Holly Randall Agency Teams With Stripchat for New Movie Shot in Six Different Countries
October 8, 2026 · 12:30 PM·5 min read
LOS ANGELES—On L.A.'s 3rd Street, halfway between the homespun Farmers Market and the oh-so-trendy Beverly Center, director Jeffrey John Hart is shooting a final dialogue scene for his new feature Cam Girl in this storefront restaurant, with its 20-foot floor-to-ceiling display of backlit bottles (with a rolling library ladder) behind the bar and tables set with artfully mismatched plates and wine glasses. The street-facing windows have been draped for a night look.
This scene is set near the end of the story, when Lexi Luna, Hope Heaven and Sally Dinosaur meet over cocktails. Hart is coaching line readings, timings, reactions. The entrance of Sally Dinosaur into the scene is fine-tuned just so, with her ending position and exactly how far she should lean over in her strapless top calibrated to within an inch for the two cameras to pick up.
Rehearsal done, on "Action!" a waiter brings two pink cosmos to the table and sets them in front of Lexi Luna and Hope Heaven, the lime slices placed perfectly. The dialogue starts and after a few lines Hart interrupts. "I need you to project," Hart says. "The AC is loud and I can't hear you. Keep rolling." From my vantage point, I look in the mirrored wall behind the bar and see I'm looking directly at Lexi Luna. I direct my gaze to my notebook.
Hart is directing from his massive 135-page script that he co-wrote with longtime collaborator and editor, Kyle McQueen. "It has 167 scenes, in four acts," Hart tells me. "We're following four cam girls. We filmed Sally in Cyprus for nine days, and then we filmed Hope in Amsterdam, Brussels, and Paris for eight days, with Max Fills. Sally was with Jewelz Blu, and then we went and filmed Alana Rey in Colombia for nine days, and now we have eight days here in Los Angeles and Vegas with Lexi.”
The movie is a Holly Randall Agency production presented by live-camming platform, Stripchat.
"Like real life, they're taking each other's jobs, there are ups and downs,” Hart continues. “This is where they sit down and realize they have more in common than they thought. There's some conversations about things that happened that trigger memories between the three of them where they realize that they should be friends, they shouldn’t be against each other. Today is 10 pages of very intense dialogue that these girls are absolutely nailing. This is Day 24 of filming, spending about eight days with each of the girls so far, and then to have them all come together is pretty damn cool. These girls have over-delivered. They're going to make me look really good," he adds with a self-deprecating grin.
Back at the table, he tells Hope Heaven, "This is your close-up,” before calling "Action!" The waiter sets down the cosmos, exits, trips over a light stand. "Back to one—action!" The boom mic is a foot over her head, the better angle to catch the intimate conversation. Hart cues reactions: "Look over there. Surprised. Hold… hold… okay, now say that last line. Action! … and cut." As the cameras reposition, Hart sends a PA out for a new lens: "I need an 85 on this." The performers, holding their positions at the table, chat quietly until Hart returns, telling them what emotions and reactions he wants as a BTS camera records the interaction. "Let's see what it looks like."
Although Sally Dinosaur is standing beside her, Hope Heaven mimes watching her walk around the table before sitting down to join them. "The chemistry is immaculate," Lexi Luna says, lifting her glass. The conversation that follows is quiet and intimate—meaning I can't hear it from here. The two-camera setup lets them redo inexactly-delivered lines. That'll save some time. "Let's finish these close-ups and then we'll take a break," Hart says.
"The hardest part about filming on Cyprus was when I was all tearing up, shaking because I was so emotional," Sally Dinosaur tells me. "I was really into the scene, focused, and I ran out, crying. Jeff came up to me, arms out, and I thought he wanted to hug me because he was so proud, and he said, 'We have to do it again.' But the scene got even better. I nailed it."
"I knew she had a little bit more in her tank," Hart explains. "Unfortunately, I had to push them all a little bit, to get what I know is in there. I was, like, 'I need one more.' And on that last take, we were all goosebumps. You'll see it in the film."
"It was so much fun to shoot everything," Hope Heaven tells me. "When we were in Brussels somebody broke into the car and stole my dildo. I think the robber was sad that there was nothing in the car," she adds with a chuckle. "I never saw a movie that shot in so many locations before. This will be amazing.
"When I grew up in Germany, I always wanted to travel to America. I've seen all the Hollywood movies. The first time I came here, I was, like, 'I know this place. This is from a movie.' When I walked down Santa Monica Boulevard, I thought 'This is insane. I know this city so well.' It felt like a dream."
When the cameras roll again, I get a look at both monitors. Total night look. I'm also straight in Hope Heaven's eye line. I duck behind the sound guy. I still can't hear the dialogue. Sound guy can, though. Sally Dinosaur makes her entrance, bends over just far enough, says her line, joins them at the table, the reverse shot of Hope Heaven's close-up earlier. McQueen flips pages on his script, watching like a hawk.
With 40 minutes to go before they have to leave so the restaurant can open on time, Hart stages Lexi Luna's close-up. As the cameras are adjusted and the lights and microphones are placed, the actor playing the waiter studies his script. If anybody's going to blow a line, it won’t be him.
On "Action," the waiter steps into frame, delivers his line—a recitation of the day's specials—the last of which triggers a memory in Lexi Luna's character. A moment of realization. A beatific smile. A pause. "Girls… I have to go." And she leaves the table, exiting the restaurant.
"Cut!" A relieved smattering of applause before the techs start to take down the equipment.
"Without explicit, it should be a little under two hours. With explicit, we jump to four hours, give or take," Hart says. "We wanted to step up from the featurette and do a full-blown big movie. Somebody said, 'You guys are shooting The Odyssey for adult.'"
"This is Day 24," McQueen says. "Six countries—Cyprus, Netherlands, Belgium, France, Colombia, U.S. This was supposed to be a five-day shoot in L.A. It's chaos, but it's fun. As soon as we wrap, Jeff and I are going to hole up in the editing room for a couple of weeks. It's gonna be fine.
"Or Jeff and I are gonna Romeo and Juliet ourselves."
To watch Cam Girl, click here.
Photography courtesy of Holly Randall Agency & Stripchat
Fuente: avn.com
