Page 104 - AVN November 2017

FEATURE
Bree
(Continued from page 64)
FEATURE | By Dan Miller
How much of acting is something you’re born with and how much of it
can you learn and is something you can be trained to do?
I think you need to be born with a certain amount of confidence on camera or
in front of people. I think that has to be to a degree a natural instinct. All of these
performers already have that, to be able to get out and perform in front of camera
and crews, not everybody can do that. So they’ve already got that certain level of
confidence or whatnot, to be able to perform. I think that’s something that needs
to be with you from the beginning. And I think in order to act, especially with the
type of stuff that I’m doing, it’s more just a mindset that you need to learn—the
ability to stop thinking about whether or not your acting and just lose yourself in
the situation.
When you remove the pressure—at least I’ve found—when you remove the
pressure of having to memorize lines, especially lines you didn’t receive until the
morning of as often happens; or this sort of idea that you need to act this part,
well I don’t want you to act this part I just want you to figure out a way to identify
with that character and then let that come out naturally. I think people once they
can tap into that it’s easier, especially if you feel confident enough to do that.
… I think one of my favorite examples or what I try to base a lot or what I often
think of is what Larry Clark does.
Larry Clark is a filmmaker who made the film Kids in the mid-90s. And what
he did he had found a kid who had written a script, it was sort of this young
skateboarder in New York who had written this script and they went and they cast
a couple of unknown actors who had done nothing but at least had done some
training, but then he just surrounded them with a bunch of kids he had actually
found on the street and he wanted to get that feeling of realism so he just let a
bunch of kids come in and he sort of structured them and he helped move the
story from point A to point B. But he used these non-actors to do it which is part
of why the film was so controversial because it felt so real. And they were dealing
with subjects of sexuality. He got a lot of attention from people saying, ‘How did
you make this documentary?’ Well, no this is a film, it’s fiction. But those aren’t
actors. No, they’re not classically trained actors but they put on this performance.
So in a way what we’re doing with PureTaboo as well is we’re taking quite a lot of
experience—some with not as much—who are willing to come in and have this
experience with me.
“THROUGHOUT THE ENTIRE SCENE,
SHE CALLS YOU BY YOUR CHARACTER
NAME INSTEAD OF YOUR
PERFORMER NAME, AND
THROUGHOUT EACH SCENE SHE
GUIDES YOU THROUGH WHAT YOUR
CHARACTER IS FEELING, AND WHY.”
—WHITNEY WRIGHT ON BREE MILLS
You mentioned several names in your Reddit AMA (on Sept. 29) of
people that came in and did a great job. When you think about your cast
members so far, who really surprised you and exceeded your expecta-
tions?
Elena Koshka would be one for sure. It’s interesting because the first episode
that I directed with her she was just this kind of goofy, sweet girl. It was more
actually how she acted—just her being her—that I took notice of and it translated
very well to her character that I knew by the time I was going to bring her back for
another episode I kind of knew her.
So I knew how to cast her and I knew how I wanted to challenge her as a
director. And so at that point I took what I saw organically happening the first
time I worked with her and really tried to channel that into more of a dramatic
piece the second time and she took to it—like I said she drank the Kool-Aid. I’m
actually shooting her again in a character that she kind of helped conceive because
she’s so inspired by this work as well.
Piper Perri I mentioned. I had actually shot her before for a previous project, but
she came and did a great, great run with us—a couple of episodes—and just killed
it.
104 | AVN.com | 11.17
But also I find the people who do the best performance are also the people who
really, really, really want to do well so that they show up on set and are so excited
and enthusiastic about the project. She was one who was like, “I want to show the
world what I can do and I want show people that I’m more than what people have
seen.”
Aubrey Sinclair is another one and she’s shot three episodes for us now. Same
deal she came in and just came in with such a good attitude and could connect to
the story and was willing to just push and push and push. She was the one coming
up with, “Hey, it would be great if it ended like this.” Really owning her character.
That’s one of the most beautiful things I’m finding from this project—that is by
setting the stage we’ve really been able to get such intense, strong scenes because
the actresses are like, “You know I’ve never done a DP but I should. The character
would do one.” And I’m like, “OK, do one.”
“This should be a creampie. This really would end as a creampie.” … “OK,
if you guys are cool, then yeah.” A lot of our scenes have some extra additions
to them because that’s the type of attitude that girls have had. Those three I
mentioned come in and are like, “Let’s take this further. You wrote it here but I’m
willing to go here if you want. I want to do that, because that’s what the character
would do.”
Then I’ve got my staples; I love working with [Adriana] Chechik, ever since I
worked with her years ago in The Turning. We’ve shot her a couple times and she’s
one of my favorite actresses to work with.
I remember when we shot her in The Turning, this was 2015 I think. It was the
first time she’d ever really done an acting role at that time in her career and she
came up to me at the AVNs that year—I think she had been nominated for Best
Actress—and she said, “Thank you, thanks for thinking that I’m more than just
my holes.”
And it was one of those things where I actually thought it was so sad when she
said that. I thought to myself if I can really do anything in this industry, it’s going
to be to help showcase that girls do not have to feel just that way. She of course
has gone on to do great things and when I’m working with her on set she’s a great
2018
actress. She takes direction really well. She loves to see the dramatic work; she’s a
huge fan of a lot of this type of mainstream content. So she’s probably someone I
like to work with on a regular basis.
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