Our new film Houseboy is a departure from the usual videos on Dreams of Spanking - and most other spanking sites. This is our first attempt at a cinematic short film, aiming for a higher standard of cinematography and storytelling than we are usually able to achieve. I wasn't planning to shoot this way from the start - it came about from a convergence of factors that created the perfect opportunity to try something new.
Casting Tai Crimson
It started last year, when I met an enthusiastically kinky and ridiculously cute young person from San Francisco. He was gorgeous, he loved spanking - he could certainly take it - and he expressed an interest in shooting for Dreams of Spanking. He wasn't old enough at that point to perform in porn, but I said that once he turned 18 I'd be very happy to work with him. We made plans to shoot together when he was next in the UK - which happened to be May 2015, less than a week after his eighteenth birthday. How's that for a coming-of-age celebration?
I normally prefer to work with kinksters who are a little older, simply because I value emotional maturity and experience in the people I shoot with. I think the common fetish for "barely 18" performers in porn is partly based on the idea that young performers are vulnerable, and so it's easier to take advantage of them and push their limits. I find this sleazy and totally unethical, and I'd always much rather work with older players who know their own minds and are able to look after themselves. It's important to me that the performers I hire can take responsibility for their own limits and communication, are experienced enough players to know their bodies and their preferences, and are secure in their decision to appear in fetish porn - because once you've done it, there's no going back.
When I met Tai, however, he exploded all of my preconceptions. Although a teenager, he has a rock solid sense of his kinky identity, and he's been exploring his interest in private for years. He is calm, confident, intelligent, self-reliant, and very emotionally mature. So at eighteen and a few days, Tai officially beats Talia Lane to the position of youngest performer on Dreams of Spanking - and yes, we do have his ID on file to prove it!
We put a date in the diary, and meanwhile Tai and I exchanged emails discussing his interests and preferences. But by March this year, when I needed to start firming up plans, I already knew that ATVOD were investigating Dreams of Spanking and that I was likely to have to stop updating the site for a duration of several months while my appeal was underway. I had lots of scenes already shot starring Fauni, Mike, Talia and David and others which I wasn't going to be able to publish, so there was absolutely no point spending money and energy shooting more material that might never see the light of day.
Towards a cinematic style
Meanwhile, I'd attended the British Fetish Film Festival in February and the Berlin Porn Film Festival last October, and I'd been thinking an awful lot about shooting styles, production values, and the budget and time constraints under which I was shooting.
Over five years I have developed a shoot style that produces one 10-15 minute spanking film per hour, in a remarkably stress free environment, with plenty of breaks. This is based on improvised scenes filmed live by one or two handheld camera operators, with perhaps some close-ups or cutaways to enhance anticipation in the build up to the spanking scenes, but otherwise shot with as few cuts as possible - unless the performers themselves need to cut. Lightweight, consumer-grade cameras make handheld shooting manageable without the camera operators getting too tired, and using auto-focus allows us to get visual variety by roaming around the scene shooting different angles, rather than stopping the action to reset each shot.
This non-disruptive shooting style allows the performers to get into an immersive scene space and stay in character, which helps the roleplay flow more smoothly, and also helps the bottom stay in their headspace and makes the spanking itself easier to take. It's a system that Nimue and I have got down to a fine art, and I was pleased that we'd reached a point where we could create nice-looking films within budget, while maintaining a relaxed and fun shoot environment for everyone involved.
The downside of this low-key shooting style is that the resulting films would never achieve the cinematic quality that I was seeing at the film festivals I was going to. I'd had a couple of films rejected from international festivals, presumably because the videography, audio quality and storytelling wasn't up to scratch. I found myself wanting to level up, and see if with a bit more money, time and effort, I could raise my production values and put Dreams of Spanking on the map as a credible producer of cinema-quality films.
So rather than hire Tai for a day shooting a number of improvised ten minute website updates, I decided to use him to do something different. I booked amazing boudoir photographer Matt Christie to help out with the videography - he'd expressed an interest in shooting video last time we shot together, he has a commercial-grade camera and he also had access to an amazing location perfect for the scenario I had in mind.
I started penning ideas for a single 10-15 minute short film. Not five films, or six films, or seven. Just one.
Developing the story
With Tai, I had an articulate and gorgeous masculine-of-center performer with a submissive streak a mile wide, who loved being spanked. I thought about the films I was seeing at festivals, and the lack of beautifully-shot female/male BDSM films shot from a female perspective, with a male submissive who is both beautiful and interesting, and not just a cipher propping up a sexually objectified female dominant. Instead of this I wanted to make Tai the lust object and protagonist of the film, focussing both the lens on his body, and the story on his character's journey.
I started with a fairly traditional plot - a young man applying for a submissive role in the household of an established mistress. I brainstormed ideas for visual storytelling, thinking about ways to focus the storyline on the tension and anticipation Tai's character feels before he takes the plunge towards fulfilling his submissive desires. I considered ways to create an interesting power dynamic between his character and mine. I quickly realised that I'd need a third performer, another submissive serving the mistress - someone to make his arrival at the house feel more formal and more intimidating.
I'd already talked to my friend Eliza Grey about having her on set as a shoot assistant, helping out behind the camera (she had planned to be with us on our shoot in November, but had sadly been unable to make it). I realised she'd be perfect for the role of a bitchy receptionist, enhancing Tai's nerves before his interview with the Madame... and once I'd cast Eliza, the rest of the story fell into place.
Writing the script
Ten days before the shoot, I was hurrying to finish the script on my laptop on the train. I'd never written lines for characters to say before, and I was finding it surprisingly difficult. I'd write a line, then agonise over it. What if Tai doesn't feel comfortable saying that? What if that's not what Eliza would say? I've always made a political point of not putting words in my performers' mouths, and suddenly that was what I was literally doing. At the same time I was all-too-aware that they were going to need to memorise their lines, and time was running out.
I closed my eyes, wrote some lines telling myself they were only placeholders, and sent it off with an apologetic email saying this was a very rough draft, and inviting them to make any changes they wanted. But my anxiety proved unfounded. In the end, bar one wording change, that script was the one we used - and Tai and Eliza rocked it.
Working with a storyboard
A week before the shoot I was on D's sofa after a fetish party, scribbling a 'storyboard' in biro on A4 paper from his printer while my friends chatted around me. After writing the screenplay I had a strong visual image in my mind's eye of what most of the shots would look like - now it was just a case of creating a visual reference so I could communicate my ideas to Matt on the day. I'd visited Matt's location a week ago, so the rooms were fresh in my mind. It was a useful exercise to think through camera angles and compose the shots, but I'm pretty sure it was the crappiest storyboard anyone has ever worked from. The most hilarious of my terrible stick figure drawings was this sketch of Eliza being spanked over my knee and feeling sad about it:
Professional production all round, innit.
The day of the shoot
The shoot day approached. I bought food and props, looked up travel options, packed suitcases, selected implements, printed scripts and release forms. Shortly before the day I realised that I'd inadvertently booked our shoot on the same day as the London Marathon, and the location we were using was only one block away from the route. That meant that not only would transport potentially be disrupted, but the exterior shots would all have a huge amount of background noise. Still, at this late stage there was nothing to be done about it. I booked an 8am taxi, the traffic at that hour was fine, and I was on set at 9am. Matt and I drank coffee and looked through the storyboard, then Tai and Eliza arrived - and it was all go.
Shooting from a script was a totally new experience for me, and a steep learning curve. I'd worked out the best shooting order, shooting the story in as close to chronological order as possible while minimising room and lighting changes. After that it was just a question of staying calm, following the callsheet and taking it one shot at a time.
I was using an external mic for the first time, and was grateful to have Eliza helping out and sharing the responsibility for making sure the mic was a) close enough, b) not in shot, and c) recording each time. She was also an absolute star helping out with moving lights, checking camera batteries and memory cards, making tea and tidying up behind us. A+++, would work with again. Plus it turned out she could seriously act...
It was a full day, perhaps a bit too full - nerves started to fray after a few hours, and everyone was feeling tired by mid-afternoon. The shoot would definitely have been easier with more camera crew or fewer scenes to fit in. After a few hours, Matt noticed a round smudge in the middle of the lens, and wiped it off - but of course there wasn't time to go back and re-shoot the shots we'd already done. By the time we came to shoot the confrontation between Tai and Eliza in the kitchen, everyone was so tired that that scene took about seven takes. Some of the shots ended up out of focus, and we got through so many cans of tonic that I was worried we'd run out!
Editing the film
Still, despite all that, when I came to look at the footage I was pleased to discover that most of it looked how I'd expected. There were a few surprises in the edit - such as that moment when I realised the reverse shot in one dialogue scene crossed the line and was therefore unusable, and was suddenly grateful that we'd shot three angles of that particular scene, even though at the time it felt like overkill. It was a monster of an edit, but satisfying too, sorting through all the footage, plugging it into place, and seeing how the scenes I'd envisioned in my mind played out on camera.
Choosing the music was another daunting prospect - I knew I wanted to avoid re-using the same creative commons soundtracks that you hear time and time again in indie porn, and that meant spending money. But how to start looking? First I worked out where music was needed - in the intro sequence, the montage, and the closing credits, which meant I needed two or three pieces in total. Then I did a rough edit of those sequences so I had a vague idea of how long the music would need to be. After that, I set a day aside to browse SoundDogs, typing in different keywords and playing pieces with my eyes closed, visualing the film, until I hit on a genre that felt right. I realised that for this story my usual taste in piano and cello-dominated classical and film score music wouldn't work - Tai's character needed something moody and masculine, guitar-led, energetic and driving. Finally I whittled down a selection, downloaded some samples and started laying them over the edit to see what worked.
Primarily, this film was intended to be screened at film festivals - which meant that the narrative would have a different structure than standard spanking films. In a film intended for someone to watch while having a wank, you need a carefully paced build-up and pay-off that sustains uninterrupted shots of climactic spanking action for long enough for the viewer to reach orgasm. In a longer film, there might be two of three of these build-ups and climaxes, separated by character-driven story. But at a film festival, the audience are watching to have their minds stimulated, not their genitals. Fast-paced editing is preferable, providing lots of new visual information with every shot. Explicit sequences need to be edited down to the bare minimum necessary to develop the characters and progress the story. So that was a new challenge: cutting the 15 minutes of high quality spanking action in, for instance, Tai's audition scene, down to the three minutes earmarked for it in the festival edit. The only way I was able to do it was by promising myself that I'd release the full, uncut scene as an extended edition on Dreams of Spanking later. But meanwhile the deadline for the Berlin Porn Film Festival was June 30th, so I had to get the shorter edit finished first...
In the end, thankfully, it was finished in time to submit to Berlin, and I'm hopeful that they'll accept it. I'll be submitting it to various other film festivals over the summer as well. I'm really happy with the finished film, and completely honoured to have been trusted with Tai and Eliza's porn debuts - and thrilled that they had a good time.
And that's a wrap!
It was a really long shoot day. We finished the scheduled shots around 7pm, 10 hours after I'd arrived on set. But then we cracked open the champagne and ended up chatting and buzzing on a total high, which led to another two hours shooting performer interviews, and even a behind the scenes caning for Tai when he confessed he still didn't think he'd been spanked enough...
By the time we finally turned the cameras off, sat down for some supper and tidied everything away, the sun had gone down - and it was 11pm before I finally got into a cab. Matt and I had been on set for fourteen hours, Tai and Eliza for thirteen. I am so grateful to the three of them for their enthusiasm, dedication and professionalism. It was a long fucking shoot and everyone put in so much energy and creativity it was kind of overwhelming. Overall, this production cost ten times as much as an average Dreams of Spanking video, but even so I still came away feeling like I hadn't paid people enough for the amount of work they'd put in.
Overall, this was a very satisfying project, and I'm really happy to have it under my belt. But it also taught me a lot about the trade-off that arises when you move towards a more cinematic shooting style. My previous method gave my performers more breaks, less stress and a much more satisfying kink experience. Shooting Houseboy, we did the bare minimum of spanking needed to get the shots I wanted - and stopping to move the camera, check the focus and lighting, consult the storyboard every few seconds made it hard to get immersed into a satisfying spanking headspace. I'm glad I hadn't scripted any particularly hard spanking scenes, because I think severe corporal punishment would be much more emotionally and physically challenging to take in this context.
I hadn't realised it before, but shooting in a more amateur style results in a much more rewarding experience for the performers - with more opportunity for top and bottom to develop an in-scene chemistry, focus on each other rather than the camera, and time for the bottom to sink into a yummy submissive headspace, without constant distractions.
So what can I take away from this? Well, I've learned that shooting in a cinematic style is something I can do, and that's good to know. I've learned that it's hard work, at least ten times as expensive as my usual shooting style, and considerably more time-consuming to produce and edit. It's also exhilarating, exhausting, and very creatively satisfying. I'm glad I stepped out of my comfort zone and gave it a go, and I'm hopeful that the finished film will be screened in Berlin this year. But I've also learned that I don't want to start shooting this way every time. Perhaps I might be able to put out one cinematic film a year, but this experiment has restored my faith in my usual low-key way of shooting, which it turns out is preferable experience for me and my performers - and a much better environment to ask people to take hard spankings in. Our standard Dreams of Spanking shoots emphasise process over product, and trying something new has re-affirmed my faith in that process.
You can watch the long-play trailer for Houseboy below - and if you're a site member, please watch the full film and tell me what you think - and make sure you also check out the extended editions of Tai's and Eliza's spanking scenes, performer interviews and Tai's off-the-cuff behind the scenes caning.
In our new POV film, Pandora Blake conducts an interview for the position of butler. A respectable job, and one which carries a lot of important responsibilities. But where do you learn how to do such a rare and skilled job as this? Luckily, although you may never get the opportunity to apprentice with a real butler, Dreams of Spanking has plenty of characters with lessons to teach us about domestic service.
From the maid who scrubs the parlour to the gardener who keeps the grounds, there's a huge range of skills and experience for you to consult if you're looking to apply for the role of butler, or any other domestic service role. So without futher ado, here are some tips from the best (and worst) domestic servants on Dreams of Spanking:
Tip 1: Keep your hand out of the till
It doesn't matter if your family is poor, and you're so underpaid that you can't cover their costs – master and mistress will notice if anything goes missing. If you're extremely lucky, as in the case of The Whipped Maid, then light stealing won't result in a loss of your position and a return to the workhouse - a kind master or mistress will simply administer a fifty-stroke whipping to ensure the crime is not repeated.
Tip 2: ABC – Always Be Compliant
Amelia Jane Rutherford and Caroline Grey provide an excellent primer for domestic behaviour in The Baroness' New Housegirls. As Lady Blake inspects the girls and puts them through their paces, it's clear that while elegance and grace are high on her list, the quality most valued by their new mistress is compliance: unquestioning obedience to her every command.
Tip 3: Look your best
There's no universally-approved uniform for domestic servants. Some employers will prefer you to wear a well-pressed suit, or a neat maid's uniform complete with cap. Others, such as Michael Darling's boss in this domestic scene, will prefer their butler to dress in floral apron, with nothing underneath. Respect your employer's dress code, because they probably know best. Michael's, for example, clearly has an excellent eye for the best outfit in which to appreciate a bright red spanked bottom.
Tip 4: Maintain professional composure at all times
This is a basic premise for all domestic service roles. Sadly, though, as is clear in 'Position Available', it's not always easy to stay professional when presented with certain challenging tasks. For instance, if your mistress bends over a chair, offering her latex-clad bottom to a prospective butler so they can polish her skirt, it would be hard for even the most consummate pro to refrain from staring. Just make sure you don't indulge the temptation to inappropriately touch...
Tip 5: Hide your indiscretions
Of course one cannot always be perfect, even if you know that misbehaviour will be dealt with swiftly and harshly. Such was the case with Sebastian Hawley, the undergardener caught sneaking off the estate and causing a ruckus in the local public house. Mistress Blake the housekeeper responsible for teaching him a lesson with the birch. If only he'd been more careful.
So our final tip is one that applies no matter which domestic role you're applying for: No matter how strict your mistress or master, remember the most important advice of all - if you're going to misbehave, make certain you don't get caught.
If you're experienced in domestic service, have experience in being served yourself, or are even just an enthusiastic observer, please do add your own tips in the comments below. After all, we're keen to ensure that all Dreams of Spanking maids, butlers, gardeners and stableboys maintain the strictest standards of professional behaviour at all times...
As you'll know if you read my posts after the shoot, our latest film was a big deal for me. Dreams of Spanking had already published one severe caning scene courtesy of Kaelah and Ludwig - now relocated at Darker Dreams. The last (and only) severe caning I had filmed with myself as the bottom, however, was with another producer. Since then I've known that my next full-force, judicial strength cold caning film would be for Dreams of Spanking.
Things are awry below stairs. A stolen coin has been found in the room of Blake, one of the maids. When confronted she pleads family trouble, and begs for mercy.
She has served the house well, so her employers hear her out. But they are stern in the face of her pleading: order must be maintained, after all. They would prefer not to take this to the authorities, and she is therefore offered a private punishment to suit the severity of her crime. Even family circumstances won't save her from 50 cold strokes of the cane.
I'll be honest with you: the premise of this one didn't take as much thought as some of our storylines. I knew I wanted to do a judicial strength, severe caning; and when I discussed it with Leia-Ann one sunny, boozy, scene-plotting afternoon last summer, it occurred to me that a double caning from Leia and Tom would be super hot. After that, it was just a question of what would make sense within the venue. I knew I wanted it to be historical; the location suggested a domestic setting. Victorian upstairs/downstairs power dynamics have always been a core part of my kink, and so it was that the idea of the whipped maid came to the fore. Hardly original, but every spankee deserves to have a go at each of the classics at least once, I think.
The plot emerged from a gift by a friend in the scene - a gold pound coin dating from Victoria's reign. It was too good not to use as a prop.
However, I hate the image of the low, thieving maid who deserves everything she gets - it reeks of out-dated class stereotypes, and as you all know, I prefer my spankee characters to be sympathetic.
So the theft became one that, perhaps, might be understandable... and Leia and Tom played the Master and Mistress as far more compassionate than my character had any right to expect. Rather than being summarily dismissed without a reference - or, worse, arrested - she is granted the chance to atone privately, and keep her position.
This film was shot with two 8mm canes; one kooboo (Tom) and one smoked dragon (Leia). If you watch the behind the scenes video you'll see me commenting that Leia's cane feels much nicer, to my taste; and that Tom's is almost too light to be used accurately at full force. (Denser canes are easier to aim; I've found that myself when in top mode).
My taste is for thud, and the hard canings I've taken have historically been with dense dragon canes, 10-12mm in thickness. The problem was that on this shoot we only had one cane that matched that description, and with its modern purple handle it didn't look Victorian.
I didn't want to receive a lopsided caning, and I didn't want the implements themselves to be anachronistic. So we opted for the matched pair of lighter canes.
I realised early on in this punishment that it wasn't going to be as intense as I'd envisaged. I promised myself there and then that the next time I did a severe caning scene as a bottom (and trust me, there will be a next time, and it will be for Dreams of Spanking) I'd make sure I had two 12mm dragon canes that looked the part.
Some commenters have said they find this scene overly brutal. For my tastes, and I know this might be weird, it was almost not brutal enough. When I envisaged doing another severe caning scene I imagined struggling, tears, violence, vivid welts. Not only was the atmosphere of this beating incredibly restrained and quiet, each character regretfully doing their duty while maintaining as much dignity as they could, but even my poor, over-spanked bottom didn't mark as much as I'd hoped.
I'd been playing hard without a break for a long time by the time this scene was filmed, and despite the pain, the welts don't look as dramatic as the other canings of similar severity I've seen other spankees take. I know it's not a competition. But I'm only going to do a few of these in my life, and you know me well enough by now to know I care about the look of the thing.
Still. In all other respects, this scene went out without a hitch. Leia and Tom were perfect, the caning was laser precise, and I managed to stay in control of myself throughout - which was just what I'd wanted. I love the maid's uniform I wore, and I love the finished film. I hope you do, too.
For what it's worth: since this shoot last September, I've been giving my skin a break and have barely taken any CP beyond the occasional hand spanking, professionally or privately. The next time I shoot, I expect both the marks and my reactions to be more dramatic.
At Whipped Women they have a powdered-and-wigged singletail punishment which appears to be set in the 18th century. "Question of Honour: the extreme whipping of an unfaithful lady." I love the costumes, and the actors seem to be having fun with it - although that lash across the back of the knees looks nasty.
Our update My Lady's Pleasure starring Tom and Nimue isn't explicitly historical, but it does feature an aristocratic lady and her manservant, and that sort of upstairs/downstairs theme definitely belongs to bygone times. In a twist on the usual dynamic, our forthright Lady demands that her burly serving man give her the sound thrashing she craves. Initially hesitant, the loyal retainer overcomes his reluctance when he sees the pleasure it brings her, and soon lays on with a will. By the time the springy riding crop has done its work, her ladyship's bottom is as red as her hair.
With her father away, young Miss Caroline Grey is left in the care of the household staff and to the companionship of her lady's maid Dora. The two young women are close friends, and the impetuous Caroline often leads them into adventures. But this time, it's soft-hearted Dora who hatches a plan to help out those in need. Their conspiracy must remain secret if it's to succeed - but to their dismay Caroline's strict governess Miss Haze uncovers it, and is greatly displeased.
As Caroline is taken over the knee by Miss Haze for a hand spanking and the hairbrush, Dora pleads on her mistress' behalf, but their protests only land the girls in more trouble. In her father's absence it is Mr Cameron the butler who is responsible for maintaining order in the house. He takes his duty to the family very seriously, and after dealing with the hapless maid Mr Cameron turns his attentions to the wilful young mistress.
Although there are some edgy moments in this scene, there's also a lot of humour, especially around the secret itself. We had great fun filming it, particularly the sequence involving the actual wardrobe. Members can check out some goofy out-takes in the behind the scenes material.
I also want to take this opportunity to share a photo which didn't fit in anywhere else, of governess Miss Haze looking delightfully stern as she orders her charge over her knee:
Also starring Caroline Grey this week is a new bonus gallery of lost photographs, taken during the filming of The Prefect's Revenge - part 1. I didn't realise I had these images when the film, in which my character blackmails her rival and fellow prefect into taking a caning, was originally published. When I found them I asked our twitter followers if they were worth putting up, and the answer came back yes. So here you are.
The gallery also includes some behind the scenes photos, including Caroline modelling a bold new look in kinky fashion: a frock coat over gym slip and knee socks. I think it'll catch on, don't you?