How Ricky Johnson F*cks AND Films Better Than You

Episode Transcript
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Speaker 1 (00:00):
You were listening to a pleasure podcast. For more from
our sex podcast collective, visit Pleasure Podcasts dot com.

Speaker 2 (00:25):
Hello everybody, Welcome back to Holly Randall Unfiltered. My guest
today has been a legend since his very first year
in the industry, when he won Best Newcomer Award at
abn XRCO and the Urban X Awards. Since then, he's
won dozens more awards and taken his passion even further
by creating his own production company, Ricky's Room. I'm so

(00:45):
excited to have him back because this is his second
time on the show.

Speaker 3 (00:50):
We are welcoming, of course, the one and only Ricky Johnson. Hello, Hello,
thank you for having me.

Speaker 2 (00:55):
Of course, I'm excited to have you back on better
cameras because you were on before we had like the
one camera that like zoomed in and like the footage
and looks so good, and now we can see you
in like full high death.

Speaker 3 (01:07):
It's been six years, right, it's a long time.

Speaker 2 (01:09):
Yeah, it's crazy because I think I started this podcast
like seven years ago. Oh, I think it'll be eight
years in August.

Speaker 4 (01:16):
Oh, let's go almost a decade. A god shit, I'm
by congrats because like I think the average person doesn't
hit ten because they say, if you hit ten podcasts
and it's like, okay, you have a podcast. Yeah, I
know a lot of people that are eight that, like
I was like, yeah, this isn't it.

Speaker 2 (01:31):
You know, I am almost at four hundred episodes. You're
like three hundred and ninety six or seven or something
like that.

Speaker 3 (01:38):
Let's go. I know that's dope. I know it's crazy.
I didn't think I would ever get here.

Speaker 4 (01:44):
Big congrats, thanks hey, because that says something in itself
of being able to get that far, you know. Yeah,
so yeah, good shit, Yeah, thank you.

Speaker 3 (01:52):
Take a time. Let's take time. Can we can we
get a little like more?

Speaker 4 (01:56):
Thank you?

Speaker 3 (01:57):
Thank you?

Speaker 4 (01:57):
Yay?

Speaker 3 (01:59):
I love this. Let's talk this when the entire episode
talking about me, my aments and what I've done?

Speaker 2 (02:05):
What else do you want to ask me about myself
and why why I'm so successful?

Speaker 3 (02:10):
You know?

Speaker 4 (02:10):
I got to see when did you start? What was
your first first podcast?

Speaker 2 (02:17):
My first podcast was, Oh my god, how could I forget?

Speaker 3 (02:23):
I'm moms? On your first episode my.

Speaker 2 (02:25):
Mom and my Dad? Which is why I like I
love it so much, because you know, my dad's dead.

Speaker 4 (02:29):
Yeah, so yeah, it's sentimental. I'm like looking at the friend.

Speaker 2 (02:32):
Yeah, it's really cool to like go back and watch
it because yeah, I mean talking is so great too,
because it's like talking about kind of brings the whole
thing three sixty, right, like their beginnings in the industry
and you know how things were and we look at
how things are now and really gives you kind of
this great scope of you know, how the industry has
changed so much yet also like stayed the same in a.

Speaker 3 (02:53):
Lot of ways.

Speaker 4 (02:54):
It's a little bit of a core same, but yeah,
certain things is always Yeah.

Speaker 2 (02:58):
I mean what's so interesting is, like I'm just going
to go on a little tangent right now, is you
know my parents went through the Tracy Lord scandal, which
was like a huge thing back in the day.

Speaker 3 (03:09):
Do you know anything about it?

Speaker 2 (03:11):
She was sixteen I think she was fifteen actually when
she I know, and then of course she was using
a fake ID and so nobody knew and then they
found out and it was this huge scandal. And she's
actually responsible for the reason why we're so much more
stringent about IDs now, Yeah, because back then it was
like you would give your ID to like the agent,

(03:32):
and then the agent would vouch for your name, and
the producers and the directors would be like, oh, well,
Jim South said you were a age, you'd have the
model release, but you wouldn't keep the IDs, you wouldn't
like check IDs.

Speaker 3 (03:43):
You'd just go by what he'd say, right.

Speaker 2 (03:45):
And back then was the Mease Commission, which was started
by Ronald Reagan to try to basically shut porn down.
And it was a study on whether or not porn
was damaging to the fabric of society and whether or
not it was damaging to family, and it was this
whole crusade against porn. And back then it was the
Morality in Media was the name of the organization that

(04:07):
was coming really hard after porn. And they've actually rebranded
and they're now Nikosi, which is now attacking porn in
the vein of like sex trafficking, right, And so we're
seeing all of this happen again, and now with the
current presidential administration and the age verification laws being the
trojan horse that's coming after the adult industry again. So

(04:29):
it's just like kind of wild to see all of
this happen again. And what's so crazy is that so
there's a company that's working on a documentary on my mom,
and so we were going through some archival materials a
couple of weeks ago, and I found this old letter
that had been sent to my parents. This is like
a nineteen, I don't know, eighty two or something from

(04:50):
the ACLU, and it was literally about how the current
administration was trying to like strip people of their rights,
trying to st women of their right to abortions.

Speaker 3 (05:00):
And it could have been written today.

Speaker 2 (05:02):
Yeah, yeah, hey, is so insane, Like I'm reading this
and this is like and I'm like this, this could
have been written today. It was an exact mirror of
everything that we're facing today, and it just really you know,
solidified to me, like how it's cyclical and this war
on porn is cyclical and we're facing it again right now, and.

Speaker 4 (05:21):
Yeah, it's never going to stop, so you have to
always fight and only lose if we stop fighting.

Speaker 3 (05:25):
Yeah I know, I know.

Speaker 2 (05:27):
So yay starting a positive, positive note.

Speaker 3 (05:35):
Yeah yeah, yea that it's tough. Yeah.

Speaker 2 (05:37):
So let's talk about you, because you know, we last
chatted in May twenty nineteen, so much has changed since then.
I mean, you've like really blown up in your career.
I mean back then, I think you had just been
had you just been signed as a browser contract starbacks.

Speaker 3 (05:51):
I think I got signed in that year.

Speaker 4 (05:53):
It might have been like a month after or like
a month before, so it was like right when things
are going to start, like right off a little bit.

Speaker 3 (06:00):
Which was a big deal back then.

Speaker 2 (06:01):
But now you've become so much more than that, like
you know, and to be fair, like a lot of
times male performers like they do well, and especially if
they're strong performers like you, you have like a longevity,
but they don't generally, you know, divert into like creating
a whole like brand and career and company and start

(06:22):
like producing their own content. And I mean you've really
like created like an incredibly strong brand and you really
see it, like when I went to X three and
your booth was like as big as the browsers big yeah,
and AVN too. So tell me a little bit about
how you got there, because that's like pretty impressive.

Speaker 4 (06:42):
When I first got in the industry, I've always wanted
to kind of be like a producer.

Speaker 3 (06:45):
I just kept that to myself.

Speaker 4 (06:46):
So whenever I was on set, I was always sponging
up information and kind of learning of like am I
ready to do the things that, like, you know, a
lot of stuff I didn't know, so I was just
taking my time to slowly naturally gain information. And I
think to touch bases on like why a lot of
male performers maybe not go to that second arc one
is extremely difficult, and two sometimes you might get just

(07:07):
get caught up in like the ease of just going
to set and just that's it, because like looking on
both sides now, that's being a producer and a performer.
When I go to set and I'm just performing, I
am so fucking grateful. Sometimes I'm like, oh this is
this is fucking easy, Like this is eas shit in
the world. And then there's times where I'm producing and
performing where I'm having to wear two hats, like very

(07:27):
quickly because not to like that there's a gray area,
but like sometimes if I'm producing and performing, the talent
might even like flirt with me, and I'm like confused,
but I'm like, oh shit, I'm also the performer. Let
me also give enough of a line to give that
comfort but also not cross the line as a producer

(07:48):
who's still going to perform with this person, you know,
and seth puts me in a crazy because it's like
she's flitting me. Let me flirt back, but like, oh,
will this be acceptable from a producer if I took
out that performer party?

Speaker 2 (07:58):
She is she doing that because you're in a position
of power and she thinks that if she does, she'll
get more work.

Speaker 3 (08:02):
Exactly. You have to start thinking about things like that.

Speaker 4 (08:04):
Just like so I just had to keep it neutral
and be as like, you know, as safe as possible,
and treat to the producer hat first and the performer
hat like once we're like there there, like treat it
as a movie because I'm sure there's movies where a
performer can do the same thing, and it's like, let's
not be all like flirty and creepy. I mean some
girls like that, but some girls don't. Like you know,
it's just it's reading the room and understanding it's a

(08:25):
very complicated thing. But like I'm in my head also
while giving like information on the scene in the script.
So it's that those days are interesting. I like it,
it's fun, but it's uh, that might be why.

Speaker 2 (08:35):
Yeah, because it's also I mean the difference is then
mainstream acting is that there isn't obviously there's an intimacy
to what you do, right, so they might want to
or need to tap into that intimacy to feel like
there's a spark there to have a good scene. And
it's like, how do you navigate them?

Speaker 4 (08:53):
Yeah, you don't want to be like to shut off
the word. They're like, oh, wow, this person doesn't want
to work with me, and yeah, now they're on their head.
They're not to like give something to the scene. I'm like,
oh no, dude, it's just that I'm worried about the
script part. I got to make sure I get all
the ps and qes and you know, yeah, it's still funny.

Speaker 3 (09:07):
It's like a lot of it is pre production.

Speaker 4 (09:09):
I've learned over the course of time, and I think
even in the industry, it's so easy to not pre
produce because it's just sex. But like that's the easy part,
I think. So the hard parts are the pre production parts.
So if you don't do that, you make the sex
a little difficult because no one's waiting on the set,
Like we're waiting on the stuff that has to happen
before we get to the sex. So if you don't
do all that, then it might take longer to get

(09:31):
to the sex, and then you're dealing with multiple, multiple problems,
so it just becomes so complicated.

Speaker 3 (09:35):
Yeah. Yeah, that's like the easy part, right part is
like the sex part.

Speaker 2 (09:38):
Like Okay, now we're to the sex and I can
like just turn the camera and like go together, you
know what I mean, put it on a drypod like okay, yeah.

Speaker 3 (09:46):
And then you're good to go.

Speaker 4 (09:48):
But yeah, so I was doing performing and then I
was able to become a producer. When I got contracted
with Browsers, I was like, hey, I also wanted to produce,
and then I think there are more on like well
you to perform, And then they didn't say that, but
I understood, Like what did I show to them to
make them like give me a production job?

Speaker 3 (10:06):
I just let them know that's something I was thinking about.

Speaker 4 (10:08):
And then so I hired two people, Franzois and Brian,
and then I hired them to shoot two scenes that
I thought were be similar to how Browsers shoots their stuff.
And then they bought one of the scenes and then
from there they gave me an order.

Speaker 3 (10:24):
So you did it on spec Yeah, I just did it.

Speaker 4 (10:27):
Like I just I was like created a script and
I was like I was on the other sets and
I was like asking questions. And then they also worked
with Browsers, so they understood already like the technical side
of it. So I just gave my own script and
like did the scene my own way, and then I
was like, I feel like this is a scene that
would go on Browsers type of vibe.

Speaker 3 (10:43):
And then they bought it. That's really I.

Speaker 2 (10:45):
Mean, I have to say like that shows first of all,
like drive and gumption and also like a sense of
responsibility in the fact that you didn't think that they
were just going to hand it to you.

Speaker 3 (10:56):
You're like, yeah, just trust me that I can direct it.
Give yeah, yeah, give me money, and then you're willing.

Speaker 2 (11:00):
To put your money where your mouth is. And I
had to do that a lot too, Like even like
when people were supposedly like knew who I was, Like
when I first went to Playboy, you know, they they
don't like, they don't give a fuck. I had to
shoot stuff on spec and be like I can do this,
and then okay, and then they gave it and then
they gave me the job.

Speaker 3 (11:17):
Yeah. I think a lot of people like don't understand that.

Speaker 4 (11:20):
I think in this in this game of porn. If
you go that route, it's you have a solid chance. Yeah,
I agree, because you know a lot of people just
don't even go that route in general. And I did
too because if I did, because they only bought one
of them, one of them the other there was like
a it doesn't really it's for a different site.

Speaker 3 (11:34):
It wasn't that was bad.

Speaker 4 (11:35):
It was just like it will go more like Babes
or something like that, right, right, So Magic only did
one and they just didn't that was the one that
they didn't take, and then boom, it's a different route.
So I was like, let me just do two just
in case, you know, And so that worked, and then
they gave me an order I find a crew because
they wanted to be not the same as the crew
they already had.

Speaker 3 (11:52):
So it was like finding a team.

Speaker 4 (11:54):
And that was like a really tough part, which is
one of the most important parts is having a really
good team.

Speaker 2 (11:59):
How did you find that because like everybody who's good
and important is already bucked. Yeah yeah, no, like it's
been like like Sean Rivera's like booked till like next year.

Speaker 3 (12:09):
Yeah. That it was a super tough part.

Speaker 4 (12:10):
But I used like a lot of the friendships I
made over the course of time, and I got to
benefit Lexi. She's been with me since I first started,
and now she herself is contracted and she's doing her
to make a partisan curious. Judas was a biographer and
he's been with me and we met at a party
and he had just shot a video for me randomly
for a different site. So I remember him and we

(12:31):
were just like chatting away and he was just a
good conversation. I was like, I remember that video. You
didn't like it. It was a good time when sales.

Speaker 3 (12:37):
A good vibe.

Speaker 4 (12:38):
You were like, you were able to move, and like,
I liked why you shot the video, So would you
be down? He was like yeah, And then so that
was that. I had a different photographer at the time.
Things didn't work out, not because of me, but like
for business related reasons I have to deal with. So
then I found another photographer halfway in and his name
is James McLeod. Wonderful guy. And then I eventually got

(12:59):
the PA's have been the ever changing. Yeah, that's actually
one of the most hardest, Like not saying it's not
the most important, it's the least important, but like a
lot of times when people may be uncomfortable, it's most
of the time from like a PA or like someone
in that position, because that's you probably talk to the
PA the least amount in terms of pre production or

(13:19):
a little bit like day off, like can you help
with this? But with the videographer and a photographer and everybody,
like the production manager, you're like having conversations day off.
The PA might come and set or be a quick
hire like hey, can you help me with this? Boom boom?
And that's when someone might leave and they'd be like,
I see you important.

Speaker 3 (13:34):
Can you send me a.

Speaker 4 (13:35):
Titty show like you know that that because I've seen that.
When I first got in, it was always a PAS.
I was like, Yo, it's PA's bugging you know, So
I know that's something I also want to put a
lot of time into and make sure that's someone that
can read a rumin not like.

Speaker 2 (13:47):
And the problem is, too, is if they're good, then
they're going to move up from being exactly They're not
going to.

Speaker 3 (13:51):
Say that's the thing.

Speaker 4 (13:51):
If you find it really good, PA, there'll be a
PA for a very short amount of time.

Speaker 3 (13:54):
Yeah.

Speaker 4 (13:55):
And then so it's just like someone that kind of
wants to be a PA in the stance or it
was just like that's why I so ever changing position
that you got to kind of like always set up.
So as of right now, I kind of have some
of my friends change over and the girls too. And
I think there's one guy, Rob. He's probably the best
pay in the game. He wants like he chills because
he has options to do more. But as of right now,
I think he's.

Speaker 3 (14:14):
Just I think I know who you're talking a. Yeah.
I think he's like an expensive PA though.

Speaker 4 (14:18):
Yeah, but he also doesn't like not the normal pay.

Speaker 3 (14:22):
Like he charges more than others, like.

Speaker 4 (14:23):
Yeah, and it makes sense because it's like, yo, you're good,
like you know, I get it, you know.

Speaker 3 (14:26):
Yeah.

Speaker 4 (14:27):
So but even him, I feel like, because I've talked
to him before, if he wants he can kind of
like start shooting camera because he's doing it for like
James Avalon on the side and stuff like that. So
but yeah, those are those are my team. I use
them for the brasing and reality king sets, and then
we also became a vibe for my riggish rooms and
everything else. And I test a good amount of my
success for being able to have a great team and

(14:48):
us being on the same page, and they gave me
a lot of their time, very respectful of it.

Speaker 2 (14:51):
So I love that you acknowledge that because I think
that you're I mean, that's the most important thing. Yeah,
I've always said that, like, you know, my work is good,
not because I'm like a magician and I'm just like boom,
everything looks great. I think that my talent actually doesn't
even lie in you know, me being able to take
a good picture whatever. It's me recognizing talent and other people, yeah,
and bringing them together.

Speaker 4 (15:13):
It's like, Okay, you're really good at like picking out boulders,
you're really good at making water.

Speaker 3 (15:17):
You can do this.

Speaker 4 (15:17):
So we can make a community if we find like
twenty people of different things and we bring it together
and just varish.

Speaker 3 (15:23):
Yeah. Yeah.

Speaker 2 (15:24):
So And what I also really love about working an
adult that doesn't happen in mainstream. And I see this
a lot because I have a lot of friends who
work in mainstream, and also we rent at our location
for shoots a lot, so I see a lot of mainstream.

Speaker 3 (15:37):
Crews come through.

Speaker 2 (15:38):
Is that we because I think we work consistently, we
have the privilege of being able to work with the
same people all the time. Like you said, you built
your crew, right, they're kind of like your family, and
so they know what you like, they know what you want,
and so you kind of like have this symbiotic relationship
where they understand the flow and it makes it easy
in mainstream a lot of the time, like you'll work

(16:00):
with different people all the time. Like you'll have a
producer that'll hire a director. Maybe the director will have
like the cameramen that they always want to work with,
but like otherwise, everybody else on set like they've never met.

Speaker 4 (16:12):
I've seen that a lot of big projects that I've done,
even through porn where we're doing like little photo shoots
something like that, it's like a big giant set and
like the two people in command, it's like they.

Speaker 3 (16:20):
Met that day.

Speaker 4 (16:21):
Yeah, they're like okay, yeah, And then now you're seeing
a little bit of a they move a little different.
They may like you know, God, or lead different way,
and then like you can kind of see that. I'm like,
you guys aren't like friends, but it's just like, yeah,
you're right. It's like kind of like the pa situations.
Just like you're really good at directing, you're really good
at producing. Make this movie and then like, yeah, whatever
happens in between, here's some money, figure it out.

Speaker 2 (16:39):
I think it's also because the mainstream industry is so big, yeah,
and there's so many other jobs that people go on,
and for us, we're so.

Speaker 3 (16:45):
Small and we're locking in.

Speaker 2 (16:48):
The same yeah. Yeah, exactly. And the jobs are consistent, right,
Like you probably know like how many scenes you're shooting
every month and stuff like that, so you can book
your team out like months ahead two, which is also
like a big differ.

Speaker 4 (17:00):
They're making like probably like one movie and it's just
like if it was great, might get a sequel or
it was like the same director, you know, I get it.

Speaker 3 (17:06):
Yeah that makes sense.

Speaker 2 (17:07):
Yeah, okay, So you started directing and producing scenes for Browsers.
What did you find was like the most challenging thing
about like producing or directing, like off the bat, like
maybe that you didn't expect.

Speaker 3 (17:19):
I think the very first thing was probably respect.

Speaker 4 (17:22):
I think I'm with respect to individual but when it
got to a place of me like kind of giving
authority and telling people what to do, like because at
the time, I don't think I would consider myself an
industry vet. At the time, I was just like fresh
like performer probably two years after getting newcomers, so like
three four years in and I look at the people
who are through four years in, it's like you're still

(17:43):
pretty new, yeah, because people have built like seven eight
years worth of like respecting trust, and so it was
honestly just directing. And even I've had a lighting guy
who had hired one time and he was a little
snappy in a way that I just know you wouldn't
be snappy this someone else because I've been on setone
before because I've seen him on sex where I was

(18:04):
a performer, and I just knew it was just like
taking thory and someone telling you. You can felt the
energy of someone being like, oh you told me what
to do type of vibe when I was just like,
it's a.

Speaker 3 (18:12):
Bigger picture of what we're doing.

Speaker 4 (18:13):
We all have to like you know, it's just like
even now, like I've been around that person now and
it's like there's nowhere near that type of energy. So
I just know that's what the energy was back then.
But like that's something I dealt with even with like performers,
like a male talent who may be like, you know,
sixteen year vet and you have like a three year
performer being like, hey, you should go.

Speaker 3 (18:32):
Right here and do this like that kind of vibe.

Speaker 4 (18:35):
But I've always led with like not directing the sex
in the since or maybe getting opinions or guidance, trying
to make it more of an inception, like make you
believe that this is what you want to do in
a sense as a yeah, a colaver effort as opposed
to me like you got to do this, you know,
because everyone's different, So that probably just a little bit
of respect, But I feel respect is earned, so I'm
not mad at it because it's a good thing. Like

(18:55):
even recently, I was doing a script that was like heavy.
It's like a heavy script, and like I was working with
the performer has been around for a while, like twenty
twenty something years, and like he would it kind of
felt like he was also code directing. But it wasn't
a bad thing. But you can, I can you can
tell what someone might like. It could be a situation
someone's like yo, shut up, I know what I'm doing

(19:16):
type of vibe.

Speaker 3 (19:16):
But this person actually really wanted.

Speaker 4 (19:18):
The production to preally really well, so he was like
giving input with me, So it became a collaborate effort,
because that's what happens in movies too. I'm sure if
like ham Cruise in the movie, he's like telling the director, like,
I think we should switch to this, and we should
do that. And then if you both respect each other,
you're listening. If you don't, you're like, hey, stay in
your lane. I told you to do this. So I
looked at it as that, you know, and it was
a good effort. And that's also something I'm learning. I'm like, Okay,

(19:41):
if I want to shoot more movies and I want
to shoot features, I have to know everybody's different. You know,
everybody's not going to respect you, and that's okay, and
everybody expects you in different levels in different ways. It's
just about getting the job done and bringing the best
out of this person. And if I have my shit together,
this isn't a problem I have to worry about too.
You know, if I do my pre production part and
I give a proper i TI interary, if I go
off the way and have a conversation with this person

(20:02):
before the day of the set for a twenty page script,
and I'm not gonna deal with someone being like I
didn't know, you know, because I talked to them and
I got all the stuff down, so it's all it's
all levels of like did I do my part?

Speaker 3 (20:13):
You know? Yeah? I like that.

Speaker 2 (20:15):
So you talk a lot about pre production, like what
are some of the most important things that you think
one needs to have laid out before a scene?

Speaker 4 (20:23):
I would say the structure because everyone like does things differently,
so for me, pre production is so huge. So like
when it comes to scripts, I kind of like to like, uh,
put in my mind how I would highly present it
and talk with my crew and usually if I'm not
able to scout, because if you're doing people usually scout
on like features. If you just have like a seven
scene order, you might not necessarily spend seven different days

(20:46):
going to scouts the location and making sure you're not
You're just not going to do that.

Speaker 2 (20:49):
Yeah, Like that was my most and that was most
one of the most infuriating things about my job, was
having to go scout locations.

Speaker 3 (20:56):
Yeah, because I'm like so paranoid about it. But that's
a big part of it.

Speaker 4 (20:59):
Like lead the industy scouts, Like if you have a location,
you find out when you get there and then you're like,
oh shit, this is not going to work.

Speaker 3 (21:06):
For this script.

Speaker 4 (21:07):
So now you're spending that two three hours before people
get to set. Yeah, let's make this work, you know.
You know, so a big part of reproduction is like
you know, and also shit happens that you can have
a place house and then two hours before you got
to go to a different house.

Speaker 3 (21:21):
So yeah, I know you got to do it anyway.

Speaker 4 (21:23):
But I like to scout or at least I know
a location I'm at, or like I spend extra time
having the director, I mean, having the videographer come a
little early so we can like go over everything and
hash it out. After you do a certain amount of times,
you kind of just get like a little better with
dialogue and dictating them to your team of like hey
I want this, I want this, and just you know,

(21:43):
just being set early and really uh brainstorming.

Speaker 2 (21:47):
Can you think of any like big changes that you
had to make to a script or to a scene
because of like locations limitations.

Speaker 4 (21:55):
I had one where I was going to do like
a Victorian type of scene and then and this is
like on me, I didn't I kind of assume the
talent was going to like rock with it in a
sense like Okay, yeah, this is gonna be They're gonna
love this scene. And then the talent was like, oh,
it's not really for my brand, which makes sense because
like I get it the reason why they want to

(22:15):
do that particular scene. I was like, all right, cool,
I got to on the fly kind of switch up everything.
I turned into like a like a Baywatch type.

Speaker 3 (22:22):
Of beach scene.

Speaker 4 (22:23):
So it's like, all right, we're now going from a
like a Victorian type of scene, so now we're in
the beach. And then switches everything and then like my
assistant she like, you know, this is when like the
team helps, Cause like if I have a fire and
I'm just putting out by myself, it's gonna take some
time people put this fire out. But if I have
like six people that are like, hey, I'm going to

(22:43):
help you put this fire out, we get the fire
and we're all but we all got to really like
you know, and then and everyone we all have that camaraderie.
You're like all right, cool, well, I'm gonna go get
you this stuff for the Lifeguard shoot. I'm going to
help you like this new location we can scout together
and make it and picture this. I'm gonna make sure
I get the these pictures done to make a party.
It's like, oh, boom boom, So it's like it worked out.

(23:03):
So yeah, I probably me and my team are really good.
We call it helicopters when like shit just happens and
we just got to like get the helicopter and just
like so we're just really good at like having a
helicopter and just like make it into like nothing bad
ever happened.

Speaker 2 (23:18):
How do you handle talent that is difficult or late
or challenging to work with.

Speaker 4 (23:26):
I also think that's part of preproduction, because if you
know who you're working with, you can kind of know
what you're working with.

Speaker 3 (23:33):
Like there's some.

Speaker 4 (23:33):
People that I know are going to be late. I
will give them a call time that's literally an hour
before they're needed, and then they will come on time
for what I'm expecting and they'll be like, oh, I'm
so late. I'm like, oh, it's okay, even though you're
technique not late. I just gave you an early time
so you can come late to that. That's if I
know you're going to be late, Like I know that
you know you don't know, but I know you're going
to be late.

Speaker 2 (23:51):
And that always happens there are some talent that expected
call time two hours after before their actual call time.

Speaker 3 (24:00):
Yeah, we both know who I'm talking.

Speaker 4 (24:01):
About, which I was like, there's no way, and they're like, no,
this person no matter what. I'm like, oh wow, And
then I was like, no, this is true, this is
no matter what.

Speaker 3 (24:10):
Yeah, I gave that.

Speaker 2 (24:13):
I gave that person the real call time because I
didn't know. And when she showed up two hours later,
she's like, oh, you didn't know the role. She's like, no,
you give me a call time two hours before I'm
supposed to show up. I'm like, but if you know that,
that's the thing, why don't you just show.

Speaker 3 (24:28):
Up on time?

Speaker 4 (24:29):
She's already one now. She's like, hey, no, this is
now on you. You didn't know your She was.

Speaker 3 (24:33):
Like, I'm so sorry, sweetheart, I'm sorry you didn't know.

Speaker 2 (24:35):
It was like, you're like, but I also love her,
like she's got such good energy.

Speaker 3 (24:41):
I love her something.

Speaker 4 (24:42):
That's why you also get away a little bit like
if you didn't bring a performance, it'd be like, hey, yeah,
you were two hours later. But if you do all
great things, it's like all right, all right, yeah, but yeah,
I've gotten pretty good and been pretty lucky in that.
The only time I've sent someone home because there were
a little drunk before, that's something I've done.

Speaker 2 (25:01):
How do you handle that? Do you like literally tell
them like, hey, you're drunk, you gotta go home.

Speaker 3 (25:05):
Actually to me, so, I don't even know if they're drunk.

Speaker 4 (25:07):
I just know that they were off, So like I
don't want to put like I have no idea what's
going on. But like so it was like, and this
was before my sight. It was two guys and four girls.
And then one of the girls is a little wavy.

Speaker 3 (25:22):
Like we were doing wavy.

Speaker 4 (25:25):
She was like, you know, we were doing like teases
and like we did a girl to the teas, the
nowther goir to the teas.

Speaker 3 (25:29):
Then she did her teas and.

Speaker 4 (25:30):
I was like, ah, I don't know, Like you know,
I was like I don't know. I teas looks a
little you know. And then we did the teas with
like all the girls together and I was like, yeah,
there's no way, Like all three girls were like you know,
you can just tell. And then she's a little slunk
and I was like all right for me, I also
don't want her brand to look like that because that
just doesn't for me. This is nothing. It's a different
type of conversation now. So I took it to the

(25:51):
side and I was like, hey, then you should have
head home. I just don't think I just told her
the same thing. I don't think for your brand on
my brand, however, where you are right now, it just
looks good. I think it's best for your own safety
to like, you know, bounce whatever. And then she understood,
got a little sad and then like you know, she
didn't fvite me on it because she I think she
internally knew so.

Speaker 3 (26:07):
And then she's called her a person and then she left. Yeah. Yeah,
I've had to do that too. I had to do
it twice. The second time. The girl was like what
you talk about and I.

Speaker 4 (26:17):
Was like, ah, yeah, I just can't and she's like
all right, And then you know, she was just around
like she has like stayed for a really really long time.
But she didn't get in the way because you also
don't want like if she has no way to get home,
I'm not gonna like you gott get the fuck out
of here, Like all right, we'll figure out just you know,
his your little bubble areas water. You're good we'll carry

(26:40):
on with the other part. Just yeah, whatever you can
do for you.

Speaker 2 (26:42):
Yeah, those are always tough, and I found that usually
when I've done that, they've often gotten better later on,
and I'll talk to them like a year or two
years later and they'll be like, yeah, I was very
fucked up at that time. Yeah, Like thank you for
recognizing that. And I'm like, hey, I mean, like I'm sober.
I was an alcoholic. I was drunk on set, you know,

(27:05):
back in the day. So like I've been you know,
so for me, like it doesn't come from like a
place of judges.

Speaker 3 (27:09):
I've been there.

Speaker 4 (27:10):
It's a matter of just like hey, we're just you know,
today's not the day, so just go home and there's
a new day. Yeah, Today's that happened with I did
a scene for a company I was directing, and then
it was just girls, like first shoot and it was
such a hectic day. Everything that you could think can
go wrong. And this was like I think a little
bit past the COVID time, so like the rules were
like strict as funs, like if there was like anybody

(27:34):
in the house or like that type of vibe like
you know, so.

Speaker 3 (27:38):
Especially if you were working for well, they were my
geek at the time, but yeah, yeah, yeah, yeah.

Speaker 4 (27:42):
It was like there's like if you sniff something that's
been there and left twenty four hours like new house,
it was like shit. And then so we had my
location person. You know, we're back and forth sometimes miscommunications,
not going to say anybody does you know you used
to communications, and so we have one that day and
then so it made we had to get a new location,

(28:05):
like like right then, like everybody got to the location
like okay, we can't get in. I'm like, hey, location lady,
like you know the cold you give me, it's not working,
like you know. And then it was like, oh, she
wasn't getting back to me, and everyone's like at set
and everyone's just looking at Everything's good. I'm like, oh,
everything's good. You know, you keep it straight face. I
think it's important if you feel like you're the captain,
go with the ship, like you know, don't panic because

(28:26):
everyone else will panic. So I'm like, all right, we'll work.
We'll just find a new location. So I had to
find a new location. But the new talent had just
arrived and she got dropped off, and so now it
was like time we had to go back, and she
hopped and carved me, and not that it was anything,
but this is our first encounter.

Speaker 3 (28:40):
Things are hectic.

Speaker 4 (28:41):
I gotta do a new location, making sure everything's good
and making sure, yeah, everything's good, even though it's around
on COVID time. Everything's good. We're gonna go to a
new location. Went to a new location. Then she had
her own things going on, and she was just very
sad the whole day, and then randomly while she was
taking photos, I think she started crying. And then I
called it because I was like, uh, I don't mean

(29:04):
whatever you're going through, I don't also don't know you
like that, so like there could be many reasons why
you're crying. Yeah, you know, and this is like an
intimate session. We're about to have sex, like and I
don't think what's I working with. I think I was
working with there and I just for me, it was like,
you look uncomfortable, so yeah, I'm gonna like, you know,
I think you should go home. And we were on

(29:24):
the same page and then she was just having really
a lot of stuff that was going on, and it
worked out like she can't. We did a scene again
like two months later. She was in a really good
headspace and just that day was a really bad day
for her, So I think, I mean, we probably could
have forced it or like all pushed through, but who
knows that would been a good experience for her as
her first time.

Speaker 3 (29:42):
Yeah, you know, she probably respected you for calling you. Yeah, yeah,
because she almost was. She's like, no, no, I'll soak it up.

Speaker 4 (29:47):
And I was like no, it's like like we'll still
we'll still fuck you, like, you know, because I think
for her, I did a little bit about the money
as well, and I was like, hey, you're like you'll
still get that, like just I don't think today's.

Speaker 3 (29:58):
Day, you know. Yeah, And I think that's important.

Speaker 4 (30:00):
I think there's a lot more directors are like producers
did that. You know, we save a lot of tormo industry,
but not the light of industry. I agree a little
small part.

Speaker 2 (30:07):
So I agree, And I feel like, actually, even lately,
that's something that is only considered more like especially since COVID,
like things have changed so much more in yeah, and
brands like respect performers so much more now than they
used to because.

Speaker 4 (30:24):
Watch if they were forced to like chill and be
like all right, what's going on?

Speaker 3 (30:27):
With these companies.

Speaker 2 (30:28):
Oh fuck that, and you guys have so much more
like financial freedom and autonomy now be.

Speaker 3 (30:34):
Like, hey, fuck you, I'm not doing that. Yeah, you can.

Speaker 2 (30:37):
Literally tell like studios to go fuck themselves, right, Well,
you couldn't do that before, so you know, from like
fifteen twenty years ago, Like I mean, it was it
was tough. Like if there was a performer that was
having a hard time and I wanted to send them
home for whatever reason, the studio I was working for
be like, yeah, no, fuck them, either they're going to
come through or like we're not going to pay anybody,

(30:59):
like the entire set.

Speaker 3 (31:01):
Everyone loses their picture.

Speaker 4 (31:02):
Yeah yeah, and that's we're like, we gotta make this
work because yeah, I'll talk it up.

Speaker 3 (31:08):
Yeah, it was awful.

Speaker 2 (31:09):
You were like pressured to do stuff that like, you know,
nobody was comfortable with and like this studio head that
didn't give a shit.

Speaker 3 (31:16):
No, yeah, not at all.

Speaker 4 (31:18):
But now it's better because there's different leaders I guess,
these different studios and are you know they you see
that it's different.

Speaker 3 (31:27):
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Speaker 2 (31:38):
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Speaker 3 (32:06):
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(32:31):
com for more details and important safety information, and thank
you blue Choo for sponsoring the podcast. Okay, so let's
talk about the evolution of Ricky's Room. So you're directing
for browsers and now I'm assuming you want to branch
off and kind of do your own thing. So where
did the idea of Ricky's Room come from? Because it's

(32:53):
got a very specific look to it.

Speaker 3 (32:55):
Yeah.

Speaker 4 (32:56):
Yeah, So the very first I would say Ricky's Room
scene was probably like because Ree's Room essentially kind of
is like my only Fans just with a lot of
production into it.

Speaker 3 (33:05):
That's kind of what it started into.

Speaker 4 (33:07):
So I was at my old crib with my roommate
and then I was just chatting away about just like
elevating and like you know, producing and doing more stuff
and just having some stuff with like my name attached
to it, like worst case scenario if something happens. I
also want to be in a sense of security, like
God forbid the company.

Speaker 3 (33:25):
I'm working for, you know, we're not gonna resign. You
know that happens.

Speaker 4 (33:29):
I've seen people not get resigned, and like it's just
a matter of just like their personal decision or analytics
are saying like they might.

Speaker 3 (33:36):
They bought out by somebody else, and they're just like.

Speaker 4 (33:38):
Hey, a minute like that can happen, you know, And
it's just it's always good to have some kind of
like your own comfort with that.

Speaker 3 (33:45):
And so.

Speaker 4 (33:48):
Yeah, I was I was deal a little shoot with
Alena Lopez and kiss the Sins at my crib.

Speaker 3 (33:52):
My roommate like shot it on the phone.

Speaker 2 (33:53):
Two like the fucking best I know. Yeah, you can't
get better than those two, and it.

Speaker 4 (33:58):
Was just all all phone footage and it was just
like in my room and we were like, you know,
like Ricky's room having that type of conversation like Ricky's room, Like, hey,
it's kind of like Ricky's room has a nice little
vibe to it. At first, I was like, I'm not
trying to have my name in it. I'm trying to
like I'm thinking about future expansion and not like focal
point of like a person or whatever.

Speaker 3 (34:15):
But I was like, it has a like Rickey's room.

Speaker 4 (34:18):
It kind of has a roll tongue to like you
can say it like really easy, and that's really important
I think in branding. So I was like, all right,
I looked it up and at the time, it was
like two racks for like the thingy, and I was.

Speaker 3 (34:28):
Like, it's a little a little steep.

Speaker 4 (34:29):
I'm not ready to like commit, commit, commit yet yeah yet,
And then my roommate was like, man, you kind of
you need to just commit, and I was like, oh,
you're right. So I just bought the domain and then
I didn't use it for like another like seven eight
months at the time, but it was good to have
it to like force me to keep going with it.

Speaker 3 (34:44):
And then yeah, I wanted to use my crew.

Speaker 4 (34:48):
And actually I don't know if KA knows this how
even matters, but like I was testing out the theme
of Ricky's Room on my Rally King scene. So I
was shooting the scenes like with the night time and
vibe and like the same, it seems really good. And
I was checking how the scenes were doing amongst other scenes,
and they were like doing like slightly better or like
just like really good scenes.

Speaker 3 (35:09):
I was like, all right, cool.

Speaker 4 (35:10):
Then I tried it again another former I was like,
all right, cool, and they were very gonzo. Was just
like it was a pretty much essentially exact same thing
as Rigger's Room, just I guess Reality King's by I
was shooting the way I was going to shoot it,
because it wasn't the way Rally Kings shoots her things.
It was I was shooting it different, So there came
off of like a little one off. So I did
like one every month, and each time they like worked out,
and I was like, all right, cool, let me just
like focus on that, because I don't think they were

(35:30):
looking for that to be like their continuous things. So
I dropped out of like doing those little producer ideas
and just like did something different. And then I just
made that the focal point of my thing. And then
one of the shoots, it actually wasn't a nighttime thing
as well, I did Indica Flower, and then I did
I found the spot I forgot it was very far off.

Speaker 3 (35:49):
Because she has like a little earthy tone tour.

Speaker 4 (35:51):
So we found an outside spot daytime shoot, very thematic
and cool. And then I did another one with a
Lacey Linnen and a Fox and like a beach house,
a nice little beach house, very outdoorsy and stuff like that,
and those were like coming like if you want to
site those, like one of the first five scenes. So
like when we first started, there was no real like
this is the theme. It was kind of like this
shooting like very premium level of type porn, like artsy

(36:13):
and like like you know, high definition porn and then
it kind of just catered to like the nighttime vibe
because I was kind of like more I like that vibe.

Speaker 3 (36:21):
And for me, it also allowed like the crew to be.

Speaker 4 (36:23):
Able to have other jobs or do other things, cause
I shoot at like seven a pm a night, so
like you can essentially have a nine to five and
then clock in you're seven to eleven. And then also
for me because like you know, I have children, so
like also I'm thinking, like I want to be able
to have a good amount of daytime and then maybe
like they're sleep and like you know, go off set

(36:43):
and go to set and do my.

Speaker 3 (36:45):
Job that way.

Speaker 4 (36:45):
So I was just thinking that in that way of
future I always like the way to the future of things,
and it gets worked out. Yeah. I just kept doing
more and more and more than people liked it and
then now we're here, so wow.

Speaker 2 (36:56):
Yeah, And when did you realize that, like it was
actually going to be a successful endeavor, because like you've
really grown it. You know, like people have done websites
and it's been fine, but like you've really like done
the branding, like you were doing the marketing, like you
have the boost at the conventions. Like when did you
decide to take that step and you decided that the
money was worth it.

Speaker 3 (37:18):
Those aren't cheap, Yeah, they aren't.

Speaker 4 (37:20):
I'll tell you this right now, Avian, because I did
Avian and X three like back to back.

Speaker 3 (37:28):
I know how much. I know how much that is
because we looked at it. Yeah, I know how much.
I have an idea of how much you spent and
it was a lot. Yeah yeah, yeah.

Speaker 4 (37:35):
That was a commitment and you know, and there's no
immediate ROI That's why it's such a commitment because like
you don't you want you'll see it if like eventually
over time, but like you won't see that what you
put in and at least in that hat right back
at you know, you know, but I think it was
very important.

Speaker 3 (37:49):
It was still good.

Speaker 4 (37:50):
But nowadays a lot of my Ricky's Room scenes are
have been trade because the talent is like, hey, I'm
down to do a trade, and like we both like
so it's a cheaper scene. Yeah, but like the first
forty five scenes, they definitely weren't trade, Like it was
just like the agent or I talked to a model,
then I hit the age whatever whatever, and I didn't
release it till like probably I was on the scene

(38:12):
fifty Like no one even knew Aboutricky's rooms. I always
shot him and it was like a dark with the socials.
So it was just like I committed to like a
good amount of scenes before I even released it, which
is that adds up, you know, he scenes a certain
amount of money, so like from then, like for me,
I feel like if you're committing that far, like forty
scenes before you can drop, then you're assuming we're gonna
continue this, you know, because I also just like, let

(38:33):
me put this money somewhere else. So it was just like,
you know, I thought, like, you know, even right now,
I'm like six years ahead and where I figure out
the company can be in like where we can do
with this. So I've always felt like it was gonna
work because I looked at like, you know, I tried it.
I tried it proof of concept production wise on like
you know, a different site but like a certain theme,

(38:54):
and then like my Only Fans makes a super solid
amount of money that's essentially a sight. Well if you
look at it, and if I just like, all right,
let me just put instead of putting my stuff on
the Only Fans platform, let me get put it on
this platform, and put my name on it. And if
I'm doing all the work, the only fans is doing
back in that they're using twenty percent for if I

(39:15):
put that in and use that twenty percent a different route,
then I essentially have copied and pasted and essentially what
I've done.

Speaker 2 (39:22):
So are you putting these scenes only on mosreroom dot
com or is it on now?

Speaker 4 (39:28):
Recently I've I've come to find that it doesn't hurt
the site to just spread it everywhere. I've kind of
just been churning and it may not work for everybody,
So don't quote me. And if you do this and
you're like I lost so much fucking money that that's
not on me. I think this works for me because
like I do it, like it may come across like
as I'm like just putting my content like fucking everywhere,

(39:49):
but like I actually think about it and how I'm
doing it because for me with the brand, I think
it's really good work. So I'm like I have problem
with people stealing it and like you know, putting in
on tube sites and like showing like, oh this is
really good scene boom boom, look at it, like especially
in the very very beginning, because I'm like, you don't

(40:11):
know who I am. So it's like all right, cool,
you're like, all this site is really good. Oh, then
you're showing people. So from a brand standpoint, that's going
to take some time, and you're definitely not getting an ROI.
They're stealing your shit, yeah, but you will get brand
identity over time.

Speaker 3 (40:24):
If it's good stuff. So, and you got to have
a happy.

Speaker 4 (40:27):
Place of just not making sure that you're like a
completely stolen product. You still have to like make sure
you're getting you know, income and DMCA when you need
to and stuff like that.

Speaker 3 (40:35):
But for me, it also helps that your stuff is
so identifiable. Yeah.

Speaker 4 (40:39):
See, so then it can be like that's really important. Yeah,
because everyone's going to get their stuff taken. But if
you can kind of pinpoint what this is and when
you keep seeing it, you'd be like I keep seeing that,
I keep seeing that. You're getting dictatle So things like
that are very important.

Speaker 2 (40:52):
So you're doing Ricky's room that has its look, and
then you have this crazy idea to do Ricky's resort, yeah,
which looks like you know, I mean like I've worked
in production.

Speaker 3 (41:04):
I looked at that and I was like that's a
lot of fucking work. Yeah, where did you get.

Speaker 2 (41:08):
That idea from? That's my baby too, Yeah, tell me
about that.

Speaker 4 (41:13):
Resort was originally just going to be like a one
big project thing, and then it was actually like my team.
So the people that are like run the site YPP,
they were like, hey, you should make it into a website,
and I was like, I mean, we're just really stretching
things here. We're just like, I know it's a lot,
but we're like to make it a website. But I
was like, wait, why not make it a website? So

(41:35):
then I looked at it in that sense. But before
I made a website, I wanted to make up it
had to be a big enough project so that you
can turn it into a website after that one project.
But I just wanted to bring the vibes of just
making porn fun, not to porn is not fun, but
to like just making like a fun project. And I
was like a lot of times, a lot of porn
stars like want to be on Survivor or they want

(41:56):
to go on these shows and they want to do
the stuff, and it's just like, nah, you're important. Sorry,
So it's like, why can't we just bring that to
our community. Like you know, if we all put our own,
you know, stuff together, we can make all this stuff
that we want to be a part of, we are
a part of it. So I found this really nice location.
Even the crew of the cast that I have is
probably like three people from the original cast that I had,

(42:17):
just because like life happens and things switch over and
whatever whatever. But I spent a very large amount of
time on the casting because even that type of project,
it's you got to be kind of sexual and like
wanting to be a part of like a four day
sex razer with games and challenges, so like you to
have like maybe a certain personality or a certain will
or like, you know, whatever whatever.

Speaker 3 (42:38):
So casting was important.

Speaker 4 (42:39):
I did a poll, so every girl that was a
part of the program, I sent them like forty male talents,
so and it was like a polling system, so they
all pick which guy they would be willing to have
sex with or they want to have sex with, which
helped me which guys the book, because I'm like, all right,
these are nine guys that were like all the girls
shows this guy, and then there's a guy that like

(43:00):
one person. I'm like, well, these are guys I'm not
gonna pick because they clearly don't want to be associated
with these people. So that helped me in the casting.
Then didn't tell the guys who don't want to.

Speaker 3 (43:07):
Hurt the ego. But yeah, also there's a lot of
guys that can hurt the ego. I got numbers, baby,
you know I would never.

Speaker 4 (43:13):
But so yeah, and then I got that.

Speaker 3 (43:16):
That put that together.

Speaker 4 (43:17):
And then the first one, funny enough, was so much
sex and it was very It wasn't as much challenges,
not that I want more challenges and stuff like that,
but they they took on to the sex part of it,
and they just I guess because the environment was so
comfortable that they gave me so much more than I
expected or like was looking for, that it really was
able to make a turn to the site. So the

(43:37):
premise of it is, so we have fifteen models and
each model gets her own episode, and so to dictate
the episode, there's like one sexual scene.

Speaker 3 (43:46):
If you do a scene, then you're gonna have.

Speaker 4 (43:48):
Enough for episode because we're gonna be roll of you
here for the next two days plus. You're gonna have
a confessional which you can come in and out. However,
many times you want to plus whatever you do because
I've let an environment of a lot of things that happen,
so we'll have an abundance to be roll and whatever
you do throughout the day, because we'll.

Speaker 3 (44:02):
Have challenges that we can add on to your episode.

Speaker 4 (44:04):
So once you have sex with one person girl, guy, boom,
we have enough for episode. And if you want to
have sex with again, then maybe we have two episodes worth.
And thenf we're here for two days and you're like, ah,
I want to have sex three times, Boom, we have
like three episodes worth and then we end up getting
like three separate orgies that we weren't even like looking
for that. The people just start going after that and

(44:25):
stuff like that. So it worked out in terms of footage.
And one of the things that I thought was important
was like to consent and being understood of like feeling
like you have to have sex with us you're there,
because like I also tell people like this is more
so just an environment, like you don't.

Speaker 3 (44:38):
Have to like feel like you have to have sex.

Speaker 4 (44:39):
So we did a risk band thing, so I had
a green wristband meant like you're good to be filmed
and you want to have sex. Yellow wristband meant that
you guys want to be filmed, you're not looking to
have sex, And red risk band meant like, come talk
to me, like I'm you know, I shouldn't even be
in the camera because if a camera person sees somebody
writ risk band, it's like, all right, let's talk to
this person.

Speaker 3 (45:00):
They need to be talked to. There's a red risk
band situation.

Speaker 4 (45:03):
So that helped I feel like people be in the
comfort level of like if you ever feel like you're uncomfortable,
just slap on the red wristband if vocally it's not working,
or you know, you feel like there's twenty people you
don't want to say anything, just like we can we
can understand that, okay.

Speaker 2 (45:15):
So this would be saying that, like the risk brands
were available like on a daily basis, on a.

Speaker 4 (45:20):
Daily basis in the morning, in the middle of the day,
it's like someone's always around with risk band and you
have access to them yourself, like and if you lose
one or whatever whatever. But like we weren't filming like
twenty four seven, like Big Brother. This is also just
for the parts of the filming. So if we're not filming,
then you know, you're a liberty to like go get
a risk band or put it down. But that was
just to make sure people were comfortable and know, like,
don't feel like you have to because you're surrounded by

(45:40):
a lot of people that are doing it. Because you
might say yes to something and then be an orgy
and be like, oh, I actually didn't. No one talked
about org So I don't want to do orgy. You know,
you don't have to, you know, So I just when
there's a large amount of people you can't lose sight of.
It just takes one person to be uncomfortable, and then
I don't want that person to have a terrible experience
because yeah, you know, yeah that it was a big
project because it was it was like twenty three people

(46:03):
that I had to account for in a sexual manner
and like in their mental and all stuff like that.
So it was constantly like making sure they're good. And
also the crew because like there was a lot of
work for the crew. Like my photographer he had to
knock out twenty three people. It's like like photo sets,
Like it wasn't just like a quick little boom. He
was doing like individual like sets. I gave him a
little bit of his own crew because that was like

(46:24):
a station and we did like seven a day, seven
this day and maybe cleaned up and got four the
other day. But like he was sweating. He was just
like because he has to be creative. Boom new spot
you know we had. And then because I think it
was a little bit late to like the day zero,
which is the day you walk and like make sure
you look at that part. So he missed that part.
So it's a huge part because that makes that day easy.

(46:46):
So it's like a helicopter. So I'm like, all right, cool,
we didn't even get to go over that. But I
believe in you. You're not You're knock this out, so
like I'm trusting.

Speaker 3 (46:53):
He got his part. And then I had d I T. Guy.

Speaker 4 (46:57):
He dropped the ball. He's dropped the ball. The first
day beautifully organized.

Speaker 3 (47:02):
I guess.

Speaker 4 (47:02):
The environment was so fun and like everything was like
you know, the live things going on. And I didn't
know this till after the project. The second day. Nothing
like his his main job, the d I T's job
in this project, his main job was literally just to
organize because there's so many just like three or four
or five different cameramans that are like doing sex scenes
with different people and having different visuals and bu rolls.

Speaker 3 (47:22):
You got to have that little organized.

Speaker 4 (47:24):
So just for the whole day, let's say Jules Blue
will a rider and Mean and Green just making sure
they're locked in because I will make the post editor
process beautiful.

Speaker 3 (47:32):
So he was the what guy, the g I T
the guy the just the like the digital wrangler. Yeah,
digital media, and he dropped the ball. So day two
and day three, like what was he doing like partying?
Like he was? Actually he did.

Speaker 4 (47:48):
He helped out with some videography, but I didn't ask
for that, like I guess because the environment of like
maybe we didn't have enough videographers for like a girl's like,
oh I want to do a sex challenge. I want
to do a sex thing, Boom boom. And they took
four guys. So now that somebody and we have a
fifth girl, it's like.

Speaker 3 (48:02):
Oh you know.

Speaker 4 (48:03):
Then he like he helped out and then he got
like clean shots of orgy. I think he was trying
to get a job or like saw see the environment.
I don't know, but all I know is like his
job was d T. But because I was wrangling, like
twenty three people in like thirty five if you count
the crew. It's something I didn't like, you know, I
didn't have the time to expect and see it.

Speaker 3 (48:21):
I know.

Speaker 2 (48:22):
I mean like I look at that and I just think, like,
first of all, how many crew members did you have?
And second of all, like what a logistical nightmare to
try to make, and like there's no way that you
couldn't have like a couple of things.

Speaker 4 (48:33):
Like yeah, it's also it's also the girls, like you know,
like one girl's car broke down and then so she
was very emotional and then like you know, that might
have been her breaking point with just aha, you know
it just like you got to clean that up and
make sure that thing's good. Because you also have like
it's an environment, Like I'm leaving in an environment so
everyone can just paint. If you stop doing that, then
people are gonna stop painting.

Speaker 2 (48:54):
You know.

Speaker 3 (48:55):
If there's like a big problem.

Speaker 4 (48:56):
Now we're focused on this problem, then we have a
like you know, loose it's expensive of thirty two people.
We don't want to waste time, you know, that's important.
And it was like day like saving time. We tried
it in like December, so like at five you were done. Yeah,
it's different. Yeah, so we want to get to early
stuff in the morning. But for me that was fun
because I think it was a seven person crew. So

(49:16):
it was a seven person crew. Yeah, we was locked in. Yeah,
you only had seven seven people. It was me Janey,
she was my right hand woman. She was staying up.
We didn't go to sleep. We didn't go to sleep
for three days. Judas Judas got so like he was
locked in. I love you Judith. He really helped his
project because like there was also goals that need to

(49:38):
be done by everybody else, like to help out and
making sure we get some footage.

Speaker 3 (49:42):
Like Judus was like, I'll do her scene.

Speaker 4 (49:44):
Like he got like probably like twelve people's like episode,
which at one point I was looking at day two,
I was like, I'm a little scared.

Speaker 3 (49:50):
I was like, oh, Judas is clip dang. I was like,
oh he ca' this.

Speaker 4 (49:53):
So Judas, Cody Jay, he was a second photographer, did
a really amazing job as well my photographer James. He
also helped with some video as well on moments when
he wasn't done.

Speaker 3 (50:03):
With that.

Speaker 4 (50:05):
And then that was the main fight. Oh, my friend Riley,
he helped out with some video as well, and he's
like being a support system and being a good vibe.
It makes you people were comfortable. Lexi came like the
second day and he helped with food and is also
being a comfort zone because it's a lot of people.
So I kind of also just wanted people around to
like keep good energy because I'm not gonna be able to.

(50:27):
Like it started five people, so like, you know, there's
section so you just gotta trust that people that you
are in your group or you know, keeping the environment good.
So it's him, I mean her now was seven and
then James had two assistants so maybe okay, so that
was nine, and then the d I T guy mixed ten.

Speaker 2 (50:45):
Yeah okay, so next time, would you have more people?

Speaker 4 (50:49):
Yeah? Yeah, yeah, yeah for sure, because like I got
it done. And even when I did the project, like
I did it quick because I thought about the Riga's
resort thing and I was like, I need to just
do this, like I did it with in the month
and my team was like, Yo, we're just going to
do this. I was like it needs to be done
because it needs to be done for me, so I
know I can do it.

Speaker 2 (51:05):
I was going to ask you also too, how long
pre production was. I'm thinking like months, no, no, for that.

Speaker 4 (51:10):
For the first one, it was like a month and
it was honestly like three weeks because I remember me
and Janay, we were like staying up. I was just
like because I was also looking at the polls of
the girls with what guys they wanted to work with,
and sometimes like I was like, all right, cool, no,
this will work better, but like she doesn't want to
work with anything like so I was like boom boom
boom boom, boom, boom boom. That was a really important
part because I need to be clean, because I wanted

(51:31):
to make sure you can just walk in and bang
if I'm giving you problems that like I did because
I didn't pre produce so or I fucked up and
we're for messing the environment up. So I wanted to
just walk in, have a nice little resort, chill, we've
done everything, and have a good time.

Speaker 3 (51:46):
And I think we were able to make that happen.

Speaker 4 (51:48):
There was a couple of little switches and changes and
stuff like that. Like I didn't really have an itinerator
because all was just coming out of my head. So
I was just saying the same thing over and over again,
because that's something I'm I haven't always been great at,
is like putting my mind my ideas into a piece
of paper. I just like to just overly dictate to you.
So like, you know, that's something that I'll work on.
But yeah, that's one thing I.

Speaker 3 (52:05):
Know where you can Can I help you with that check.

Speaker 4 (52:10):
I've actually started using it for that alone. I was like,
so good, let me just give you all my ideas.

Speaker 2 (52:15):
Just word vomit and ask them. I was like, oh shit,
you it's incredible.

Speaker 3 (52:20):
Completed me. Yeah it's incredible.

Speaker 4 (52:22):
Yeah yeah, so next one, you know, so I'll have
a properly tender y. But yeah, we got it done.
I didn't know sleep and I was also performing, so
like I was like, because like I wanted to make
sure I can clean up and get episodes if need be,
or like I'm also having faith and all these guys
in the environment of like you got to make sure
they have good days too, because if we have nine
guys and like say two three of them are like
this is a lot. Now we have six guys, fifteen girls,

(52:45):
you know, six girls, a happy six girls, Like hey,
so I want to do like a sex episode. I'm like,
there's no guys, you know, so I'll definitely have more guys.
There's more guys in the industry. I'm actually really excited
for it because I plan to do them back to back.

Speaker 3 (52:59):
Now. I'm playing to do Resort two and Resort three,
like bang bang.

Speaker 4 (53:03):
Do you know when you're gonna film I'm planning right
now filming in September and November are at once in October.
There's two ways I can do it because right now
I'm in a pre production phase because there's a lot
of people that were down to shoot it. I didn't
know a lot of girls that saw the first one,
and the people I've talked to were like yeah, and
then the whole like pretty much the whole cast wants
to like come back again and just like do it

(53:24):
again because they love the results and how it worked
for them and everything like that. So I'm all right, cool,
I can't say no to that, and I don't want
to say no to that. So yeah, there's many ways
I'm gonna do it. I can possibly do it, but
I'm leaning towards now doing like Resort two and three
back to back.

Speaker 3 (53:39):
Probably do a movie you do like a boom boom.

Speaker 2 (53:40):
Yeah.

Speaker 1 (53:41):
Yeah.

Speaker 4 (53:41):
At first, I was gonna have it where it's going
to like sixty girls on that first day and be
safe for work that first day and then day one
the two it was very little complicated, but I was like,
I think I needed like a little bit more of
a cruit for that, because like, once you get past
a certain number you need you need a solid amount
of crews and stuff like that. And I used to
want my crew to like They'll be like, what is it,
what are you doing? Like yeah, it was like, come on,

(54:02):
just spread it up. So are you going to have
a bigger cru I'm still go have a bigger crew.
I'm proably gonna have like two videographers, maybe another photographer
for sure. The space that out a little bit, probably
a little bit more pas because a lot of it
more was just like.

Speaker 3 (54:15):
Moving and looking. Yeah, as you always need more pas.

Speaker 4 (54:18):
Yeah, but that's the scariest part because like, hey, we're
in an environment of like there's probably be more girls
now like twenty girls who are in like a frocious,
like sexually comfortable environment where they're having sex with like
maybe ten eleven guys throughout the day and then some
people might mistake someone else's sexual energy as like a
flirtation to them because they're just in a flirtatious mode.

(54:38):
And then you got some like PA who's like maybe
like the third or like the sixth PA, who are hired. Well,
I didn't even really get that much of a conversation.
And it's like blind faith, you know. That's what I
think about, not that the same thing is gonna happen.
But yeah, they're like that, these guys.

Speaker 3 (54:53):
Like yeah, you gotta have like that serious conversation with them.

Speaker 4 (54:56):
But even then, like there's gonna be a moment where
I'm not around, you know, it's like see people now
or I'm all right, cool, wait where's with Willow?

Speaker 3 (55:03):
Where's that? Oh no? But also you gottaunderstand you got
trust people.

Speaker 4 (55:07):
In the industry. I'm sure it will work out. Yeah,
but it's exciting project. I like stuff like this, you know.

Speaker 2 (55:13):
Yeah, it's so it's you know, it's so it's great
because I see how excited you get about it and
like your enthusiasm for it, and it just makes me
realize how burnt.

Speaker 3 (55:21):
Out and old I am, Like fu yeah, literally.

Speaker 2 (55:26):
That's the first thing that I thought I was like,
if anyone came to me with this project and be like, absolutely,
no way, do I ever want to work on something
like that any other projects that you have in the future.

Speaker 4 (55:38):
Besides, yes, I have another site and this is gonna
be my third baby, called sextapes dot Com, and on.

Speaker 3 (55:46):
That site I plan to start Where the fuck did
you get that right? Yeah? Yeah, my gosh.

Speaker 4 (55:52):
Shout out to YPP because I believe with the success
of Ricky's Room and Rickage Resort. When I approached him,
just talking randomly about like because originally it was like
three x'es because I looked at the price of sex tapes, yeah,
and I said, I thought the two thousand was Yeah,
I looked at the price sex tapes.

Speaker 3 (56:08):
I was like, whoa, that's real number. Okay, cool, cool, cool.
And then I was.

Speaker 4 (56:12):
Explaining the story of like how what I wanted the
grand vision of sex tapes to the people from YPP,
and I think randomly, I didn't even know he did this,
but he had sent me the the sex tapes thing,
like just with one X and then I clicked on
it and it was just like a picture of me
and him just chilling, and I was like, Okay, but
he had bought the URL and that was his way

(56:33):
of showing me by showing me the picture of me
and him, and I was like, oh shit, and I
was like, Wow, that's the that's love right there.

Speaker 2 (56:39):
That's the number in my head of what that probably was.

Speaker 3 (56:43):
Yeah, it was.

Speaker 4 (56:43):
I mean it was a solid amount. I'm just I'm
just very thankful for me. That's like belief in what
I'm talking about and what I'm doing. So like it
was like, yeah, it'll pay back in the future, and
I'm like, I think it really will, because I I
think that's my most scalable site is sex tapes because
for sex tapes, I'm gonna essentially just every single every
single thing on my only fans I'm putting on sex

(57:04):
tapes and just like having organized but it's not gonna
be about me. I'm gonna start licensing other people's content.
So if I see someone's content bruising Twitter or something
like that, like hey, can I buy your content? You
keep it, I'm just gonna put it on this site
as well and promote you and just gonna continue to
do that. And it's gonna be essentially probably like a

(57:25):
it's gonna look like a tube site, but it's a
paid site, so it's gonna that the tub site model works, but.

Speaker 3 (57:30):
I'm gonna use it in the pay site way.

Speaker 4 (57:33):
And the purpose of the site is to have community
for their performers and like highlight them. So just like
you know, carousel the performers and have a spot for them,
you know, just another it's just having another place for
performers to have their content and then also mind too,
and then also just like another place to shoot different
type of points. So that's more like the amateur circuit
or just like not low production but just like.

Speaker 3 (57:54):
Yeah, like amateur like at home, like sex.

Speaker 4 (57:56):
Yeah easily, yeah tex tape, Like it's like an easy
sex tape in the market. Bild of that is just insane,
you know, like even things have already happened, Like everything
in the past is a Ricky Johnson sex tape, you know,
someone's first sex tape. You know, like there's so much
I can do with that. So right now I'm handling
her with care, you know, that's my little baby. I
think around like September or like the end of this

(58:17):
year is when I'll really start putting heavy and promotion
of that. I really want to focus on Resort two
and three, then go straight to sex tapes, and then
Ricky's room is doing his thing, and then I'll just
you know, I have my nice little family of three,
and I have a couple more side ideas. But by
that time, I think I'll have a proper team. Not
that I'm a proper team now, but like I don't
know more. Yeah, yeah, I'm gonna spread out stuff like that.

Speaker 2 (58:39):
But yeah, what advice would you give to a young
man male performer, any guy that like wants to expand
more into production and like strengthening their brand in the way.

Speaker 3 (58:52):
That you have.

Speaker 4 (58:53):
I'd say it should be a passion. I don't think
it needs to be a passion. I think it should
be a passion. That's really good first step. I've been
taking it seriously. I Mean, I love sex and a
lot of stuff like that, but like I don't I
think some people are like super horny and they lose
sight sometimes, like they're like carried by sex or carried
by that, you know, because the industry is like you know, sex,

(59:13):
drugs and all that fame, all stuff that is are
so sometimes people might shoot to that.

Speaker 3 (59:17):
But I think it's just, uh, it's like any.

Speaker 4 (59:20):
Career, Like if you want to be a basketball player,
like you know that it's hard work and everybody could
be a basketball player, and like even even getting in
the field of basketball player, there's basketball players that are
like the damn, I'm here, but like I'm not playing,
Like I'm at the place where no one else is here,
but even then I'm not playing. And then you might
get to that level of like comfortability, like you know
you're gonna get like if you're getting to that state

(59:40):
where you're trying to elevate, elevate, there's gonna be.

Speaker 3 (59:42):
A point where you're comfortable.

Speaker 4 (59:44):
And then when you get to that comfortable state, you
if you start navigating comfortably, then that's just where, in
my opinion, you're going to be at. You got to
have that same hunger you had when you weren't comfortable
when you are comfortable, and you use that same drive,
Like I still stay up late at nights for a
certain situations the projects when I can get to an
hour of sleep comfortably, and you know, and I'll be fine,

(01:00:05):
I'll be good, you know, but I I treat everything
like you know, I it's the last last thing I have.
So you's got to be passionate about it.

Speaker 2 (01:00:16):
You're only as good as like your last project. Yeah,
your last movie is.

Speaker 4 (01:00:19):
Say so I try to say the next thing is
the best thing and then go from there.

Speaker 2 (01:00:24):
What about guys who just want to get into the
porn industry in general?

Speaker 4 (01:00:28):
So for me, yeah, all the time. So when I
this is how I got into the industry. There's a
bunch of agencies nowadays. I mean now it's like there's
so many ways. But the most I would say common
way that works. There are agencies. I'll name a few.
Uh is promo for people, I guess. So there is

(01:00:49):
what I run a model service. Funny enough, me and
my friend Janey. If you go to the model service
dot com, we have a string of models. We don't
take commission. We just I do it for the love
of game. And yeah, so you can maybe apply from there. Uh,
there's OC Modeling, there's at MLA, there's one on one,

(01:01:11):
there is Next Level, there's East Coast.

Speaker 3 (01:01:15):
There's Spiegler for girls only. Yeah, it's gonna say like this,
not everybody takes everybody takes guys too.

Speaker 4 (01:01:20):
But there's a couple I think OC Modeling, Hussey ATMLA,
one on one those are the four main ones I think.
Take guys, I think East Coast and Next Level. So
go to those sites and then there's a session that
says be a model or something like that. They all
look at those so off bat you know, it's very
like every I would say, try all seven because like

(01:01:41):
six of them might be like and then one of
them might be like heay, and then that's a shot
right there. And then with that approach, uh, you'll get
a call sheet one day, you'll go to set and
then you'll have to just like kind of like be
in a helicopter unless you can like reach out, maybe
reach out to male performers that you.

Speaker 3 (01:01:56):
See and then maybe they'll reply.

Speaker 4 (01:01:59):
The thing that's hard about that is like this is
an industry where people feel like if you're coming in
the industry and you have a look and if you
kind of fit the model, then may be like, oh shit,
this guy's gonna take my job.

Speaker 3 (01:02:09):
Let me let me not tell him.

Speaker 4 (01:02:11):
I've seen that so many so you've got to get
past that, like, and that's use the people with the
most egos are the ones that are successful that don't want.

Speaker 3 (01:02:18):
Someone to take their their spot.

Speaker 4 (01:02:19):
So it's just like it's tough, but if you really
want it really bad enough, you'll get it, in my opinion,
So if you're looking to just get laid, this might
not be the spot for you. Will you will, you
will know if you want it bad enough, if you
want to bad enough that we can get deep.

Speaker 3 (01:02:33):
We can get deep if you want to.

Speaker 2 (01:02:37):
You know, certain guys want to play basketball professionally, but
if they're for porn, starve you know what I'm saying.

Speaker 3 (01:02:48):
Yeah, I know that's fair. That's fair. That's fair. It's fair.

Speaker 4 (01:02:51):
And most of the people that are trying to be
a porn aren't theold They're like, it's fair. Well, there's
the thing. The thing about porn, though, is there is
a length, like because they have the G League, they
have the euro League, they have other leagues with porn,
we have that levels because essentially anybody that picks up
a camera and over the age I wouldn't will say

(01:03:12):
twenty one.

Speaker 3 (01:03:12):
For purposes of just like you know, I don't even
like anyone's twenty two.

Speaker 4 (01:03:16):
People twenty one years older pick up a camera, have
sex and they post it on like a site or
like online on Twitter. Essentially, they're now a part of
the community essentially, and they do it, they do it
three four times, and they get a couple of views.
They're pretty much a part of the community.

Speaker 2 (01:03:33):
And then they think they can walk through red carpetge exactly.

Speaker 4 (01:03:39):
And that's the thing about porn that makes it look
so difficult. If that same person does some crazy shit, yeah,
that's the news article that's picked up, and they're gonna
say porn star does.

Speaker 3 (01:03:50):
Some crazy shit. Yeah, and you're like, that guy didn't. Like, no,
one's never seen that person. We don't know whouse. There's
not like a.

Speaker 4 (01:03:57):
Test that you pass, like get in. It's like, oh yeah, vagina, yeah, clear,
you know. And so that's that's a problem in itself
when it comes to that.

Speaker 3 (01:04:08):
So NBA doesn't have that.

Speaker 4 (01:04:09):
It's not you pick up a basketball, you know, I'm
a I'm a basketball player. Yeah. So that's why a
world tougher is that, you know why, I think something
that maybe the mainstream scene can be like, if you're
considered a mainstream performer, then we can dictate the porn
star stuff. I don't know, maybe there should be a
levels just so we can help relegate the industry.

Speaker 3 (01:04:30):
But that's I don't know, I.

Speaker 2 (01:04:32):
Know it's a hard conversation, right because now there's the
porn star versus creator conversation.

Speaker 4 (01:04:39):
Yeah, you don't want to take away from acause you're
creating your creator. It's like I guess with the YouTube nowadays,
if you pick up a camera, you're now a YouTuber,
you know, and it works you have your own.

Speaker 2 (01:04:49):
And also too, because creators are also competing so big.
Like look like girth Master, who said on a little
while ago, like he's never done a professional porn scene.
He's going to and we all know who he's going
to shoot for, even though he tries to fucking keep
it secret.

Speaker 3 (01:05:03):
I'm not stupid.

Speaker 2 (01:05:06):
Ricky's laughing too because we know anyways. But yeah, I mean,
you know, like he's he's huge. So it's like because
the creator economy has gotten so big and now there's
like and.

Speaker 3 (01:05:18):
It's a lane for future porn stars.

Speaker 4 (01:05:20):
It's a good thing because you pick up a camera,
like we all like that and then bang, now they're mainstream.

Speaker 3 (01:05:25):
Is like, hey, come with up. You know.

Speaker 4 (01:05:26):
So the same thing though, is that you pick a camera.
It was like, yeah, it's got an asshole, Like what
the fuck? Like, yeah, get away from us, because like
all the people I mean are maybe most, but a
lot of the people who have been ostracized for being
like shitheads are like really bad people. They won't work
in the mainstream, like essentially they're like blacklisted, but they
can still pick up a camera and go have sex

(01:05:47):
with someone and then have their own fan base. So
that's where it gets shitty, where you can still see
someone that's like this this the mainstream world. We're never
going to shoot that guy, but he has the ability
to run game on someone who doesn't like who have
no idea what the history of that person is, have
a whole scene, boom bom boom, have a whole thing,
and then once that person sees and it's like, oh shit,

(01:06:07):
I didn't like how come no one told me? If
it's like no one knew that was even happening. So
there's so many levels that like that. If that can
get cleaned up a little bit, then yeah, we can
start talking. But that itself is probably one of the hugest.

Speaker 3 (01:06:19):
Issues that we have, like how do you separate.

Speaker 4 (01:06:22):
Because the day, no matter what, whoever, all the people
that get ostrized, they have the ability to still have
a platform.

Speaker 2 (01:06:28):
So yeah, yes, yeah, I know it gets it gets complicated, right,
I would say, no one asked me, but I would say,
like what Ricky said, just you can either apply to
agencies or do your own content and post it on
porn Hub.

Speaker 3 (01:06:47):
Yeah you know that'll get you like views.

Speaker 4 (01:06:50):
All right, I'm also a porn Hub ambassador, so I
need to say this.

Speaker 3 (01:06:54):
Yes, if you are here, I am doing his job. Yeah,
you remind me give me his job?

Speaker 4 (01:06:59):
No? No, no, So that's how you was so, you know,
saying yeah, join porn Hub, reach out to me, and
I will make sure you're good to go.

Speaker 3 (01:07:09):
But you don't even have to reach out to me.

Speaker 4 (01:07:10):
You can go on Point up and figure out reach
out to me like hey, who then reach.

Speaker 3 (01:07:15):
Out to me after or after so.

Speaker 2 (01:07:18):
Yeah, I can't, I can't.

Speaker 3 (01:07:21):
Guys, you can get on.

Speaker 4 (01:07:24):
Please don't please don't call me like hey, so what's
the way, because I have a lot of ford then
please leave me alone.

Speaker 3 (01:07:33):
But that is a way.

Speaker 4 (01:07:33):
That is a huge way nowadays is Point Up because,
like you know, also, the industry is brutal, and if
you do care about numbers and like fan bases sometimes
of like audiences, like you can't put yourself out there and.

Speaker 3 (01:07:44):
Just wait and see if the audience takes to you know.
So yeah, I mean, the world will let you know.
The world will let you know.

Speaker 4 (01:07:50):
That's and that's what I don't even want to talk
about that because the world is so mean. The world
will let you'll let you know.

Speaker 3 (01:07:57):
You know, so.

Speaker 2 (01:07:58):
Absolutely well, Ricky thinking, thanks so much for coming on.
I'm so happy for all of your success. You're really
like one of my favorite people in the industry. You're
such a nice guy, You're so professional, You're just like
you're just a really good person. And I love to
see wonderful things happen to wonderful people.

Speaker 3 (01:08:15):
And I'm very happy for you.

Speaker 4 (01:08:17):
Hey, we out here, baby, see good for the industry.
I feel like you know both of us.

Speaker 2 (01:08:21):
Yes, I do have some questions for you from our
Patreon members, so we're going to do that in a
separate segment, So if you are a Patreon member, you
will be able to access that. In the meantime, Ricky,
can you tell everyone where they can find you online?

Speaker 3 (01:08:35):
Please?

Speaker 4 (01:08:35):
You can find me online at Instagram and x Ricky Behavior.
Also it's Ricky's room and also Ricky's resort.

Speaker 2 (01:08:45):
And then you guys can find me of course, on
X and Instagram at Holly Randall. Join my Patreon of course,
Patreon dot com, slash Holly Randall and filtered, and go
to hollylinks dot com to access all of my platforms.
Thank you guys so much for joining us. I'll see
in the next one.

Speaker 3 (01:09:06):
H

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