LOS ANGELES—Angela White wants to show me the evidence from her first sex scene with Rocco Siffredi.
“This is my souvenir,” she says, revealing a lock of her hair and part of an eyelash in the palm of her hand.
The butt-naked Australian star is standing in the foyer of a spotless, multimillion-dollar house on a secluded street in Beverly Hills, five minutes removed from The Rocco Experience.
It’s about 3:30 p.m. on the fourth Friday in August—and Evil Angel Films’ epic docu-porn showcase, I Am Angela, is a wrap.
“I’m not showered, I’m not anything,” Angela tells me breathlessly, her face still flushed with an after-glow. “Literally, we just finished.
“It’s the craziest scene I’ve ever—probably the craziest experience of my life. I’m on the verge of crying—not cause I’m sad. I’m just so overwhelmed with emotions. I think I’m going to jump in the pool. I can’t even talk. … I haven’t eaten or anything…”
Skinny-dipping seems appropriate on the 90-degree day that started with White waking up at 5 a.m. and sitting down for makeup at 8. Evil Angel founder John “Buttman” Stagliano, who directed this afternoon’s shenanigans, has already leaped into the backyard pool—sans clothes—as everyone on the set is in a celebratory mood.
Part documentary and part high-end gonzo depravity, I Am Angela features the 2018 AVN Female Performer of the Year from Sydney in four distinctive carnal adventures—each shot by an AVN Hall of Fame member—that has all the makings for an instant classic.
White delivered a 3-on-1 with 2018 AVN Male Performer of the Year Markus Dupree, three-time AVN Male Performer of the Year Mick Blue, and veteran deal-closer Steve Holmes that included double vaginal, double anal and triple penetration—and was directed by Jonni Darkko; in the second episode she threw down with alt-porn queen Joanna Angel in an all-girl anal tussle that Dana Vespoli directed and also performed in; and in the third episode, White embraced her first scene with a transgender performer, A-lister Chanel Santini, in a momentous occasion directed by trans porn pioneer Joey Silvera—who helmed his first adult movie in 1975.
That trio of performances set the tone for today’s collision with Rocco Siffredi, the global superstar who flew 6200-plus miles from his compound in Budapest, Hungary, to fuck White in the ass under the direction of his mentor, Stagliano, who first shot the notorious Italian Stallion in July of 1990.
Their sex scene lasted about 1 hour, 10 minutes, but that’s not even half of what happened before I arrived.
“Oh my fucking god,” Stagliano says. “They couldn’t stand next to each other without her pulling his dick out.”
Evil Chris, the co-producer who called the shots for the 70-minute documentary portion of I Am Angela, tells me what ensued before the actual scene was complete chaos, a free-for-all that even Stagliano could not corral—nor did he try.
“She did it three times,” Evil Chris says, explaining that Angela actually fucked Rocco twice prior to the scene beginning. “We had to keep redoing makeup because she would get out of hair and makeup and then start fucking him against the walls and stuff.
“Like, I’m about to carry Angela away from Rocco because we didn’t have sound ready and they’re acting like it’s the scene.”
Stagliano, who directed his first adult movie in 1982 and launched Evil Angel in 1989, adds, “I got a bunch on my phone because [Chris] kept saying, ‘We don’t have sound.’ So I pulled my [iPhone] camera out and I recorded some of it ... I’m going to have to take it off my phone tomorrow and delete it because my son plays with my phone sometimes.”
Evil Chris continues, “There were points where I’m filming and I’m like, ‘Guys, we need to stop.’ And then Rocco’s just looking at my camera, taunting me.”
Fresh out of the water and now fully clothed standing in the kitchen, Stagliano decides to review some of his iPhone footage, while we gather around.
“This was right after they met,” Stagliano says, as I watch Angela making out with Rocco and then start blowing him—within about 90 seconds.
It turns out Stagliano’s iPhone action is so raw and uninhibited it’s impossible to dismiss.
“I think we’re going to use some of this,” Evil Chris says. “It’s like a Buttman scene within a scene.”
Stagliano agrees. “There are some good sex shots but mostly I wasn’t trying to get that—they weren’t trying to show me the sex,” he says.
The first episode of I Am Angela, now more than eight months in the making, will drop on Friday, September 28th at EvilAngel.com, while the entire movie will simultaneously debut on all four major VOD platforms—AdultEmpire, AEBN, Gamelink and HotMovies.
Then later this year I Am Angela will be packaged with Evil Angel Films’ Angela By Darkko—a co-production between White’s AGW Entertainment and Darkko Productions that was released on Sept. 3—as a double showcase series framed as A Portrait of Angela White and released in a special collector’s edition box set. The O-Card package will include a diary-style booklet written by White.
The two projects are part of a remarkable encore to a historic 2017 campaign for White, who along with her studio won a record-setting 14 AVN Awards in January at the 35th annual ceremony at Hard Rock Hotel & Casino in Las Vegas.
But even though White, the Spiegler Girl who moved to America in August 2016, has already cemented her legacy with more than 370 credits since 2003 en route to a 2018 AVN Hall of Fame induction, a scene with the iconic Siffredi had eluded her until now.
“It’s hard to comprehend the fact that Rocco Siffredi flew all the way around the world to fuck me,” White says. “I can’t ... he said he’d never done this for one girl for one scene. So for me, obviously, that’s an honor for me. I think it’ll be something that I process maybe later in the year, maybe later in my career. I don’t know. But I couldn’t process that leading up to this scene because it would freak me out.
“Because then of course there’s so much pressure on me to deliver him something special, which obviously I wanted to do. But if he’s flying across the globe, then I have to make sure that it’s incredible for him. So I couldn’t think about that too much. I just had to think, ‘Well he wants to fuck me for a reason.'”
Speaking of pressure, Rocco felt none on his way to the location even though less than 18 hours ago it wasn’t a sure thing he would make it to L.A. His flight from Budapest got delayed in Philadelphia, pushing his arrival well behind schedule to the point where he didn’t check into his hotel until about 1:30 a.m.
Evil Chris admits he went into full crisis mode. “They were going to make him stay overnight in Philadelphia, so I was on the phone for two hours trying to get him on the last flight here and they got him on the flight. But he went from first class to a middle seat in coach,” Chris tells me.
Even on about two hours of sleep with the outcome of the project hanging on his erection, the man who has performed in more than 750 movies all over the world since 1986 says he had zero nerves.
“To tell you truth, completely relaxed,” Rocco tells me. “Because they had expectation. Many people have expectation—not me.
“Because I came—I was completely tired, fucked up—and I say I do what I can. I mean ... I am not a robot. … Normally, when I’m coming to America I never take jobs before three or four days to get rid of the jet lag. But this trip I’m leaving after tomorrow so I will not even go through the jet lag. I’m going to go back home so ... I wish this project would’ve been done not one scene, but like three or four where the experience is Rocco and Angela. Putting Angela together through different levels. Because in one scene it’s like animals. It’s like we smell each other. We fuck. But there is no time for game.
“There is a small game, but no time for big game.”
Angela met Rocco briefly at the AVN Show in Vegas in January—when she sought him out to introduce herself—and then talked to him on Skype from Stagliano’s house when they formally asked him to be in the movie. But as the anticipation mounted last night, she struggled to fall asleep.
“I may have gotten a couple hours but it was tossing and turning the entire time,” Angela tells me. “In fact, the night before last night I was tossing and turning as well because I was supposed to meet Rocco very briefly last night.
“I found out when I woke up that his flight had been delayed so it was very unlikely I would be meeting him. ... I met him at AVN, but it was different circumstances. This is the true meeting. I feel like you don’t really meet Rocco until you have sex with him.”
Angela continues, “I kind of had this idea in my head that I would at least make out with him because that might calm my nerves a little bit. ... And if anything happened, great. But I’d just make out with him, so that when he came to set today I wouldn’t need to ruin my makeup. Nerves are done. I can just be professional and do my job.”
White tells me she took six days off to mentally and physically prepare for Rocco.
“And I never do that,” she confesses. “Even before gangbangs I don’t take days. Sometimes I’ll take two days off after if I’m doing a double, because it’s just a lot. But I never take time off before to prepare. I’m glad I did.”
Indeed, White remains one of the hardest working women in the porn business, following her banner year with another diverse body of work in 2018 that included four heavyweight collaborations. In addition to teaming with Stagliano and Darkko, she also wrote and starred in a powerful episode for Pure Taboo about body shaming that was directed by Bree Mills and Craven Moorehead; and wrote and starred in an intimate vignette for Greg Lansky’s Vixen opposite five-time AVN Male Performer of the Year Manuel Ferrara. Excluding web scenes, White is the headliner in more than 15 September releases alone.
Siffredi, who won the 1993 AVN Male Performer of the Year award in the first year it was presented and has collected more than 40 individual AVN trophies—tells me he was not aware of White’s stature in adult when he got to Vegas this year for AVN.
“She had so many nominations. Everybody was around her, such a big star,” recalls Rocco, who owns a record eight AVN Male Foreign Performer of the Year awards. “So I was curious to check it out personally what she could deliver.
“[At the AVN Show], she came to say hi. To me this was very nice. Because she came to me like, ‘I really would love to work with you.’ But she didn’t say like some girls come to me, ‘Let’s work together so we can win some awards.’ She came a different way. I can see through her eyes that she was first a fan. I’m sure she knew of me before she even got into the business. So that was different. I felt a chemistry. I felt that she was real. So I said, ‘Good, I want to participate on this project.’
“Even though, I tell you the truth, it was crazy because all the way here and go back for one scene. Insane at my age.”
Siffredi turned 54 in May and limits his work almost exclusively to his own productions—he still performs in Rocco’s Intimate Castings, Rocco: Sex Analyst and Rocco’s POV, all of which are distributed by Evil Angel, which has been releasing his productions since 1995.
“When I talk about my age, I talk about I don’t need to be in other people’s movies,” Rocco continues. “If I need to be in other people’s movies it has to be a special project. A big feature. Big feature—I’m interested because it’s giving me always something new to put on my records. To be the actor. To launch a new site, I don’t think that’s really interesting.”
He says it made sense for his close friend Stagliano to shoot the scene—if he was going to do it at all.
“When they ask me I told them, ‘You know, it would be very nice if John’s shooting.’ The reason why is there is a lot of chemistry between me and him. A lot of respect. I’m here mainly for him. So this is the main thing,” Rocco tells me. “I don’t think I could’ve come here for one scene even if Angela asked me directly, personally. Just her production. It would be too much to do all of this trip and go back for one scene. It’s not a money question ... so really I came for the friendship I have with John.
“He said, ‘I understand if you don’t want to do it.’ I said, ‘No, if it’s important ... it’s important?’ He said, ‘It would be very important because she really requests—she would love to have you there.’ So both things together were perfect. But when they told me, ‘What do you think about who’s shooting the camera?’ I said, ‘You shooting the camera, John, because it’s the storyline—you invite me. She’s with you.’ They call me together. Why not? Who else?
“You put somebody else to do the camera, we can do it. But it’s not the same thing. You are a part of the story. You are inside. There is a long relationship between us. I have lots of respect for this guy because I’ve always said he’s one of the most honest person I ever met in this business. So it’s why I always took his critiques on my movies in a positive way.
“And when he’s unhappy, I always tell him my point of view on things.”
Stagliano agrees, saying he didn’t need to be persuaded to pick up the camera.
“It’s very nice to work with Rocco,” Stagliano tells me. “We have a lot of mutual respect and I know when I shoot a scene and Rocco’s in it it’s more comfortable than shooting someone else usually. Although there are a few people I always love to shoot, but Rocco I know is going to deliver an exceptional scene. He’s very focused on doing a good job.
“He doesn’t get mad about stuff for anything. I usually don’t either. We’ve both seen ourselves get a little irritated. I’ve seen Rocco get a little irritated, but not very often in the last 30 years.”
Stagliano shot Siffredi in the vampire-themed saga, Voracious, which encompassed two seasons and a total of five DVD sets in 2012-14. They paired up again in 2015 in what at the time was touted as Rocco’s final retirement scene—with Maddy O’Reilly, Dahlia Sky, Kelly Stafford and James Deen—that was part of the critically acclaimed 2016 documentary Rocco.
“Since then I haven’t shot him,” Stagliano notes. “But I look at his movies at the company sometimes because we sell his DVDs. And the movies are in good shape ... He’s somehow managed to do something to stay on trend. Because we have that middle-age spread that could happen. But I’ve avoided it a little bit, I like to think. He’s avoided it a lot better than me.”
Stagliano, who considers Angela White “The Female Rocco,” tells me his first assessment of their scene is, “I would’ve liked to have had the ability to see more face close-ups.”
“She’s too good to be true most of the time,” Stagliano admits. “I’m very comfortable with Angela. I shot her twice already before this. This is the third time. I shot her in Psychotic Behavior. And I shot her in a Stretch Class kind-of thing—Buttman Anal and Oral Antics [in 2017]. The first edited version of the scene was 2 hours and 1 minute. I managed to cut eight minutes out. It’s still 1 hour and 53 minutes of a single-girl masturbation, which was kind of weird. But we do a lot of stuff in there. I do a lot of tease.
“There was all sorts of fun stuff. She is just interesting. It’s rare that I feel like I’m not the smartest person in the room, so to speak. And I often feel that around her. I feel like she definitely brings a lot to the table.”
Now a household name in her home country, White landed on national primetime television in July, when she was interviewed by Australia’s leading TV personality, Andrew Denton, for Channel 7. Denton usually selects professional athletes, authors and mainstream celebrities for his interview subjects.
She also has written more than adult movie scripts. In 2017, White had her first academic research piece published in a university textbook from Routledge that is part of the curriculum for undergraduate and Master’s students. The chapter was an update to her honor’s thesis about female performers in the Australian porn industry.
Stagliano says the idea for I Am Angela came about when White walked into Evil Angel’s headquarters and saw Evil Chris putting the finishing touches on the 2017 docu-porn showcase I Am Katrina that starred Katrina Jade.
Evil Chris, a native of Cleveland who began his career at Evil Angel in 2013 and is also the director of product, once toured with Linkin Park as the band's merchandise manager.
The 31-year-old studied film at The Art Institute of Chicago.
“The fact that the brand is pretty much as old as I am, I never forget that we have a responsibility to protect that legacy and do right by John and keep it alive and keep it thriving,” Evil Chris tells me.
That sense of responsibility means producing ambitious original movies such as I Am Angela, which will humanize White in a way that has yet to be done on film.
In the documentary, Angela takes viewers to her minimalist, contemporary apartment in Hollywood that she says is basically “a production house” and editing suite.
“I live porn,” she tells Evil Chris, noting her TV is still in the box.
“We were the first people to ever be there,” Evil Chris tells me.
The documentary also weaves in soundbites from Mick Blue, who calls White “a role model;" and Markus Dupree, who says she has “skin like a dolphin” and likens sex with her to “going on a safari.”
Viewers will see her interact with porn super agent Mark Spiegler and fellow Spiegler Girl Asa Akira, the 2013 AVN Female Performer of the Year. They interview Chanel Santini, who tells Evil Chris the fans are going to “go apeshit” when they see her and White together.
White also realizes that having the “mysterious” Joey Silvera shoot their scene was special, given that the reclusive filmmaker told Evil Chris “no” three times before agreeing to do it.
Going above and beyond became a running theme for I Am Angela, but even with White’s star power and Stagliano’s influence, getting Rocco to perform in the final scene still seemed like a reach.
“I mean it’s such a long way to go for one scene—it seems crazy,” Stagliano tells me. “But talking to Angela I realized that money was not the primary concern and she helped us make this work financially, which is kind of amazing.
“I mean, there are no other porn stars I’ve met that would do something like that. Although I have had stars in movies where money didn’t seem like it was an issue. Like with Misha Cross and Samantha Bentley [in Hard in Love]. They didn’t talk about money at all. They wanted to do a good job. So it has happened where I’ve had people who were easy to deal with financially but for someone to actually say, ‘This is not about money at all, I just want to make it happen for my career,’ that was unique.”
Stagliano likes to shoot his porn on a closed set, so only the sound engineer Evil Robby, the stills photographer Darkko, the makeup artist Rosalinda, White’s production manager and photographer, Shawn—who lit the scene—and Evil Chris were allowed in the house before Rocco finished the job.
Angela recalls the anxious final moments before she greeted the legendary 6-foot-3 stud.
“He was over there near the kitchen talking to John and I walked out and I was honestly so nervous, even though I knew I had already met him and I knew I was going to fuck him. I was just trying to breathe,” she says.
“The crew was making me wait back there because John and Rocco were having a conversation that they wanted to capture and they didn’t want me to come and interrupt the conversation.
“Not getting my makeup done but not coming and talking to Rocco either, just kind of standing there waiting for my cue that OK, you can go and talk to him. So that kind of hyped me up even more.”
Angela continues, “I was just going to say hello and I was ready to give him the European two kisses. And I know I got a couple sentences out. I know I asked him how his flight was and how he slept and then suddenly we’re making out. And suddenly I was sucking his dick. And then suddenly we’re on the couch fucking. And my makeup was almost finished at that point and we had to pretty much start fresh. Some of the eyes stayed on.
“But luckily Rosalinda was there to fix me. That was the second time she had to do my makeup and then I came out again to do the photos and the promotional images. And we’re over in the kitchen again choosing his outfit and then I don’t know what happened—suddenly his dick was inside me again. And then again we were on the couch and we were fucking. And again I had to go back and have my makeup pretty much redone. So yeah, that was incredible.”
When it came time to finally shoot the real scene—after Rocco had already banged White all over the living room, even in the cowgirl anal position—the opening few minutes were a feeling-out process.
“Like in the first 10 minutes of the actual sex I could see that he wasn’t quite Rocco,” Angela says. “But in the moments beforehand when it was unscripted, when we were just fucking, I could already see him. I could see Rocco Siffredi. But yeah when we finally started the sex scene I could see him thinking and I was like, when is he gonna come? When is he coming?
“Because I’m sure it’s gonna come and right now he’s somewhere else. He’s thinking. And normally if that ever happens in a scene and I see someone somewhere else ... like I can always tell if something’s happening in their head. Usually, I’ll bring them back to me. But there was a part of me that was scared because if I bring him back I’m going to ask him to come back as like Rocco Siffredi and I’m like, ‘Oh shit!’ So I’m like, oh god, do I bring him back? Because I’ve said to male talent before like, ‘Hey, where are you?’ Which is my way of saying, ‘Come back and give it to me.’ But if I say, ‘Hey, where are you?’ to Rocco Siffredi, then…
“But yeah, he eventually—he said he saw it in my eyes—so obviously, my eyes gave it away and I said it without needing to say it.”
“And that’s where I could see him the most—it was his eyes,” Angela adds. “I could see when he was not exactly Rocco and I could see when he was thinking. And I could see when he was Rocco. It really felt—like, his eyes are green—but it felt like they were on fire. Like there was a searing-ness to it, which was incredible and scary and beautiful and everything that I wanted.”
Rocco says Angela wanted “the classic” style from him—something he will only do if he senses the girl genuinely wants it.
He recalls the 2016 AVN Awards, when Greg Lansky and his studios captured 16 statuettes, that afterward he had dinner with Stagliano and they discussed how the industry was undergoing a shift.
“He was like, ‘Things are different,’” Rocco recalls. “‘Things are changing.’ Maybe what we usually do—hardcore sex—is not any more in fashion, is not any more interesting for people. I told him, ‘It could be.’
“But it’s funny. Any time people call me to do a scene they never want me to do the new style. They say, ‘Corrupt me, kill me. Be rough. Please destroy
