Adult Site Broker Talk Episode 99 with Norman Jean of Junk Productions

Adult Site Broker Talk Episode 99 with Norman Jean of Junk Productions

Bruce F., host of Adult Site Broker Talk and CEO of Adult Site Broker, the leading adult website broker, who is known as the company to sell adult sites, is pleased to welcome Norman Jean from Junk Productions to Adult Site Broker Talk.

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Listen to Norman Jean from Junk Productions on Adult Site Broker Talk, starting today at

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Speaker 1 (0s): This is Bruce Friedman of adult site broker, and welcome to adult sidte broker talk, where each week we interview one of the movers and shakers of the adult industry and we give you a tip on buying and selling websites. This week. We'll be speaking with Norman Jean of junk productions. ASB marketplace is the first platform where you can buy and sell adult sites and domains for free ASB Marketplace allows buyers and sellers, the chance to come together on properties that are valued below our company's minimum of $50,000. Don't pay for other marketplaces. When ASB marketplace gives you this service for free visit ASB and sign up as a seller or a buyer today. And of course there's ASB cash. The first affiliate program for an adult website brokerage, where you can earn as much as 20% of our broker commission, referring sellers and buyers to us at adult site broker. Check out ASB cash dot com for more details and to sign up.

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Their main developer is available to continue as a contractor only $372,000. Now time for this week's interview, I guess today in adults site broker talk is Norman Jean of junk productions. Norman, thanks for being with us today on adult side broker talk.

Speaker 2 (2m 53s): Thank you, Bruce. I look forward to our conversation.

Speaker 1 (2m 56s): I do too. Now, Norman is the filmmaker behind junk XXX, a new experimental production company that focuses on creating high quality story-based adult content. He splits his time between LA and Portland, Oregon. John productions is a relatively new and experimental production company. And Norman, why did you decide to start creating adult content?

Speaker 2 (3m 19s): Most of the opportunity from a young age, I've been interested in adult content. And I started working on mainstream film sets about five or six years ago. Okay. Normally in lighting and grip or camera. And when we were prepping or when we had downtime, a lot of the crew members would talk about various types of content and of course, adult was included and it was just, we agreed that there was a lot of potential that wasn't being explored in a dog, perhaps more so than in mainstream.

So I put some thought into it and I kind of started to figure out a way to express other ideas, perhaps through adult, a lot of the adult content. In my opinion, these days falls into one of two categories. I guess you can call them John eras, the first being amateur, which is basically realistic pornography filmed without too much technical complexity, normally on an iPhone or a laptop computer.

And it's great. I mean, a lot of his content is really good. It's demanded people love it because it is realistic and it's very erotic. And then on the other side of the spectrum, you have produced the dot content from what I've seen. A lot of it takes place in this fantasy environment, which I guess you can call slapstick, which is basically content with characters that kind of exist in a world. That is not reality. It's not the world that we know it. Men active from the women.

Speaker 1 (4m 57s): Yeah. Wait, do you mean, you mean, if I'm delivering pizza to this hot chick, she's not going to suck my Dick and let me fuck her in the ass.

Speaker 2 (5m 5s): Well, So I kind of saw an opportunity to kind of meet a little bit midway and produce something that maybe our call hyperreal, which is basically trying to come off as realistic as possible yet doing so by leveraging certain tools of cinema, some of them being cinematography and sound and dramatic structure and adding depth to the characters, intention, obstacles, stakes, potential consequences for performing some sexual actions.

So at the end of the day, I think, I think there's a ton of creative opportunity in the adult space. And I feel like that's kind of existed because there is some taboo with a lot of creative it's about entering the space. And that's something that I've always been attracted to was art. That is kind of a little bit taboo art that makes people think, and that opens up your mind to new experiences because in that way, you can better learn about yourself.

So I started junk about a year ago, I guess the first shoot was in September, 2020, and maybe September, October, and since I've shot about 20 videos and every video is different. That's why I call it an experiment for company. We're an experimental production company. I don't at least at this moment in time, I'm more interested in exploring certain ideas and certain creative, creative expressions, rather than focusing on the specific niche, which is probably worse for business, but it's more stimulating for me at this moment.

Speaker 1 (7m 1s): There you go. Well, I got to say, you know, you sent me some samples and I found your content interesting as hack. And I thought it was, was very, very good for the viewer. I'm not the normal porn viewer, so maybe I'm not the best person to judge, but then again, maybe the normal porn viewer viewer would not be your target audience.

Speaker 2 (7m 29s): Yeah. I highly doubt it. The first one, there was such a small group, small market upon viewers that pay for pornography. And then within that group, I feel like the audience that is attracted to my type of content is a mere fraction of that. So far the feedback has been really interesting. It's kind of a love, hate relationship. There's some people that are very loyal to think that loved watching the content.

And there's a lot of people that think this is the worst thing to happen in adult since its inception. I mean, I don't read the comments anymore, but some of the comments are absolutely horrendous, but I mean, a lot of people reach out and say, Yeah, I mean, Yeah, because not all my content is masturbation friendlies. So if there is a part of viewer that stumbles across a video, hoping to get off from that, it's more likely that it's actually going to turn them off and turn them on.

In some cases, not in all cases. I mean, you prevent someone from achieving a task. They're going to perceive you as a threat to behavior. Yeah.

Speaker 1 (8m 45s): Yeah. The one I, the one I saw that I saw that ends in a double murder. I can't see anybody masturbating to that.

Speaker 2 (8m 55s): No, but, but again, I, I'm not going to incorporate any violence. It's sexual in nature. That's not what I'm interested in. All the violence that I incorporate is strategically placed in a more in the narrative or dramatic side of it. And that's kind of based on the hyper reality of it is that you're going to think of characters is more realistic when there's actually consequences. And most characters actually have stakes. So if some, if a female or a woman or anyone, but if the pursue a sexual act, knowing that there's potential consequences and they have something to lose, and then that consequence happens.

I mean, it's clearly not a fantasy because something similar could easily happen in the real world. Right. So that's one tool, I guess, to help create a more realistic story.

Speaker 1 (9m 51s): So how has your experience shooting adult content been so far?

Speaker 2 (9m 55s): It's been good. I mean, I definitely can't complain. It's difficult coming into this. I would have thought that shooting a sex scene would be simple because the characters are generally in a specific area. That's manageable, there's actors running around and going through certain passengers or something like that. But it's really tough. I mean, there's a lot of, there's a lot of impediments to doing things with continuity.

So in the beginning, I mean, you kind of have to cut during the same motion. If you want to pick up on it, you have to manage your performers in a way where they can stay aroused, which is ultra difficult. Yeah. And I feel like there's definitely a trade off between going for angles or going for chemistry. And I haven't found a way to mesh both. So what I generally do now is go for chemistry where in the beginning I would go more for angles where we were shooting.

We were shooting a specific angle that made the performers look really good, made the frame look really nice. And then he would kind of cut, move a light around or something like that, then pick up. But the last, I would say seven or eight things I've shot. I've done. So with complete continuity. So I just thought that the performers go at it and then I'm there with the camera. And I maybe in the middle, I have to move some things around here or there, but I generally tend to pick back up where we could edit a continuous tank if I had more time on set and more prep time.

That could definitely change. But right now with the resources I'm working with, our shoots are very quick. So it's definitely tough. I feel like I'm improving every shoot as I'm getting experience. I give the creatives in the industry that I've been working in this industry, a lot of credit for putting out the content they've put out over the past few decades because it is not easy. Yeah.

Yeah. And especially just keeping up the chemistry. I mean, a lot of porn viewers, I don't think realize the difficulty that goes into performing sexual acts on camera. It's not just like two people having sex and a camera guy. I mean, if you, if you want to make it look good, you're going to have to, you're going to have to manipulate the performance a little bit. You're going to have to establish an environment on set that is very open, very safe, very positive and let the performers work in the best way possible.

Speaker 1 (12m 38s): Sure, sure. Now your content and you just alluded to this a little bit ago, your content often often focuses on the reality of the consequences of sexual acts. Why not just focus on the fantasy?

Speaker 2 (12m 52s): I think there was more to explore with a fantasy with, with the actual idea on a fantasy. I mean, what is fantasy in a way, some people would define it as something that is a dream-like or something that's with imagination, but in a way it's actually a form of control expression. Whereas humans, we tend to do to run our decisions based on power, whether that means power of ideas or power of physicality and control is a major part of the biological need to express power.

And fantasy is a major part of being able to control your, your mood and your attitude and your, your emotions. So I feel like there's a lot that has not been explored in adult content when you're not creating something that's completely in a fantasy world almost by, by almost by removing the fantasy from it, but making it a core core part of actual story.

You're showing people that fantasy is deeper than previously thought. So in a way it's kind of an exploration

Speaker 1 (14m 21s): Philosophical. Wow.

Speaker 2 (14m 24s): I mean, in one way, but in a way it's very simple. It's like, if you interrupt someone's fantasy, how do they react? They're going to react in a way. And then question, why did we react in that way? And then maybe learn a little bit more about themselves from doing that

Speaker 1 (14m 40s): Interesting. So you hesitate to call your work pornography, but rather adult content. What do you see as the difference?

Speaker 2 (14m 50s): I think ident of the day is something that appeals to the animal brain where adult content is content that features two people having sex or alluding to some sexual action or two people or one person or whatever that is nude, I guess, or, or that entices the viewer sexually or arouses them or stimulates that part of the brain. But you could be aroused.

Your animal brain is not the only part that could be around the emotional side of it could also cause arousal. I mean, you see that in Hollywood, certain things that aren't sex-based at all, you see it with violence, you see it with romance. I mean a romcom, that's a way to arouse stimulation out of the brain. So I would define pornography as something that is focused on appealing to the animal brain. And I think adult content. So a little bit bigger where there's some adult content that's been created over the past, maybe five or 10 years, that tries to be a little bit more mainstream or tries to appeal a little bit more to the emotions or the outer brain of the individual.

And I think, I, I definitely think that there there's a difference, but I also hope to find some medium where you could appeal to both. And when I started coming up with what I wanted the junk to be, I was really hoping that I would be able to find that pretty quickly, but it turns out that it's harder than originally thought because when so much energy is going into that core animal brain to get off, it's very difficult to shift someone someone's perception to something larger than that.

It's almost like when someone wants to get off, you can't stop it from doing so like that Robin Williams quote, I don't know the quote specifically, but like we only have enough blood in our bodies to either go towards our PNS or our genitals or to our brain. Not both

Speaker 1 (16m 58s): I'm sure, whatever I'm sure, whatever w whatever he said, it was hilarious. I remember seeing him in one man show quite a few years before he passed and a man was brilliant, man was absolutely brilliant. By the way, there's also been an effort more and more platforms are targeting their content towards women. Would you say that your content is targeted more towards women than a normal normal porn?

Speaker 2 (17m 30s): Maybe in a way, I definitely am interested in exploring that. I mean, women definitely react very differently. Their brains react very differently in a sexual setting where the man's brain is more about the physicality and the woman's brain, their body, and their mind kind of has to connect in order achieve arousal and sexual stimulation. So, I mean, that could definitely be a factor that's limiting for the content as a now is that I am trying to appeal to a straight male in a way, because that's what I know.

I mean, I kind of shoot content that I would like that's, that's how I create things, but I definitely think that there, there's definitely something to that

Speaker 1 (18m 22s): Maybe you need to bring So female, maybe you need to bring in some female co-producers

Speaker 2 (18m 28s): I would love that. I've actually, I've been trying to find a female performer to be a partner in this production company for a while, even before I started, when I went to is before COVID in 2019, I guess that was one of my main goals, but I wasn't able to find someone that our goals or creative values aligned, but that's definitely something that I'm ultra open to in the future, because I think that the combination of the male and female perspective is crucial to creating adult content.

That's more universal.

Speaker 1 (19m 4s): Yeah, absolutely. So where would you like to see adult content go in the future?

Speaker 2 (19m 11s): I would like to see, well, I, I like what a lot of people are doing on the pornography side. Like, I mean, disciples of desire, for instance, I think he kind of created their own niche in the one side of the spectrum. That's where I would consider pornography or appealing to the animal brain with their visuals, with their rawness. It's, it's hardcore. That's not, it's dirty, but it's not, it's, it's, it's high class in a way, which I really like on the author.

And you have producers like the adult time originals or lost or transsexual that are definitely trying to go the more mainstream route and appeal to emotions. And I think that the industry is making good progress. I think the goal, the end goal that I would love is that if there is a type of adult content that could be created, that could end up on Netflix or that could end up end up on Amazon prime, because that would

Speaker 1 (20m 19s): Open

Speaker 2 (20m 19s): Up. Yeah. That would open up a brand new market. And I think that there's potential there. I mean, in 2020, if you look at like the top 15 or top 20 titles on Netflix, three of them were incredibly sexual. One of them was loved by Gasper Noah, which was a movie that was shot a few years ago, a few years before 2020. But for some reason, people were, I guess, during quarantine and were looking for something more sexual.

So that was your to Todd and then Lars volunteers nymphomaniac, which was a two part movie by like four and a half, five hours in total, incredibly sexual, there was real sex going on with you. What he did was they actually use European porn performers and then the VFX mainstream performers face Charlotte Gainsbourg. But I mean, you watch nymphomaniac and there's artifices going into artifices and it's extremely, yeah, it's extremely erotic.

It appeals to both the emotion, no part of the brain, it appeals to the animal brain. And there's something that he was able to explore that was incredibly universal to the human experience.

Speaker 1 (21m 41s): Cool. So what are some impediments that restrict progress in the adult space?

Speaker 2 (21m 47s): Yeah, I think, I think the impediments are strong that hold that, hold that back, how the industry is set up and for good reason is to protect the exploitation in many cases of performers because they're vulnerable. I mean, when you hire someone that is going to on-camera strip naked and do something, that's very private, a very private part of them. There's a lot of vulnerability and you need certain types of systems and certain types of structures to make them feel as secure as possible.

I mean, it's very difficult to create content and plan content that is a little bit more complicated because of time and money. Generally, when you hire a performer, you get them for a certain rate for the day. That's a certain amount of hours. In some cases you could send them scripts beforehand and talk to them, but you don't have that same pre production window as you do with something mainstream generally.

And that's based on the economics of the industry. I'm not an expert on this. I mean, I've only been selling my content for about six or seven months, but from what I see, you need to create content very frequently in order to build your market. And when you have to, when you're, when you're pressured to create frequent content, you have to spend less time and less resources on each specific piece of content, which means that there's just less development time. Right? I mean then for maniac, Lars Von chair wrote that I don't know how long it took him to wrote it.

I assume it was like, the idea was at least in his brain for at least a year in the pre-production period probably took six to eight months. Then they were probably shooting for two or three months. Right. So of course that's a long, that's a long movie, but I mean the amount of thought and resources and collaboration that went into that is unheard of an adult because the economics are just completely different.

Speaker 1 (23m 57s): Yes.

Speaker 2 (23m 58s): So I, I think that that will change if slowly adult is able to make progress more to the mainstream, if there's distribution channels that could hit more eyes through the streaming services. I think that that would open up a lot of potential opportunity to put more resources and spend more time in specific pieces of content.

Speaker 1 (24m 25s): Sure. And don't believe for a second that the executives aren't aware of what you just said about, you know, three of the top 10 being sexual movies, they know.

Speaker 2 (24m 36s): Yeah. I forgot the third one, but it was, it was God. Yeah. The one that came out, it was kind of like a 50 shades of gray, but like the Italian version.

Speaker 1 (24m 46s): Mm, nice. Well, and we know how 50 shades did. So why does so much porn look the same?

Speaker 2 (24m 56s): You know, I think I've recently figured, or this got some insight into it. I was talking to someone else. And you said the difference between porn and erotica is the lighting in a way I agreed, but then I'm like, well, that's not really the lighting lighting. That's a side effect of the difference. Whereas what you're really doing with camera and lighting and a visual is that you're giving the audience something to focus on because when you focus on something you're, you're, you're able to, I hate the term manipulate, but that's kind of what you're doing.

So when you're filming something, that's more like pornography that appeals to the animal brain. I mean, the physical aspects of that focus are really what's important. So you're going to have a lot of just lighting from the front or soft lighting or lighting that really shows the person's body without shadow or something like that. But when you're creating content that appeals more to the motion, you're going to generally change the lighting to help focus the audience's attention on specific parts of the performers and create a mood.

So you might shift the lighting from the front to the back or to the sides to create shadows on the face and attract the viewer to the eyes of the performer, rather than the penis and vagina, the S or the body. If you're trying to create a mood where there's some conflict, or whether that's internal conflict or external conflict, it's going to be very difficult to do that. If you're going to light to highlight a physical body, I mean, you kind of see that in like comedy, like curb, your enthusiasm, or like a Wolf Pharaoh movies, or like a Seinfeld, the lighting generally very flat, and it looks like a sitcom, but you won't see a drama that looks like that.

I mean, take them to the arrival or something. Some w when you're appealing to emotion, you ha generally you want to establish conflict because conflict leads to change. And that, that leads to figuring out truth. So, Sorry, interest. I think that as, yeah, I mean, I think that as adult moves more into closer to the mainstream to mainstream narrative mainstream drama, I think you're going to definitely see a change of lighting.

And then also a lot of it comes down to technical ability. It took me, I mean, I've been working with camera and lighting since high school, which was 4, 12, 14 years ago. I don't know, no longer than that, about 15 years. So I probably have at least a decade of experience with photography and lighting that I'm able to bring onto the set and be able to create a look that I'm in control of without any crew.

I feel like a lot of adult content, the shift from something that is more pornography to something that is a little bit more mainstream is somewhat new and people are still learning and trying to figure out how to get the look that they're trying to achieve.

Speaker 1 (28m 16s): So what prevents a creator from improving the look and feel, and making it appear more like a mainstream narrative content as it is in mostly money,

Speaker 2 (28m 28s): Maybe money is the wrong word. It's resources are definitely a new tractor. I mean, you look at the credits at the end of a movie that looks great, and there's hundreds, if not thousands of people on it. And each of those people are, are doing something for them, even the producers. I mean the location manager, that's a huge part of it. I

Speaker 1 (28m 46s): Mean,

Speaker 2 (28m 46s): Without a good location, that's ridiculously difficult to make something look good. That doesn't mean it needs to be like a ridiculously complicated location. You look at like the move to a marriage story to be shot in an all white one, two bedroom apartment, and they made it look good, but that vocation was still instrumental. Also, Bobby Ryan is one of the greatest cinematographers that ever existed. So resources are definitely a part of it, but I think what's more important almost is the creative desire to do something that looks that has an emotional pull.

If you're trying to create a specific emotion, that's not just erotic that choice to create a mood and a turnout. You're going to explore the light with how the lighting impacts that more. So part of it is definitely based on resources, money, time crew. There's definitely some like what I should generally I should alone. So the lighting is never perfect. It's very rare that it's perfect.

I would always, if I had crew in Ohio time, I could improve it on every single shot, a hundred percent sure. But you have to come up with a medium. Okay. Well, if I shift the light there, if I have to rig it up there, that's going to take an hour. So no, I'm not going to be able to do that. But if I move the light there and use that, or that type of stand or pose some diffusion on it, or use a specific accessory, I mean, I can create something that looks decent in five, 10 minutes, and then it's also during the actual sexy. And how long do you want to make the actors wait, when you're changing angles

Speaker 1 (30m 28s): To keep it hard?

Speaker 2 (30m 29s): Yeah, that's a huge part of it. So what I, what I generally do that, the last thing I shot, I just lit from above. I mean, I put two bulbs up above the performers and I put China balls, put them in like China balls to soften them up. And then I put some black around the China boss to stop the spill off the wall. And I didn't have to change the lighting at all. And that soft light from above is probably the key of making it look cinematic and cutting time. Something like you would see in house of cards or like a modern David Fincher movie or a David Fincher series.

What they do is that they put big soft boxes above this set and then black and the sights of skirted off the wall. And maybe on closeups, they'll bring in a light and they'll create some modeling on a face, but a lot of it is so simple, but to get that you're having 30 or 40 people come in before set with ladders and they're building, what's it called? It's on the ceiling frames on the ceiling to hang lights from, and electricians are using generators and cable ties and all of a sudden, so it's, it's definitely, it's definitely difficult, but the more resources put into it, the more the content is trying to appeal towards emotion.

The better the look of the content is going to be

Speaker 1 (31m 50s): Right. So what are some lessons you've learned since working in adult?

Speaker 2 (31m 55s): There's definitely a lot. I definitely become better at like set management of working with performers, which is a big thing. I I've kind of shifted the content a little bit to match what this, the feedback I'm getting from the audience, which I'm not so sure it's a good thing or a bad thing yet. I think that there's a lesson that I'm starting to learn that I'm not exactly sure how to proceed, but I think that when you're making a duct content, there's a specific power of the content that mainstream doesn't have that power mainstream has a different power.

Mainstream has power over your emotions, but you could create some adult content. I could definitely fuck some people up. You can make them like you can make content that makes them think that certain things are acceptable. You can make people think that certain things are approved or even desired by a woman.

Speaker 1 (32m 58s): And that has happened. Yeah.

Speaker 2 (33m 0s): Yeah. So I definitely think that, like before I got into porn, you asked me do ethics and art have anything to do with another, I would've said no, there was no room for ethics and art. And in a way I kind of still believe that. But I think pornography, when you're, when you're making pornography or adult content, I think you have to take some responsibility for it. So if you're going to show something that you think could be damaging to an audience and an impact, the negativity, I'm fine with sharing it as long as you're discussing it with them.

At some point, like I, I heard that I haven't actually seen this in person, but I've heard that Brie mills on some of her productions afterwards sits down and like has an interview and talks about the content and what can go wrong with it or how it should be perceived and how the actors are just acting and all this stuff. So I think there's definitely more responsibility that an adult content creator should take that doesn't mean that they should be prevented from exploring the things that they want to explore, because that freedom is ridiculously important and the progress of the human race.

Right. But I think there's a way to do it in a healthy way.

Speaker 1 (34m 16s): Absolutely. Absolutely. So networking is a big part of growth. Who would you like to connect with in the adult space and how can you offer a value to them?

Speaker 2 (34m 28s): Yeah, so I basically have two goals. My first goal is to be able to create content, my own content with more resources right now. Like I mentioned, most of my shoots, I'm, I'm the only person on set alongside the performers and it definitely restricts what I'm able to do and what I'm able to explore. So I would love to connect with an investor or a partner that would like to explore this experimental type of adult content with me.

And secondly, I would love to be utilized by other producers and directors in the adult industry to help them achieve and create content that is good quality and is closer to what they really want to explore. I mean, I would love to take my experience and mainstream and help other producers and directors create their own content. So next year I'm definitely going to look to potentially shoot for other companies with budgets, but I have myself and that can mean as a director that could mean as a cinematographer slash production designer.

So we'll see where it leads. But I definitely think, I definitely want to be a part of the growth of this industry, because I think that there's a lot of really beneficial, valuable things that will happen over the next few decades. And I look forward to it.

Speaker 1 (36m 4s): Yeah. I should mention we're doing this early in December and it's going, going to run in the spring of, of 20, 22, you know, and obviously part of that is, is going to shows and talking to people.

Speaker 2 (36m 20s): Yeah, definitely. So I'll be at M X biz 2020 to

Speaker 1 (36m 24s): See you there.

Speaker 2 (36m 25s): Yeah. And the internet and I guess AVN,

Speaker 1 (36m 30s): No we've already happened when this runs, but I'll see you there. Definitely. Yeah.

Speaker 2 (36m 34s): I mean, it's always great to connect with others in the industry because yes, a lot of people that aren't in the industry kind of perceive the people that work in adult as being something. And that's something that's so different from what the actually are. And I was guilty of that also. I mean, before I got into the industry, I definitely made assumptions about the types of people that worked in the industry and everything. And I first event that I went to was vices, nice party in Chatsworth.

I forgot her name, but it's a charitable event. That's run by the former president of penthouse. And it was so cool. It was such a cool event because not only did I see people that I knew their work cause I've seen them before everyone was so nice. They were so accepting. They were friendly, not with the ego that you get in. Like if you go to like a Hollywood party or anything like that, where people are scared to go talk to some people then just

Speaker 1 (37m 34s): Can imagine.

Speaker 2 (37m 36s): Yeah. I mean, like if you're someone that isn't famous and you go off to someone that is, I mean, every single person at the party is going to turn their head and observe the reaction. Is she going to just, it's insane. The politics in mainstream and it's, it's not comfortable. I mean, it's not, it's not real, whereas I felt that adult or industry, but there's definitely something of like a comradery.

Cause it's such a small industry where people are just,

Speaker 1 (38m 11s): And we're under attack. So it's not only, it's a small industry. It's, there's so much noise from the outside that we pulled together and we become a family.

Speaker 2 (38m 22s): Yeah. And then Teligent is crazy. I mean, I I've met so many people in adult that are so smart in such shrewd business people Philosophically. No for sure. And so philosophical and deed and have their shit together in a way To find, I mean, in a way, if you get into this industry, especially as a performer, but you kind of have to have developed certain understandings about yourself, certain habits that allow you to remain sane while doing this.

And that generally means that a lot of the people have put a lot of work into themselves. And when that happens, you generally have a healthy environment.

Speaker 1 (39m 7s): Sure, absolutely. So who've been some of your favorite collaborators thus far.

Speaker 2 (39m 14s): Yeah. As agents mark Schechter has been great. And he's been a huge help, especially early on. He's always on top of his game, always eager to help Sandra from OSI modeling is, is great. I work with them basically exclusively now because they just make my life so much easier. And the roster's awesome. I mean, combine both companies, I mean, especially in Los Angeles, there's so many different types of performers that always show up on time and are professional.

And then if something happens in night before or whatever, I mean, they're always there to find solutions.

Speaker 1 (39m 55s): Yeah. Mark. I remember when mark was starting this company after he sold his previous company and it's man, it's come a long way. It's been about 10 years.

Speaker 2 (40m 8s): Oh, wow. Yeah. Yeah. As performers, Vanna Bardot was the star of my first two. So I give her, she was awesome. I love her. She's an amazing amazingly talented performer. And I'm grateful that she was willing to come on with a completely new director, which was kind of a little bit unexpected because she's been in the industry a long time and she's shot up.

I mean, I think that she's nominated this year for a performer of the year. I think she has. She definitely has some big nominations. So van has been in two of my productions. I loved, I mean, everyone that I've worked with has been amazing. I think Chloe Capri has a ton of talent, not just talent with adult, but I think she has a lot of mainstream potential also. And I would love to see her try and leverage that as for male performers.

I've worked with Chris Blackwood multiple times who are really like ultra professional has a great body, has a great face, good actor. He's great. Giovanni Francesco. I've worked with twice and I'm definitely going to work with him again. He's with ATM and he has a look to him. It's very unique. Kind of like a GI Joe look kind of like can like Barbie and Ken, but he's an amazing performer is incredibly, he has incredible depth with what he could do.

Scotty P I've worked with him once, but I'm working with him on a project in a few weeks who is awesome. I mean, my favorite scene I've ever shot, I think was with Scotty P and a female performer Keller, Nicole, that is, she represents herself or she is awesome. I mean the amount of energy that she put into the scene was insane. And the other, I don't think I could've done that project. It's called the day in the hood. I don't think I could have done that project casting the way that I wanted to, if I cast it anyone other than those two Scotty P and telling the call.

So, I mean, I liked to explore performers because I haven't been doing this that long. So I want to use new girls and I want to use new guys because it helps me grow my network and it's fun meeting new people. So yeah. I mean, I know one that I've worked with yet has been an issue everyone's been great. So I'm grateful for that.

Speaker 1 (42m 53s): And I wanted to ask you a question you've worked in mainstream a lot and now you've worked in adult a bit. How's the acting ability of the adult performers.

Speaker 2 (43m 2s): Yeah. I think it's better per capita and mainstream by solid margin. Yeah. I think that the reason why adult performers get a lot of shit for acting is a few reasons. One, well, there's not as much prep too. There's not as much complexity in the characters. And how could you act when you don't deeply understand the character? I mean, in a way, what act good acting is it's like you have a CA you have the story of a person or a character when whatever you're making that say you have a feature movie.

Okay, well, that's a hundred, 120 pages of a story. What the actor brings to the table is that they're able to express to the audience, the other 500 pages of that story that are not presented in the movie through their eyes. Whereas the audience understands that character through the character or the actor's understanding of that character. And that's projected to us through their eyes generally and through of course, through their voice and through their actions and their body language and everything, but mostly through the eyes.

So you can not expect a good performance out of an actor if there is no character depth. And if there's no intention or obstacle of a scene, if there's no clear desire. And a lot of that takes time. I mean, I, I'm working on a mainstream project right now with an adult performer that I'm really about, and we're meeting at least once or twice a week to just talk about character for three hours sometimes.

And we're literally creating a whole life for this character since early, early, early childhood. We're talking about five years old up until the current age. It's like 35. And we're getting a complete understanding of the backstory of intentions of trauma of the ego, the identity, and is all that going to be in the movie? No, of course I'm a very, very, very, very small part of that is, but understanding that character is incredibly important to not only the writing process, but also

Speaker 1 (45m 17s): Absolutely. So what are your plans for a junk production's going forward?

Speaker 2 (45m 24s): I hope, I mean, the plan is keep on making experiments or content, hopefully getting more resources to be able to expand on that content, to make it longer, to make it more complicated or not complicated, but more complex. And to make it look and sound much better than it currently does. The goal is to make it as good as anything that I would do mainstream resources into it.

Sure. I'm planning two productions over the next few weeks. One of them is a trans production that I love. I think it's really interesting. I'm not going to spoil it, but it's so different from anything that you've ever seen. Okay. And then another one is kind of an adult take on a scene of a mainstream movie from bed Lieutenant, with Nicholas cage bed within, and part of the problem, not the Harvey, Harvey cartel one. And it's such an erotic scene, just the mainstream version of it.

So I'm like, you know what, sometimes the best idea is to just stealing something from mainstream.

Speaker 1 (46m 34s): Sometimes the best thing you can do is just steal it,

Speaker 2 (46m 38s): Especially in the dull. I mean, that makes my life a lot easier. And of course you're putting your own thing on it, but just like the core of idea is sometimes, I mean, that's how you expand on anything. I mean, good, good art or good content. All of it is in my opinion is really changed as long as you're doing something different, right? You're, you're, you're creating art. So if you take something that's been done before, but then you add your flair and try and take it a step further. That's art. I mean, that's, that's progress.

You don't need to reinvent the wheel. I mean, some of the greatest stories ever told like Macbeth, but modern version or, or the Bible, but a modern version of the story of Exodus or whatever story is very, it's very deeply rooted in our psyche. And I mean, there's a motto, man. There's people like Joseph Campbell would argue that every story is a saying that the core in a way he's right, an adult is kind of no different.

It's just a little bit focused on something that's different than mainstream.

Speaker 1 (47m 47s): Absolutely. Well, Norman, I'd like to thank you for being our guests today on adult side broker talk. I hope we'll have a chance to do this again really soon.

Speaker 2 (47m 56s): Thank you. It was a pleasure.

Speaker 1 (47m 58s): My pleasure. My broker tip today is part six of how to buy an adult website. Last week, we talked about the sales agreement. So now both you and the seller have signed the agreement. What comes next? There needs to be an escrow setup where you send the money, whether it be a one-time payment or a deposit. If you're going to be making payments, this is done about half the time. These days, the seller for their part puts the assets of the sale into escrow, namely the domains being sold and any other tangible assets that can be put into escrow.

Your attorney can give you more information on that. We recommend escrow domains for escrows. There are from out of Washington, DC, and now they're not paying me to say this. I just use them, trust them. And I'm delighted by the work they've done for us. Either an escrow agreement will be drawn up by them in the case of a custom escrow, or if it's a simple one, it can be set up on their website. Then you, the buyer, the seller and the broker will be contacted by Asgrow domains with further instructions, such as wiring information, the escrow is opened and either the deal closes within a matter of a few days or an inspection period is allowed.

It all depends on what the agreement calls for, whether you need an inspection period really depends on whether there's still some information you need to find out prior to the deal, closing your brokering. Your attorney can advise you more on this and it's on a case by case basis. Then the money is transferred as are all the domains and the deal is closed. Now in many cases, in fact, most of the time, the seller either stays on board for a period of time to help with the transition, or is at least available on an on-call basis to answer questions.

This is something most buyers should ask for, but at this point it pretty much own the website. So what do you do now? We'll talk about this subject more next week and next week we'll be speaking with Aerie and Katie from adult model mentors. And that's it for this week's adult site broker talk. I'd once again, like to thank my guest, Norman Jean from junk productions. Talk to you again next week on adult site broker talk. I'm Bruce Friedman.

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