Page 47 - AVN May 2018

write a traditional dialogue script for Pure Taboo, it’s a story that we
flush out through improv workshopping essentially.
So we had done that all day and by the time we shot the—I can’t
remember if the sex had happened yet—but we had been working
together for hours at that point. She had already been doing a
few smaller sequences. And she came into that role with a lot of
knowledge. She had a lot of knowledge about feederism; she had a
lot of knowledge about the subject, so she brought that out in her
character and did it with tremendous earnestness and authenticity. We
all kind of watched the tape and thought, “OK, there’s that character.”
She became the character very naturally. So there really was not a lot of
direction apart from setting the stage and getting us all in the mindset
of the characters, which is generally what I try to do when I’m on set
anyway.
AW: And I love that she took the character so seriously. She already
came with her own ideas and her own experiences with the fetish and
she had friends that enjoyed the feederism fetish, so she had spoken to
them and asked them about their experiences and also even with her
clothing choices. She was very specific. She said those kinds of fans and
the feeder fans that want you to gain weight, they love it when your
clothes don’t fit properly because it shows that you’re gaining weight.
And so she brought bras and pantyhose that would dig in and cut into
her skin to create more rolls and to be able to say, “Oh, my clothes
aren’t fitting right. I gained some weight” and that’s part of the sexual
appeal of it. So she thought about everything.
BM: What’s so nice about doing these types of projects, especially
at this point, is where everybody’s kind of coming to our sets with a
serious attitude and wanting to leave their mark on it. Karla’s a good
example of a lot of performers who will come, who will read the story
in advance and come with an idea or a twist or some aspect that they
can draw from their own life to bring into their characters. So it was
great to see Karla do that. It added a lot of value to the story and to the
authenticity of it.
AW: And it makes it a true collaboration because everybody’s coming
together and putting their ideas out there and helping to bring the
story to life.
AVN: How did the process work from taking your idea for the story
and collaborating with Bree to get something on paper that you
brought to the set?
AW: That was difficult because I am so in the routine of shooting
gonzo so I’m thinking of specific gonzo shots and the tease and
creating the space for spontaneity and the sex. For this, I really had
to think about the story and what I wanted to say. Like Bree said,
we don’t write a script but we do have things we want to have said
at certain points. So I wrote my initial idea down and even that was
difficult to kind of think of a way for the story to have an arc and have
an ending.
I had a lot of help from Bree and the final treatment Bree actually
wrote for me. So I wrote an email with all the theme. I wrote the
story in brief. But I’m so busy shooting I knew that writing the final
treatment would’ve taken me so long and Bree has so much experience
I’m sure it probably didn’t take that long to whip up.
BM: This is what I love about doing these story collaborations. I
think I’ve done four or five at this point overall and what is wonderful
is that the hardest part about writing a story at least for me is thinking
of the story itself. I’m a very good “bullshit writer” is what I like to
call myself. If you give me the meat of it, I’ll do it in a morning. I write
from 6 to 10 a.m. every morning, that’s my time.
So it’s a lot easier if I don’t have to think. I can just translate, which
is essentially what Angela originally sent me in her outline. She sent
me basically the beginning, middle, end. And she also included a bit of
initial dialogue that she had written that could be something and even
though we don’t write dialogue, I knew the beginning and the middle
and the end and I knew the main themes and the main messages she
wanted to get out because she started with what statement she wanted
Wronged wife Angie (Angela White) turns the tables on her husband by seducing his mistress (Karla Lane)
to make and then from the dialogue itself
I got a good sense of the tone of the two
principal characters—the couple. Then it was
very easy for me.
I remember when we were doing pre-
production and we were settling on dates and
stuff. When I looked to translate the idea into
the final treatment at first I thought, “OK,
we’re going to have to do a bunch of rounds
back and forth,” but it was actually really easy
because she had given me all the meat. It was
all there. So I put it together and the main
reason why I do what I call the translation is
mostly because I know what we can achieve
with it in a production day so I can kind of …
I write and then I always take my story and
dissect it into a production schedule so that
I can reality check myself. OK, how many
setups is this? OK, this is 15 setups, which is
not achievable. So I did that so I would know
if I had to trim anything out I would know
why.
And then also I have all my treatments
run through my best friend—our legal team,
who have a very love-hate relationship with
me. But I have all of my stuff vetted to make
sure when we do publish it that it isn’t going
to cross any boundaries in terms of Visa and
MasterCard. There’s that whole side of the
business in terms of compliance and then
also our own company’s ethical standards
and guidelines for things we do and don’t do.
So I kind of translate it and then vet it and
that’s sort of the role that I played. But the
story was essentially almost the exact same
thing that was written in the outline. I just
stretched it out a little bit and made sure we
could do it in a day.
AW: So Bree did give me the opportunity
to try and do that myself and I sat down
and tried but I work so much and I was
distracted with work and I obsess over every
sentence and you can’t write like that. Like
I’m obsessive with everything. So I think if
I need to write a larger script in the future I
need to let go of that perfectionism and just
write what’s in my head and get it out there,
but I think that takes practice. And this is
obviously my first kind of script, if you will.
BM: it’s interesting because this is the
fourth or fifth one I’ve done and I’ll say
Angela’s was definitely one of the most
concrete visions for something. It was a
pretty easy adaptation. But just to speak to
the larger idea of collaborating in general
and why for me I’m finding it so rewarding
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