Page 72 - AVN June 2019

P U R E TA B O O C O M
In her storytelling, what is important
to Mills is showing shades of gray,
not just darkness. “I remember being
haunted by that story. ... In ‘The
Allowance’ you see that nobody is
really bad—it shows people as the
flawed human beings they are.”
She says, “I wanted to do a critique
and I wanted to make people think.
And I wanted to also provide a vehicle
for serious acting in this industry.
If you look at every single thing
that’s been put out by Pure Taboo,
it’s all improv acting. Everything.
There’s never been a script on Pure
Taboo. And that’s a testament to
the quality of the performances.
And part of how they’re able to get
those performances is that a lot of
people have come with a lot of their
own experiences that they can draw
from, and because they don’t spend
the day trying to remember lines.”
Instead, performers bring characters
to life by drawing on “their own experience
and their own real-life stuff.”
For both Pure Taboo and Girlsway,
Mills also delves into the minds of
adult performers by collaborating on
storylines. She recalls working with
a big-name performer who wanted
to tell a story that was inspired by a
very difficult experience. “For her it
was using the medium of the episode
as a creative outlet to deal with that
trauma, to move past that trauma. ...
She just sat there and gripped my
arm the entire session.”
Performer collaborations also
are a smart business move—proof
that Mills understands the growing
power of adult stars. “The reality is,
performers—their own brands and
their own businesses—are now for
the most part outpacing the studio
system. The shift that companies
need to realize is that the performers
don’t really need us anymore.
So they don’t have to take all the
shitty jobs just to pay the rent. ...
Now companies are hiring talent to
direct. The reason why we created
Adult Time in the first place, or at
least why I brought the seed of the
idea to Gamma’s owners in the first
place, was that as a content creator,
I wanted to have a place where you
could release things and it didn’t
have to follow the rules. And that
was not just for myself but it was also
to open the door to other creative
people. Maybe there’s going to be
a performer out there who is already
producing better self-produced
content than half the professionals,
has good ideas, is creative, and
why wouldn’t I finance an Adult Time
series from that person?”
7 2 A V N . C O M | 6 . 1 9 | F E A T U R E