Mavis Interview of Maria Beaty
Women in power - sex, kink & Videotape : The art of Maria Beatty

When and how did you realize that you were not a vanilla kind of gal ?

I've always been experimental whether it's applied to sex, art and survival. I think it has a lot to do with my environmental conditioning and genetics. I don't remember specifically my first non-vanilla erotic experience, but I do remember fragments of erotic images daring my adolescent sexual development. I interpret my erotic encounters through fantasy - a visionary quality. It was a very natural progression that has become a lifestyle and an artistic passion.

Are you involved with the SM scene in NYC? How long have you been involved? What is the nature of your involvement ?

For the past six years, I have explored the darker side of my sexuality through relationships with highly respected and prominent Mistresses as well as through stories, performances and my livelihood as a professional submissive. I also live out the darker side of my sexuality on film - exploring the thin line between fantasy and reality, art and erotica.

When did you start working with film ?

I discovered about four years ago that I could work with moving images and make a film with the same personal and direct intimacy in which a writer writes and a painter paints. I interpret situations and relationships through fantasy, a specific visionary quality. Relationships between reality and fantasy have always existed for me, mysterious and inexplicable. The darker side of my sexuality stimulates my imagination and consequently plays an integral part in my films.

What awards have you won for filmmaking ?

The Artistry of Surrender.

FILM INSPIRATIONS

Both TES and TBG allude to the silent film era - high contrast black-and-white lighting, dramatic makeup, extreme facial expressions.

Did silent classics inspire you? And if so, how ?

The silent classics were definitely a source of inspiration in filmmaking for me as well as film noir from the 30s and 40s. What inspired me about the silent classics and film noir '30s-'40s was the drama, theatrics and passion - and, of course, the use of black and white imagery and shadows, shadows, shadows. These film techniques emphasized the suspense, mystery, and danger of the plot. I also create sequences of cinematic suspense by presenting a pursuer and a pursued, the dialectic of seduction and desire. The beautiful object of desire as the pursued. I get a thrill out of being in suspense of the unknown. Fear can be one of the most powerful forms of eroticism.

Who were your favorite silent screen actresses and why ?

Pola Negri, Louise Brooks, Camilla Horn and the earlier works of Marlene Dietrich, Greta Garbo, Bette Davis, and Joan Crawford. Their sense of style, elegance, grace and beauty sets these movie legends far beyond the Hollywood actors of today. They were the quintessential Femme Fatales! Seduction, Sexuality and Power!

What other filmmakers and/or film movements do you admire ?

Pasolini, Godard, Fellini, Lynch, Orson Welles, Fritz Lang, Bunuel, Pabst.

THE ELEGANT SPANKING and THE BLACK GLOVE

Please describe why you chose the scenario of an elegant mistress and a foot worshipping maid ?

The Elegant Spanking was never scripted prior to the film shoot. The sequence of events and role-play happened naturally-daily erotic fetishistic rituals performed between two lovers. The golden shower and foot worship scenes represent a ritualistic and romantic form of intimate lovemaking and an exchange of vows of love and obedience.

The atmosphere is almost dreamy in TES. Is this how you perceive a scene as a submissive ?

Not necessarily. The dreamy quality was appropriate for this particular scenario and enhanced the romantic mood of this period piece. It was primarily an aesthetic decision to go with and achieve the soft, grainy look rather than representing the way I see the domina through the submissive eyes.

TBG is a leap in style and content. It is much edgier than TES. Why is this ?

Personally I prefer the edgier, more ominous feel and look. One of the main reasons I choose to work primarily in black and white, besides romanticizing the story and images, is that I feel safe by what I don't know and at ease in uncertain, half-hidden shadowy situations. Also, the use of shadows creates the illusion of depth, which is mysterious and represents desire - not knowing something and wanting more... to seek out the unknown. The contrast creates more tension, suspense, mystery, more space for interpretation and a more subtle form of reality with chairoscuro lighting and the use of shadow play.

Were the SM scenes "real" in TES and TBG? That is, were you experiencing them as you normally do or did you feel like you were "acting" ?

I experienced and felt all the passion, desire, fear, pain and pleasure in both TES and TBG. This is the real thing! All my films are produced and directed by someone (me) with an insider's (perspective) and understanding.

MUSIC & SOUND

Unlike many erotic films, sound is a central element in TES and TBG. Why did you choose John Zorn to create the music for those two films ?

I decided to ask John Zorn to compose the sound tracks for both The Elegant Spanking and The Black Glove because cinema has always been a central element in Zorn's life and art. His musical composition for The Elegant Spanking and The Black Glove was based on trust and his personal interest in SM and fetish. I never doubted Zorn's creative decisions and gave him the full reign and freedom to compose directly to the sequence of imagery.

What was it like to collaborate with John Zorn ?

I never collaborated with Zorn. I gave him a rough cut of the two films along with my interpretation of the mood of the pieces and waited impatiently for the final mix.

LAUGHTER IN A BOX

Are you ticklish ?

I'm very ticklish! Just talking about it makes me squirm.

You moved to color for the Laughter In A Box series. Why ?

Initially LIAB series was conceptualized in black and white - but as each video took shape I felt that color was essential for the piece. The vibrance of the set and props along with the incredible flesh tones made incorporating color irresistible. I feel that for specifically these two videos it enhances the mood and makes it sexier and more energetic.

Why did you choose tickling to be the subject of not one, but three films ? Why does tickling fascinate you? Do you feel it is somehow different than other forms of torment ?

Box Of Laughter was conceived as a one hour videotape - split into three 20 minute scenarios - tribute to Betty Page and Irving Klaw, Nun and Catholic Schoolgirl, and Medical. Because of the abundance of incredible footage each scenario grew into three 40 minute videos. This happened totally unexpectedly and I think from a marketing standpoint it made sense to produce three videos instead of one with tons of great footage left on the cutting room floor. Rarely do I preconceive how the finished piece will look and turn out. Everything along the way flows into place. Magic happens in the editing room!

Tickling along with any other fetish fascinates me. It's a very pure and simple form of punishment that can be done anywhere anytime. Laughter and torture is an interesting and unusual dichotomy. Laughter represents happiness and joy and torture is pain and suffering. How the two meet is a mystery to me.

Tickling can absolutely be an extremely painful form or torture especially when you're in bondage and immobilized. Every minute seems like an eternity!

So, there is the dueling Betty Pages, The schoolgirl and the nun (Converted To Tickling) which just came out. What is the next scenario in the Tickling Triad? The medical scenario is the next and last in a three part series, entitled Tickle Therapy. This is due out sometime in the winter of '98.

After the Laughter In A Box series is completes, do you have any other film plans ?

I plan to release three new fetish/SM videos this summer before the final tickling tape is completed. I need a break from tickling for a while! The first video is entitled Mistress Tara's Finishing School or The Sassy Schoolgirl. This video highlights good old fashioned themes. Each film is a cavalcade of fetish delights: high heels, golden showers, naughty maids, rubber, transvestitism, corsets, gas masks, rope bondage, spanking, hot wax, tickling, and so on and so on.

What is your favorite SM activity ?

Everything except for electrical shock, blood sports and nonconsensual activities.

MEDIA/POP CULTURE

SM and fetishism has been incredibly mainstreamed the past few years - a Man licks a boot in a liquor ad, and so on. Why do you think this mainstreaming has occurred and how do you feel about it ?

Pop culture has changed society's perception of SM/fetish. It has become a lot more acceptable because it is so gunned into our culture, thanks to Madonna, MTV and the Fashion Industry. At the same time, the crux of it has been liquidated and s/m has been brought to the point where it has become very fashionable, superficial and pretentious.

Who do you think is a cool pop culture icon for the BDSM set these days ?

Marilyn Manson and Nine Inch Nails.