Misty Mundae has long been a firm favourite here at SGM Towers, her work with the team at Seduction Cinema has seen her fan base grow from strength to strength. Here Misty takes time out to discuss with guest interviewer Ziggy not only her own thoughts on her career but her work on the recently released erotic gem 'Dr Jekyll and Mistress Hyde'
Q: What made you decide to become an actress?
A: I never decided to become an actress. It just kind of happened. Initially I was working on super low budget video productions just as a gag, purely for the fun of it. At some point shortly thereafter it stopped becoming fun, and around the same time I started making lots of money. So it was a bit of a conundrum. Still, making movies seemed better than going back to telemarketing, and now I'm very happy. I'm really content with the people I work with and the productions that we have turned out. It's a progression.
Q: In particular, what led you to become involved in erotic films?
A: Oh come on. Lets face it. Everyone knows that sex sells. That's where the money's at. But working in erotica seems to be a good avenue to get people to pay attention to what your doing. Obviously we are not shooting gratuitous pornography, so there is plenty of room for plot and character development and humor or gore or whatever else should be interjected. So although they may be labeled "erotic' films, I still get to do a fare amount of acting.
Q: To many, there is a certain stigma attached to those who work in the sorts of films that you do. Have you run into this yourself, and if so, how do your respond to/deal with that?
A: I don't run into that sort of confrontation, unless I'm talking to my grandma. If people do have negative things to say about me or what I do, they're probably just jealous. HA! Just kidding. I'm mean they're probably just stupid. NO! Really, If people do have an aversion to myself or my job, I probably just don't talk to those sorts of people.
Q: Your most recent effort, "Dr. Jekyll and Mistress Hyde", clearly displays both sides of your talents, both as an erotic actress as well as a dramatic one. Do you approach these types of sequences differently when you're getting ready to perform, or do you treat them the same way?
A: No, I think that some extra thought and attention needs to be paid towards Tony's (Director Tony Marsiglia) writing. I always explain my gripes about playing the schoolgirl in practically every film I appear in. But this character was unique. I was never really sure what exactly the director was trying to portray, and I am still not, because Tony has a really acute yet somehow ambiguous translation of what is going on in his brain. So, it did take some searching to try and find what he was really looking for.
Q: You've mentioned that you weren't even aware that you'd be playing a dual role in "Dr. Jekyll and Mistress Hyde" until you were literally on your way to the shoot. Were there any extra challenges for you in taking on the complexities of a dual role, or were you able to take it all in stride?
A: Yeah, sure it was challenging. But I like a challenge and experimenting with different roles and motivations. I have to keep myself interested. Don't we all?
Q: Where did you draw your inspiration for the way you approached the characters of Martine and Dawn?
A: I think that the script was very Lynchian, definitely homage to "Mullholland Drive". The director actually told me that it had inspired the concept for his "Jekyll and Hyde" remake. So after trying to pick apart the David Lynch film, I had somewhat of an understanding for what Tony was trying to portray with his two different characters.
Q: What is your favorite behind the scenes memory from working on "Dr. Jekyll and Mistress Hyde"?
A: I have plenty, but they would probably compromise someone's self esteem if I were to repeat them (myself not excluded.)
Q: What was the biggest challenge or most difficult moment for you while working on the film?
A: That would probably be shooting a twelve-hour day with jet lag. I first arrived on set the same evening that I arrived in Los Angeles, driving strait from the airport. Long day… can't remember my lines.
Q: "Dr. Jekyll and Mistress Hyde" takes a highly dramatic approach to itself, whereas your other recent effort, "Lord of the G-Strings: The Femaleship of the String", wherein you play our heroine throbbit, is very light and fun and doesn't take itself too seriously. Do you prefer one type of role to the other, and why or why not?
A: Well, you see, in reality I don't believe that I am very funny. Well, no, actually I always think I'm hilarious, but my friends find it funnier when I crack myself up. What? Exactly! But I am a bit of a drama Queen outside of movie-land, so I relate a little more. You dig?
Q: As a member of the audience, do you have a favorite scene from "Dr. Jekyll and Mistress Hyde", and if so, what is it, and why?
A: Julian Wells transformation from the tight assed Dr. Jekyll into the sex vixen Mistress Hyde is pretty intense. In a way it is so absurd that it is almost comical, yet she plays it so straight that it just ends up being really bizarre and idiosyncratic of her acting ability. She is great.
Q: Many viewers tend to offhandedly believe that filming sexual material must be fun and easy, whereas many actors and actresses consider it the most difficult thing in the world to do. At the risk of shattering audience illusions, could you describe exactly what goes into the filming of a sex scene, perhaps using one or more of the sequences in "Dr. Jekyll and Mistress Hyde" for an example?
A: While I would like to keep the fantasy alive for all of the fans out there, many sex scenes are very choreographed and become somewhat mechanical for the actresses depicting them. Some scenes are shot MOS (without sound) and music will get dumped in during post-production, because the director is off camera saying, "OK now we are going down to the left breast, fondle the left breast, and slowly pan to the right. OK now we are on your right breast, keep fondling, great and we're panning up to your face, so react facially to being fondled…" You get the point. Ouch, sorry. All that use of the word "fondle" made it sound kind of dirty, in a textbook definition sort of way.
Q: To what extent are these sequences choreographed, and do you have any input into that choreography as an actress? Is there an improvisation involved at all, and if so, to what extent?
A: Well, both. Sexy scenes are always choreographed to some extent, in the same manner that any other scene is blocked for lighting and camera. And then there is always a considerable amount of improvisation, so that the actresses can perform in a way that is natural and comfortable for them.
Q: Is there any particular approach or mindset you take for these scenes to take them beyond being just "sexual" and into the realm of "sexy"?
A: Well, to take it to that next level, it really requires a certain level of comfortability with whom you are working. I just finished working on "Screaming Dead" with director Brett Piper, and during a scene that entailed some nudity but nothing overly sexual, he said "Oh, if your fans only knew how modest you are…" Which is true, I am very modest. So, it requires some genuine trust and placation to take these scenes to that level of appearing genuinely sensual or candid.
Q: In your view, what IS "sexy"?
A: Natural beauty. Inner beauty. Intelligence. Thigh-high boots. Silk. Purple. Music. Chocolate.
Q: Which do you enjoy more, the "dramatic" portion of your work, or the "erotic" portion, or do you not draw a distinction between them (for certainly, a lot of what you do in your "erotic" scenes is certainly in keeping with "dramatic" performance)?
A: Yes, you are right. A lot of the erotica is in keeping with the dramatic tone of the whole movie. In a strange sense, I find that the erotic scenes are very demanding. It's not easy to turn the sensuality on and off with the words action and cut. Believe it or not, it definitely requires some sincere acting ability to project authentic eroticism. But honestly, I'm partial to the more developed and driven characters than the horny sex kitten roles.
Q: Many actresses, especially those who work in erotic films such as yourself, choose to go the route of plastic surgery to "augment" themselves, but you haven't done so. Have you ever felt any pressure to go that route? How do you feel about it in general?
A: I think it's pretty sad, to be honest. For some women it just seems like a downward spiral. They augment themselves so much that it becomes an obsession, an addiction. Sure I'd like thinner thighs and larger breasts. Once I had them surgically altered, I'd probably want fuller lips and a smaller nose. Then I would probably decide that I needed a few ribs removed and before you know it I'd look like Cher, or worse! It really seems like a slippery slope for some people. They will never be content with how they look; if it's not one thing it is another. I understand that the emphasis on physical and superficial beauty is really exploited in this industry, and it really distorts women's perceptions of themselves. I'm just really glad I never got caught up in that hype, because I already have enough self-indulgent and expensive compulsions.
Q: You've recently agreed to an extension of your agreement with Seduction Cinema. Do you plan to continue to work in erotic films indefinitely, or, given that you certainly have the talent, do you think you may eventually move more toward the "dramatic" end of things?
A: Even Seduction Cinema, as a collective, I think is striving to more dramatic projects with erotic overtones. Although I do plan to continue working with them, I don't intend to maintain in erotica for too long. I hope to establish myself as a mainstream actress/filmmaker, before nature prevents me from working in the genre. But as I said, I believe we are all working towards something more esteemed and serious.
Q: So what IS next for Misty Mundae?
A: I'll be heading back out to L.A. to work with Jekyll/Hyde director Tony Marsiglia on two features: his version of "Dracula" and the remake of Nick Philips "Chantal". I'm looking forward to that because I've worked on two features with him now, and I am a huge fan of his work. Last night I watched the final cut of Sin Sisters, also directed by Tony and starring myself, my sister, Chelsea, and Julian Wells. I can easily say that it is the most captivating Seduction Cinema release to date. Needless to say I am anxious to work with him again. I'll also be traveling to England to shoot an erotic comedy with Viscera Films. I've never been to London, so that should be a groovy time. Anyway, I'm keeping busy.
Q: As a member of the audience, outside of your own work, what are your favorite films?
A: Not in any particular order; Blow Out, Blow Up, 2001, Texas Chainsaw, Black Christmas, Don't Look Now, Jacob's Ladder, The Holy Mountain, Martin, Blood Simple, and Charlotte's Web.
Q: Once again, I would like to thank you for your time and consideration.
A: Certainly.
SGM would like to thank the lovely Misty, the team at Seduction Cinema and Ziggy from ReelCriticism.com for their assistance. Misty Mundae photos courtesy of MistyMundae.com
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