Random Notes From a Red Notebook: Dorcel's 'More' Party

HOLLYWOOD, Calif.—The longtime Las Palmas venue now called Revel, a few steps from bustling Hollywood Boulevard, hosted a release party for Ricky Greenwood’s new Dorcel release More Sunday night. "This is my first event since COVID stared," Dorcel publicist Daniel says. The start time for the party is 8:30, instead of the pre-COVID-fashionable 10 or later. The red carpet, brightly-lit with a step-and-repeat background, is set up along one wall inside the club. Summer Rose poses in a barely-there dress. Less is more indeed... Performers cluster together in small groups, talking shop and trading notes... Lucas Frost walks up, shakes hands, introduces himself. We met years ago, on a Holly Randall set, but he doesn't remember. I didn't remember either, I had to look it up after he walked away and I thought, "He looks familiar"... Nathan Bronson, Victoria Voxxx, Marica Hase, Alexis Tae... A mystery blonde surrounded by a four-guy entourage looks familiar, maybe a performer, I can't recognize her, neither does Pete Warren. All the veteran reporters and photographers are frustratedly trying to identify the influx of new performers. "I was in a Wicked bubble, now I'm in a Dorcel bubble," Daniel says with a whaddaya-gonna-do shrug... Music thumps, a projector runs a softcore trailer... Performer Emma Rose, featured in the production, struts the red carpet in a maroon dress, reveling in the attention... Jane Wilde, Melody Marks, Slimthick Vic (who had to repeat her name three times in the din, sorry about that), Nicole Doshi, Lilly Bell, Whitney Wright... Mark Spiegler enters, poses on the red carpet surrounded by 15 of his clients. "I'm good, but it's early," he jokes... "I haven't seen a paparazzi fest like this since the '90s," photographer Marc Star says... The mystery blonde has already grabbed a Dorcel swag bag, maybe she's a civilian after all... Kira Noir, Charlie Forde, Vince Karter... Performers take pictures of each other and cell-phone flashes illuminate the room... Ricky Greenwood shambles in, and there's a call for cast and crew to assemble, including tech crew members Kylie Ireland, David Lord and Andy Appleton... After the group shot, Greenwood sticks around, strikes a pose pointing at his name on the backdrop... Kylie Ireland walks up, gives me a hug, a photographer friend bathes us with light, shooting stills. "My husband's gonna see this." So will my wife. "No big deal, we've known each other..." we say it together: "Thirty years!" Laughter as the cameras flash... "Kay Lovely wants to make sure she gets in the article," Pete Warren tells me. I walk over to assure her she will. "I want you to say my titties look great," she grins. Has there been... enhancement, or are you just looking good? "Nope! All natural!" she declares, pulling down her leopard-print top — conveniently at my eye level — for inspection. "Immaculate!" She's right, they do look great. "I really like a lot of things in the movie. But there's one scene I'm very, very proud of, and it was just in the moment," Greenwood tells me in the makeshift press lounge. "The first scene of the movie is a threesome between Emma Rose, Casey Calvert and Kira Noir. It's three women, but one of them is a trans woman. Normally when we shoot a trans scene, you will have the trans topping the cis woman. We were like, 20 minutes in the scene, and all the girls are having fun kissing, eating out each other and everything, and we didn't do penetration yet. "I turned to the person who was there to supervise that everything is safe on set and I said 'I will not do penetration in this scene. I want to keep it as a girl/girl lesbian movie, just no penetration. It'll only be three women enjoying each other's body without penetration.' It's one of the best scenes I've shot. It's so beautiful, it's so natural, it's so in-the-moment. It had something special to it. There's three amazing women: Kira Noir, Female Performer of the Year at AVN; Casey Calvert's a veteran; and Emma Rose is just amazingly good. So like, I have those three together, you just let them work. But I was not expecting this scene to go there, and they brought this scene to a moment that it was... it was just perfect. It's one of the best scenes I've shot." I talk to Emma Rose in the lounge before her ride-share comes. "Ricky Greenwood is one of my favorite directors. He was the director who got me into Dorcel last year. I'm the first trans girl who's ever worked for them and I'm also the first trans girl to ever be in their feature films. I love that. I'm just treated like anybody else. When I was shooting with Kira Noir and Casey Calvert—it was like a 45 minute scene—Ricky was like, 'I don't even want penetration, just look so beautiful, just give me a full lesbian scene.'" Have you ever done one of those before? "No. I was very ready to top, I was very ready to fuck. I was horny and when they told me that I was thinking I would just love Kira to ride me at this point. Kira Noir, Casey Calvert, big-time crushes in the industry, reliable performers, amazing performers. Finally working with them, it was just too good to be true. When he told me that I was like, 'Okay, what are the movements we need to do?' I've done so many trans-girl-on-girl scenes, but Casey and Kira, they have such good experience with trans girls and guys and women that it just worked. My favorite position was when Kira was eating me from the back and Casey was sucking my dick and I had my leg positioned up on my chest so I was bouncing on one leg. And it was just, oh, so pretty. It's such a beautiful shot. I shot it for a minute, I was shaking. Kira was holding me up. She's like, 'Okay, you got this.' It was beautiful." Ping "My ride's here." That's okay, I have all I need. We return from the lounge to a practically-empty club. The music and the trailer are still running and the bartenders are serving the last few stragglers, but the photographers are wrapping up and the Dorcel swag bags are mostly gone. I say goodbye to Daniel and step onto Las Palmas, zigzagging around a few performers chatting, looking at their phones, tracking the arrival of their rides. I check my watch. It’s 11:30. Four hours ago, on my way here, I believed that no adult industry party ever started before 10:30. Times change. Click here for a photo gallery. Photo by Chris Brody