Page 61 - AVN October 2024

“Angela is the performer of the century, there should be an award for that!”
—Jules Jordan
In keeping with the early 2000s aesthetic, they decided to use the most frequented location in porn—a 6500 square foot house in the San Fernando Valley—for the majority of the scenes. “That house was the first house I ever shot at in Los Angeles,” White says. “And then when I came back and started shooting for AngelaWhite.com it was the first house that I shot at. So not only is it the most shot-at house in porn but there’s history in that house for me personally. “So it was always going to feature heavily in Fuck Angela. The movie wouldn’t have looked
right without it.”
White chose to shoot her girl/girl scene with Clouds at John Stagliano’s home near the beach
and the anal scene with Zac Wild at Jules Jordan’s luxury pad deep in Porn Valley.
“Shooting at John’s house and Jules’ house were musts for this movie,” Angela continues. “The first movie I ever saw directed by John was Bend Over Babes IV. Half of the movie was shot in Europe and half was shot in L.A. at John’s house in Malibu—if I remember correctly, one scene was a Rocco [Siffredi] threesome by John’s pool and the other was an orgy in John’s
living room with Rocco, Joey Silvera and John.
“From that moment on, I’ve always associated John’s content with that room. The same goes
for shooting at Jules’ house. When I think of Jules Jordan scenes, I invariably think of his place. The fact that both locations were used in the early 2000s was perfect.”
White even adjusted her makeup and nails to align with that era.
“Those squared-off, French tip nails, that’s the same style of nail I had in my very first shoot,” Angela says.
“Having my nails done in that way took me back to my very beginnings in the porn industry. And my makeup, the smokey eye with the silver shadow—which is not what’s in at all today— but just having my makeup done in that way was also a playful way to feel like, oh I’m back there in the early 2000s.”
In addition, White’s attention to detail extended to the wardrobe elements such as the black velvet collar with oversized rhinestones that she wore in her Lexington Steele scene. That style of collar that was a staple in early 2000s gonzo.
Not everything White wore matched—and that was by design.
“Twenty years ago girls would just rock up to set and directors would just grab whatever was out and so not everything always matched,” Shawn says. “So you had to have that little hint of imperfection in the outfit to make it feel a little bit more believable.”
AGW also focused on utilizing only natural light and allowing for more movement by the performers in the scenes—both were key elements in Fuck Angela.
“Nowadays we set up our set. We set up the lighting and we stay put,” White says. “If we’re having sex on the couch, we stay on the couch. We stay in a certain area so that the lighting is perfect. And in the early 2000s they would move from room to room about the house.
“And that movement I feel like is so dynamic in a scene and it’s exciting because you don’t know what’s going to happen next or where the performers are going to end up fucking.”
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