June 29, 2023 • 11 mins
In the adult entertainment world, finding the right talent can be difficult, in ways even more than traditional jobs. Jasmine and King detail their experiences on how they go about working with talent and hiring talent, as well as protocol on the set to ensure everyone's safety. Follow On Instagram: Jasmine- @Jetsettingjasmine King- @Therealkingnoire Royal Fetish Radio- @Royalfetishradio Youtube: @royalfetishradio AD: Lust Arts - https://lustarts.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:14):
Right, Okay, so serious topics, UM, we'll keep it short sweet,
which safety can be you know,UM, I really wanted to talk
about and draw attention to some ofthe practices that we've put in place as
(00:36):
owners of Royal Fetish films, performers, directors, um, and just people
who love this industry, Practices thatwe've put in place to keep ourselves safe
and keep other folks safe. SoI was hoping that, UM, maybe
we could hear some just quick highlightsof physical safety, emotional safety, psychological
(00:56):
safety tips and uh and and waysthat we've grown to either vet the people
that we work with, that thecompanies that we work with, and also
do a self assessment of our owncompany. So there's some things that come
to mind, like right off thebat, for you, first and foremost,
having a production meeting. What happensin these production meetings production meetings we
(01:18):
go over safety concerns first and foremost, you know, not even just what
we're going to be doing on set, but a little bit of background on
who we're working with. So youknow, do you have any food allergies,
do you have any injuries? Doyou have any ailments that we need
to know about when we're going tobe on set, any particular things that
(01:38):
might be triggering for you in regardsto any of the acts that we're going
to be working with, anything aroundyou know, being tied up or BDSM
or anything like that. You know, trying to make sure that we have
a history of the person. Andthen what do you need if something is
like if you have to use yoursafety word? What do you need for
(01:59):
aftercare? What do you need fordooring? What do you need for pre
shoot that'll make you feel comfortable andyou know able to give you all for
the shoot? Go over safety words, things of that nature. One of
the things I love about having thepre production meeting is it gives people an
opportunity to think about the things thatcould potentially happen and really get them ready
(02:19):
to be able to advocate for themselves. They start to practice in advance sharing
what they're like and what they don'tlike, so that way it's not like
the first time communicating this if theyneed to advocate for themselves on set.
I also love that we have peoplethink about who their emergency contact is,
who their emotional support person is,because it is difficult to be all of
(02:43):
those things and do our jobs.So having that person identify who we should
contact if they need some additional support, or who they should contact if they
need additional Yeah, and you can'talways be that for yourself. If God
forbid, you know, you getinjured something like that, we should know
who to contact, you know,and it doesn't even have to be an
(03:04):
injury from something shooting. You mightslip and fall at the workplace, you
know what I'm saying something like that, How do you go about vetting,
vetting for your own safety when itcomes to working with a person or a
company, waiting to see when they'regonna have this pre production meeting if it's
for a company, but I knowI do, especially if they're hiring me
(03:28):
to do something in regards to bDSM or something that's a little bit more
extreme. I ask, you know, are we going to have an interview?
Who am I working with? Letme know who I'm working with ahead
of time, so I could doa little bit of research on my scene
partner, reach out to my scenepartner if need be, to find out
what they're hard and soft and fullstops are. You don't leave it to
(03:50):
the company. I don't because alot of these companies that I have worked
with in the past, Like I'llget on set with somebody and ask them
like, Okay, they said thatthey wanted us to do X, Y,
and Z, and a person mightbe like yeah. It might not
even be that they were like Idon't want to do that. It could
just be like today, I havethis going on and I don't think I'll
(04:11):
be able to do that. Okay, So then we need to talk to
the company, because sometimes people areafraid to say no because they think it's
gonna be the shoot is going tobe over, and they're gonna find somebody
else. So I love that thatyou're even prepared to advocate for your scene
partners. Um. Betting for memeans looking at someone's breath of work.
U is really important. Who haveyou worked with? How do people talk
(04:35):
to you? How do you talkto people? How you how are you
online? Yeah? How do youcarry yourself? That is important too.
When I ask people questions like,um, what are you hoping to what
are you hoping to come out ofthis scene? I think it's important for
people to be able to communicate,like what is the art piece that you
(04:57):
you know, what is the product? If it's just like, oh,
I've been trying to I've been tryingto work with you. How where do
you? Yeah? Why you knowwhen or white? Yeah? And if
you don't sort of have an idea, then you trying to kick it,
um, and that's not work.We're probably going to We're coming at this
(05:18):
from two very different um expectations,and so we're probably gonna bump heads or
you know, something along those lines. I usually ask what you said,
like what kind of art, butalso like what sells for you? What
are you trying to U? Whatare you what fetishes or what kinks or
(05:40):
what sexual acts do you want todo in this scene that work for you
or what would you like to do? And then figure out from there like
Okay, this is either how wecan or why we should not do that.
Yeah. Absolutely. The other thingtoo, is UM, when I
share with people like what's required toshoot with our company, and if they
(06:01):
kind of come back with like likenah, like I just get a note
from my doctor or um, isthere any way around this or my I
don't have whatever, maybe the documentationthat's necessary Like for me, that is
a red flag, UM. Andit's not to say that it's a red
flag this person is bad um orlike things, things happen. Sometimes financially
(06:26):
it can be really um, itcould be very challenging to meet all of
the testing requirements that we have.But that just means for me, it's
a red flag we can't do thisnow, you know. Um. But
it is when people are trying tofind a way around rules and requirements that
is usually a sign that this isjust not a good Um, this is
not a good opportunity for me.Absolutely, yeah, So I really hope
(06:50):
people are saying safe out there.Um. We do have a lot of
work that's that's out in the ethoson harm reduction and safety on set.
We have brought to Royal Fetish Filmsour experiences, bad experiences to learn how
(07:10):
to make improvements, our experiences asintimacy coordinators, as mental health providers,
as performers, directors, producers,all that holding the camera the grip.
I think it's really important to saythat there is never a wrong time to
advocate for yourself. There's never awrong time to use your safety word on
(07:34):
set. And if your safety wordis not respected on set, then that
is not a set for you andyou got to get the fuck out of
there. You know, we usuallyuse the universal safety words just because that's
the easiest way and thing for everybodyto know and understand. And I think
sometimes people think that if you're usingyour safety word and this is something you
(08:00):
have to pay attention to you asa performer. And I mean also if
you're behind the camera working for acompany as well, if someone tries to
negotiate with you after using your safetyword, that's not a safe workplace.
No, no, it absolutely isnot. And I also want to say
that everybody that is on a setis responsible to making sure that when someone
uses their safety word, or whensomeone expresses discomfort, that we advocate for
(08:26):
that person because you are just asyou know, as guilty as anyone else
if there's someone that's a need andyou don't tend to them. Yeah,
and everybody on set can use thesafety word. I love that. So,
like, if you've been holding thecamera too long, if you've been
in a position that hurts, ifyou are in an emotionally uncomfortable conversation with
(08:48):
the person whose hair you're doing,or whose makeup you're doing, or who's
clothes your styling, like, useyour word. So who should people go
to on a set when they arenot comfortable or need to advocate for someone,
you should be able to go tothe director. Yeah. And if
the director is a part of theperson or a part of the situation,
(09:11):
I suggest like walking off. I'drather people walk off and have to work
it out later than compromise their safetyor anyone else's. And honestly, I
would say, if you see someonebeing mistreated and you see that they can't
advocate for themselves, if you're theperformer, then if you call it quits,
(09:33):
it can't happen for anyone. Absolutely, Yeah, So use your power
to keep everyone safe. Yeah,and just remember you as a human being,
always, always, always should berespected. Just because you do born,
whether it's in front of or behindthe camera, doesn't mean that you
shouldn't be respected with your safety words, doesn't mean you shouldn't be respected with
(09:54):
your limits and boundaries. And itmeans at old times you start a show.
So if you don't rock the whole, shit ain't running. Absolutely,
And for those people that are makingthis industry unsafe, this is not a
place that you can hide and hurtpeople. Um, you will be uncovered.
And shooting sex work is real work. Shooting porn is legal, and
(10:16):
there are practices that you have toadhere to, So don't think that you
can come and do your misfit shitover here. We will call you out,
We will find a way to getyou out of this industry so that
we can continue to work and makebeautiful, beautiful art. Yeah, we're
trying to build a safer industry foreverybody in it, So if you want
to be a part of that,definitely look out for us. Hit us
(10:37):
up real fetish films. Well,probably right,
Right, Okay, so serious topics, UM, we'll keep it short sweet,
which safety can be you know,UM, I really wanted to talk
about and draw attention to some ofthe practices that we've put in place as
(00:36):
owners of Royal Fetish films, performers, directors, um, and just people
who love this industry, Practices thatwe've put in place to keep ourselves safe
and keep other folks safe. SoI was hoping that, UM, maybe
we could hear some just quick highlightsof physical safety, emotional safety, psychological
(00:56):
safety tips and uh and and waysthat we've grown to either vet the people
that we work with, that thecompanies that we work with, and also
do a self assessment of our owncompany. So there's some things that come
to mind, like right off thebat, for you, first and foremost,
having a production meeting. What happensin these production meetings production meetings we
(01:18):
go over safety concerns first and foremost, you know, not even just what
we're going to be doing on set, but a little bit of background on
who we're working with. So youknow, do you have any food allergies,
do you have any injuries? Doyou have any ailments that we need
to know about when we're going tobe on set, any particular things that
(01:38):
might be triggering for you in regardsto any of the acts that we're going
to be working with, anything aroundyou know, being tied up or BDSM
or anything like that. You know, trying to make sure that we have
a history of the person. Andthen what do you need if something is
like if you have to use yoursafety word? What do you need for
(01:59):
aftercare? What do you need fordooring? What do you need for pre
shoot that'll make you feel comfortable andyou know able to give you all for
the shoot? Go over safety words, things of that nature. One of
the things I love about having thepre production meeting is it gives people an
opportunity to think about the things thatcould potentially happen and really get them ready
(02:19):
to be able to advocate for themselves. They start to practice in advance sharing
what they're like and what they don'tlike, so that way it's not like
the first time communicating this if theyneed to advocate for themselves on set.
I also love that we have peoplethink about who their emergency contact is,
who their emotional support person is,because it is difficult to be all of
(02:43):
those things and do our jobs.So having that person identify who we should
contact if they need some additional support, or who they should contact if they
need additional Yeah, and you can'talways be that for yourself. If God
forbid, you know, you getinjured something like that, we should know
who to contact, you know,and it doesn't even have to be an
(03:04):
injury from something shooting. You mightslip and fall at the workplace, you
know what I'm saying something like that, How do you go about vetting,
vetting for your own safety when itcomes to working with a person or a
company, waiting to see when they'regonna have this pre production meeting if it's
for a company, but I knowI do, especially if they're hiring me
(03:28):
to do something in regards to bDSM or something that's a little bit more
extreme. I ask, you know, are we going to have an interview?
Who am I working with? Letme know who I'm working with ahead
of time, so I could doa little bit of research on my scene
partner, reach out to my scenepartner if need be, to find out
what they're hard and soft and fullstops are. You don't leave it to
(03:50):
the company. I don't because alot of these companies that I have worked
with in the past, Like I'llget on set with somebody and ask them
like, Okay, they said thatthey wanted us to do X, Y,
and Z, and a person mightbe like yeah. It might not
even be that they were like Idon't want to do that. It could
just be like today, I havethis going on and I don't think I'll
(04:11):
be able to do that. Okay, So then we need to talk to
the company, because sometimes people areafraid to say no because they think it's
gonna be the shoot is going tobe over, and they're gonna find somebody
else. So I love that thatyou're even prepared to advocate for your scene
partners. Um. Betting for memeans looking at someone's breath of work.
U is really important. Who haveyou worked with? How do people talk
(04:35):
to you? How do you talkto people? How you how are you
online? Yeah? How do youcarry yourself? That is important too.
When I ask people questions like,um, what are you hoping to what
are you hoping to come out ofthis scene? I think it's important for
people to be able to communicate,like what is the art piece that you
(04:57):
you know, what is the product? If it's just like, oh,
I've been trying to I've been tryingto work with you. How where do
you? Yeah? Why you knowwhen or white? Yeah? And if
you don't sort of have an idea, then you trying to kick it,
um, and that's not work.We're probably going to We're coming at this
(05:18):
from two very different um expectations,and so we're probably gonna bump heads or
you know, something along those lines. I usually ask what you said,
like what kind of art, butalso like what sells for you? What
are you trying to U? Whatare you what fetishes or what kinks or
(05:40):
what sexual acts do you want todo in this scene that work for you
or what would you like to do? And then figure out from there like
Okay, this is either how wecan or why we should not do that.
Yeah. Absolutely. The other thingtoo, is UM, when I
share with people like what's required toshoot with our company, and if they
(06:01):
kind of come back with like likenah, like I just get a note
from my doctor or um, isthere any way around this or my I
don't have whatever, maybe the documentationthat's necessary Like for me, that is
a red flag, UM. Andit's not to say that it's a red
flag this person is bad um orlike things, things happen. Sometimes financially
(06:26):
it can be really um, itcould be very challenging to meet all of
the testing requirements that we have.But that just means for me, it's
a red flag we can't do thisnow, you know. Um. But
it is when people are trying tofind a way around rules and requirements that
is usually a sign that this isjust not a good Um, this is
not a good opportunity for me.Absolutely, yeah, So I really hope
(06:50):
people are saying safe out there.Um. We do have a lot of
work that's that's out in the ethoson harm reduction and safety on set.
We have brought to Royal Fetish Filmsour experiences, bad experiences to learn how
(07:10):
to make improvements, our experiences asintimacy coordinators, as mental health providers,
as performers, directors, producers,all that holding the camera the grip.
I think it's really important to saythat there is never a wrong time to
advocate for yourself. There's never awrong time to use your safety word on
(07:34):
set. And if your safety wordis not respected on set, then that
is not a set for you andyou got to get the fuck out of
there. You know, we usuallyuse the universal safety words just because that's
the easiest way and thing for everybodyto know and understand. And I think
sometimes people think that if you're usingyour safety word and this is something you
(08:00):
have to pay attention to you asa performer. And I mean also if
you're behind the camera working for acompany as well, if someone tries to
negotiate with you after using your safetyword, that's not a safe workplace.
No, no, it absolutely isnot. And I also want to say
that everybody that is on a setis responsible to making sure that when someone
uses their safety word, or whensomeone expresses discomfort, that we advocate for
(08:26):
that person because you are just asyou know, as guilty as anyone else
if there's someone that's a need andyou don't tend to them. Yeah,
and everybody on set can use thesafety word. I love that. So,
like, if you've been holding thecamera too long, if you've been
in a position that hurts, ifyou are in an emotionally uncomfortable conversation with
(08:48):
the person whose hair you're doing,or whose makeup you're doing, or who's
clothes your styling, like, useyour word. So who should people go
to on a set when they arenot comfortable or need to advocate for someone,
you should be able to go tothe director. Yeah. And if
the director is a part of theperson or a part of the situation,
(09:11):
I suggest like walking off. I'drather people walk off and have to work
it out later than compromise their safetyor anyone else's. And honestly, I
would say, if you see someonebeing mistreated and you see that they can't
advocate for themselves, if you're theperformer, then if you call it quits,
(09:33):
it can't happen for anyone. Absolutely, Yeah, So use your power
to keep everyone safe. Yeah,and just remember you as a human being,
always, always, always should berespected. Just because you do born,
whether it's in front of or behindthe camera, doesn't mean that you
shouldn't be respected with your safety words, doesn't mean you shouldn't be respected with
(09:54):
your limits and boundaries. And itmeans at old times you start a show.
So if you don't rock the whole, shit ain't running. Absolutely,
And for those people that are makingthis industry unsafe, this is not a
place that you can hide and hurtpeople. Um, you will be uncovered.
And shooting sex work is real work. Shooting porn is legal, and
(10:16):
there are practices that you have toadhere to, So don't think that you
can come and do your misfit shitover here. We will call you out,
We will find a way to getyou out of this industry so that
we can continue to work and makebeautiful, beautiful art. Yeah, we're
trying to build a safer industry foreverybody in it, So if you want
to be a part of that,definitely look out for us. Hit us
(10:37):
up real fetish films. Well,probably right,
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