Page 55 - AVN October 2024

Girlfriends Films owner Moose tells AVN he isn’t surprised by the warm welcome for Fuck Angela, which sold out of its first DVD run—a rare occurrence in 2024.
“She’s such a total badass with everything she does,” Moose says. “She’s got so much drive, creativity and passion. We’ve been working together for 10 years and I’m proud to distribute her movies.”
White tells AVN her first priority when deciding to make Fuck Angela was “to have fun.”
“And the second priority was really creating something nostalgic,” she says. “I wanted this to be a memento for me. I wanted it to represent my favorite era and genre of porn, which is early 2000s gonzo.
“So shooting on the VX2000 was really important to me to bring those visuals to life.
“To not use a filter, to not try and deliver a 4K product but make it look old. But to actually shoot on 24-year-old cameras and to have that grit and have that 4:3 aspect ratio that is part of the visual experience of watching any early 2000s gonzo porn.”
She adds, “I feel like that 4:3 aspect ratio is really important to the final product because it forces you right up into the action.”
Evil Angel founder John Stagliano and longtime White collaborator agrees. The gonzo porn pioneer quipped, “I wanted to shoot this because people stand vertically, so 16 by 9 can be problematic.”
Indeed, White’s move to employ the 4:3 framing for Fuck Angela was also a way for her to break from the current trend of less immersive shooting.
Released in the year 2000, the Sony VX2000 is a standard definition video camera that was the successor to the cult camera, the Sony VX1000, which was released in 1995. And it was the predecessor to the Sony VX2100, which hit the market in 2003. For the first half of the 2000s, these three cameras dominated gonzo porn production in America and Europe.
White, who won AVN Female Performer of the Year an unprecedented three consecutive times from 2018-20 and has collected a record 69 AVN Awards in her career, set out to demonstrate that good porn doesn’t need to be 16:9—or shot in 4K, 6K or 8K.
She also wanted to underscore that newer doesn’t always equal better.
“I wanted to make a gonzo movie that went back to basics,” Angela explains. “I wanted to return to those core ingredients of fun, perversion and energy—doing away with any pretension.” Once the technical elements came into focus, the rest of the production began to take shape. She based her scene selection on allowing the directors to create the types of scenes “that
they both enjoy shooting and are known for shooting.”
“The one thing I wanted to really achieve was to keep the scenes shorter, punchier, more
killer, less filler,” Angela says. “I didn’t want to capture long scenes for the sake of long scenes. I wanted to throw back to the early 2000s when scenes were shorter and deliver high-energy, to-the-point performances. Scenes don’t need to be so long.”
AGW Entertainment production manager Shawn tells AVN there wasn’t a single origin to the movie.
“It was kind of like every door that we opened unlocked another door that we might be able to explore,” Shawn says. “When we saw that we could get the camera to work in a way that we needed to for a modern professional product, we were like OK, can we dial it a little bit further with location and wardrobe and makeup and hair and not become a period piece, but how far can we throw it back?”
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