Noted for his attention to artistic stylization and rigorous cinematic techniques, Andrew Blake is the first adult director to win a mainstream film festival award, winning a prize for his 1989 work Night Trips at the Worldfest-Houston International Film Festival. Considered by some to be at the highest end of the porn spectrum, his work caught the eye of TORO Sex columnist Louise Bak for its elaborate fetish imagery, often without heterosexual intercourse.

Related Gallery: Andrew Blake's Inspirations


Q: A number of years back, I was bemoaning a lack of more intricate explicit films and a friend, Russell Smith, mentioned your work. What do you think of the more comprehensive filmic qualities in your work over time?
A: I think that my films have become more impressionistic in the last five years or so. I'm more prone now to investigate certain fetishes I might feel for a particular girl. For instance, the underarms of Valentina Vaughn. I love the idea of consensual objectification and the roles of dominant/submissive. Another example is a 30-minute short feature film, Contempt, a cinematic souvenir of my relationship with its star Elena Rivera. When working just one on one, the filming becomes more intimate and less cumbersome than going out with a crew to shoot a movie. I will be releasing a special limited edition book and blu-ray DVD BD-R disc of Contempt this spring.


Q: How do you see the composition, wardrobe and other details in your films?
A:  This has also changed a bit over the last few years. I've decided to have a distinct flavour of 'Rich Girl/Poor Girl' in the way I dress the girls.  I like torn, distressed, simple minimalist wardrobe -- tube skirts, loose tops, with some jewelry accessories and always a pair of killer fetish heels. With the locations, I like the sleazy mixed with the chic. 



Q: In your insistence to work with film, what do you think this technology imbues on your erotic narratives, which are different from developments in newer media like 3D?
A:  Film has qualities that video can never duplicate. Other adult production companies often want to make video look like film, so why not just shoot on film? For me it's using the photo-chemical process coupled with the latest digital post-production process. The old technology blending seamlessly with the new. There are systems now to enhance the visual qualities of film into world of hyper-realism using sophisticated digital imaging software.



Q: Are your films informed by subjective fantasies? Are you interested in how fantasy processes can change with your erotic renderings?
A:  Fantasies are, of course, subjective by nature. Rule No. 1 for the successful erotic photographer is to start with a girl who inspires you and turns you on. Undress her like you'd like to see her. Each element of the production is important, but if you don't nail down your desires about your girl during the shoot, nothing in post production will save it. You need to desire her and she in turn must desire to be your sexual obsession, during the filming.

Q: With your focal interests on female bodies, what do you think is erotic in female presence?
A:  The sucessful model for me must possess a charming charisma in person that becomes my challenge to capture on film. I like shooting girls between 19 and 25 years old, intelligent sexual beings that I can relate to on a visceral level. They must understand and want to be objectified by me and my camera, comprehending the dominant/submissive relationship even if they are primarily a dominant. This is the concept of sexual acting.



Q: While I don’t think you aim your work to a specific audience, how do you feel about your work being likened to aphrodisiacs for couples?
A:  That's great because then I know I'm doing my job correctly!



Q: I’m curious how you feel about the concept of aphrodisiacs. Are there things you find that incite desire?
A:  To me an aphrodisiac can be as simple as catching a glance of a woman moving in a certain way or as unexpected as a flash of skin. Then I make a mental note and try to incorporate that feeling while I am with the model on set.



Q: What do you think of the surreal qualities in your recent triptych with Charlotte Stokely?
A: It just happened. She came over to visit me in a very short mini and black panties. I added the heels. She threw off her top and I loaded my Bolex camera and began shooting her legs moving around on my sofa. During post I had the notion to make her legs a kaleidoscope. I was just having fun with her. She's a great model and has perfect gams! What more can you ask for during a sexy afternoon shoot?

Q: What was it like shooting Regina Hall in her exhibitionist moments in bustling Paris? Are you getting more interested in guerilla approaches to your work?
A: I had a great relationship with Regina. She found the most amazing girls for me from the Czech Republic. We had travelled to Rome several months earlier to shoot High Heels with her discovery, Kelly Havel.  So, it was natural that I wanted Regina to get very naked and take some chances filming in public like you see in Secret Paris. She also possesed a sublime pussy.

Q: There’s certain exposing fashion games in this imagery. Are you generally interested in how girls are expressing, exposing their bodies partly often in public, like short skirts and legwear?
A: Well, of course. Who wants to see these sexy icons covered up? At least let's see them exposed where you wouldn't expect them to be in a public space.  When I shoot them it's a very personal / impersonal experience.  We can both play out our fantasies together, even though our motivations may be completely different. This type of work does not appeal to all models. 



Q: Do you find certain urban areas have interesting erotic energy? Can shooting in a foreign context like the French Riviera heighten emotions?
A:  Maybe at the time I shot them those locations did possess a sexual energy for me, but now I just try to concentrate on my perceived essence of the girl and not so much the location. Also, international travel with models, crew etc. has become very expensive.  



Q: Justine Joli seems to be a favoured muse for erotic photographer Ellen Stagg. Are you interested in the emotional patterns that can develop in erotic communities developing globally?
A:   Each photographer/artist brings his or her own history and reasons for creating certain imagery. There may be some overlap because of universal themes, but the inspiration for each is different and unique.

Q: You posted a run-in to Faye Reagan at the XBIX awards. She and Sasha seem interested in progressive erotics. What do you think of how eroticism is changing among younger performers?
A: As I understand it,  Sasha is more interested than Faye in the so-called "progressive area." I felt Sasha may have been  dissapointed in me that I didn't do more "shock jock" sexual acts with her as that seems to be her career strategy.  Faye is a beautiful bisexual submissive.  She is pure sexual energy. I love her very unique puffy nipples. Regarding the new, young talent that's entering the business, I see a distinct shift from late '80s, when finding attractive sex models was a big sweat. Back then, there was definitely the harder looking "porno" girl, that maybe was either a prostitute or down on her luck. The difference now is that a girl can can be both of those things but the attitude of their peers has changed dramatically, you know, "relax, it's just sex." My encounters with the 20-somethings is that porn is just another kind of diversion, like games, music or movies, and it's an individual choice to engage or perform.

Q: You’re releasing a collection of your bondage vignettes, High Strung Women, what do you think about the appearances of elaborated restraints on women you find interesting?
A:  The whole process of tying up a girl, experiencing that moment of release with the rope mark impressions on her skin and the emotional release of her experience is much more that can ever be captured on film. But it's worth a try.



Q: It’s interesting in a sense as there are some who feel women don’t have true fetishes. What do you think of your smoking fetish work that continues?
A:  I have encountered many women who are true fetishists -- Valentina Vaughn understands and experiments freely. Aria Giovanni is a master of feet play. Other women like Dahlia Grey were expert smokers.  Sometimes these fetishes  all intermingle in one film, and that's the fun of discovering each girls unique talents and interests. For me the search for the right moment is everything.

More info:
www.andrewblake.com