The Underground Part Seven
Video (112 photos and 15:45 minute video) starring Natalia Forrest and Zoe Page
Tags: ballgown, self bondage, humiliation, brunette, slave training, sm factory, chains, lingerie, stockings, metal bondage, nude, drama
Model-Agent Natalia Forrest's slave training is complete! Broken by The Underground, she is no longer an independent woman of
action - she is genuinely ready to accept her new existence as a sex-slave. The training has been arduous and comprehensive,
and Mistress Zoe has put a lot of time and energy into it... time to see whether it will pay off! Natalia is to be sold at
auction by the fearsome Honest Omar slave traders! Who will purchase her?
Hywel's note: as I mentioned, Love Knot Revenge was briefly the longest and most involved custom video shoot we'd ever staged.
It held the crown for about five weeks, until it came time to shoot The Underground. One couldn't imagine a more complete contrast
in the brief- the script for Love Knot had been millimetrically precise and ran to over 100 pages. The brief for The Underground was
sweeping, general: combine the features he'd loved the best from Slave Auction, Pony Girl, positions training and some other RE videos,
add a 1960s-style spy plot, and some touches and focusses he'd really like to see (like the focus on changing outfits).
The whole thing was less than a page. The only catch? He wanted something properly epic in scope- at least two and a half hours
run-time (we ended up at almost four- go team!) We'd never shot anything as long or as ambitious before.
So the first order of business was for me to flesh out the storyline into a treatment, something we could plan around and see how we
could work in all the relevant elements. It had to make sense, there had to be plenty of action. We knew almost at once that we'd have
to go back to shooting it in the way we'd shot older films- multiple cameras, long rolling takes. There's no way we were going to be
able to script dialogue, and we'd need a top-notch domme to drive the scenes. Fortunately, even though Zoe was moving to Spain, she
said she'd be happy to come back for the shoot. With scenes that were going to involve three girls, lots of improvisation, and plenty
of action as well, multi-cam was the only way to cover it.
All was in hand, planning was going well except that I'd not had time to go from the approved treatment to the final shooting script.
I'm personally a bit lazy this way- I ought to be more disciplined but sometimes there just isn't time to do all the detailed prep for
shoots as far in advance as I'd like. I was going to flesh out the shooting script the week before... but disaster struck.
I'm being hyperbolic, but only a bit. I came down with a really bad bout of gastro-enteritis (see blog posts passim). I was physically
unable to sit at a computer and write, because I felt so nauseous. It was touch and go whether I'd have to cancel the shoot- which
given everybody's schedules would have meant at minimum a six month delay, and an awful lot of work to catch up. Fortunately, the RE
team rallied around. Endless thanks to my lovely wife for stepping in and taking over as director- starting with the unglamorous but
utterly necessary task of frantically developing the shooting script. Our local pro camera-person Katie also stepped in to operate
the A-cam, leaving Ariel and bits of me to operate the B-cam as required. Ariel had thoughtfully scheduled the shoot to get all my
scenes in on the last day, to maximise the chance of me being able to stand up long enough to get each scene. I barely made it
(seven weeks later, I'm still not back to 100%. It was quite a nasty illness).
It was the weirdest feeling when Ariel, Natalia, Zoe and Katie drove off on the morning of day one of the longest and most
ambitious custom video shoot - leaving me to lie down in the dark, try to recover, and fret that I was not pulling my weight.
But as you'll realise having got this far watching The Underground, it all went SO WELL! Very proud of what we all did in the
circumstances- and I think the film is stronger than it could possibly have been if I'd not been ill, with all the great input
from everyone on set.