her hip, getting a softcore shot into the scene. She pushes
him back on the couch and kisses him, then pulls open his pants and
starts to suck him. She conceals the action for a softcore moment, then
kneels on the couch, getting the action in the frame and poking her ass
and pussy at the camera for good measure. She settles into the blow job
as he fingers her pussy. She pulls away, peels off her shirt, facing him in
a moment of shared intimacy, then goes back to sharing with the camera.
ON THE SET | By Tod Hunter
8.17 | AVN.com | 39