Page 27 - AVN August 2025

“And, uh, I’m a super slut,” she laughed. “So, gonzo is good for that.” Adding that
she had some special tricks up her sleeve for the pole performance with Clouds,
White laughed out loud about a move called “the flying eagle.”
Background dancers Danae Mari and Lacey Jayne arrived early, too, from Las
Vegas where they’d been working the night before. Lives lived on the road, drove in
for the gig that day and were already debating whether to drive or fly back to Vegas
after the shoot. “We’re make-up and hair ready, energy-ready—we love our life and
love our jobs,” morning person Mari bubbled. For the summer, she and Jayne have
an leopard-skinned RV and will set out on a “Whore Tour” road trip, shooting content
with folks along the way.
Deacon, who some on the crew jokingly refer to as “Mr. White,” is co-executive
producer. A seasoned production staffer, on this morning he’s overseeing all the
details, helping with paperwork, walking from room to room as lights are brought
in and positioned, deciding on how best to block the shots, looking at light meter
readings, and trying to figure out the logistics of the scenes. Determined to put the
star of the movie, his wife, in the best possible light, he’s been busy. Several cast and
crew members comment that his complete and utter support for White has inspired
their efforts to contribute to a standout feature.
Sammy Slater, a director who is a longtime friend of White’s, said, “I’ve known Jen
for years, and [Deacon] is killing it on this thing. This is big, for any showcase, but if
anyone deserves it, it’s Jen.”
Mike John, the director for White’s showcase, is shooting primary camera. A master
of gonzo style, he’s a veteran that’s been directing since 1996. His early POV work
for Sean Michaels and Anabolic Studios, in the ‘90s, established him as a pioneer of
the genre and was followed by titles for Red Light District and Jules Jordan. Deacon
said when they were deciding on camera styles for the movie, John was their first
choice.
“So, he just wants me to do what I do for the hardcore and then he’s got these
other guys, like Sammy, to kind of get some fancier long lens shots. So, when it’s my
time, I just work together with the girls and just capture it,” John explained. “I’ve shot
Jennifer and Anna Claire, so I know how they work.”
Pointing the hand-held camera almost instinctively, his movements are fluid and
unobtrusive, sometimes only inches away from the talent as they grind and groan,
deep in the zone once they get going. He approaches each shot without much
planning, letting the action unfold.
“I base my movements, not off a certain idea like, ‘oh, I need a wide, tight, medium.’
I base it off what’s happening. And then I do micro-movements.
“So, if there’s a breath in, I follow the breath in. And then, if there’s a breath out,
I follow it out wide, as to see why. Right? If the girl’s doing something real intense,
I get the face and then I come out. So it’s just, it’s not pre-planned at all. It’s all
about the moment and what’s happening in the moment is how I respond to it,” the
director said. “Because at the end of the day, what we do is relatively simple. Like
people fucking is people fucking. They’re individuals. So, how do you bring out the
individuality? By paying attention to the individuality.”
U P F R O N T | 8 . 2 5 | A V N . C O M
2 7