Award-winning director Alis Locanta is one of the key players on our sister sites SexArt and Viv Thomas, as well as having recently extended his reach to include MetArt X and The Life Erotic. As you can imagine, he’s a very busy man; but not too busy to finally make his MetArt debut.
Italian auteur Locanta is renowned for his dynamic, creative and boundary-pushing movies, starring the most beautiful, natural girls and bringing more than a hint of spice to his portrayal of sizzling sex. His debut MetArt movie, “Good Day Sunshine” featuring slender Czech beauty Kira Zen, showcased his glamorous yet authentic style. Evocative music, gentle sensuality and 4K prowess all combine to make it a sweetly stirring experience. Kira’s perfect ass, neatly trimmed pussy and lovely long legs are sure to make a lasting impression too!
If you’re not already familiar with the erotic maestro’s work, read on to learn a little more about him…
Alis, please tell us about your background in film, and how you started to shoot erotica.
AL: Life is an amazing journey and sometimes, unexpected things happen! When I was a kid my whole life was focused on music. I spent all my days playing, playing and playing, guitar and piano. I could only imagine my future as a musician (or an astronaut, for sure!). But my journey had just started, and it took a different direction. One day I started getting seriously interested – almost obsessed – about how they shoot films. I was about 15, and I wondered how they use cameras, lights, dollies… I couldn’t stop thinking. As soon as I started working (in a big company, in IT), I spent my first wage packet on buying a VHS-C camera and started shooting stupid short movies with my friends. That obsession became a real passion. I worked many years for that company till the day I decide to soar. I became a filmmaker. During those years I shot a lot of projects (some good, some less good…) and I was finally happy my passion was my job. But something else was going to happen. One day I was watching a porn movie (oops! I mean… a friend of mine was watching a porn movie!). It was a VHS tape and it started with some trailers: between a lot of trashy stuff, I saw something incredibly unique. It was an Andrew Blake film. I couldn’t believe it was an adult feature. It looked like a fashion or music video! Well, that was the moment I understood I really wanted to shoot erotica.
Do you remember your first production for the MetArt Network?
AL: Yes of course! I can’t forget it. It was June 2012 and I was in Budapest. After seeing a demo I shot, Jon [owner of the MetArt Network] asked me to shoot something better, something cooler. I spent many days thinking about that script. I wrote many ideas but in the end I trashed them. So I decided to stop thinking about other films and only imagine something very personal, according to my vision. So, like a tightrope walker without a net, I shot “Ode to Beginning,” a visionary girl-girl scene with Aleska Diamond and Denisa Doll, for SexArt. I shot a lot of stuff handheld, inspired by my great masters, Mann and Soderbergh, using a classical piece of music I love: “Clair De Lune” by Debussy. When I sent the final cut to Jon I was incredibly tense. I’d watched all the SexArt films and I knew I had shot something pretty different. I remember that night; I was in a pub (not my habit, I’m not a night life lover) and I got an email from Jon: he liked it!
How do you feel about expanding your work to include MetArt and MetArt X now?
AL: This is exactly the kind of adventure that excites me! MetArt Network members are incredible people. I used to look at many adult sites and I spent a lot of time reading members’ comments. Well, let’s just say that here we have the best community. I’m not saying our members always appreciate our job; I’m saying we have real communication, a person to talk with, and to be inspired by. And I want to tell them I’m already spending every drop of my sweat to make them happy.
Is there a model who particularly inspires you?
AL: That’s a hard question. I have worked with a lot of models, more than 100, but only a very few of them could really understand my vision. I’m not saying I didn’t work well with the others, but those models really helped me to get what I wanted. I can say Melena A and Mango A are my muses when I have to create a visionary world based on breathtaking beauty. While my great friend Amarna Miller (especially in “Love For Sale – Crossdressing” on SexArt) and Czech Iwia (just think about “The Contract”) show me incredible acting skills, worthy of mainstream productions.
How do you get the models to understand the role and get into character?
AL: Do you want to know a secret? The real answer to this question is: Google Translate! No, just kidding! When I shoot a model who already knows me, it’s pretty easy for us to understand each other. For example, with Amarna I go on defining the role even during the shooting (“let’s try to do it like this, like that…”). With new models it’s more difficult: we talk a lot, I show them examples, scenes from mainstream movies, just to describe the emotions and expressions. A funny story: when I shot Lola Reve for the first time, for “The Heat 2,” it was really hard; she only speaks French and I don’t speak French at all! So I really had to use a translator before and during our shoot.
What inspires you – movies, music, books, dreams?
AL: I don’t read many books (even if it sounds like an excuse, I don’t have time) and my dreams are not so erotic – most of them are about school exams or classwork! I get my inspiration from mainstream movies and music videos. I watch a lot of different genres; comedy is the one thing I don’t like that much. My milestones are “Traffic” by Soderbergh, “Insider” by Mann, “Memento” by Nolan and “Babel” by Inarritu. When I shoot my films I always want to tell a story. If you are not telling something, you have failed. Those movies and how they have been shot, help me to find a cool way to tell that story. When you shoot a scene, you have plenty of ‘tools’ for describing characters, moods and feelings. If you shoot the same action in two different styles, you can express two completely different emotions.
How much planning goes into a shoot? Do you storyboard every shot in advance?
AL: I write a lot. To be honest I completely suck at drawing! So it’s impossible to have storyboards. So I have to write everything, every little detail. For a fifteen minute film I might have a five page script. Most of the time I decide the music soundtrack before shooting; as many of you know, music is so important for me. And having a good music track in my mind helps me a lot during the shoot.
You shoot a lot of technically complicated shots. Do you spend a lot of time experimenting with different techniques?
AL: That’s my passion, that’s my life. It brings me back to my very beginning: when I was obsessed to know HOW they shot films. Even if every filmmaker has a style, I’m trying not to shoot the same feature every time. I like to experiment with new solutions, but I need to think, develop, write and test before doing it in a final film. If I have a rule it is: what’s in front of the camera must be as perfect as what’s behind the camera.
How is your relationship with MetArt?
AL: Life is a long and incredible journey. In 2012 I couldn’t have known I would get to know Jon and get involved in the MetArt Network. I could say that was one of those moments when your life changes. My relationship with Jon is one of those things that makes my job priceless. I’m not saying it has always been easy… it could sound fake! But it has been a continuous growing up process. Jon helped me a lot with all his words, his critique; if now I have raised the bar so high, it is thanks to him. When we meet in LA we always have a great time, talking about new ideas, new projects and laughing about some of the ‘less good stuff’ I shot in the beginning!