Q&A: Angela White's Heavenly Majesty Ignites L.A.

Sep 16, 2016 3:45 PM PST

LOS ANGELES — Angela White is a heavenly mirage, haloed by molten cascades of feathery cinematic light.

Her buxom brassieres are filled to the brim with carnival carnality, bursting at the seams with sweat-beaded, jiggling resplendence. And that pillowy cleavage nearly floats, sexually spectral, betwixt the all-seeing eyes of grateful worshipers, like a steam-laced fever dream.

To prowl the sunlit wetlands of her Aussie outback is to attain coital nirvana, kneeling before the altar Down Under. For her jaguar thirst can never truly be slaked. And the thirst… is very real.

Pouncing playfully, she emits viscerally blissful cries of ecstasy, so possessing in their Siren musicality, that entranced viewers flirt with a veritable oceanic abyss. And yet, they will gladly fall headlong into that whirlpool gaze, whose azure brilliance reflects erudite depths.  

Awash as she is in elven beauty, White is eminently approachable. A bookish bibliophile, she is the very incarnation of erotic librarian fantasies, a well-kept trove of knowledge asking to be plumbed with wild, intellectual abandon.

Amidst a marvelously masterminded migration to the hustle and bustle of Los Angeles, this rarest of rare birds plucked a quill from her flamboyant plumage, dipping it into a rippling inkpot as she affixed her signature to the dotted Spiegler Girls roster.

Knighted thus, the 2016 XBIZ Foreign Female Performer of the Year swiftly set about filling her calendar with a myriad of high-profile engagements, shoots and VIP ventures. In fact, days before she made landfall, White arranged for a chariot post-haste to meet in-person with the powers that be at XBIZ, where she matched wits (and tits) with the best in the biz.

For the arrival of so legendary a personage, whose performances are rivaled only by the caliber of her AGW Entertainment productions, nothing less than an intimate interview would suffice… a patiently executed victory lap, in lieu of a frothing sprint, to memorialize such purebred, adult stardom.

XBIZ: How has Angela White Entertainment evolved since its inception in October 2014? Where do you envision it heading in the future?

Angela White: It’s evolved as I’ve evolved as a performer, producer and director, and I would say that my vision for what I want in my DVDs and web scenes definitely has a very specific style now. I think in the beginning, I was still trying to find what suited me best in terms of costuming, locations and other talent. I might have booked somebody because I thought they’d look really good next to me, were a big star or had a lot of hype around them. Now, I really spend more time researching that performer and trying to find out what makes them tick — like whether they have the same sort of value system and philosophy as me. After so many performances and DVD productions, I’ve really figured out the “Angela White” brand. Basically, I like to focus on showcasing chemistry and genuine pleasure, so I feel like my scenes have been getting stronger as well, because the people I shoot with are on the same sort of level as me, the same wavelength.

It’s about being authentic and remaining true to your core values as well. Like, I’m not just going to make a scene because people are asking for it. My heart has to be in it. I mean, when I watch pornography on a personal level, I hate seeing a scene where the people don’t truly look like they’re enjoying themselves. That’s what I want to see as a viewer and what I think other viewers want to see as well. So that’s my focus, getting the details right — like, I’m very specific about the way my DVD covers look. I take a lot of time with the costuming, especially when I’m doing girl/girl scenes, where I make sure the girls are in matching costumes, or costumes that really complement each other. That helps increase the value of the product. You may have noticed I like big booty girls, so there’s often a contrast with my big boobs and their big booties, to get the best of both worlds in terms of curves. Usually, they tend to have smaller boobs than I. Sort of like yin and yang. And, I think I look really good contrasted with blondes, but you will still see me with brunettes, even if they have big boobs — especially if they have the same passion as me. These are just finer details that are great when you can get them.

I also shoot scenes that are more inclusive. While the majority of my subscribers are cis-male, a decent proportion of my members are made up of couples, females and trans fans. For this reason, I make sure that there are scenes on my site that address the viewer in a gender neutral way. I take fan feedback seriously. So, when a member with limited mobility told me that he had trouble relating to some of the male talent picking me up, fucking me in mid-air and throwing me around the room, I decided to create some content where the male talent remains stationary throughout the entire scene. For somebody who is differently-abled or wheelchair-bound, these scenes may facilitate fantasies that are more in line with what they can imagine for their own sex lives. A recent example of this was my “Angela White X David” scene, published on AngelaWhite.com. I produced this scene specifically to give viewers a girlfriend experience, not only to make it even more accessible, but also to break up the double anal and blowbang scenes for the more softcore fans.

XBIZ: Talk about your primary objectives in coming stateside. Are you scouting the terrain to set up shop permanently? Expanding your sexual horizons and imagination by partaking in the cinematic exploits of your colleagues?

White: My participation in pornography is part of a broader ethnographic exploration. I love delving into the depths and breadths of my sexuality — by shooting with other directors and other companies, I’m experiencing different things. My main objective is, firstly, deciding whether I’m staying permanently or not. I’ll definitely be here for the next few years, but beyond that I’m not sure, so I’m feeling it out. There are still a lot of things I want to produce for DVDs, for AngelaWhite.com and there are actually a lot of scenes I haven’t even released yet, secret scenes that’ll be coming out. I’ve still got to finish editing them, but they’ve been shot. Now, I’m expanding my repertoire by shooting with people like Greg Lansky, Brazzers, Naughty America, Jules Jordan, Mason and Spiegler’s been speaking with Kink — which I’m really excited about, because Kink is something I couldn’t do with my own productions. I’m not going to buy all the equipment they have, plus they have experts there. Like, I’m not a rope expert… I can’t do Shibari, I can’t do all these things, whereas the people at Kink can. So for me, that’s exciting on just a personal level where I can, for example, experience a gangbang while I’m completely tied up.

By experiencing the different ways everyone produces porn, I can learn how to get even more out of my own performances and other people’s performances. So, when I shot with Greg Lansky for Blacked recently, he was able to bring something else out of me. That’s the most valuable thing I get from working with other people, discovering new things that turn me on. An example I give a lot, because I do webcamming with fans, is they’ll sometimes come to me with fantasies I’ve never even thought of, that aren’t part of my sexual repertoire, and as we roleplay this fantasy, I’ll touch my body in a way I hadn’t before, then be like “oh my god, I’m into this, I didn’t know I was but now I am.” Working with other directors is similar. Like, I’ve done double penetration, but there’s still more that I have to learn about DP, because I’ve only done it my way, for my company. My first shoot for Jules Jordan in the states was a DP and he has different techniques and positions. Those small things teach me about myself on a personal level — as a performer and director, it’s going to teach about new angles I can capture, or novel positions that open me to the light more. So, I’m really going to be trying to learn as much as I can on set.

It’s hard to quantify what I’m learning from these shoots, but what I can say is that being able to focus on just my performance, rather directing or producing, allows me more freedom just to flow with what’s happening in the scene. Like with Lansky, I felt a sense of playfulness. Normally, I’m quite serious when I’m producing and directing, as you can imagine, because it’s my production company’s money and I’m like “I really want this to be amazing, I need this a certain way.” Whereas, on somebody else’s set, I’m still putting in the most effort I can to achieve a great performance, but it’s their vision in the end, so I’m just free to — within the bounds of what they’re after in the scene — sort of play around. I will say I’ve had that playfulness previously. It’s come out of me in my gonzos, like “Angela Loves Gonzo.” But that’s POV with a little handycam, so in terms of thinking of opening up to the light, the point of that series is to be raw and without artifice, it’s to remove the camera crew, all of those things that make it professional porn. Going for that sort of more boyfriend/girlfriend “get the handycam and go nuts with it” vibe. I mean, obviously I still like it to be a professional product — I still edit the scenes.

Lansky is an artist himself and he recognizes the artistic talents of the performers. He even tweets about it. He’s very respectful of the fact the talent are artists in their own right. He also provides a set that’s very comfortable — he’s got the fruit platter out, he tells you just to relax and to do what you want to do. That was very different for me, because I’m always doing something on set, as the director and producer, but on Lansky’s set, when I asked what I can do to help, he said just to sit down, relax. There were pineapples and watermelon and berries to eat. It was just beautiful. I think Greg’s doing amazing things obviously and I’m really happy I was able to collaborate on that. And, shooting with Jules Jordan is incredible too. He’s really popular with the fans. His stuff is very hardcore, but it’s also hot, so I’m equal parts nervous and excited when shooting for him. I was also nervous to shoot for Greg — I couldn’t sleep the night before. I prepared myself to get to bed early and have a good night’s sleep, since I was just so nervous shooting with somebody else. And, of course, shooting for Greg who’s my friend, who I don’t want to disappoint, I wanted it to be perfect.

XBIZ: Aesthetically, directorially and performance-wise, what defines an Angela White title? Delineate the ways in which your style has changed since your earliest forays into porn.

White: It might sound a little strange given how nervous I just said I was for these shoots, but I have more confidence now, to be able to lose myself in a scene, deliver a fantasy and what a director/producer wants. It’s really difficult to pair those two things, I suppose — being so nervous yet having confidence — but once I’m “on stage” I know I can make it happen. It’s all related to my perfectionism, because I want everything to be perfect. And nothing in this life ever is, but at least I want it to be as perfect as it can be. I have more control to make it perfect when it’s my production, because I can just throw more money at it. I can throw more time at it. I can bring another person on set. I have that executive power to do whatever needs to be done. But with someone else’s set, it’s obviously not my decision, so in some ways that makes it easier.

In other ways, it makes it more difficult because I have to really be able to communicate and understand exactly what the producer/director wants so that I can deliver it to them. So, how have I changed? I’m more confident, but I’m still a perfectionist. I love light and I love to be able to see everything. While shadows can create a lot of mood, even my locations show that I love light — big grand mansions filled with minimalist furniture, lots of windows. I love the color white. It’s a very clean look that I produce, and you can see that with the design of the website as well. It’s white, it’s clean and it’s minimalist. A broad canvas, so to speak, with natural lighting from lots of sources and starkly furnished so as not to detract from the subject, which is the performers and myself. As for the white in Angela “White,” that was just a fluke, since it’s actually my real name, haha. Although, being in California now, I might have to change my name to Angela “Tan,” because I’m seriously tanning up.

XBIZ: You ran as a political candidate for the Australian Sex Party in 2010 and graduated in 2011 from the University of Melbourne with First Class Honors in Gender Studies. How have these mainstream achievements uniquely shaped your career trajectory and personal ambitions?

White: This is all absolutely part of an ethnographic, anthropological study and experimentation as a sexual explorer. Everything that I learn on set, that I do here in L.A. is going to end up helping to inform my future studies. Personally, this is a passion of mine. Everything I do here is something I actually want to experience, so I can grow as a performer, producer, director and just as Angela. Then, I have my academic side and obviously the political side. I’ve already done a lot of research into female experiences in the Australian pornography industry. So, I’d like to broaden that. However, it won’t be my main focus for the next couple of years, which will just be immersing myself in the L.A. porn scene. That’s what I really want to do, truly immerse myself and know everything I can about it. Then, eventually, I want to pursue my Ph.D., either in Australia or here if I decide to stay. My major and bachelor of arts were in gender studies. So, it will be gender studies and politics, probably focusing on the pornography industry. I may even look at webcamming, because I feel like that’s a very unique and interesting way that the industry is heading, and I feel like I’ve got a wealth of experiences just through webcamming. I learned so much.

Even though I never did a psych degree, now I’d consider doing it, because I like thinking about the psychology of people who webcam, as well as the people who judge the people who webcam. Because, there is this assumption that only men pay for webcamming services, that only men pay for porn. But it’s not true. It’s couples, it’s women, it’s trans folk… it’s everyone. And there’s an assumption that the audience is made up of seedy old men who couldn’t get a date, who are socially awkward, who can’t hold down jobs and it’s absolutely incorrect. And one of the things that I would love to come out of any of my studies is to show that, actually, everybody has a sexuality — even people who are “asexual,” they still have a self-identification, they still have a sexuality, even if they choose to not express it, you know what I mean? So, I would love to have it become common knowledge that people who watch and consume pornography, people who consume webcamming services, are just normal everyday people. And it’s the same for people who work within the industry as well. We’re just people who enjoy sex — I mean, most people enjoy sex — but we are okay with being exhibitionists about it and sharing it with the world.

There are just so many directions that I could take, with the knowledge I garner through being in the industry, that I wouldn’t be able to tell you the specific topics necessarily. I’m amassing data, first-hand experiences, other people’s stories and observations of trends. I mean, I might even decide to do in-depth interviews with people. Qualitative research is what I did for my honors thesis, so I’m already familiar with its methods and I have experience with collecting data. And best of all, I have unprecedented access to other performers. Other people in academia, professors that haven’t performed in pornography, they’re going to find it very difficult to access all that. There’s a lot of distrust of people outside of porn, because academics have the same reputation as mainstream journalists sometimes, among insiders. They’ll judge you without fully understanding the industry and there are also so many negative associations with pornography. There are already so many arguments and mythologies about women — it’s always women, they don’t focus on the men — the assumption that they’ve been abused as children, have a drug addiction.

And all these things create an environment where, when there actually is a problem in the industry, performers feel like they can’t speak out about it, because it’s just going to give critics more fodder for their attacks. So, you can’t say, “I had a bad day.” Like, I’ve spoken to performers that say they can’t tell their family they had a bad day, because then they’ll be like “see, I told you, you shouldn’t be in pornography, it’s bad for you, you need to get out.” Everybody has a bad day now and then. It’s just one of those things, where not every day goes perfectly. Now, we should be able to talk about things like that, without having our whole existence questioned. And I don’t feel like we’re at that stage right now. And it’s not like people aren’t speaking about it —there are highly intelligent performers tweeting about it, writing about it, even publishing articles about it, but it’s still not really getting out there to the public. It’s not in the public’s imagination and I think it’s going to take a long time to sort of change that attitude of the porn industry and porn performers. It’s going to be a long… long journey to turn that tide. So, I hope that someday, with what I’m doing and maybe with my future research, I’ll be able to make just a little contribution. 

It’s important for this research to get into the academic space, and then it can filter out into the mainstream. The problem is, that often when it filters out into the mainstream, it loses a lot. And, I understand that when journalists convert academic papers into articles for laymen, they have to make it more accessible. And they feel like they have to put sound bites in, since they’re great for getting people’s attention. But, it doesn’t give you the full scope of what’s happening. So, I think that doing academic papers will be the first step and then maybe, instead of having somebody else — some other journalist telling their version of it — I can try to put it in accessible terms for the mainstream media, my own way. And if I do it, I’ll have a better grasp, on which bits are essential that cannot be left out. Then, I have the performance experience to go on T.V. and argue a point, if needed. So, that’s the long-term plan. But, in the short-term, I just want to have a lot of fun fucking!

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