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Outback Productions to Celebrate its First Anniversary

Outback Productions celebrates a year in the business next month and we spoke to its owner Nicole London upon the release of its most recent feature, The Feeding which stars the beautiful Nicolette.

London also directs, and it’s her first time doing so. London said she’s been considering directing for a long time but was only going to do so with something she wrote. London’s always been an admirer of the vampire genre as essayed by Anne Rice. “Although I can’t write like she can.” London said she’s always wanted to do a vampire movie but more as a love story.

The Feeding was shot in August, according to London with an idea towards a release for Halloween. But that didn’t work out. As with all of Outback’s productions since the beginning, The Feeding gets high grades in the editing room. London credits both her brother and Robert Hunington, her husband, for those accomplishments. “I love the fact that they take their time with it,” she says. “We’ll try these different things and talk about different effects.” And with a couple of new editing systems on the way, London predicts that the movies will look even better. “It’s a fine line between making a movie, putting in effects and making the sex hot. The sex has got to be there and it has to be hot. If not, we’re totally in the wrong business.”

It was remarked that Outback’s movies always have a wonderful sense of visual and did London accredit this to something in the planning stages or added later on as after thought. London says a lot of it is pre-planned though they’ll try something here and there in the editing bay to see how it looks. “But I wanted part of The Feeding in black and white, she states. “I didn’t want it to be all color. One of the things we discussed was, hey, let’s do some of the dialogue in black and white and keep that thing going. When we originally saw it, it kind of had a weird look to it. Even though the lighting when they were shooting was absolutely beautiful, I was worried and concerned about turning it to black and white. But it looked awesome. We kept the sex scenes in color, though.

London said Nicollete had only done one or two scenes before she was discovered for The Feeding. “She doesn’t take a lot of work,” London said. “I think she wants a longevity in the business and doesn’t want to burn herself out.” Asked what it was about her that made Nicolette so appealing for The Feeding, London said simply that the woman is beautiful, with emphasis on the word woman. “She has dirty blondish hair but she’s not your typical California blond.” To be honest, London says she has a hard time looking at the younger girls. “I look for women that have sex appeal.” By definition, Kim Chambers fills that bill as far as London’s concerned with Chambers generally guaranteed landing a part in all of London’s productions. “Kim’s a woman. I love that. They have a sexuality that you can’t get from a 19 year-old. You just can’t get it. It’s something that comes with age and Nicolette already has that at 24. That was the thing that caught my eye with her.”

Noting that all of her features have solid girl-girl scenes in them, London states that her next release, Kink, is an all-girl movie. Though she’s concerned about the title noting that another company has a release out with the same name. “We’ve been going back and forth with this,” she notes. “We were going to change it, but I said, no, this was our original working title and we’re going to keep it. “It’s a totally different cast and a totally different story.”

According to London, every production element’s pretty much contained within the company from scripting to directing to art work. “Oh, and we’ve learned about sound,” she laughs. “And we’ve changed out DVD authorer. There was pixilation, there was this, there was that. We’ve seen a major difference since the time Asylum and Envy came out on DVD. Another fact of life learned in the company’s first year of operations, according to London, is that you have to be very selective in the hiring process. London says in addition to herself and Robert Hunington at the helm, Outback will be looking at other directors for projects the upcoming year. “But you can’t hire everybody that you know.”

Knowing then what she knows now, London said Outback’s first two movies would have been shot differently. “I would definitely have had the cameraman that we have now.” London also credits the success she’s had with Outback to individuals like Marc Bruder, Jeff Krull and Don Goo.
 

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