This feature appears in the April issue of AVN magazine.
LOS ANGELES—The ramshackle house on a rural side street is a perfect fit for Seth Gamble’s comedy homage to pioneer nudie-cutie director Russ Meyer for Wicked Pictures.
“I wanted a trailer-park vibe,” Gamble tells me. “We have these women, they’re all in love with this character named Myron, and they’re all bounty hunters,” he adds, recounting the convoluted plot that involves a crooked sheriff framing a murder suspect. “The sheriff’s running around, doing slapstick, so we’ve got Benny Hill-type physical humor in there. Small Hands plays Biker Bob, it looks like he’s riding a motorcycle, but when we finally reveal what he’s riding, it’s this small bicycle. He pushes this button, and it makes motorcycle engine noises. It’s slapstick-campy-southern white trash humor. We’re calling it Sweet Juggs of Justice.”
How many G’s?
“Combined? I can’t imagine. We have Octavia Red—”
How many G’s in ‘Juggs’?
“Two. It’s the most Russ Meyer-y. We needed two G’s.”
To maintain the loose-comedy vibe, Gamble says, “If they say the lines but something crazy happens or they say something wrong but it makes sense, I let it go. That’s comedy, man, you can’t be too married to it.
“Yesterday a picture fell off the wall in the middle of a shot. We kept rolling. I was inspired by Russ Meyer and John Waters, and I wanted to make something like that. Porn that just makes you laugh. Russ Meyer was silly. Fun. You don’t get a lot of that any more.
“You’re going to have great laughs, and in my opinion the sexiest, most attractive women on the planet, doing great scenes. Boobs. Ass. It’s everything a porn watcher could want in a movie. We are literally leaning into the sexiness of the girls, but with humor and great sex scenes. It’s what you want to see in a fucking fun pornography film.”
The cast is boobily straight outta a Russ Meyer fever dream: Sophia Locke, Octavia Red, Rissa May, Angel Youngs, and—as a small-busted counterweight—Vanna Bardot.
Veteran performer Dick Chibbles plays the comedy-relief sheriff.
“The weather is better today,” Bardot tells me. “It was really cold yesterday. Bad time to be naked.”
She joins the other bounty hunters and Chibbles, running lines as Gamble watches. “We’ll be bouncing up and down laughing,” May says, going up on tiptoe to illustrate “bounce.”
As they rehearse, Gamble watches, serious, arms crossed in front of him. The scene involves Red, May, Youngs, and Bardot coming out of their house in lingerie and cowboy boots, and taunting the sheriff. They strike stripper poses and Gamble says “Pull your tits out. No reason for it.” He turns to Bardot: “Turn around, wiggle your ass.” The rehearsal complete, he sends them back inside. The door closes. Slate.
“Ready.... Action!
“CUT!”
In the monitor, the crew is visible, reflected in the windows on each side of the door. Everybody repositions. Slate. Take two. “Action!” The bounty hunters strike their poses as Sheriff Chibbles approaches, Young pulls open her bra, and Red and May pull their boobs out of their tops. Bardot pulls down her push-up bra, shrugs, then turns around, pulls down her G-string, and twerks.
In character, Chibbles stammers his way through his lines as they distract him. On “Cut!” everybody breaks into the laughter they’ve been suppressing, Gamble loudest of all, before they do isolated pickups of dialogue and close-ups of them pulling their boobs out.
“I love doing this. The whole art of coming together as a team: cast, crew, everybody, to make a good production,” Chibbles tells me. “When the light turns green on the racetrack, you just go. It’s the best feeling.”
After a bedroom confrontation scene where one of the balloon falsies filling Bardot’s bra (“Where did those come from?”) gets popped after an ill-timed shove (in the script, including her reaction “Dammit! Now I only got one jug!”) they set up a sex scene in the same room with Angel Youngs and Victor Ray.
“We just need 25 minutes of hard,” Gamble says, straight-faced.
They start kissing even before Gamble calls “Action” and the scene follows the Russ Meyer boob-centric template with Youngs playfully riding Ray, waving her cowboy hat and yelling “Yee-haw!”—and a lengthy shot of Youngs on her back in a mish, framed from the waist up with her breasts flying in all directions as Ray pounds into her out of frame.
Before wrapping for the day, Gamble shoots the production’s final sequence, with all the cast in various stages of undress chasing each other out of the house, with one last physical gag as a capper.
“I want to do a freeze frame, where the tits basically levitate, and then you see Vanna’s fake balloon titty fall out, and she’s trying to run after it.”
“I just want to do comedies,” Gamble says, before catching himself.
“Actually, I don’t, I want to do everything, but making comedies is fun. There’s nothing heavy about this. There’s tits jiggling and people laughing all day. This is amazing. Everybody’s laughing, all day. We laugh when we’re not rolling on the other stuff, but this is absurd.
“We did 12 pages today,” he adds, triumphantly. “That’s unreal.”
Photography by Siren Obscura & Sammy Slater
