Ricky Greenwood directs More.

Podcast: Director Ricky Greenwood Talks Dorcel’s ‘More’

Take an appealing concept, add in an all-star cast, combine it with the gravitas of a top studio, and you have almost every element of a porn classic. All that’s missing is a director with the style and savoir faire to wrangle the disparate elements into a cohesive whole. Ricky Greenwood, who took the industry by storm with his 2017 debut movie, Confessions of a Sinful Nun, brings a bright, confident verve to every blockbuster he directs. Although his biggest movies have always clicked with a huge range of audiences, he also never loses sight of the quirky, kinky side of porn. His directorial style, redolent with influences from pop cinema, invites comparisons to mainstream heavyweights like Quentin Tarantino and Nicolas Winding Refn. After wowing audiences with Climax #3 earlier this year, he is once again in the Dorcel fold with More, the company’s new blockbuster. In the latest episode of the Adult Empire Podcast, Greenwood joins us to give an inside look at the making of the movie.

He discusses his first experiences with the Dorcel brand, his early days in Quebec, his pre-More projects for Dorcel, the origins of More, his experiences shooting in Los Angeles, the style and look of More, the influence of Nicolas Refn and Drive, the cast of More, the challenges of shooting a movie set in a club, the realities of porn budgets, the moments in More he’s most proud of, the More trailer, his approach to directing actors, the pitfalls of overusing zoom in a movie, porn pet peeves, influences from mainstream and classic porn cinema, the vintage porn movie he’d love to remake, the porn sequel he’d love to shoot, the possibility of a Confessions of a Sinful Nun Vol. 3, the effect credit card processors have on porn, and his upcoming projects.

Listen to the podcast on your favorite platform, watch the video version below or on Adult Empire YouTube, and check out text highlights.

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The story of More

What were your first experiences with Dorcel?

I’m French-Canadian. So Dorcel was like what we were looking [at] when we were younger. French TV, their erotic movie will be Dorcel, most probably because most of them, English Vivid or Hustler, they were not probably dubbed in French, if they do their limited version of it. So I grew up with  French erotica. That was what you were looking at when you were a teenager, and you stay up until midnight or 1 a.m. And you can catch those movies. So that’s what I grew up with. So I’m a fan of Dorcel. Obviously, they were in Europe —  they’d be not really shooting in the U.S., or rarely shooting in the U.S.

How did you come to direct for Dorcel?

So I never really got in touch with them until I think it was my second AVN. The French Dorcel TV was at AVN interviewing people around. And they knew that I was speaking French. So they interviewed me for Dorcel TV. And from there, I became a very friend with [Dorcel group content manager] Paul-Jérôme [Renevier] and all those people that are there, and slowly [I did] small movies and bigger movie by the end of 2022.

What were some of your earlier projects for Dorcel?

I started with them with a series called 4 You. We call it a vignette, so it’s a short story. So basically it’s a 10-minute story and a sex scene. So I did that for them. I think the first one was Jane 4 You. And I think they were testing the water with me — how it is to work with me, can I respect the budget, you know, all those basic things that you will do with a director/producer that you will have to deal with. They gave me two or three of those. And after that, I directed for them a feature that was called One Night in Los Angeles with Emily Willis and Kenna James. So I did that movie that did very well for them. And I did a couple of 4 You again for them. And it came out another feature, Trouble, that was released recently. I think it was releasing in January on Adult Time. So like I did Trouble and also that movie did good. And from there, [Dorcel] asked me to do their movie Climax. So I did Climax #3 and from there I did their big blockbuster movie More.

What was your vision for More?

My vision was, okay, we’re doing a club. We’re doing nightlife. So I was let’s try to do something more like Drive or Nicholas Refn where they could see a lot of neon lighting, lighting the scene so that we would have a lot of fluorescent color, so bringing that element into it. And let’s create that younger type of club — not the sex club — but something that more like a younger generation of people will go there. And so we would try to build something that is a kind of a new way of doing stuff.

How did you cast the movie?

I got everybody that I wanted to get for this movie. The thing is, Europe, it’s a different market. So the main market, we try to develop the avid fanbase, but so we need to get actors that in France and Europe, they’re known. But we also want to have new faces that we can bring that we didn’t see normally on Dorcel that maybe people will find in love with. So I tried to pick people that they do act well — they are very strong performers — and that I think could be new to Dorcel and appeal to their fanbase.

Which More moments are you most proud of?

I liked how the laundromat [set] turned out. It was very cool. I like the big orgy at the end, the red room with all the guys on Victoria Voxxx. The pictures were great. I really liked that moment. I liked the scene with Derrick Pierce and Lilly Bell when they are in the bathroom in the stall. It was a tiny little place! I feel it’s dirty. I feel it’s raw. It’s something very cool. If you ever have had sex in a club, there’s this kind of like weird moment that I feel I really we nailed very well. So I think overall I’m really, really happy with the new look [of the movie].

Read Chase’s full rundown of More (including review, two-minute preview, and interview vids with star Lilly Bell) >>

Other Ricky Greenwood interview highlights

On the problem with using zoom in porn:

[In my shoots] you’re not allowed to have a zoom lens. You’re not allowed to have  a tripod. Everything is handheld. The reason why I don’t want to have zoom lenses is because with a zoom lens, you will sit on the chair and [when] you want to get the pussy [closeup], you will zoom in to get the pussy. Even if it’s not properly framed, it’s “okay” because you get the closeup. If you cannot zoom, you will have to pick up your camera and go get a closeup of the pussy. And since you move the camera and get close to everything, you will frame it properly because you have to redo it anyway, so now you’re forced to move and go get the angle. When you have a tripod and you just move around like this and zoom, in zoom out — you basically stay in the same place.

On the possibility of Confessions of a Sinful Nun Vol. 3:

I don’t think it will happen. The thing is, the credit card [processors] problem, they’re very, very into what we’re doing. [Learn more about credit card processors and porn in our interview with Cherie DeVille.] I think the second one was very good and [part three] was planned to happen, and the backlash from credit card people — “You pushed a bit too [much] against your religion and everything.” I think that slowed down the project a little bit. [Listen to the full interview to hear Greenwood’s concept for the Sinful Nun Vol. 3 storyline.]

On the porn sequel he’d love to direct:

It would be nice to do Pirates 3. I don’t know if people are interested to see that. But imagine taking all the big names of 2023 and creating this over -the-top crazy movie with everybody. It could be a good sample of porn in [the 2020s].

Ricky Greenwood image courtesy artist’s Twitter account.

Full interview transcript

AI transcript by Otter. Time codes refer to audio version of interview.

Dallas 0:40
Hello, and welcome to the Adult Empire Podcast. I’m Dallas, your host. Our guest today is the director of past hits like Confessions of a Sinful Sun, as well as the new blockbuster More, which has its worldwide premiere on AdultEmpire.com. He is Ricky Greenwood and he joins us now. So obviously you have this big exciting movie coming out on adult Empire by the time people are listening to this and seeing this they’ll be able to watch the movie The movie is more done for door sell formerly marked or sell. So first off, just tell us when did you first encounter the door sell brand?

Ricky Greenwood 1:15
I’m French-Canadian. So Dorcel was like what we were looking [at] when we were younger. French TV, their erotic movie will be Dorcel, most probably because most of them, English Vivid or Hustler, they were not probably dubbed in French, if they do their limited version of it. So I grew up with  French erotica. That was what you were looking at when you were a teenager, and you stay up until midnight or 1 a.m. And you can catch those movies. So that’s what I grew up with. So I’m a fan of Dorcel. Obviously, they were in Europe —  they’d be not really shooting in the U.S., or rarely shooting in the U.S.

So I never really got in touch with them until I think it was my second AVN. The French Dorcel TV was at AVN interviewing people around. And they knew that I was speaking French. So they interviewed me for Dorcel TV. And from there, I became a very friend with [Dorcel group content manager] Paul-Jérôme [Renevier] and all those people that are there, and slowly [I did] small movies and bigger movie by the end of 2022.

Dallas 2:46
So that’s interesting. So it sounds like part of the initial connection between you and Drocel was that commonality of like the French language of having that background, then?

Ricky Greenwood 2:55
Well yeah, I miss you. I’m assuming that for them it’s easy. They all speak English for sure as it says done no problem. But the fact that you also like you, you define that you have you know when you speak another language like I do like English or I can understand people and everything and we can talk but it’s never as like easy or like I’m always have to re explain things or like change my wording and stuff when I speak with French my native language it’s easier. So when you start dealing with like budget and script and story developing and everything, you sometime you’re my English will be limited and like I would try to say something but I don’t have the right word. I don’t have the right phrasing and I’m trying to figure it out how to explain and how to make them feel my vision. The fact that we both speak in French in their own native language, it’s easier to make sure that the other person understand you and and make it work so they still work with like they they work with Kay brand they work with Whitney right they work with like KC a lot of other directors that speak English splay, I’m assuming that the connection the fact that we’re speaking French we don’t have to change her native language when we speak and everything is probably made it easier to to do and also the fact that like, if I have like a French actor coming from Europe, that person will feel more comfortable to to be there because I can speak with her in French and explainer to do the acting out to act out to do the stuff in French. So she will not feel stressed or like worried about maybe she will miss a cue or something. So it’s also a factor that helped but it’s not only that, but it’s I’m sure that it make it a little bit easier.

Dallas 4:40
So in those first couple of years where you were directing, but you weren’t you didn’t have any professional association with your cell. Were you looking at their movies and saying oh, you know, that’s interesting what they’re doing or drawing any sort of influence from them in those days before you were actually working from them with them rather.

Ricky Greenwood 4:56
Well, I always like to say that is this necessarily yourself. But it’s always like, obviously, like, French erotica is like, something that I take my inspiration from. So like for sure, like, I’m a huge fan of the movie Emmanuel select or is Waldo. So like those movie that from the 70s that like that I really like so like indoor cell has not that style, but they also have also a very cinematic approach to the movie, they always do like movies. So that’s also something that I really really enjoy so that of course I was looking at their product and what they were doing in the states we don’t necessarily have access to what they have in Europe meaning that like they have their they have castle and they have like big Renaissance like set up and, and stuff that Europe is full of you. And it’s easy for them in France to go to shoot in Prague or shoot in Spain or Italy because it’s so close to each other. So like you have all those big like, I wish we can have that here for like, it’s like for them it’s it’s always fun to watch those big, big movie that they’re doing and he is a very such very good director also that they have their high for it. So it’s very interesting to watch their work. So I guess my I will say French cinema was my was like France, erotica was one of my inspiration and also like, I’m also a huge fan of the 70s exploitation culture in America. So like also another place of a cave my take my inspiration for

Dallas 6:36
so in terms of the well I guess it’s a two tiered question. Could you just give us a little bit of an overview of your initial work for yourself? And then tell us how the more project came about?

Ricky Greenwood 6:46
was the first movie I think I start with them. Oh, yeah, I start with them with a series called for you that like you basically it’s a small, it’s a small we call it a vignette. So it’s a short story. So like basically it’s a 1050 10 Minutes story and 16 So I did that for them. I think the first one was Jane Jane for you. And that was my approach to like and I think they are testing the water with me like how it is to work with me or I’m difficult not difficult just Can I respect the budget you know, all those basic things that you will do with a director producer that you will have to deal with when I was more like they give me two two or two or three of those. And after that they may add direct for them a feature that caught was called one night in Los Angeles with Emily Wallace and Kenna Jane. So I did that movie that do very well for them. And I did a couple of like for you movie again for them. And it came out another feature call. I think after that feature was trouble that was released recently I think it was releasing in January on that old time. So like I did trouble and also like that will be good. And from there. They asked me to do their dose to movie where do well so they asked me to do the movie climax. So I did climax three and from there I did do more there big blockbuster movie more

Dallas 8:28
so just briefly when you were talking about the one night in Los Angeles movie and also climax so those are movies that are in a sense part of established series where you were kind of coming in and doing another installment Did you did you look back at those movies and try to make them fit in stylistically with what the previous directors did or did you just come in saying okay, I’m going to kind of do it this you know, kind of my way with my installment of it

Ricky Greenwood 8:53
i i watched I watched a trailer of those movie I never I don’t like to watch the full movie because I don’t want to be copying someone else’s work so like I tried to just doing my own twist but I want to respect what was made before so I will look at like the style of the lighting. I will look at the storytelling I will obviously look who’s in it if Mackinac Can I you know like we we try for one night in Los Angeles we try to get at Vienna check to be a cameo and it’s like because she wasn’t one night in Paris. So we try to obviously conflict timing and scheduling didn’t work out but it was like we was one of my first approach was like to have like everyone to check check maybe coming from friends and telling them the story or things and now they have to kind of like leaving there and thank those people in French and now they’re coming here and stuff. So like it was kind of like my my idea of doing it. But it didn’t it didn’t work out but I was trying to pay homage to the first one with that. But I bring my own my own twist my own like way of filming too it’s for climax I saw the trailer same thing centered trailer that that was it like it was more like a climax was like we want to have something different we want to have like I was like I was I want to play I want to play with flair I don’t know if you see climax but there are a lot of a lot of the lighting was flurry and like a lot of light coming into lands and stuff. So that was a style more that I want to play with during the movie that I bring same thing for more you will see later we can talk about it but like I have a certain look and style that I try to bring into the movie most of the time I will try to create it out I want to play with something and an element that sometimes most of the time I try to to work on during the movie and and and that was for for for climax was flaring for one night in Los Angeles. I want to try to show Los Angeles I tried to show like what you know you will see the Hollywood sign the palm tree or this beach or the big wheel at Santa Monica all that stuff. So I tried to show Los Angeles to peep to a public of like to come to watch it from outside as an essentialist instead of oh okay like I want to kind of like a touristic like view on you give you a vibe of what Los Angeles can look like

Dallas 11:28
was it hard to capture Los Angeles in a new way simply because so much of almost all of you know mainstream porn is shocked somewhere in and around LA

Ricky Greenwood 11:38
it’s hard yes and no because they know everybody’s like going out you know like not everybody’s like most of the time it’s their house or like a backyard or like a dry work small streets so like running outside Los Angeles with your camera and stuff and having to porn girl on like walking on the beach or something it’s just kind of like it’s challenging because it just uh you need to be careful like people will recognize them they want to have picture with them or like or like also like some time like you try we you we pull permits for some some situation with some time we just steal the show got it steal the shot, just like okay, just like put the camera out run here. Okay, move on. It’s just like we jump in the car. So like so sometime it’s just like so depends. So it’s diff that’s why some many people don’t want to take the risk of like doing that or don’t want to have the the problem of pulling a permit and like you know like all that stuff you do you so they try so like sometimes it’s more complicated so it’s for the porn industry it’s just like I think showing la it was was not that it was just having that to take even more time to go to those places because also like moving in LA like if you want to do shots of Los Angeles it will take you a day maybe two because like just moving around with your car will take you like two hours so they can just like so if you have stuff all over LA you can do so much because of the traffic and all that stuff that like also a problem that like not everybody has the time for us we have like four dose shot there was like a very small crew he was meted camera guy. I don’t think we even have a sound guy it was like the boom on the camera because it’s like everything was voiceover your voice around so like I think it was me the camera guy an assistant to like have that camera guy carrying his gear in the sand or something like that. And two girls so like it was very very limited crew for that thing. So like your help us to move around. I want to have everybody fitting in one car. So we can like drive around. Nobody’s following each other and sleeping don’t let anybody so it was it was more that so like we save we managed to create that and it was fun.

Dallas 13:57
Definitely, definitely. So let’s dive right into into more the big movie that we were mentioning earlier. So I saw the trailer and the movie My impression of it from the trailer anyway is like that it’s in a sense classic door sell there’s a premise there that is very door sale, the secret society the sexual adventure, you know, maybe the group sex kind of thing, but also at the same time like totally fresh a different visual approach. So what was the original conversation that you had with him about this movie? Did they come to you with the concept like how did you hammer out the whole idea of the movie with door sell?

Ricky Greenwood 14:34
I just I maybe I’m mistaken in that so like I don’t like if maybe they will say it’s not true but like for my understanding is that LS was like now in charge of the production who’s slowly taking charge of production. It’s a younger woman who have like fishing and want to refresh a refresh view like for many, many times like fishing for accents. I’m here Do you see we did one night in Los Angeles? And after that we go to trouble and trouble was like kind of refreshing it was a kind of a murder mystery. You know someone’s like kind of like psychopath woman play by Lily Bell and she’s just kind of like having all those suspense element in it so that was kind of like a little bit different than what you normally see at their cell before this one. And also they made me do Emma for you, that was their first trans woman indoor sale. So like you can see like they were trying to change in and more open and more modern and more like young system and LS bring that that element she had she had a clear vision of the loop that was she wanted to have the where the woman guy wearing a she wanted to do a movie in a party like a club. So like she actually gives me a lot of points she gave me a look that she wants to have like she wouldn’t have a certain color palette into the project. So she gave me that and from there I want to my vision was like okay, we’re doing a club we’re doing night nightlife so I was let’s let’s try to do something more like Dr. Or Nicholas reference where I could see a lot of neon lighting, lighting the scene so that we would have a lot of fluorescent color and stuff so like so I bring that element into it so like and let’s create that younger type of club not the sex sex club, but something that were more like a younger generation of people will go there and so we would try to do try to build something that is more is a kind of a new way of doing stuff so like so like and a big part of that came from like ls and a new direction that she tried to bring the brand

Dallas 16:57
and the movie has quite a remarkable cast. I mean, we’ve got Kenneth James Whitney right Kieran noir, to name just a few. So talk a little bit about how you assembled that cast and were you able to get everybody that you wanted for this movie? Yes, it

Ricky Greenwood 17:11
was I get everybody that I want to get for this movie. The thing is like thing was Europe it’s just like you need to also to it’s a different market. So like the main the main market like we try to develop the avid fan base, but like so like we need to get actors that in in France and Europe around Europe that they’re known so like so make sure that like but we also want to have new faces that we can bring that we didn’t see normally on door sell that maybe people will find in love with so I picked people that like I tried to pick people that they do act well they are very strong performer and that I think could be new to door sell and appeal to their fan base. So we did that like Mayor wolf would with the dirt Mayor wolf a few a few scenes ago we did that too with Lily Bell also that they became like they did a lot of movie with them that Victoria Vox did a scene Emma rose so those people are like new people that we bring in and with the for you series and with some feature that we discovered that if for a lot of fan base will like so we bring that and I will also want to have like talented actress like Kira Anwar was very good. Like Kenna was like in one night in Los Angeles we bring her back for that movie it was good. Whitney was was always a fan favorite of like the door cell brand was back to and I tried to find actors that like male actors that I knew that they’re a great performer that we don’t see a lot so Alex Jones as a Maxwell MC Blue was in it direct peers so like all those people that we bring that like that I know that there’s strong performer that it could also be pleased that the crowd so it was like it was like obviously it was a back and forth with the studio back and forth with the reaction of the fan and what defending and also I need to see dad those people have what we working for. So for me, I work on a lot in this industry like a lot of time. So I know a lot of people I know I try to know what people are good and and or their strong strength strength is and like what is their good what is less good and I can put them in the right chair. I think that was the My only power putting people in a chair basically.

Dallas 19:33
So how long did this movie take to shoot and was it a difficult shoot or did it go pretty smoothly overall?

Ricky Greenwood 19:39
It was a it was a I think it was eight days. So I think it was not that it was eight days it was it’s decent amount of hours. I think the most the most complicated thing was adding to deal with a lot of extras. Like normally when I have extra people like in the background background people in there really is like 510 just like, I think the max before that I did was like 15 per now, in this movie we have, I think we have 6575 or 80 extra. So like that they’re like because you need to pack that club you need to show the club is pack so like, I think to direct those people want to plus your own crew and your people is it was very challenging. And also like even if you have 80 people 7580 people, it’s the club doesn’t look pack if you don’t have like, if it’s a big club, so like, we have to have trick angle to show that like the bar is full, but it’s not really full. So like it’s like that’s why you cannot have a super huge wide shot of the club because the club was very big and if there’s so many very people in it, it will look like the club’s empty so like you make some like nice wiring go you put all your extra there’s and you have like the talent walking between them. It’s it’s finding different way to make the bridge if you look at a trailer, you don’t know that the club is like it’s not that was like, that was the that was the most challenging, like thing to do that I didn’t never I never had the chance to do before so

Dallas 21:22
right right and I assume unlike you know Hollywood counterparts you don’t benefit from like some sort of digital replication of crowds like they do in you know, the mainstream cinema the some of those post production tricks wouldn’t be available to you

Ricky Greenwood 21:36
or you won’t be available but it will be very expensive. You know, like a friend of mine is working on a project right now and and I think just to create a little bit of data is probably like the thing is 25k or something just like to do a little bit of like, placing people around.

Dallas 21:56
Right, I mean, that in a way raises an interesting and interesting topic in that point obviously isn’t working with the same kind of budgets that you would get at a major studio and a mainstream project. So do you in some sense enjoy how that forces you into creative directions or are is it just as often the you’re like oh gosh, I wish I had more of a blank check for this project. Yeah, well how do you feel about that?

Ricky Greenwood 22:19
But Dorsa Darcelle brand and few of them that I work with have like those the budget isn’t an issue in the sense that they have good budgets so like they have a budget net makes you to do what they needs to be done in in a way that people like fairly pay and everything is good. So that’s not an issue on that hand. I think it’s more it’s more an issue of like when you say okay we can do we can do something more crazy and like you know like and now at that point you cannot like Jesus like the club that we can you know, I cannot get like a super crazy club because I will have to shut down the club for eight days and I will cost you too much money so like and that and that level. Yes we am limited in that type of thing. Or if I want to do V CGI CGI stuff like that, at some point yes I’m limited but like but it’s also pushed you to remove the AC AC part you know like that club we came in and said okay the club doesn’t really look like the one we want it was a club in the mall. Just kind of like what we make it look like a glove so like I said when I said when my set designer and I said okay, what can we do okay we look we just put some like she would find some chair in the old strip club that I was sending chair. We put them upstairs we have like one time it was a small storage room we make during that to a private private area for dancing. We bought a lot of like stripe of neon that we put all over the bar that like we will also like another option so so it just it just makes you be more like okay we cannot afford the easiest way. So what can we do day looks good. That is the second the B option or C option and like and that’s and sometimes it turned out better than the option A because now you have to think about it more you know like think about like if I had a nice bar with already set set and look at everything I will probably not have the same look because I will have to play with the fact that okay, the Neon is like on that stool so I cannot really do anything then shooting on that stool. Because the Neon is not on anything I put it where I want to be so I can set up my shot and my and I create the look that I really want because it doesn’t exist, you know, so that that that’s the plus and the Yes, of course you will have this very nice bar and crazy look, or you build it and now you have more Are flexibility. So it’s, it’s but i like i like that and for others to do when they have less money and it’s the same thing makes you make you sit there says, Okay, I want to create this, how can I make it work with the money that I have and it just ended, it’s fun, it’s like a puzzle or like, a thing that you have to solve and figure it out to make it work and lucky enough for now I just like I, I think I am good at it. So like, I can show my background and also like, where I’m coming from, you know, like, in Quebec, it just, that’s, that’s why we do movie that’s like, we don’t have millions of dollars to do a movie. So like, you need to find other solution to make the movie look like don’t look good with the amount of money you have. And I remember I used to be part of a group when I was in my 20s where they will make you they call in like you can use to get into a cabaret, so you have to like do a movie in 72 hours. So in 72 hours, you need to have like writing your movie casting your movie, shooting your movie, edit your movie and at the end of this and like at the end of this 772 hours you will have to project your movie in the way that it is when it’s done. So like basically, you don’t have a lot of time used I think you start at six p is 6pm like on like on Friday and on Sunday at 6pm The movie is played in front of people so you have to act fast you need to you need to learn how to shoot what you need to make the movie go and have that edit and sound and everything and I did a couple of data was pretty I was thinking I was pretty good at it so I think it helps you to have your brain to work and find solution and not like be okay my solution A doesn’t work that’s the only solution I’m stopping all you need to okay play around you can make it work just trust your team look at also like learn now the craft was made back in the day so maybe you will find solution in that and and figure it out but it’s fun. I like it but it could be stressful.

Dallas 27:21
So are there any specific moments within the movie or scenes that you’re particularly proud of?

Ricky Greenwood 27:29
Like I liked it I like I’ll do a laundry mat turned out it was very cool. I liked the or the big orgy at the end. Like like the red room with like all the guys on Victor Vox has made the picture were great. I really liked we liked that. That moment. I like to see with Derek Pearson Lilibet when they are in the bath in the stool. It was like a tiny little like place but I feel that he I feel it’s dirty I feel it’s right it’s kind of like it’s something very cool in it that is just kind of like you make it remember that if you ever ever had sex in a club and they kind of like weird like moment that I feel I really I think we nailed that part very well. So no I think I think overall but I’m really rip with the new look that I want to have and like I remember when someone at the door sales saw the trailer he said oh, I didn’t know that you did drive or like Nicholas refund movie. And it’s I feel that you know, you saw the influence and the work that we did. And that was a that was funny. I don’t know if it’s true story. Maybe he was like pulling the leg on me but like I think the guy who edited the trailer did did some work with mainstream director and he was telling us that he was very impressed with the quality of like the trailer that we put out and the material that he has so like I don’t remember the name of the famous director but he was like a big name director from Hollywood and he was just he just did a trailer for him and he cut the trailer for the door sell movie and it was like it was very interesting

Dallas 29:18
yes it’s definitely a very eye popping trailer and also the the music in the trailer you know creates a very definite mood that electronic music now the music in the actual movie Is it is it similar to what we hear in the in the trailer in terms of its mood and style?

Ricky Greenwood 29:30
Yes, they had they have someone never DJ compose music for them. So I had to do that because that’s the other thing when you do when you do that type of movie and the people are talking in a club, you cannot blast the music. So you need to have people dancing on something where you want them to be kind of dancing on a beat that makes sense. So like you need to have some music in the back in the back of your head to to make it work. So anyway you cannot block ask that you cannot run it into the scene because like people will, will have to scream over the music. And if you change your mind and editing, you’re stuck with the music that you had had to shoot so, so like, but like, yeah, they had someone composing the music to something that is more like electronic trance to go with the vibe of the movie.

Dallas 30:20
So not so long ago, we interviewed the star Saska sage, and we asked her about working with you. And she said something that I thought I might read to you and just get your reactions to. She said, I would say that Ricky is quite hands off in the sense that he lets his performers dictate a lot of the action. Of course, the script of the theme is set by him and his team. But I felt a lot of freedom and being able to explore the scene, which I think lended itself to a more intimate performance, and it shows in a lot of the scenes he directs. So do you think that that captures something about your directorial style? Does that does that? Does that sound familiar and correct? To

Ricky Greenwood 30:56
Yes, yes, I did the most in movies, it’s like, when you deliver a line, and it’s properly formed, we don’t talk like that. We don’t talk like just like, Oh, I’ve been I’m so happy to have fun. Like this as a sounds like you read a text and you learn the line. And it just read you just reading the way you want. And, and I don’t like that I like when like, you, you get what I’m trying to say. You get what I like the vibe of the the dialogue that we have it here. And I give you the freedom of like having word. If you feel that the character should curse or something here, just go for it, add some and play with the character make that character your character. You know, and same thing for sex. I don’t want to have like, if I’m daring, I’m like, Okay, we’re doing like, BJ, eater out. Doggy missionary. And, and like after that spoon, and you come under tests and it’s over. And I’m like, now and you do for a minute each them like they they now they don’t have in fun, they just like doing like, I will send mechanic porn. Okay, how much time I have left two minutes, okay, and now they don’t so like for me I give them like, when I do sex unless it’s like a I will give you this specific it’s an anal scene you have to squirt in order to feed scene or something I give you the main purpose what the main focus of the scene so you have to include that in your 16 but most of the time it will let you having sex the way you want it and and like and enjoy the moment that you have with your partner. So that could lead as she’s writing the fact that is create a more intimate type of scene because you’re in the moment you don’t think and I don’t ask them to open for the camera I don’t ask them to you know, like fake or say things so like so the thing is like and my camera I have them for like six seven years Mike my camera guy so like, they know my style that was I was hard to develop that at the beginning but like you’re not allowed to have like a zoom lens you’re not allowed to have like a tripod, it’s everything is unhealed and you need to do it the reason why I don’t want to have the zoom lens is because like what a zoom lens you will sit on the chair and you want to get the policy you will zoom in to get the policy and you even if it’s not properly frame, it’s okay because you get the close up if you cannot zoom you will have to pick up your camera and go get a close up of the policy and since you move the camera and get to close everything you will frame it properly because you’re you have to redo it anyway so now so now you have like you’re forced to move and go get the angle when you have a tripod and you just move around like this and zoom in zoom out you basically stay in the same place and and if the model and now you have to ask the model to okay just be on the bed and make sure you add delight right here and like that angle so like my camera so now the MO fuck for the camera so for me I don’t want them to fuck for the camera I want them to have fun and fuck and my camera guy needs to go get the shot needs to go get like what he needs to be covered it needs to be you need the you need to move and get the where they decide to go obviously sometimes and that’s why sometimes you will have people complaining with my style because they will be like oh like we can see the posts here we can see that it’s it’s in the shadow or something but it’s it’s like it’s more real life it’s just like some real life sometimes in the wind sometimes the sun’s goes in your bodies some time it doesn’t you know like and if you do a night scene, you’re having sex at night the moon catch you and like or the or the the lamp on beside the bed will catch you Like, sometimes it doesn’t and like, and also for me, it’s like porn is not like I think what is most interesting in sexuality it’s not just like the penetration you know, for me if you give me like 15 minutes of a dig in and proceed doesn’t do nothing for me it doesn’t like, okay, you know the girls get his half pound and wide open and gaping in and stuff it just like doesn’t do anything for me for me I want to see the people interacting, I want to see like the foul or face react to that to what’s happening our body reacts to the motion of like, or like all their buddies like move in in the sex act. So like so that’s what I’m trying to catch. Also, I don’t want to be on we’re always on the pussy and like and just like and that’s it you know, that I tried to get other stuff and from that I need to have my talent to be in the moment and not thinking about the angle and the camera and the lighting and stuff like that. Let us worried about the technicality of it and worry about the your performance your acting in your Lakers 60

Dallas 36:23
So you were talking earlier about about zooming and how that impacts the the final product in the weather. You explained. Are there other things that you see in sort of mainstream pornography, so to speak, that are kind of pet feet, Peeves are things that you think, oh, gosh, that’s a kind of a bad habit that porn filmmakers have.

Ricky Greenwood 36:41
I want to say it’s a bad habit. It’s just like, if people have their style, you know, like, for me, I don’t like my lighting needs to be coming from somewhere, you know, like something when I arrive in a room, and that’s why sometimes you have shot that’s why not everything is out of shadow. You know, for me, you came into the room and just like Where’d that lights coming from? You know, like, okay, like, Okay, we need a light on her pussy. Okay, where it’s coming from. It’s coming from the window. It’s coming from the lamp behind her. It’s coming for like a TV or something. Where’s the source for that light? And if you don’t have a source for that, like it’s out and I don’t like when for me personally when you let the room like everything is like lit and just everything no shadow of the thing is just like for me it looks like fake it’s nothing is like the lipstick is like like a studio like you plan that it’s just like it doesn’t like real for me. I want that. My even the way you dress people it just needs to be looked like everything I tried to make it’s like real world real life type of thing. You know, obviously we’re doing some monster stuff where our and stuff like that. Okay, it’s different. But even if we do that, the girl will not run into Word with like fishnet and stripper heels you know, it’s just like that’s the thing that I hate the most when like girls came to unset and have all these stripper heels is like I can’t you will be barefoot i just i k just like it just like it’s just a look at it. It’s just like you don’t wear those shoes to go they see your friends or something you know is like you weren’t you you wear them when you dancing or when you you doing for special occasions. So like, if you’re not playing a stripper or a prostitute, you’re like an escort or some kind of person or requiring stripper shoes. I don’t want to have I want to add you wear stripper shoes, you know, so it’s kind of like, but I know it’s a look, it’s a look that like other people will maybe love that. And it’s that’s the problem with porn. It’s just like, everybody has a fetish. Everybody has something that turns them on and make them pleased them. You know, in my movies, I try to have different variation of like, what can please you or not please you? If you look at more, you have like a threesome with two girls you have. You have like this amazing scene with a trans woman that like he was like Casey Calvert. Ciara Anwar and Melrose together it’s just like, so you have like this very passionate and rough scene with Lilibet and direct peers. And you have like this scene with Mayor wolf Alex Jones is a Maxwell that is also very good. So like it’s an all of them and a big idea and you have this orgy of like four or five people. So like we have, so I try to please everybody in each movie, but like of course maybe you will not like the scene with with Maya Wolf and the two guys maybe you prefer something more like a group of girls like but I cannot I don’t want to do a movie with only one style and, and just give you that because I tried to please more people. But, you know, that’s why sometimes I have people complaining in comment or like writing to me and be like, Oh, you didn’t she didn’t like her armpits is like, okay, like maybe in the next scene you get that I understand is your finish I will make, I will I will make it happen in another scene, but he cannot be in every scene, you know, he cannot be in like, and that’s, that’s the that’s the thing. So like, for me, I like when it’s natural. I like when it looks real. I like when it looks like it’s modern day or like it’s, it’s something that you can see in real life. Maybe people prefer more like the porno colorful type of foreign and it’s also good. It’s just like, just something I don’t like, personally.

Dallas 40:52
So I know that you are obviously a big fan of cinema in general of the history of cinema. And the history of porn cinema as well. Are there any particular classic porn movies? I know the definition of that might be a little fuzzy or classic porn filmmakers who really had an impact on you or influenced you and your work?

Ricky Greenwood 41:15
Yes, I like I liked I like to watch like, I’m very good at collect all the vinegar syndrome. Like I don’t know if you have them. I probably have them. Yeah, I got all the vinegar syndrome like porn. They have a lot of them that I never heard about that it completely bizarre or like interesting LSA concept. And like, I like how they will use to work at that time. To just try to tell a story, or try to be creative. And I liked that, like, they were trying stuff, you know, I feel that like now, we, I feel that now porn is created with algorithm and computer and like, and we go with, like, what appeals to the people. But like, we don’t try to create something different than like, will maybe appeal to people. And now you discover a new thing that you didn’t know, like some people do. Like I will say it’s not. It’s not like, I’m fortunate and fortunate a lot to have to be part of some new stuff. And like, a lot of studio let me create stuff that is out of the box. But I feel that like a big majority of the porn is like, it’s a formula. And I fear that back in the day, it was like different. But also, you know, like, when you look at beyond the green door for example, you know, like when you had to see with the black guy and and and the main actress chambers, you just like also like when you put back yourself in the 70s didn’t see a black man having sex with a white woman that quite often. So like so like, same thing like I always make the joke that I when I was a teenager like when I was in my 1617 and like if your friend find a videotape with a girl having anal sex it just kind of like oh my god, you just find gold, you find something unique. Now you have anal sex in pretty much every scene, you know, like now girls doing triple anal and like and all that stuff. And it’s just like, I feel that like the difference back in the day that like huge new like what was wild and crazy back in the day. Like probably like in the 70s Like you said, like, oh let’s do a DP to girls that ain’t on and posted and you’re like, oh shit, that’s wild. Okay, let’s do that. You know, like, now it’s normal scene. It’s a dumb release on a website, you know? So I think the time was difference and that’s what I like about death because you look at like, those people were doing something while that now it’s considered like, like vanilla sex kind of thing. So like, like that like that. I will say like, beyond the green door. It’s probably my favorite movie. The porno movie I like I like that concept. I like the way it’s film I like the all the divided by obviously I’m like deep troll because it’s the first big porno movie you know that is made the name is out of my head but like the Beethoven one

Dallas 44:31
opening of mystique Beethoven’s Yes,

Ricky Greenwood 44:34
I like that one. And also it’s good. I like that director very much. It’s just like, he was very creative, but also like, I also like the back they like like, you know, like, stuff that it was not necessarily porno, but it was more like erotic like Caligula was, for example, was not necessarily a porno movie, but it was like very eerie. Alec is to order Oh, you know, like, also another one that I really enjoyed that it was not, and the exploitation film. That’s why I like especially because it was kind of like, exploitation film was kind of there. Your porno in the 70s type of thing you know, like, porno was not exist but it was the way that you see boobs you see people having sex you’ve seen so like so that was kind of like for me maybe I’m wrong but for me exploitation is kind of like what porno was before he became mainstream before before porn or like and I think that porno kind of killed that because like, now you can see people having sex and regular basis and like it’s not it’s not that exciting anymore because like, you can see more than what an expectation fan will show you. But like but what I like about the explanation famous like the also pics we have a lot of rules in porn that is not allowed to allow you to create a 100% the way you want it. And it’s it’s normal because if we don’t have rules, people will go like do everything and it will be like it will be that but like for for me it just like I like you know like especially when you try to do those movie like under the veil and all the stuff that I did like you need to be aware of like the rules in some time you want I want to push it more to an exploitation type of film and I’m like And then stuck with the rules of violence and the rules of like gore and stuff that you cannot be mixed with. With that with those that when a porno movie so like so like that’s why I’m kind of like I wish that I could make it a movie and necessarily not having the the tag that it’s a porno movie I just like and for me that’s how I see porn I see porn as like a general if I see poor as like our Action, Comedy, and porn is like I should all those things should be should be something that he should not be categorized as something. Another industry is something completely different. I think he should be like, part of the spectrum of like moviemaking, but I think he’s it’s different. I learned from someone recently he was telling me that like he was telling me that like back in the day I think in the 70s like Martin Scorsese and no murders because the Godfather director Coppola was working on the porno movie after the success of like, deep showing stuff. He was working on doing a porno movie and he never worked out that you probably get stopped by like an investor is that yeah, maybe not going that way. But like it was it was a genre that like since filmmaker in the 70s we’re looking at you know, like I guess I guess it became taboo and like not acceptable. But movie was shut in seven in 35 millimeter and like, and the and the added stories in the 70s early 80s So

Dallas 48:15
is there any movie from that era that if given the chance you would love to do a remake or sequel to

Ricky Greenwood 48:27
a well I will the devil is Mrs. Jones but it was made I think they made a sequel out of it or remake out of it. Same thing with same thing with beyond the green door I think they made part two. So like I kind of like it’s less. For a long time. I was hoping to do a manual like a remake of a manual more porn version of Emmanuel from the book. But they’re they’re they’re shooting that right now in France. I think he’s coming out next year. So like but it will be it will be an erotic version of it. It will not be a porn version. But like they’re working on that so like it’s kind of my it’s kind of a dead place so like I will say like

Ricky Greenwood 49:21
was the I have the title my tip of my tongue day. That went with gingerly and occurs.

Dallas 49:33
New Wave of

Ricky Greenwood 49:34
hours. Yes, yes. Yeah. From the 80s. Yes, the new ways workers could be a fun, fun, dry, fun ride to do. Just because the name is so classic. And this movie is so iconic for multiple reasons. But like, it could be nice, but I think I think if I don’t go with that era specifically. It will be nice to do pirate three, you know a call. Just like I don’t know if people are interested to see that. But like, imagine taking all the big names from this this this time of like in 2023. And like creating this over the top crazy movie with everybody’s in. It could be, it could be a good sample of like what was born in 2020 you know?

Dallas 50:22
Right right I mean those those are the original two are still monster sellers on our site. So there’s still at least some audience out there for it for sure. For sure. So if you did if someone said Hey Ricky, do pirates three do you have any like, sort of off the cuff ideas about what you’d like to do with it?

Ricky Greenwood 50:41
catches me off guard is I don’t I don’t have a hard question. I know. Yeah, it just I will have to sit down on the left to watch the other to see what it goes. We’ll have to watch part of the Caribbean because I think I only watched like the first or second ones. I don’t know what else is like, I know the original two were babies kind of vaguely out of that. So like, but like it’s like it’s also like scary because like generally pirate movie or curse, especially in Hollywood is it’s a thing is like when you when you do a pirate movie, you get cursed forever, like most of them right? Most of the polvere Reuven was trying to do a pirate movie for years and he never had a chance to do it. He always always something bad happened and he had to, to redo it and push it push it away, but like, so, like, I will be I will be surprised you to do. I will have to watch but like I think it will be I will have to think about it more deeply. But like, it’s something that I will for sure. Like, jump on it and be like, yes, let’s do it. Let’s do it prior three but like, it will be with me. I think it will be a nightmare. I think I will have a lot of life. I will have a lot of long nights not sleeping and like stressing the need to be careful with the stress of my buddy those days. I’m 41 years old. So like

Dallas 52:07
right, right exactly that one would require a lot of energy it was was speaking of sequels and part parts three or part threes. You of course did a great series called Confessions of a central nun, which I think had two installments. And I know at the time that part two came out you intimated that you kind of envisioned that as a trilogy. So will there be a part three someday is that still a possibility?

Ricky Greenwood 52:30
There’s I don’t think it will happen the thing the thing is like with the credit card problem that you know like they’re very very into what we’re doing think the first one that the second one was very good and it was planned to happen and the backlash from credit card and from people that are like you push a bit too much you play against your religion and everything I think that like slow down the project a little bit the script and the script kind of like it’s not it’s not exactly the same but it’s kind of like a I think we did like under the veil as is kind of like it’s not it’s not the third one because it’s not it’s not attached you to the same storyline but like it had some elements that it was planned to be done in the third one that like when I rewrote the rewrite the script and also like I don’t think now it’s so so far away like this like I don’t even know like Kana and shirts still performing we’ll have to see we have to figure it out what nothin St Michael would happen and I think I think Mona is like I will have to see what Mona is doing also it is there another like people that they’re really active in the industry right now I’m pretty sure the active on the only fan on their platform. But like I don’t know if like they will be interested to come back and do a third one I’m pretty sure because the story was fun and the character was amazing. And but but where I want to where we’re about to push the story and that’s why they when they read the script for the third one it was like it was more like more like a nonce permutation and any create a create problem like the character of shortstop leash is the original version was a character stokeley was like she chose to play as is trapped in the basement and dare thinking that she’s a demon or she’s the Antichrist. So they send the Vatican sin like they’re like non to expect her and it was supposed to be played by Valentina nappy, and, and like so they sent her to dare to inspect the nun and and she was the Antichrist so she kind of just our position is so strong that she’s like kind of cast a spell to the old convent and now everybody is like having like sexual Tarth and sexual desire and say but well now that’s where the problem came to because now if she’s sending demonic like vibe to other people that’s me now those people having sex without consenting having sex and now that’s the credit cards is not like one that and obviously, they will have like, because it’s an expectation you will have like, the church will have to like proceed on like way to exhaust this the her and I would create some like torture and stuff like that that could not also not pass the board of the credit card company so like it was very very problematic in the sense that the movie was like doing because I was I was trying to do something more like the devil’s can rustle the devil or like, or something more like fluffy or the erratic that is come back from DOS, DOS area so like those two movie that I really enjoy that I was trying to bring back and like and do something more in that vein, but like yeah, is like it was becoming too too problematic. So we just decided to to not doing it and I didn’t want to do just another third one would dinner with you makes no sense or like two because I feel that the first one was like we have a little bit of like it was more passionate more more nice and the more like anybody was going there like you have the scene with like a Leo Adams in Charlotte when you do the inspection you can tell and Mona and Nina are like very creepy ish in that so you have some that creepy vibe but it was not too much because we were kind of like dipping our toes into that that genre and we didn’t want to offend too many people. When we did the second one. I pushed the envelope more like you know that she get whip at the end of it. Mona get torture in this chamber. Bye. Bye Madeline’s and Michael. And so we have those moment, but like, you can tell that at that moment, we kind of reach where we can push we after that. But I think the SEC, the third one needs to push further on. So like so I pushing by pushing too far like that, I think it will be like not possible to produce and and we are really in an agile type of telling story.

Dallas 57:45
Right, right. It’s a good point you raise that I think a lot of fans don’t really think about the the role that credit card processors have and influencing content, because they have these certain rules. And you know, they’re the ones processing the payments. And if they don’t like something, it’s really kind of means that you know, we can’t we can’t see it.

Ricky Greenwood 58:00
Because they closed down your website, they stuck to the steps that said like, because it’s not really a rules, they just say that like, well, we’re not supporting that. So we retracting ourselves out of the process. And now you like how can people subscribe to the website if they can I use their credit card? So like so like so now he that’s why they are controlling the porn industry because it’s just like, we cannot have an if we have another way of processing the money and people like what people were sending. I think we can be more free. But for now, it’s just like, it’s crazy that like it just like it’s a movie. You know, like I’m making a movie I’m telling a story. I’m not like, I’m not torturing her for real. I know, like whipping her for real. Like just like, she’s not really about possessed by a demon. It’s just like, it’s all fake. It’s all like, like, it was the same thing when we did. When we did the Blue Moon Blue Moon rising. I was not allowed to have Tommy pistol having sex with the werewolf, because it will be bestiality. Still, like silly. It’s so werewolf it’s it’s like come on, it doesn’t exist. Like is like it was not allowed the credit card will not allowed it. So like because you have to wear some kind of like, okay, you have to play with the rules, but like, I just I just feel sad that it’s a movie. I’m just telling a story, just like none of this is real. You have like, you have the paperwork that say that it’s the fake that everybody was consenting to play the role of what we’re doing, you know, is this kind of like, Yeah, this is the I guess we have but we have to play with those things also because we want to have like, you know, like we’re we’re doing it most of the studio are doing it in a way that it’s Even in in fake and like respecting the thing where you buy if you allow it and open it to everybody’s doing it like you can control the fact that the people that like doing that that safe or they don’t do it like the right way or something and like now by stepping everybody you make sure that everybody is it’s a way of making sure that everybody is safe so we kind of we need it but it’s frustrating.

Dallas 1:00:25
Right right. Absolutely. Well I know we’re running short on time here but I did as we wind down here what to give you a chance first of all, just to talk about any other awesome projects you have coming up in addition of course to more that’s that’s going to be available for fans to watch and also let people know where they can find you on social media and follow your latest venture good that’s

Ricky Greenwood 1:00:46
social media we’ll have to do a second because I don’t know my thing is Ricky Greenwood. For my insert my Instagram is recruit Greenwood X and my on my Twitter is like x Ricky Greenwood X or visit Versa, like you can find me and if you Google my name you will get and Twitter that’s better where I’m very bad social media project I have couple of nice stuff for me. The EMF we have we just released something on digital playground called machine gunner. That is coming out. We just released we have some cool stuff coming for parasite anti gamma is also coming. So like a lot of cool stuffs coming Dorsa for sure more. And we did for Dorsa we also did I think it will come out in January. We just did a show kind of like a movie cooking movie that was challenging. So like, like the owner of a restaurant and like they finally love each other by like building the restaurant and it’s we have Christie Canyon playing a cameo in it. So like it’s very funny I that’s the thing that I did recently like machine gunner, we had Urschel savage playing the general in it. So like I reached out to the player general. For the for gamma we had ginger Lynn playing and none. And for for Dorsa we have Christie Canyon, and Carrie Arlen also playing so it’s kind of like my, my thank you or like appreciation to like those, those people that like I see and grew up with. So like I’m really, really happy to have a chance to ask them and also say, like, I have a chance to direct them in a movie, even if it’s not as sexy.

Dallas 1:02:56
Right? And I think those are the sorts of things that big porn fans appreciate to you know, those references to the history into the classic stars, you know, going back

Ricky Greenwood 1:03:05
it just like it just like it just like imagine you watch a movie and you just like, you know, often you just go online. He’s like, Oh, I’m wondering what she looks like now what she’s doing now and stuff like that. And now I was just like, oh, it’s fun to see her back and enrolled in having just like, being back in in just like, Oh, I remember. I remember watching movies with her young when I was younger and stuff like that. So I think it’s fun. But like, and I have a couple of other project coming out we have we trying to do an hour Nora movie that like is kind of like very funny with Tammy pessoa and Anna Fox, it’s a short film that we did, I think it will be released in on YouTube. And it will be it’s a fun, fun gory zombie movie that we just did for fun so that’d be cool. And then obviously next year, and for Dorsa we have so we have the cooking one and we have also another blockbuster shoe we should start shooting in October that was I will say it start in the lead is Victor of boxers only thing I can say we’re like, delete is Victor EVOX. And he will be it will be a very, very fun it’s a general that I never work on before and very challenging. So like I’m very happy to do that.

Dallas 1:04:29
Very nice and so that one will be coming out but at the end of the year or maybe you can’t even say that

Ricky Greenwood 1:04:34
it will be out it will be the same thing as same time as more. We did more like what we shot more in November 2022. So like those movie takes a long time to be released. So like I will say that movie which should in October will probably be released around like August August so like next year, so or July then around those times. Okay, very

Dallas 1:04:59
nice very nice. Well Ricky Greenwood the movie is more from Dora Sal. People should check it out. And check out your full filmography at adult empire.com as well. Thank you so much for being with us today. We really appreciate you taking some time to be on our podcast.

Ricky Greenwood 1:05:14
Thank you very much.

Speaker 1 1:05:16
Thanks for listening to the adult Empire podcast and thanks to Ricky Greenwood. Don’t forget to subscribe and rate follow us on social media. And of course, make sure to visit adult empire.com For all of your porn needs, including a full range of streaming videos, adult DVD, Sex Toys and More.

Transcribed by https://otter.ai

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