Interview with Jamie Patterson & Daisy Rock

Published On October 31, 2012 | By We Love Brighton | Theatre & Arts Features

The day after the premiere of Daisy over a couple of pints with Jamie and a tea for Daisy, I had some questions to ask, but to be honest it was hard getting a word in edgeways with these two nattering on…

I wanted to start by asking you about the staged reality aspect. I can’t get my head round things like ‘The Only Way Is Essex’, can you explain how it worked on set?

Daisy: Everything was true, all the telephone conversations, the whole thing. The only time it wasn’t was saying the words, ‘I’m quitting the industry’. Nobody actually knew what the movie was about, we just said, ‘Don’t look at the camera! Talk as you normally talk, and any subjects that come up we’ll just discuss them’. So that’s how it worked basically.

So was it scripted at all?

Jamie and Daisy: No, not one line at all!
J: I had 17 shots that I wanted but not one line of dialogue in the whole film. I started off by writing the script, I’ve still got it, a 15 page script…
D: Wow, I’d love to see that.
J: It’s funny, I got it so wrong, it’s about a girl making her last movie, about what she will do next, but the dialogue wasn’t right. It’s very hard to write that and to have the connection with the audience that this film had. That came from Daisy being Daisy, everybody just being themselves.

The importance of relationships comes across really strongly in this film; do you think there is a danger of that being undermined by the ‘staged reality’ aspect? But of course, it wasn’t staged…

J: The film was never about porn, it’s about people in the movie, it’s about their relationships, what they did when they weren’t shooting. Also the phone calls with friends and family back home, that was a big part of the movie. It was very little about the sex side of things because I think that’s been covered a lot in other stuff and I don’t think that’s as interesting.
D: But that had to be a little bit prominent to say we are on a porn shoot. The bits that we did cut in of us stripping in the front room, that was the first thing Jamie ever saw so you’re seeing it as he sees it. [to Jamie] You’d never been on a porn set before had you?
J: No, that was the first; I mean I’ve been in porno’s before of course [wishful sigh]… I didn’t do too much research ‘cos I wanted it to have that naive, going-in-there-fresh filming. Nothing was off limits, I could shoot anywhere.

Where there any more nerves on set than normal with it being quite a risqué mainstream film?

D: I think it probably was a little bit nerve wracking because I wasn’t acting, I was just being me. I took it so honestly, if I can stress how much I completely let go. I said to everyone else, which was kind of saying it to myself as well, just ignore the cameras. I wasn’t nervous doing it, I enjoyed it immensely, but I enjoyed it so much that I wasn’t worried about the results until it had already been captured. I’ve caught the eye of a couple of people who want to get the real stuff, because I’m good at being real. That’s what all my porn is about; absolutely none of it is fake. I won’t do it otherwise.

So, how do you draw a boundary between your private life and your work life?

There isn’t really a difference, it’s just that one’s on camera and one isn’t. The porn stuff is all about my sexuality, my fantasies, and it just so happens that other people understand those. It’s about putting it on film and getting it right. I wish I had Jamie on every porn set with me…
J: I wish I was there too…

Well, that was one of my questions actually! Jamie, sometimes your filming feel a bit shy, especially in that scene in the living room, did you ever feel uncomfortable?

I’m surprised you picked up on it! They were the first sex shots. I think after about 5 minutes you get over what you’re filming and it just becomes like any other job. It was pretty hot, I’ll be honest, and I’m trying to shoot it in a way that is cinematic…

[Like the gentleman that he is, Jamie insists on getting a second round of drinks in, leaving Daisy and I to chat.]

Daisy, you write a blog, is that quite rare in the Adult Entertainment Industry?

That intense yeah, to be that honest about your own personal life-style, I think so. Most blogs are made up.

Do you stay in touch with all your fans?

Yeah, constantly; every day. I answer questions, we have debates. I’ll have a twitter day when I’ll just sit there; it’s like being in a room with a thousand people all having a conversation. It’s quite intense at times.

You must get so much inspiration from that.

Yeah! Sometimes really interesting stuff comes up, then you grab onto it and re-tweet it. Real diehard fans know how to treat me, they know what to say. They kind of follow my lead. It’s really quite incredible the power that you have as a female person who talks about her sexuality.

Jamie, you use lots of soft-focus and low lighting in Daisy, was that an intentional contrast to the starker lighting and close-ups used in porn?

J: None of the film is lit in any way as I shot it all on one lens. I couldn’t really think about stuff like that unfortunately because of the way we were shooting. It’s weird because a lot of good things just happened; it all seemed to fit into place. The parts that are in and out of focus I hoped would add to the charm of it. Was it supposed to be stylistic like that? To be honest, probably not, but did it add to it? Yes it did. But none of that stuff was planned, I just didn’t have time to do it.
D: The only thing that was lit was the porn scene; that was lit for Liselle [Bailey, porn director].

Jamie, I’m interested in why you filmed Daisy before City of Dreamers and then sat on it, do you think each film would have changed had you released it before the other?

Yeah. We shot it three months before City. Part of that deal was that it had to come out for Christmas, then it did well and the festival scene picked it up. You can’t promote two movies in the same way, and because of the way this movie is we had to wait. We couldn’t put it out before as my previous film, Confession, got very little hype and it would have damaged it. I didn’t want Daisy to get lost with people being judgemental because they went for City over Daisy because it’s a more commercial flick. It was edited before Christmas, so we all knew it was good, we all knew we loved it, but we couldn’t do anything with it for at least six months.

I’ve got one last question, for Daisy. In your speech last night you mentioned your mum as being an inspiration and a support throughout your career, has she always been really supportive and what sort of influence has she given you?

Yeah, straight off the back. When I told her I was a bit nervous, but she was above and beyond what I ever expected. My family have totally accepted it, completely. I did an article for The Guardian, it was my thoughts about women having the choice of their own sexuality, whether they want to be monogamous or want to be out and out sluts. My mum was on a bus and someone in front of her was reading the article and she went, ‘That’s my daughter!’ she was really proud and I think that’s amazing.

Written by Sara Harman-Clarke

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