Erika Lust on making porn for women

Erika Lust wasn’t born when Annie Sprinkle first directed a porn film in 1975, proving detractors wrong when Deep inside Annie Sprinkle became the second highest-grossing porn film of 1981. The male-driven model of mainstream porn hasn’t much changed since then, but finally, there is a growing number of female directors making porn that’s high quality, subversive and hot. Filament speaks with Erika about her craft.

What led you to make porn?

The first time I saw a porn film, I had the same reaction that many women have – it was definitely not love at first sight. I was aroused by some of the images, but there was so much that bothered me. I didn’t identify with any of it: neither my lifestyle, my values nor my sexuality was represented in any way. There was no sign of women enjoying themselves – it was as if they were simply there to please the men. The sexual situations seemed ridiculous: girl walks into room, discovers boyfriend with her best friend and instead of getting pissed off, she joins them!

For my generation who grew up watching MTV, the audiovisual quality of mainstream adult film is unacceptable: tacky sets, horrible styling and make-up, non-music, poor acting and even worse dubbing – the product is left wanting on many levels.

‘Although I didn’t like what I saw, I came to the conclusion that a different kind of porn was possible.’

For a modern woman, the character stereotypes that men in the industry have made us put up with for the last 20 years are just plain offensive: slutty Sharons, horny teens, sex maniac nannies, desperate housewives, hot nurses and nymphomaniac hookers. The guys in the movies are almost always mafiosos, pimps, drug dealers, multi-millionaires or African American mega-sized sex machines.

I may come off as a total critic of the genre, but although I didn’t like what I saw, I came to the conclusion that a different kind of porn was possible. I discovered that several intellectual feminists didn’t just write off porn, they analysed it as a contemporary cultural phenomenon. Linda Williams’ books Hard core and Porn studies were so inspirational that, after reading them, I decided to become a porn producer and director myself, founding my own company.

What makes an Erika Lust film?

It’s the casting, the decoration, the clothes, the underwear, the music, the script, the photography – it’s a lot of things. It’s like naming the differences between Playboy and Filament: there are many. I think it’s more important that we have female produced and directed porn, rather than ‘female-friendly’ porn. Our porn certainly appeals to men too.

Who do you have in mind when you design your films?

I make my films with the modern heterosexual urban woman in mind. I have been criticised because my films are not queer and because they don’t work well with working class values, but I really don’t care – I don’t claim they’re for everyone.

How do you decide what to put in your films?

I try to rely on my fantasies and desires, and my friends’ desires. But I also read many women’s sex blogs: that’s a great source of inspiration.

In your publicity shots you look like an everyday woman. This is noticeable in a world where many female DJs, television presenters and even politicians portray themselves in highly sexualised ways. Is it a conscious decision for you?

It’s a totally conscious decision, but even then I get a lot of silly questions and proposals from press and fans. People tend to think that the adult business is a constant orgy, which is not true at all.

How have your films been received by stockists?

Very well! Five hot stories for her sold more than 25,000 copies in Europe in two years: it’s one of the highest selling adult movies of the last years. We are also selling the movie for stream and download at Lust Cinema online and that’s going well too.

Some of the proceeds from your films go to women-focussed charities such as Womankind. What do these charities think about receiving the proceeds of porn?

Some of them are not only okay about it, but happy, and some have refused our donations. Sex-related businesses are still controversial.

Can porn help us achieve social goals?

I see porn as a tool for excitement, education and pleasure. It’s not only an entertainment product, but also a powerful way to influence future generations’ vision of human sexuality. That’s why I think women have to take part in the political discourse of porn: if we don’t participate, porn will not be an expression of human sexuality, but an expression of male sexuality.

‘Porn is not only an entertainment product, but also a powerful way to influence future generations’ vision of
human sexuality.’

Unlike many women who direct porn, you haven’t starred in porn yourself. Why do you think many women have chosen the ‘porn star turns director’ route?

For many years it was the only route available. It’s also important to note here that many of those female directors were not directing as such; their names were ‘borrowed’ to appear as directors. There are still very few women genuinely writing and directing adult movies these days.

How do you make sure the people who appear in your films are doing it for the right reasons?

In a personal interview, it’s difficult not to notice. People in the adult industry who do not enjoy their work show it in all their gestures and expressions.

If a Filament reader wanted to get into directing porn, what advice would you give her?

Patience. You are going to confront one of the most chauvinistic industries of the world, so take it easy. And on a more practical level, shoot a short film to show what you are capable of.

What are you having in your sandwich today? Filament’s editor is having avocado, sun-dried tomatoes, sauteed mushrooms, frilly lettuce and gorgonzola on sour-dough rye.

Wow! I’ll have what you’re having please!

More at www.ErikaLust.com, including loads of free previews and shorts.