Filmmaker Jake Jaxson and his
partner, photographer RJ Sebastian, have created “A Thing of Beauty,” which is
both an adult film series on their CockyBoys website, as well as a lavish new
photo book, published by Bruno Gmünder. Their pornography differs from most
adult content, because their approach is more impressionistic than intense. That is not to say that the images—both in
print and on film—are not explicit (they are). The pair spoke with /bent via
Skype about “A Thing of Beauty” and what makes their work so erotic.
GMK: What makes “A
Thing of Beauty” (the book) sexy are the images that tease, capture a
peek-a-boo moment or a tender caress. I think the touch seen in the photographs
versus the penetration in the films, is almost more erotic. Do you think it is
sexier to suggest something erotic, or present it full on?
JJ: I prefer not seeing everything as opposed to seeing everything. I love
a guy in underwear, or a Speedo. But like any form of entertainment, I have a
responsibility to what I am creating, a need and desire to get people off in
the explicit nature of what we are doing. I try to find ways to get people off
without being so explicit. Several films we made, I showed no penetration for a
good part [of the running time]. If we do it right, they can get aroused by the
kiss, or the touch, or the illusion. It’s what arouses [RJ and I] and turns us
on after 15 years of creating a love life and sex life together. We keep trying to find new ways to
titillate and stimulate many forms of people’s senses. For me, there are
several parts of “A Thing of Beauty” that I love: The things we do together—being in the rain, or making toast.
They have meaning and power to me. In the pool scene, the guys are underwater
and touching lightly and grabbing…most people don’t have full on explicit sex;
that’s all fantasy. There’s the whole “What if?…,” longing moment. That’s
what I want to celebrate in films or in the book. We’re not trying to run away
from what we are doing—the pornography
aspect—I’m very proud of that.
I’m not trying to be anything other than what we’re doing in the space we have.
We have rule—they guys have to
be hard and come, but everything else, we can create. We don’t have to follow
traditional rules of storytelling. Having worked within the mainstream,
Hollywood system, I prefer this freedom and luxury to keep making films like
RJ: I think when
I’m shooting [a photo] it’s not that I’m trying to shoot a super sexy moment.
What turns me on is creating an image where there is an energy— even if you can’t see the model’s
face or their dick. The photos I like, or the hottest ones for me, are more
portraits and not as hardcore. There’s an intimacy to them.
JJ: It comes from a creative desire
to tell a story. The goal of the book is unique. It really starts with the performer. RJ’s goal is making them
look unique and different, and not a regular “porn” image. He’s doing that for
many reasons. RJ was a model who was photographed for so long. He takes his
knowledge and information and teaches the performer on how to be. It starts
with the performer and how we [as filmmaker, as photographer] are motivated by
GMK: What about
creating a fantasy? How do you find the perfect balance of guys who awaken
dreams and stir up desire?
RJ: I think it
starts with the personality. I’m turned on by a model who is present and wants
to be there. That gives me the freedom to push, and if there’s a sexual energy,
it’s more fun, because I’m trying to get something out of them that turns me on
in a cat-and-mouse way. But there has to be a willingness to go there, and they
have to have an awareness of what they are doing. Some don’t want touching, or
JJ: That’s how it
is with performers. I didn’t want to work with someone who has limitations—they won’t suck dick, or eat ass.
What makes the perfect CockyBoy is confidence and authenticity. I’m not trying
to create a fantasy, so much as a moment that is authentic and as real as possible.
When we pair performers, the [models] have to want to be together. The guys all
have their lists. So for me, it is finding a group of guys that fit into that
confident, authentic [profile] and have a desire to create something different.
GMK: How do you work
on getting the models to pose so seductively?
RJ: Some of my
favorite issues are when models are having a hard time connecting. I go into
overdrive to connect with them. I’ll crack a joke or tell them to squeeze their
butt tight, and it gets an honest reaction. I’m all about creating an image
where guys are looking at each other and I’m shooting above one’s shoulder and
you don’t see the other guy. The viewer can put their spin on what’s happening
between the models.
GMK: The book also features close ups of body parts, an armpit, an ass, an
erection. Do you think a nameless/faceless image is exciting because it is
RJ: I think the
anonymity of body parts is hot because you can fantasize more when you don’t
know who it is. I emphasize body parts that I think are attractive, like a
bulge in a pair of jeans. I can spot that in a crowd. My eyes are trained for
that! That gets me more turned on than seeing someone’s dick.
JJ: I can look at
RJ’s work and I can spot his moods through what he’s shooting. That can be his
desire of being anonymous in what he’s shooting. If guys are lying down and
looking up, that, for RJ, is possibility. A big space of nothingness above the
guy(s) represents the energy of all things possible. If they are lying down, or
on their side, and I can tell he’s being reflective. We see many [models] and
the reason we get what we get is that we create a level of trust and they know
RJ is going to work hard to make them look amazing.
Buy the book on Amazon here.