Angela White is the Lionel Messi of X-rated cinema. The Australian actress and director has been at the peak of her powers for almost two decades, and is the only person in history to have been awarded Female Performer of the Year three times by the AVN Awards, aka the porn Oscars.
So, what’s a girl to do when her mantle is full of trophies, the house note is paid, and there are plenty of commas in the bank account? For Angela White, the answer is simple: make art.
Her newest film, Fuck Angela, is adult entertainment put through a nostalgic and inventive lens. The ‘gonzo porno’ is a tribute to the VX2000, the video camera that democratized digital filmmaking in the 2000s, ushering in the dawn of DIY media. Famed for its 3CCD imaging system and low-light performance, the camera revolutionized not just how porn was shot, but also how skateboarding tapes were made, as it brought professional-grade video quality to indie filmmakers and journalists at an affordable price.
Fuck Angela is a love letter to that era. The branding is inspired by the legendary skating brand Hook-Ups; there are nods to Toy Machine’s infamous Welcome to Hell; she even made skate decks to celebrate. I spoke to Angela about it.
VICE: First off, how does a pro define ‘gonzo’ when it comes to porn?
Angela White: The word is synonymous with a type of porn that’s raw, authentic, almost like documentary-style. It’s about documenting the chaos, rather than following a script. There’s less artifice; we’re acknowledging the camera, its presence, and its participation in the event. The camera becomes part of the action. Sometimes that’s the director speaking directly to the talent. Sometimes it’s the director being sexually involved in the scene.
Why use the same camera that was used in early 2000s skate tapes?
The VX1000—and the VX2000—revolutionized both skate videos and pornography. The VX1000 has a cult following in the skate world. The VX2000 had an even greater impact because of its better low-light capabilities. That’s important because you can get right into the action—into the orifices. Both cameras were game-changers, and also there’s a real overlap between the two worlds.
What gave you the idea? Was it just: ‘I want to see this in the world’?
I never got into porn for money. It’s always been about the love of the game, and expressing and exploring my sexuality. I’ve been in porn for a couple of decades now, and I’ve done everything when it comes to building a career and making money. This project was about nostalgia and having fun.
“I loved bands like No Use for a Name, NOFX, Green Day, Offspring, Blink, Bayside—that was my vibe.”
Early 2000s gonzo was the porn I grew up watching. It’s what made me want to get into the industry. And during that time, the VX1000 was revolutionizing skate videos. In the culture I was part of in Australia, it was a small scene—all the alternative kids stuck together: the skaters, the punks, the goths. Anytime we were hanging out, a skate video would be playing. Usually it was Welcome to Hell—I think that was 95? That gritty vibe was what I saw in porn, too. There was a lot of crossover.
Were you a punk rocker? A goth?
I dressed very goth, but I was more into SoCal punk. I loved bands like No Use for a Name, NOFX, Green Day, Offspring, Blink-182, Bayside—that was my vibe. But yeah, if you know anything about me, I’m always in black. Black hair, black nails. Very goth aesthetic with a punk influence.
What are you listening to now?
I listen to a lot of music, but mostly older albums. Everyone loves Blink’s new stuff, but I still go back to the old records. I’m nostalgic like that, but not snobby.
Though I listen to everything, depending on my mood—jazz, pop, classical, R&B, rap—it’s still mostly SoCal pop punk. I was backstage at Bayside’s show at When We Were Young Festival, and I got a picture with Anthony. The last time I saw him was in Paris in 2009, I had a photo with him then, too. It’s funny seeing how we’ve both grown since then. And I pay for all my shows. I don’t use my clout to get in free.
That’s cool. I’m from the South Side of Chicago…
So much good emo and punk came out of Chicago…
Yeah, Alkaline Trio, Rise Against, 88 Fingers Louie, Naked Raygun—all that. How do you feel about teenagers today dressing like you did back in high school?
It’s having a revival, which I love, but it also means we’re really old. [laughs] I think the early 2000s revival is great; I thought the clothing was cooler, the music, the vibe—I mean, I’m biased, but it just felt looser back then. We weren’t so uptight. Everything felt a little more free.
Do you ever feel pressure to feed the machine or is it about making what excites you?
Like in any business, there’s a need to keep things rolling, to release a certain number of scenes per month. That’s just how it works. But with a project like Fuck Angela, that’s when the creative juices really get flowing. I try to balance the scenes that keep the machine running with bigger, more exciting projects or individual scenes that actually light me up.
When it comes to Fuck Angela, are there nods back to skateboarding?
[Pulls out an array of 2000s-era skate-themed Fuck Angela merchandise] There’s a ton. I made copies of the movie on VHS and DVD. I even added those little hologram stickers from the 2000s for authenticity. I wanted to make a nostalgic product; all the stickers are inspired by Hook-Ups. Even the booklet is modeled after old skateboard magazines.
Where can people see Fuck Angela?
DVD, OnlyFans… The VHS sold out in 20 minutes. With the early 2000s revival, there’s been a resurgence in physical media. People are craving that experience again. It just feels good to hold something in your hands.
Do people still have archaic ideas about what porn is? Like, even when you tell them it can be artistic or evolved, they still say, “But it’s just people fucking on tape”?
Yeah and honestly, there’s nothing wrong with people fucking on tape. We’re fucking really well. We’re fucking better than you, that’s why you’re watching! It doesn’t have to be stylized or cinematic and fuck anybody who looks down on the kind that isn’t.
What do you want people to take away from Fuck Angela?
That’s a great question. I had so much fun shooting on the VX2000 that I’ll probably do more with it. I love the format and the feel. But I don’t know exactly what I’ll work on next.
What matters most is that it has to be fun. Like, really fun. When I’m thinking about the casting—who I’m going to be fucking, where, and how—it has to sound like a great time. That’s my foundation for any project. Once I figure out a new idea that sounds fun, I build the plan from there. And yeah, that plan ends up being thoughtful and intentional. That’s just how I work.
I could do anything, but this is how I choose to spend my time.
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