Aston has made a short film that is like a blowjob tour of Coney Island called Cockroach. The Super 8 city shots are beautiful, and it's great to watch a porn movie with New York going on outside rather than the Thursday mowing.
Aston is a saucy, dirty, been-around-the-block badass art chick sort of lady who started in porn at 34. She just got a mohawk for some reason.
GP: Are all the blowjobs in Cockroach the same guy? Were these escort gigs?
MA: Nah, these weren’t from whore gigs. Although I did film some non pro dicks several years before on a whim with a video cam I bought at Target, and I learned a few things. I think I originally bought the camera to film and document my paintings but just like every other rednecked American I was filming my genitalia in no time flat. Once I become bored zooming in on my pubic hairs, I tried to shoot fast flying sperm sports. I quickly learned that non-pro porn dicks really get off on being filmed and watching themselves get sucked off by chicks and will give you guaranteed lockjaw but not a cum shot. Out of a handful of guys I shot I had only one dude be able to drop his load on my face. He was nearly 80 and fucking amazing, screamed like he was having a heart attack and then nailed my tongue perfectly. I was stunned. I guess you could say I got my feet wet before I got into porn, but I never really got into webcam/chat stuff or cell phone picture messaging, and I really didn’t do anything with it. I think the making porn itch really hit me like a cannonball years later when I saw Joe Gallant’s Contract Girl and I saw super-8 for the first time in porn. It just made so much sense.
MA: When I sat down to edit Cockroach I was surprised how much of the footage was oral themed, and I think it wasn’t intentional, it just turned out that way. I had just bought my first super-8 camera and all I wanted to do was drive that classic 8 through Manhattan and chronicle my deviant sexcapades. I had already written out several scenes for filming, and had mapped locations, but I just wanted to suck and fuck ASAP. The script I had written out seemed pretentious at the time, but I used the locations I had in mind, such as the punk rock coffeeshop in East Village and my rooftop. Coney Island was an obvious psychedelic color choice and complemented my pink hair and punk blue eyeshadow, and I just went with the whole cosmic flow of the artistic and naive exploratory vibe that I was in. As I was filming myself I felt like a reborn sexual person, I found great pleasure in cooking up new kinky scenes and felt redeemed once I shut off the camera.
I had two brief scenes with different sex positions than the oral scenes, but it just didn’t seem to go with the rest, so I kept it oral themed in nature to remain consistant. The male talent’s name is David de Faux, and he is a rather well known attractive photographer that I took advantage of after a fetish photo shoot in London earlier this year. He just happened to be 10 inches and I was able to train him to come in less than 3 minutes and 20 seconds on my face, which is one of the constraints of using super-8 film. All of the footage came from his visit to New York from London in early Spring 2006, and since he had two forms of US-issued ID and was AIM-tested it was kismet.
GP: Aside from this being kind of a travelogue, what story is this movie trying to tell?
MA: It doesn’t really have a story line, other than my driving need to inhale cock.
GP: That's the way I felt about Finding Nemo. It looks very avant-garde early-70's, and it would be great if the camera/cameraman sounds could be edited out as well as some of the empty space.
MA: Good point, I can understand editing out the audio on the male talent’s voice as it is distracting. The camera noises I like because that is an indicator that that footage will show up later as a flashback. I love the sound of super-8, it just turns me on. The empty spaces and obscure footage is very much a part of the inherent beauty of Super-8. It is very unpredictable and responds very strongly to light, and it gives an emotional quotient that is sorely lacking in HD. I like that the viewer is presented with a white screen, it forces the viewer to walk barefoot out on his own. So much of what is presented to us visually is put on a plastic plate and served with a thin napkin. I want people to eat this like its messy fried chicken, and I won’t give them a paper towel or tell them how to do it, because that would spoil all the fun. If they don’t get it, fuck ‘em. I do, and it makes me horny, and that is what counts.
GP: Anyway, tell me more about the movie, when it will be available, etc.
MA: The plan is to release the movie on on my website, and to clip it up on a few others. The proceeds from this will be applied toward the DVD release in 2007. When Cockroach is released on DVD it will be paired with my second feature, Skullduggery, for Michelle Aston Industries. Both will be issued as a limited release to a minimum of 100 handpicked stores across the country and it will have unusual packaging that I am designing now. I want to distribute this film myself, and since it is my baby, I would like to do signings at certain adult store locations so I can personally meet my fans.
I don’t have a sugardaddy backing me on this one, so it is a labor of love and it is all mine, and when I go to sleep at night, I know it has my blood sweat and tears in it and not some douchebag’s trust fund money or Mafioso cock’s strings attached to it that restrict my artistic freedom as a director. So many people in this industry take it up the ass to do what they do, some “directors” shoot and then just drop it in a box for others to work over. What is the fucking point of that? That isn’t directing, that is being lazy.
GP: A lot of directors don't get editing rights as part of their deal. Companies look at the script, hope it works for five distinct scenes covering certain insertion areas, and take the raw footage from the director before he/she gets too attached to it.
I am also launching a new site called “stationeryfetish.com.” This will deal with the prevalent but-'til-now-unaddressed fetish of fine paper and pens, and will be very unique.
GP: I've always dug hot quill-on-vellum action. What prompted the mohawk? You really live the life.
MA: For several months I had been toying with these various perverse and extreme ideas, actually several, nay an entire vatful of vice that I keep in a couple of bulging graph paper composition books that I carry with me everywhere. Some chicks carry a mini salon in their bags, I carry Hieronymus Bosch’s wet dreams in my briefcase.
For the first scene that I was directing for Conflict Productions, I wanted to start it off with a bang, so I wanted to cast a normal MILF-ish woman that would undergo getting banged hard in doggie while getting forcibly shaved to a radical mohawk by the male talent. Needless to say, I couldn’t find any female talent willing to do this, so I had to cast myself but my legs were too long, so I had him put his combat boot on my head while I screamed and struggled getting shorn. I directed the scene between takes. The BTS from that shoot is hilarious.
I like the hawk. I get attention from the ladies, and I think cum looks really hot on my shaved scalp. Nobody looks like me in this industry, I love it. I have no competition. Some goth-MILF had to step up and represent the over thirty hotties that have a bit more than a ass crack tat and extensions in the way of body modifications. For the record, my tattoo cost more than most girls' funbags and get way more attention.
GP: You haven't hidden the fact that you also escort. A lot of porn people escort but they are not as forthcoming about it as you. Why do you think that is? Are you still doing it? I assume a lot of your dates like the tattoos - do you find your client base shifting due to the new hairdo?
MA: I understand the reasons why female talent end up escorting. This is a tough industry with a variety of risks, and high exposure with no medical and no pensions. If you are young and blond it is easy to get shot out, and jobs start to dry up. I have zero issues with what I like to do on or off camera. I am a sensual dominatrix and a sort of misfit public servant, I offer services that other people cannot or will not do, and I totally get off on it. I have skills that an average escort wouldn’t dream of, and I do things that most run of the mill dommes will not or publicly won’t or cannot do. I get a lot of referrals from others that just can’t deal with certain requests. Not everybody can command a toilet slave, break someone down mentally through interrogation, or stick their whole foot up a guy’s ass while I jerk myself off and squirt reverse bukakke in his mouth. I have acquired these skills by allowing myself to mature into the sick bitch I am. I think a guy looks hot in bondage with his balls tied up, and I like feeding him my strap-on. Obviously, normal sex just doesn’t do it for me anymore and the fact that I get paid for my deviant sexual satisfaction makes my student loan officer happy and bills paid.
I work mostly in London, Geneva, and Manhattan and I am getting a big following in Europe. My clients over the years have seen me get more tattoos and have every change of hairstyle, but they keep coming back for more. I was just trying this afternoon to see if I can get my dreadlocked mohwak around some pink curlers. My clients find it entertaining. I tolerate them until they get clingy and whiny and then I kick them to the curb and I find some fresh meat. A good slave is hard to find, to find one that listens is damn near impossible.
GP: Give me a rundown of the last few movies you've been in.
“50:1 #7” Platinum X
Something Older Milf/ Young stud line for Hustler
“Reverse Bukakke #4” JM Productions
“MILF Orgy” Legends Video
“East Side Story” VividAlt
“Slut Wives Vol. 3” Ultrahard Films
“The Buck Stops Here” Avalon/Buck Angel
“Scuba Squirters 3” Starr Productions
“Avenue X” VCA/Hustler
GP: I am pretty intolerant of the term MILF when the person it is being attached to hasn't had a child, but it seems to be used on anyone over 30. How would you define that term and do you consider yourself one?
MA: I had an abortion in college, so technically at some point for just a few weeks I was a mother. Some of my MILF aquaintences say painful child birth is the binding definition of MILF, but I will keep the medical definition. I have no plans to procreate, but I always feel empowered when I ovulate and have my period.
GP: Yeah.
As a person who just got into this end of the biz at 34, do you think you look at the world differently from someone jumping in at 18? Is your style different?
MA: I love sex, the nastier and crazier the better, and my orgasms are much stronger now in my thirties. I don’t have issues with my body now, I have more or less learned to accept and worship my flaws. I like that my boobs sag a bit now, and I like that they swing to and fro when I get pounded in doggie. I don’t really care to fake anything, and I always get what I want, at least in the bedroom. Because I don’t date and don’t have a boyfriend I pretty much get laid only on camera and I love it, it is always real, fresh and rewarding. I have been known to house my own talent for a week or so and use and abuse them for my own artistic cinematic endeavors. I am such a dirty old perverted woman. I have weird fetishes such as mild armpit odor and feet.
GP: What sort of pickup lines do you get?
MA: “Hey, I like your look. Did those hurt? How do you get your hair like that? Where did you get your ink?” Nonsensical and unthrilling slow stabs in the dark.
GP: What sort of pickup lines do you use?
MA: "I don’t bite", "What the hell is a suit like you doing in a dive bar like this?" "I can fuck your girlfriend better than you. Wanna watch?"
GP: Give us a behind-the-scenes for Cockroach.
MA: Cockroach starts and ends in Manhattan. I was walking with Joe Gallant through Hell’s Kitchen and I saw a super-8 camera on a sidewalk vendor’s table and I bought it. It cost 25 bucks and Joe seemed a little miffed since he wanted another super-8 for his production, but I saw it first and nabbed it while he was trying to hustle a deal for another camera. I went to Kodak near Penn Station and bought a cartridge of every type of super-8 that they had to sell. I fixed the camera started shooting right away. I was in love with the whir sound of the camera and the look. When I finally saw my finished work on the transfer I had the most amazing sensual mind orgasm and I knew this is what I should do. It all made sense and I was supremely happy. Film is so expensive but so are drugs. I found my drug, and I don’t care, I will do minimum wage labor, I will shit in a guy’s mouth, I will do whatever it takes to make that drug happen again and again. I am totally addicted to film. I am crazy because it is so expensive but I don’t care, if I do only one feature a year, I am doing what I want.
Previously: Avenue X review; Joe Gallant: "The machinery is weird"; Dave Naz loves L.A.; Audacia goes the extra mile
See also: Michelle Aston
