I recently published an in-depth and revealing interview with director Stormy Daniels in the print version of May’s AVN. You can also read the article online right here.

For various reasons, the full version was edited down some for publication, both online and in print. You may read the unedited “Director’s Cut” below. Enjoy!

Note: The interview that informs the majority of this piece was conducted in early March, 2018.

Stormy Daniels Shares her Wicked Past – and the DP in her Future

Dr. Chauntelle Tibbals is a sociologist and author. Contact her via Twitter at @drchauntelle

Everyone in the U.S. knows everything about Stormy Daniels – her legal name, her well-developed ability to cut Twitter fools off at the knees, and who her attorney is.

Within the world of porn specifically, people know quite a bit about her too. She’s won many industry awards (including AVN’s coveted Best New Starlet Award in 2004), she’s a magnet for mainstream attention, and she’s been a Wicked Girl since 2002.

One of the most overlooked aspects of Daniels’ storied, spectacle-laden career though is that she’s also a director. That, and the once essentially given aspect of her Wicked status has changed.

Amidst everything else happening in her life, Daniels’ sixteen-year performer/director contract relationship with Wicked Pictures terminated this past January. In its place: a director contract with Digital Playground and performer contract with Digital Playground and Brazzers.

I recently had the opportunity to speak with Daniels about her filmmaking work, her once seemingly inextricable link to an iconic industry brand, and her new path forward within another equally iconic space. Here’s what she had to say.

Dr. Chauntelle: How did you end up being a contract director at Wicked Pictures?

Stormy Daniels: During the first year I was with Wicked [as a contract performer], I wrote a couple of scripts. Brad Armstrong was having trouble writing a script, and I said, “I can help you, I write.” He laughed at me, which really really pissed me off at the time.

Looking back, I understand where he was coming from though. Since I’ve been a director for so many years, I’ve gotten hundreds of scripts in the mail and none of them have been shootable. They are all so terrible. So, I’m sure he was chuckling at me based on the fact that most people can’t write a good adult movie script. But he read mine and loved it and bought it and asked me if I could do some more. It grew from there.

I also wrote scripts for Michael Raven and Jonathan Morgan, who were the other contract directors for Wicked at the time. But the problem with that was that I have a photographic memory, so when I write a script the movie actually plays in my head. Like, it’s very specific and even though Brad, Jonathan, and Michael Raven are all fantastic directors and they didn’t do anything wrong, it’s still going to be their interpretation of what I’ve written. So, that was really irritating, like “You’re ruining my vision” and “In my mind she had on a purple shirt, and you just put her in yellow? This whole thing is a disaster!”

So, you needed to actualize your vision and directing was the natural next step?

Right. And this was back when money was no object for the big companies, and I really just wanted to know if – just one time — I could take something from my head to paper to screen.

I was able to bluff the owner of Wicked into letting me direct a movie. It was called One Night in Vegas (2004), and I wrote it, of course, and it starred Kaylani Lei.

I’m pretty detail-oriented – it goes with me being a control freak – so I was pretty prepared production-wise, and I have a really great crew. Most of them still work for me to this day. But I remember sitting in the director’s chair the first day and leaning over to Jake Jacobs – who still works for me and has worked for me on every movie I’ve shot – and go, “OK, so when do I call ‘action’?” and he was whispering in my ear and coaching me. I totally had no idea what I was doing!

Halfway through the first day though, I remember standing at the top of the staircase and directing kind of a big scene because, of course, it was my first movie and I had to complicate things… And I remember standing on top of the stairs and people are asking me what to do and I’m giving directions and orders to talent and crew, and I had an epiphany. I was just standing there and I had this moment, like, “Oh my God, this is what I was meant to do.” And then my very next thought was, “Muhahaha I’m the puppet master, they must do what I say” – and I’ve been drunk with power ever since that moment.

Well, in terms of genres, you’re a pretty diverse puppet master – comedies, Westerns, that gruesome one where the teen runaway dies in the end (Wanderlust 2013). What do you like directing best?

I like the comedies and then my second favorite is really dark and suspenseful. I have a really hard time writing just a “normal” romance, which was tough because I was the director for the Wicked Passions line. My contract with Wicked was to direct ten movies a year, and then it changed to five regular Wicked movies and five Wicked Passions movies. I struggled every time I had to write one of those because you can’t be too much of anything — you can’t be too dark, you can’t be too funny, you can’t be too sad. It’s just like, so plain.

Do you think they gave you the Passions ones because you’re a lady, and ladies know a lot about passion and romance and some other such bullshit?

Nobody else really did very many of them, but I don’t think that it had anything to do with my vagina. I think it had to do with the fact that I was the only one that could get the scripts approved consistently. I was punished for my good behavior.

So, what are some of your favorites?

Sleeping Around (2006) — I love that movie. I had dinner with Randy Spears recently, and we we talked about that movie. I haven’t talked about that movie in ten years, and we had [our friends] in stitches. We were talking about when I jumped over the couch and how I chased him with the dildo — it’s still one of my favorites for sure. I like that one, and I like Divorcees (2013) a lot. I felt like the dialogue was really real. It wasn’t contrived or trying to paint a picture of how nice a divorced ladies should talk. I also like Switch (2013) a lot, where me and Michael Vegas switch bodies — he does a fantastic Stormy — and then, of course, I love Wanted (2015) because I survived it.

But really, I’ve done so many, it’s hard for me to pick. I’m really proud of the work that I’ve done.

…and yet, after all that, now you are with Digital Playground and Brazzers?

Yes. Honestly, I thought that I would be at Wicked forever – or, at least until there was no more Wicked or I got hit by a car or fell of my horse too many times and couldn’t function anymore. I don’t know, I just never really imagined that I would be in the adult business and not be with Wicked Pictures. The very first porn set that I ever set foot on was a Wicked set, my first boy-girl scene was for a Wicked movie and my first feature and, I mean, I just never really thought I would be anywhere else.

So, what happened?

Over the last couple years, obviously, money has become tighter, budgets have gotten smaller, and the work has gotten harder. I added it up one day and, for the last couple years, I’ve been making minimum wage if you break it down by the hours that I put in. It was a labor of love though, like when I did Wanted. So many things went wrong on the set… My profit was less than $700 when it was all said and done because I put so much of my own money back in. I didn’t care though because I loved it and I was so grateful to finally do this movie that I’d tried to get done for so long, but that also kept me there perhaps longer than I should have.

You know, it’s hard to stand in your living room and look around and go “I would have none of this if it wasn’t for my job” and the job that was with Wicked. But it’s also been pointed out to me that I earned it. Like, I did the work to get the money…

…but a bunch of things happened that made it increasingly hard for me. I didn’t feel like [Wicked] was aligned with who I was and what I wanted to portray.

“A bunch of things” like what?

I felt like increasingly, over the last couple years, I have not gotten the attention or the press that I should have, while other people getallthe attention and press. For instance, if one of the other girls was doing a dance booking, Wicked tweeted the shit out of it. I did multiple appearances without a peep. I was repeatedly left off of things.

One of the biggest blows to me was that I waited until last year to do my first anal scene, and Wicked didn’t even mention it. It’s not even listed on the box, that’s how little they paid attention to me. They were basically burying my name and my career and giving attention to other people.

And then I had an incident happen on my set in November where my integrity as a director was questioned. A girl said that something happened to her, and it is absolutely false. There were eight people in the room, and she accused one of my loyal crew guys of doing something inappropriate and it was a lie. I told the owner of the company that I was personally offended that, as a female director, they would even think I would have someone like that on my set and that, if something had happened, that I wouldn’t throw him off [set] immediately.

I understood though that it was a delicate situation and that it had to be handled as such, but the real issue — the turning point for me in that situation — was I knew that the girl was coming in to have a meeting with the owner of Wicked to discuss what had happened. I asked if I should be present, and I was told no, that it was a private meeting between her and him, which, that’s totally fine. I’m not really known for being rational when defending people, and I’m kind of known for standing up to bullies. I felt like this girl bullied this guy and was using it to further her agenda, and so that was fine to not be in the meeting between her and the owner.

But then I found out through the grapevine later that another performer conducted the meeting. Not only was I not told, it was kept from me and I had a find out from someone else. When I confronted Wicked about this, they said yes, this is true. I just felt like there was no loyalty. I felt betrayed, and I was really really upset about it.

And what about when the current stories related to Donald Trump began to break at the end of last year?

Well, let’s just say that I was actually trapped in a hotel room because of the media attention, and I got 472 text messages the day the story broke but it took Wicked eight days to reach out to me.

No one from Wicked — who I thought was my family — called to say “Are you OK? How do you want us to handle this? Is your family safe? Is there anything we can do?” Nothing, for eight days.

So, your decision to move elsewhere sounds like a combination of three factors: The direction you saw the company is going isn’t complimentary to your brand, which you feel is being buried underneath other priorities, and you don’t feel like they have your back regardless. If Wicked still felt like an ideal work environment though, do you think you would have left?

Absolutely not.

I spoke to [director, producer and performer] Keiran [Lee], and he said “I’ve been telling Stormy to join MindGeek and Digital [Playground] for a long time. I’ve always felt she was held back in some ways at Wicked and always had to play second fiddle to other directors.”

I’m too loyal for my own good, I probably should have left a while ago.

…and now you have. So, how do you feel about MindGeek’s reputation for piracy and stealing and slashing and generally gutting the industry?

I felt like I was meeting with the enemy. It was really hard for me to accept, and there’s no easy answer to that. What I did not know — and I will say was kind of eye opening — is that their reputation is far worse than what they’re really doing. Like I was always told from Wicked that they were stealing our content, but then they showed me that they have a deal in place with Wicked. I knew they ran the Wicked website, but what I didn’t know was that [Wicked] made separate edited clips specifically for the tube sites.

I didn’t know that it was like that. I still don’t like it, but that’s just the changing environment and technology. I wish people still went to record stores and bought CDs, but that’s not the nature of the business. It’s either adapt… or don’t.

So you’re adapting via this new contract. What does it involve?

I’ll be directing for all the different projects under the Digital Playground label – like, their series, their scenes, and their movies – every month, so there’s not a set number of projects required because they format things a little bit differently than I’m used to in relation to the way my old contract [with Wicked] was structured. As far as performing, we’re starting with two scenes – one for Brazzers and one for Digital. The bulk of my deal is directing, but I’ll have the option to do more [performing] if and however often I want to.

Why do you think they hired you?

I know that they are wanting to return Digital Playground back to its original classic format, which is back to the feature movies that they were once known for… And I’ve been directing features exclusively for fifteen years, and I know that they are very excited to add a female director to the MindGeek brand. And hopefully, they hired me because I’m awesome and I know what I’m doing.

Your first shoot for them is coming up at the beginning of April. Are you nervous?

Oh, I am shitting my pants. I don’t like change and literally everything, even the budget form, is different. They upload differently, they need things in different formats, and they have their own system in place and I don’t know that system yet, so I feel like I’m flying blind and that makes me uncomfortable. And I know that I’m being scrutinized and judged a lot harder because they’re evaluating. Honestly, the biggest change for me is that I don’t get to write my own scripts anymore. They write the scripts and give them to me and any changes have to go through this whole chain, whereas I had so much control before.

I reconnected with Daniels after she wrapped “Highway Home,” a story about a young woman on a journey of self-discovery that culminates in a reconciliation with her past. Here’s what she had to say:

Well, how did it go?

It went well. It was very different and I felt very out of my element the whole time, but I was still very pleased with the performances and the footage we captured. I think [Digital Playground] will be happy.

I had my same crew, which almost made it more difficult because they all felt out of their element too. These guys and I have worked together, most of us for over a decade, and we have our system in place and the way that we do things. And then you take us collectively and put us in a situation where all of the protocols and the system and everything is different and we are all learning together – when it comes to paperwork and all of that, it was a little bit like the blind leading the blind. Digital Playground is very detail oriented and I am used to having more creative freedom, so I felt a little confined at moments — but the flip side of that was that I also felt a little bit relieved to not have to make every single decision, especially considering everything that’s going on [in the “off set” world] right now

How do you feel about your future in this new environment?

Well, depending on how fucked up the paperwork is… aside from that, I’m feeling pretty confident!

Honestly, I feel a little bit confined, but I hope that as the company and I develop our relationship – both creatively and our working relationship – that I’ll be able to address some of those things and the crack in the door will be widened for creative input and ideas. I feel like they are open to listening, I just have to prove myself first

As a takeaway, what do you want the lovers (and the haters) to know about Stormy Daniels, Director?

I hope that people, both cast and crew, don’t treat me differently on set because of everything that’s going on. That would affect performances for sure, and that’s the last thing I want to have happen — because making great movies… writing and directing and creating interesting projects for the fans and viewers, as well as for the talent… that’s still my first love.

Images via Digital Playground.

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Got a sociology question? Need some social justice informed life advice? Contact Dr. Chauntelle right here.

Get your copy of Exposure: A Sociologist Explores Sex, Society, and Adult Entertainment on Amazon here.

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