Desiring to give something creative back to the art I consume, I decided to “reverse engineer” the first episode of the Sweetheart Video lesbian feature Talk Derby to Me. Since this is a generally safe for work site, I will refrain from linking to Sweetheart Video’s site, but I CAN share with you my direct script adaptation of the first episode of the feature (note: the feature is divided into four episodes).
Thus, as we say goodbye to 2018, I present Ricky Greenwood’s Talk Derby to Me, a partial (and wholly subjective) screenplay adaptation for educational and instructive purposes:
In retrospect, I also wrote this script to instruct myself in how the screenwriter of this particular piece of pornographic art might have done the job. To my knowledge, the script does not already exist online. If so, send my way. Plus, to be honest, I’m always very interested in expanding my creative writing palette in ways that positively feed my imagination to grow beyond its current limits. The bulk of my writing has been both erotic and/or violent, excessive and lyrical, odd with gunky goop-strewn heart. And this feature (in a weird way) compliments the kind of tone that sticks with me, and resonates my senses.
Greenwood doesn’t portray the team as kitschy. He plays it close to the buckle, allowing his actors the freedom to explore the dynamics that make this team wonderfully dysfunctional and effective. In particular, I admire Stoya’s rigid edge and how her hard exterior gels with Joanna Angel’s eagerness to relive the glory of her rollerskating past. And there’s an interesting meta-commentary on Angel as a performer that flows through the script. Hone in on how Stoya refers to their past, to the fact that the new skaters have more energy, more drive, etc. This commentary on the adult industry works well in a story-verse that usually relies on dry puns. Also, in an industry where older performers are driven out by young fresh faces, it’s interesting (nay, intoxicating) to see a performer like Joanna Angel actively performing herself with vigor and true excitement. She truly enjoys acting and performing on cam. If only we can all be so voracious and full of life.
And Greenwood’s directing works very well in the film’s sexual situations. The performances flow freely and organically. The framing holds us as calm and unobtrusive allowing immersion to happen without forcing it. This kind of smooth softness compliments the Sweetheart Video lesbian aesthetic (and it also comes through in Dana Vespoli’s work). The stillness of the camera is (I believe) Greenwood’s trademark in this feature. He’d rather the viewer be kept in the room at a relative distance so as to allow the bodies-in-motion to carry the action as opposed to any kind of jagged editing that might upset the reality of the situation.
I hope you find my script educational and instructive. Maybe it will inspire you to write your own new material or to reverse engineer works of cinematic art that you admire. It’s a learning experience. Always is. And it’s always about admiration. Thank you for reading.
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