It’s Easter Sunday, and there’s a rainbow shining at Tranquility Canyon Movie Ranch in Santa Clarita, California. Only this one isn’t in the sky. It’s on the ground and made up of four powerhouse performers, Angel Youngs, Octavia Red, Rissa May, and Vanna Bardot, dressed in vivid, artfully styled color on the set of Seth Gamble’s new Wicked Pictures feature, “Sweet Juggz of Justice.”
Draped in green that flatters her bronzed complexion, Bardot sparkles like an emerald. May stuns in a daring orange top, while Youngs turns heads in striking red, leaving Red herself in a chic blue that makes her eyes pop. No matter the color, each woman’s shorts are cut to highlight her figure.
“Your form is absolutely ridiculous,” Red tells Youngs, clearly impressed.
Soon, the group is seated inside a vintage 1970 Cadillac convertible, with Youngs behind the wheel. She keeps driving past her mark, a blue pay phone that stands out against the yellow-green canyon.
“She’s freaking out about having to back up,” Gamble says at one point.
He’s also backing up in a way, having nearly finished shooting “Sweet Juggz of Justice” in February before mid-month rain showers forced him to push the final day of production to April.
Now, he’s watching Red flirt with Dick Chibbles, who plays Sheriff Johnson. She pushes him up against the Cadillac, allowing her friends to steal his gun and keys.
Some might be reluctant to shoot on Easter Sunday, given how many choose to spend it with their families, but Gamble notes that there “aren’t a lot of God-fearing, religious, churchgoing people in the adult industry.”
The Plot Thickens
“Sweet Juggz of Justice” follows a group of busty bounty hunters in hot pursuit of Myron, played by Victor Ray, who was framed for the murder of his girlfriend and mother to Young’s character, played by Elizabeth Skylar.
Gamble wrote the script himself.
“The idea came from a conversation I had about ’70s exploitation films and the work of Russ Meyer,” he explains. “In porn, they’ve done exploitation films, but I’ve never seen a Russ Meyer or John Waters-style exploitation film, so I thought it’d be really interesting. I was watching ‘Faster, Pussycat! Kill! Kill!’ and a bunch of Russ Meyer films, and thought, ‘I want to make my own version of this.’”
That inspiration shaped not just the film’s aesthetic, but its tone, leaning into something more playful and fun.
“This movie is funny. It features a lot of slapstick humor,” Gamble attests. “I knew I wanted to make a boob movie. The challenge was to contour that boob movie into something creative and comedic.”
Though Gamble had never made a comedy before, he is clearly enjoying the experience.
“The hours just fly by differently when you’re doing something comedic. Whatever you’re making, the energy on set is going to match the energy of the film, because energy is palpable,” he says. “So, when you’re making a comedy, it’s a lot more fun and less stressful. You can make a drama, and everything can go so smoothly, but you don’t leave the set with that same air of lightness.”
‘Very Bubbly, and Kind of a Whore’
Youngs arrives on set at 10 a.m., grateful for the chance to sleep in on a Sunday morning. After all, she’s playing the leader of the group, Sweet Charity, and leaders need their strength.
“She’s calm, confident, and in charge,” Youngs says of her character, though she wasn’t necessarily in charge during the sex scene she shot with Ray back in February.
Following the two-month delay, Youngs said she needed a refresher when she returned to set to ensure her “cowgirl” accent matched the one she had used earlier.
“I just needed to watch a little bit of what I’d done before,” Youngs says, adding that she was feeling herself while rocking a cute cowboy hat. “I love the color red, and it works with my bra, so I’m really in my element right now.”
Bardot, who plays Sweet Melissa, the “black sheep” and comic relief of the group, echoed the sentiment.
“I was nervous getting to set because I’m not great at accents, but the Southern accent came back real quick, and by the end of the day, I couldn’t snap out of it,” she jokes. “I got home, and I was still using my Southern drawl.”
May, who describes her character as “very bubbly and kind of a whore,” echoes that sentiment.
“I play Sweet Pie, and I’m not usually an orange girl, but I’m pretty happy with it. I feel like I look hot,” she says.
Bardot said she loves the color green and was very pleased with how her wardrobe turned out.
“I got to collaborate on it with Lucy, our makeup artist, and I couldn’t be happier with my outfit,” she gushes. “I brought in my corset and boots, and we used her shorts and a bow. I was excited to put everything back on today.”
Of course, Bardot will soon be taking the outfit off, as she’s scheduled to shoot a sex scene with Lucas Frost later in the day. He plays a mechanic who works at a local gas station.
“Lucas and I love working with each other, so it’s going to be a good scene. Our sex scene is in a convenience store, which is going to be a first for me,” Bardot admits.
As for Red, she plays Sweet Sue, and, spoiler alert, she isn’t as sweet as the name implies.
“I’m just an accomplice,” Red says. “I’m basically just a friend who comes along and has Angel’s back, so I’m trying to help catch Myron, who broke her mama’s heart.”
Red enjoyed doing a Southern accent for the film, having taken inspiration from John Wayne movies and other Westerns she watched growing up.
“I don’t think any of us have the same Southern accent, but it’s been really fun seeing everyone play off one another,” Red says, adding that she was initially confused when she was assigned to wear blue before picking up on the joke.
Ray describes his character, Myron, as an unlikely villain with more going on beneath the surface.
“Myron is the local klutz. He’s a nice kid, but everyone’s getting pussy except him. When he gets framed for murder, he has to go on the run, and he sees everyone getting laid, but he can’t stick around because the sheriff is chasing him. Things aren’t all bad, though, because at the end, he gets his moment to shine,” Ray teases.
Casting the Vision
Every auteur relies on a talented cast to bring their vision to life, and for Gamble, that process starts with instinct as much as experience.
“I’m in a very privileged position where I’m a very active male performer, so I build rapport and relationships and get a feel for people over time. When it comes to casting a movie, I can think, ‘Oh, this person would be good for this, and this person would be good for that,’” he says. “All of these girls sell well and have that ‘It’ factor I’m looking for, and they’re all great to be on set with, too.”
That familiarity shows in how he talks about his cast, not just in terms of performance, but placement.
“These are four of my favorite female performers in the business. Angel is perfection from head to toe. I just think the world of her. Octavia is a Renaissance actress who can do it all. She’s got a certain old-school pizazz that’s almost a throwback to those classic actresses from the ’40s. And obviously, she’s got big juggs,” Gamble marvels. “Rissa is a constant for me. I work with her a lot, as a performer and a director, and we have great energy together. She has the cutest little face in the world, and the character was named Sweet Pie, so it was easy to visualize her in the role.”
Even as an in-demand director with a steady stream of talent eager to work with him, there are still moments that genuinely catch him off guard.
“I still can’t believe I got Vanna to be in this movie,” Gamble says. “She plays the girl with small boobs compared to the others, and she keeps getting fucked with the whole movie because of it, which isn’t a very common role for her. But she’s not the butt of the joke. She’s fucking Vanna Bardot. At the end of the day, she plays it so well, and I think people are going to be surprised by how amazing she is.”
Controlled Chaos
Gamble is plenty busy these days, spending 6 to 8 days a month directing and 10 to 12 days a month performing, and that dual perspective shows in how he runs a set. Scenes move quickly, but with a clear focus on balancing humor, pacing, and performance.
“The idea is that every time there’s sex in this movie, it’s like someone is trying to get away with something,” Gamble says. “Like they’re in the middle of doing something really important, and someone needs to sneak away to fuck somebody.”
That approach plays out in real time when performer Small Hands’ character, Biker Bob, rides a bicycle he believes is a motorcycle, repeatedly crashing it into a ditch as part of the gag. Between takes, Gamble adjusts timing without losing the tone.
“Be faster, but don’t take the comedy out of it,” he tells Hands, who has known Gamble for more than 10 years and takes the note in stride.
“We met as performers, and I think because he’s such a seasoned performer, he knows how to deal with talent and execute sex scenes that are sexy and hot, but still as comfortable as possible for us,” says Hands. “His sets are fun and casual, and it feels like hanging out at summer camp with my friends.”
That performer-first perspective is something the cast quickly picks up on.
“I just started working with Seth this year, and I love his energy and the way he directs. He’s really into it,” Youngs enthuses.
Meanwhile, Red points to the clarity of his vision.
“He has a very visual concept of what he wants to do, which helps us put it on the screen,” she says plainly.
The Machine Behind the Mayhem
Like any adult auteur, Gamble may have his muses, but behind the scenes, it’s his crew who keep the machine running. He typically works with the same core team, a group that has developed its own rhythm over time.
“I have Claudia Ross on most projects, and she’s been with me for six years. Kasey Warner comes in on certain projects. Ezra is set in stone as my set designer/PA, and my lighting guys, Sly and Joel, round out the crew. It feels like we’re a big family by now.”
That dynamic extends across departments, from camera to production, where collaboration is as much a part of the process as precision.
“Seth is collaborative with everyone on set, which is really nice,” says Siren Obscura, who shares DP duties on the film. “We love to bounce off each other, and it’s fun. We’re always laughing and having a great time.”
The technical side is just as deliberate. The film is shot in 6K using the Blackmagic Pixis camera, with co-DP Brian operating a Flycam Flowline rig to maintain control over movement and framing.
“If we want to control the edit, we have to control the camera,” he says, moments before the battery dies and he calls, “Cut!”
That familiarity shows in the small, unscripted moments between takes. When Brian needs a piece of equipment and his hands are full, he calls out to Ezra, “Get in there and go fishing, baby!”
The extended crew rotates in and out, with assistant director Hadley, production assistant Sofya, and Alison Rey handling social media duties on behalf of Adult Time. Around them, the set moves with a mix of structure and spontaneity.
Bardot pauses for a lip gloss touch-up as a salamander flirts with Jared’s foot, while Hadley sprays a now shirtless, vaping Gamble with SPF 40 sunscreen.
“It’s cold,” he yelps.
“Deal with it,” she replies.
It’s a small detail, but one that matters. Shooting under the harsh sun in California’s San Fernando Valley requires constant adjustment, and Gamble approaches the process with equal focus on problem-solving and creativity.
Even with that level of control, not everything goes according to plan. The two-month delay left its mark, particularly on the film’s more detailed visual elements.
“This is a very silly, very colorful 1970s-inspired comedy, and each character has a color, from the clothes they wear to the drinks they drink and the candy they eat. We just finished preparing the country store, where there are sodas and jelly beans of every color,” Ross says.
Some of those details had to be rebuilt from scratch. After sitting in storage for two months, several of the jelly beans had melted, forcing Ross and her team to sort and replace them by hand.
“Jared, our wonderful PA, saved the day today,” she says. “We’ve been sorting through them since this morning.”
That same attention to detail extends to wardrobe and makeup, where color is not just aesthetic, but structural.
“We have a great lineup of amazing girls, so that part was fun and easy,” Lucy says, explaining that she was aiming for “country-style pin-up girls.”
“With Angel, I wanted her to look like a girl on this vintage poster I saw, so at the last minute, I changed her hat from red to brown,” she says. “With Rissa, I had another top for her, but it didn’t fit, so I got a little upset because her outfit didn’t match my vision of how she was supposed to look, but believe me, it all worked out in the end. She looks incredible. And I know people immediately think of ‘red’ for Octavia Red, but that’s why I put her in blue.”
Taste the Rainbow
Even after time away from set, Gamble slips back into the world of “Sweet Juggz of Justice” without missing a beat.
“I think being a director is less about creativity and the product itself, and more about finding solutions when problems happen. Staying engaged with a project has never been a problem for me,” he says, noting that he even considered casting himself as the gag station attendant.
Though he has appeared in past films like “Cloud” and “Reckless,” he admits the work is often stronger when his focus stays behind the camera.
“There are studios where I do both, but it’s nice sometimes to not have the extra pressure of performing and just sit there with one hat on,” Gamble says.
Still, he’s not slowing down. In fact, he’s already preparing for his next feature.
“It’s a post-apocalyptic movie for Pure Taboo, and we’re casting it right now,” Gamble says. “It’s basically about four brothers who promise their dying father that they’ll find women and repopulate the world following an apocalyptic event.”
Until the apocalypse arrives, though, Gamble is still calling the shots, and he can’t wait to serve “Justice” to the masses so they can “taste the rainbow” later this year.
