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The Story:
Have you ever dreamed of being a superstar?
AfroDite hasn’t—not until she runs into CEO, the mogul’s mogul of hip hop. Catapulted in to the world of made
mega-stars with her best friend Isis in tow, AfroDite quickly becomes a top selling rapper and nothing can keep her down –
not wardrobe malfunctions, not lip synching fiascos, nothing! Well, almost nothing. Finding herself a little socially challenged
in the love department, her secret crush CEO only seems to see dollar signs on her forehead. Will AfroDite get her man? And
will superstardom turn out to be everything she never wished for?
Q&A
with the Director
As a feminist
and university graduate, why did you do this film?
I am an independent filmmaker. I wanted
to create an intelligent and non-pornographic/ non-exploitive sex film that features characters of color and would be uplifting
instead of degrading. Like most filmmakers such as Spike Lee, Woody Allen and Martin Scorsese, most of my work explores similar
themes over and over again. All of my work explores the concept of identity, of being a young woman of color, and trying to
be more than we are.
Like the bestselling author Zane, I feel that it is important for us to open this sexual conversation
in communities of color, where our silence literally equals death as women of color continue to be the fastest growing group
diagnosed with HIV and AIDS. I wanted to create something intelligent, sexy and entertaining by women for women. This was
a challenge that as an artist, scholar and activist I wanted to conquer.
How did you choose your stage name?
I chose the name Venus Hottentot in salute
Sarah Saartjie Baartman also known as The Hottentot Venus, a South African woman who was kidnapped and sexually exploited
in the 19th century. My attempt is to reclaim her sexual voice, and the voice of all of us. Even though women of color are
over-sexualized in our society, our own voice is absent.
Any
thoughts on your casting process?
Physical image after acting ability definitely came
into play in my lengthy casting process. All of the black women are different shades of dark brown. That is very rare—if you
look at our music videos, only black women or women of color who approximate the look of Caucasians are seen as beautiful.
It was key for me to show natural African hair as beautiful.
In terms of casting, the film co-stars Mr. Marcus,
who many have called the Tom Cruise of porn. The funny thing is that I am not a porn consumer so (fortunately or unfortunately)
I had never ever heard of him before. The same goes for India, who is now a rapper. It was fantastic for me, as a director,
to give them opportunities and hold them up to standards that people may not have thought they were capable of.
I discovered Simone Valentino at a university symposium on sexual media and Justin Long through his agent. Trina Asidieu,
the non-sexual talent, is a great discovery as well. They were all intelligent, supportive, dedicated and hard working-- studying
their lines, going to acting classes, and being committed. I am extremely proud of them. They did a great job.
What was your film process?
Our film process was writing, re-writing
and revising a script, casting and extensive rehearsals, and original music production. In rehearsals, I basically gave each
of the actors mini acting lessons. It was also key to me that people stay on book. For the most part, no improvisation was
permitted, except during the sex scenes of course. The music was composed for us by a very famous hip hop producer although
we can’t say who.
Do you have any regrets?
I
feel that I fell short in my quest to portray women of different body types because of the talent available to me. Several
people have asked why I chose not to cover the stretch marks on my main character Simone Valentino, who is otherwise a perfect
beauty. Real women have stretch marks and we are beautiful because of them, not in spite of them. Our bodies tell the story
of our journeys. I also tried to use women with only real breasts, although I do respect women’s rights to do whatever they
wish to their own bodies. In addition, the film was more explicit that I would have preferred because of the financial obligations
of being a corporate artist. Overall though, I am proud of having the guts to make this work. There are many people who
call themselves artists, but they are not willing to risk falling or failing. True artists operate on the edge. I hope to
inspire dicussion about sexual representation, and then move on to other topics and themes.
How did you hook up with Candida Royalle?
I found Candida Royalle and Femme Productions
through her great website where she specified that
she was looking to give opportunities to young female filmmakers. Although I had never considered shooting a sex film before
it was a great opportunity. People can’t conceive of it but I pitched it as a regular movie where the sex is real. Although
I’ve made other narrative films before, she is the first person to trust me with a larger budget. I approached the work as
I did any other—a safe set with a polished and sophisticated crew of mostly women. It was great working with her because sexuality
is not my principal field as an artist or activist. This is my one foray into this work, and I couldn't have had a better
guide.
What’s the difference between pornography and erotica?
I don’t think that all sexual content is pornographic. In fact, I prefer the term sex film as it seems more direct
and less dated to me than either term. Pornography to me signifies exploitation. Our film is a very positive sexy enterprise
made by women for women with a strong message. Call it whatever you want, just see it and tell your friends about it. People
who come to AfroDite Superstar seeking pornography will be disappointed. Let's not talk about terminology. Let's talk about
why women of color are the fastest growing group of people dying of AIDS and HIV.
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