Dirty Bird: Meet Scarlett Revell

Scarlett Revell
Unlike Madonna, porn director Scarlett Revell’s British accent doesn’t sound like something she’s trying on. The 26-year-old Brooklyn native has been living in London for the past three years and it was inevitable something would rub off.

“When I miss New York,” she says, “the bits I miss are waking up at 3 a.m. and getting food. For such a big city, London can be quite quiet.” Live in London long enough, and Shit and Fucking become Bits and Quite.

Revell is a newly-minted director for Harmony Films, the London hardcore house that infuses very rough—sometimes clinically so—porn with glamour, utilizing top European and American talent as well as homegrown models.

Revell occupies a unique place among pornographers; she doesn’t perform, but she is a sometimes-glimpsed part of the sexual machinery on camera.

“I don’t show my face,” she says, “but you might see me in the mirror. The audience has a sense of me in the room.”

This is different from the nonsexualized and disguised personas of Tanya Hyde and Gazzman, Harmony’s other directors, or the POV style employed by directors like Evil Angel’s Kevin Moore and Mike Adriano. Then you’ve got performer/directors like Dana Vespoli, Bobbi Starr, Belladonna, and Kimberly Kane, who perform in their own movies. Revell, as suggested by her photo, sets the mood and steps back.

Gram: Do you direct in your lingerie?

Revell: No, but I’m also not worried about stepping in and moving a girl to where I need her to be.

This is a good point. While male directors can get the right kind of performer to do all sorts of things (“Gazzman makes you do things you’re not supposed to do, either,” she says), a female director instantly has an advantage with performers; if they’re male, they want to impress her. If they’re female, they’re not worried about an ulterior motive.

“I think women are beautiful creatures,” she says. “When I’m with a woman I want to eat her up, absorb her, devour her.”

Revell’s first movie for Harmony is the upcoming “Mind Fuck.” In the opening scene, an institutionalized Skin Diamond raves in a bare cell, straitjacketed and writing on the wall with a grease pencil clamped in her teeth. Of course she’s been locked up for her sexual deviance. Then she is zapped, prodded, and defiled by helpful psychiatric staffers Adrianna Luna and Celeste Star who, I guess, either cure her by overwhelming her with the symptom or are just unethical nurses.

I met Revell when she was the production manager on the set of Gazzman’s movies. They met at a party in Los Angeles in 2009 and later, as the British say, snogged.

“[Gazzman is] my mentor and my boyfriend,” she says, “and I guess it was awkward at first, vecause as you’re learning the trade, you’ve got to prove yourself.”

So Revell kept Gazzman’s sets running until she came to Los Angeles this summer to begin “Mind Fuck.”

“I took editing classes in school, and learned a lot from the Avid Forums,” she says, “but the best teacher for shooting porn is being there on the set.”

Gram: Was Gazzman able to control his on-set advice?

Revell: He was born to be a director and I think it was hard for him sometimes. But I did have to tell him to Fuck Off. Affectionately. In the end, I think he was really surprised to see what came out of me.

Gram: You’ve not only got this work relationship, but also a personal relationship with this older guy (Gazzman has a decade or two on her). How do you navigate that?

Revell: Being in a relationship in this business is not a problem for me. Gazz gets a little jealous sometimes but I tell him he’s crazy. On his movies, he’ll sometimes use me as a demonstration model, like a little sex doll. “No: do it like this.”

Gram: So it’s not like you’re in a relationship with a person who goes to work and you don’t know what he’s doing.

Revell: Exactly. It’s easy if you know what you’re getting into. This indistry can destroy you or make you stronger, so you have to be in the right state of mind or it will eat you up.

Gram: Despite prolonged exposure, what has the power to surprise you on set?

Revell: When I have a fantastic performer who sucks me in. When my pussy starts tingling. I mean, you can become desensitized quite easily, but I look at someone like Tori Black and say, “She’s such a beautiful girl, and you’d never think she could be so filthy.”

Gram: Just to be clear—and that’s a positive feeling, right?

Revell: Oh, Yes. And then you look at someone like Skin Diamond…I’ve watched her stuff on Kink.com, and they really push her limits. Then I met her (for “Mind Fuck”), and I wasn’t even sure that girl has limits.

Gram: You’ve used words like “devour” and “filthy.” You’re not afraid to get up in there.

Revell: I have to feel like I’m there. I want to smell the penises and pussies and sexual juices.

Gram: Is that your main instinct as a director? And is that an advantage?

Revell: Yes, because I know what I want. And I can push women to give me that, and they can’t get away with not giving it to me.

“Mind Fuck” will be released this month, and Revell and Gazzman will return to Los Angeles shortly thereafter for the U.S. debut of Porn Film Vacations.

Previously on Porn Valley Observed: Adrianna Luna finds her light; Sex Tourism—Porn Film Vacations; Everybody must get “Wasted”
See also: Harmony Films

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Gram Ponante is America's Beloved Porn Journalist

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