Hot House Director Nick Foxx Edges His Way to the Top

Nick Foxx is happy to admit it: He loves rimming.

“It’s just something I really enjoyed early on. It gets me right off. I’ve actually gotten so turned on once eating an ass that I came without touching myself,” he says. “In my eight years of directing, you have no idea how many times I’ve had to explain to models what makes for good rimming, especially for camera.”

I shoot confidently and with a vengeance. The models I work with respond well to that. I’m very perceptive and can gauge the vibe on set very easily.

It’s a good thing then that Foxx is the new director for Hot House, a studio that Falcon Studios Group President Chris Ward has now branded The Ass Authority. For Foxx, it’s the perfect opportunity to utilize his expertise.

“It’s a little difficult on the rimmer, especially if he has a smaller tongue. You need to eat the ass on an angle off to the side. And really apply pressure with the tongues. Light grazing is nice at the beginning as a tease, but you want to get all up in that hole as much as possible. Lots of spit, rubbing the hole and teasing it to make it pucker,” he says “It’s always fun to have a pro-rimmer on set give an unsuspecting performer an anal orgasm from giving good service. It doesn’t happen often, but when it does, it’s gold. And more times than not, the performer getting rimmed calls to stop the take because he doesn’t know what’s happening since he’s never experienced that intensity before. That’s incredibly fun for me to see.”

You’re not the only one, Nick. Since joining the Falcon Studios Group family in 2013 and directing the new Falcon Edge line that debuted last year, Foxx has helped please more than just performers. That made him the obvious choice to help Hot House recapture the distinct flavor of its glory days.

“‘Gutter Punks’ was my first Hot House film. I guess it was my tryout for Chris Ward. It was so fun. I got a big, beautiful set to film on. The lighting was so cool and well thought out. And I got to work with their photographer, Joe Mazza. Joe and I became really fast friends. It was my first time with the Hot House crew and they responded so well to me on set. It was a really easy environment to work in,” Foxx says. “I got to work with a few choice favorites of mine, and my porn crush for the first time — Hunter Marx. Man I loved working with him. That was a more challenging scene, and he really stepped up and knocked it out for me. Plus, he was just such a cool guy on top of it. I’m obviously still porn-crushing on him.”

Foxx said it was fun to get creative and turn the guys into taggers — making stencils and having the men graffiti the set as they shot day to day.

“I think it added a little extra attitude to the film and vibe. It was fun showing Colt Rivers how to smoke and then flick a cigarette. I think I showed him how to flick it at least 10 times to get the shot. I got a text from Chris Ward in the middle of my first scene telling me his vision for the brand, that he wants it all about the ass. And the fun thing about that, I was filming in that style already. I was like, ‘You’ll be happy, I promise I got this.’”

Foxx says his shooting style and process has expanded since starting with Falcon Edge — a line that will continue on with him at the helm (and he also just co-directed the big double Raging Stallion production of the year with Steve Cruz).

“I couldn’t be happier to have my hands on these two brands,” he says. “Every Edge title was different and fun. And it’s still changing. I did all aspects of production and post-production at Randy Blue for about six years before joining the Falcon Studios Group. Previously shooting with two cameras and Falcon shooting with one, I needed to learn a bit. Editing the one camera footage was a new learning curve as well. I had to learn to remember every take like the back of my hand, and back track if needed to make a cohesive edit. It was a small challenge at first. Fast forward a year, it’s second nature now.”

Foxx says he draws inspiration from movies, fashion and art that inspire him to achieve a desired look. He credits Ward and fellow director Tony Dimarco with teaching him great techniques.

“Tony has a wonderful eye and I’m inspired to make my film work look as good as his. I like to film longer takes, shooting more gonzo style. I don’t want the viewer to be aware of the edit. I personally don’t like choppy porn. To me, it looks more authentic and sexy with less cuts and longer takes,” he says.

“I know my process is different than some. For me, it’s been working, and I have models asking to work with me because of it. I think being 28, I relate to a lot of the guys I film. We get along really well and I build a good personal and working relationship with them. It’s very light and easy on my sets. I shoot confidently and with a vengeance. The models I work with respond well to that. I’m very perceptive and can gauge the vibe on set very easily. I use that to my advantage and get the guys to give me the best performance they can. I think getting a wonderful scene starts with good bedside manner. You need to understand these are people you are working with, not sex robots. And you need to treat them well. I can comfortably push a model’s performance with success if there’s mutual respect and understanding.”

Foxx notes that the main difference shooting for Hot House has been one of the studio’s biggest strengths: the lighting.

“They have a very specific lighting style. It’s always crisp, beautiful rim lights, pops of colors, barely any shadows. I will not be changing that. That’s a Hot House staple, and I plan on definitely sticking with it. Scott Cazwell has been their lighting technician for years, and he is my right-hand man on set to make filming as beautiful as possible. As for style changes, I have a different taste than previous directors. I like bold and flashy, but I’m a bit more refined. Expect wardrobe and sets to be polished, modern and current. I’m going to make Hot House beautiful and cool, what I always thought it was.”

And it’s that prospect — putting his own unique stamp on the iconic studio that plays to his love of ass — that excites Foxx the most.

“I really get to start over and make a new filming style my way for Hot House,” he says. “I move around a ton with my camera and really get all up in the model’s business while they’re going at it. Hot House used to have rules about physically transitioning the models position to the next position. I never liked that rule. Since we are all about the ass, I see each position in a scene as a sexy vignette showcasing hot ass play and ass sex.”

Foxx says that if a viewer has his cock out and is already jacking it, he doesn’t need to see models moving around — especially if it’s not sexy.

“And what the viewer doesn’t know is, models hate moving from position to position — and sometimes it takes an excessive amount of time to make it look seamless and set up the lights for a three-second shot. I like to keep things fast and sexy,” he says. “My shot perspectives have changed. I try to highlight the ass as much as possible. I have models fucking or rimming a hole, then pulling out and showing it off to the camera. Breaking the fourth wall at times. I sometimes film more fetish oriented because I think that’s what this project is turning out to be. Like how we film fisting movies, it’s all about the ho and the fist. Not focusing on much else I make sure the hole is visible as much as humanly possible and really make it the center of attention.”

For cocksucking fans, Foxx says don’t fret: “I’m definitely going to get a great tool sucked and shown off. But at the same time, that bottom is fingering his hole, grabbing the top’s ass, spreading his cheeks...the cocksucking will be there, but with more flare, and with different fun angles you wouldn’t typically see in our other productions.”

The director is also thrilled to be working alongside “quintessential Hot House model” Jimmy Durano, who also serves as Senior Art Director, and has a long list of models he is giddy to film — including power bottoms like Nick Sterling, Darius Ferdynand and Colt Rivers.

“I also love me my big-dicked tops. I really, really want to shoot Rocco Steele. If I could pair him with any of those guys, I would be jumping for joy on set. If you want to see a beautiful gaping hole, you need a thick gorgeous cock to do it. And he has one of the most beautiful cocks in existence.”