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21? | 0:02:51 | 0:02:52 | |
Spasiba. | 0:03:07 | 0:03:09 | |
MODEL SPEAKS RUSSIAN | 0:03:24 | 0:03:27 | |
She maybe never had the body, though. | 0:04:02 | 0:04:05 | |
Oh, really? Wow. | 0:04:07 | 0:04:08 | |
There's some cute girls. There's some nice ones. | 0:04:09 | 0:04:11 | |
One of these. | 0:04:11 | 0:04:13 | |
Wow. | 0:04:13 | 0:04:15 | |
How old is she? | 0:04:15 | 0:04:16 | |
HE SPEAKS RUSSIAN | 0:04:16 | 0:04:19 | |
I'll try. | 0:04:20 | 0:04:21 | |
I'm looking for a specific type of girl | 0:04:43 | 0:04:49 | |
for the Japanese market. | 0:04:49 | 0:04:51 | |
Everybody has their own vision of beauty, | 0:04:51 | 0:04:54 | |
and it's hard, sometimes, to bypass my own personal aesthetic preferences, | 0:04:54 | 0:04:59 | |
but for Japan, it is quite specific, | 0:04:59 | 0:05:04 | |
so the girls have to be a certain height, not too tall, cute, young. | 0:05:04 | 0:05:08 | |
Young is very important. | 0:05:08 | 0:05:11 | |
It's not entirely up to me. | 0:05:16 | 0:05:17 | |
I make note of what I see today, | 0:05:17 | 0:05:20 | |
then I review it with our board in Tokyo. | 0:05:20 | 0:05:23 | |
We have Musako, a booker, Masaya, the owner, | 0:05:23 | 0:05:27 | |
Kazumi, another booker, so it's a group decision. | 0:05:27 | 0:05:30 | |
And often, it's not what I believe is the best. | 0:05:31 | 0:05:35 | |
Sometimes the girl that I think is so amazing for Japan | 0:05:35 | 0:05:38 | |
doesn't work at all, so that's what's exciting about this business. | 0:05:38 | 0:05:42 | |
It's totally unpredictable, so nobody knows. | 0:05:42 | 0:05:46 | |
Mmm. It's very good for Japan. | 0:06:07 | 0:06:09 | |
Mmm. Mmm. | 0:06:13 | 0:06:14 | |
SHE SPEAKS RUSSIAN | 0:06:16 | 0:06:18 | |
Filming? | 0:06:23 | 0:06:24 | |
No, no. Yeah, yeah, I'm going to video her. | 0:06:24 | 0:06:26 | |
OK, stay here, Nadya. Can you come here, closer? | 0:06:43 | 0:06:47 | |
Closer. Can you open your hair? | 0:06:48 | 0:06:50 | |
Say hello, Nadya. | 0:06:57 | 0:06:59 | |
From Novosibirsk. | 0:07:05 | 0:07:06 | |
OK. | 0:07:10 | 0:07:12 | |
Just see how long it is, OK? | 0:07:14 | 0:07:16 | |
Perfect. Thank you. Spasiba. | 0:07:26 | 0:07:28 | |
OK. | 0:07:31 | 0:07:32 | |
Hello. | 0:07:34 | 0:07:35 | |
Hello. | 0:07:35 | 0:07:36 | |
I love to travel! | 0:10:34 | 0:10:36 | |
I love the trains, especially the toilets. I miss them! | 0:10:38 | 0:10:43 | |
I miss this, you know? | 0:10:43 | 0:10:45 | |
'The concept of Noah was simple.' | 0:10:45 | 0:10:48 | |
Just like Noah saved all the animals, | 0:10:48 | 0:10:50 | |
I'm trying to save all these young girls. | 0:10:50 | 0:10:53 | |
That's what I'm doing. I'm putting them on the plane, | 0:10:53 | 0:10:56 | |
sending them to the West, giving them a chance | 0:10:56 | 0:10:59 | |
where they can find themselves, develop as women, | 0:10:59 | 0:11:03 | |
grow as individuals, | 0:11:03 | 0:11:06 | |
and I hope that someday they'll do some good to the other people. | 0:11:06 | 0:11:09 | |
So, in a way, for me, this is a religious matter. | 0:11:11 | 0:11:13 | |
This is my bible. | 0:11:15 | 0:11:16 | |
Ashley will be my western partner. | 0:11:21 | 0:11:24 | |
We also have problems in the West, and it's also a difficult, | 0:11:26 | 0:11:30 | |
uphill battle there, but it's a different problem, | 0:11:30 | 0:11:34 | |
so together we'll be a great team. | 0:11:34 | 0:11:37 | |
The depth of the psychology involved, you know. | 0:11:39 | 0:11:42 | |
We go very, very deep with the girl, trying to understand | 0:11:42 | 0:11:44 | |
all her problems, trying to understand the parents. | 0:11:44 | 0:11:48 | |
We, sort of, at the end, form a profile. | 0:11:48 | 0:11:51 | |
And we try to replace those fathers | 0:11:51 | 0:11:54 | |
and support them in any way we can. | 0:11:54 | 0:11:58 | |
You know, in certain cities you must have trustworthy people, | 0:11:59 | 0:12:04 | |
so then they can find the girls at much earlier stages | 0:12:04 | 0:12:11 | |
and pre-screen them until we get there. | 0:12:11 | 0:12:13 | |
This is strategically very important. | 0:12:15 | 0:12:18 | |
Before anybody else can get there, we'll have the girls. | 0:12:18 | 0:12:21 | |
Yeah, those are pretty. | 0:12:27 | 0:12:29 | |
She's so cute. | 0:12:30 | 0:12:32 | |
Yes. | 0:12:32 | 0:12:33 | |
Can you send me her pictures just to follow? | 0:12:33 | 0:12:35 | |
Yeah, sure. | 0:12:35 | 0:12:36 | |
'They love skinny girls in Japan,' | 0:12:39 | 0:12:42 | |
and she has a fresh, young face. | 0:12:42 | 0:12:45 | |
She looks young, almost like a prepubescent girl. | 0:12:45 | 0:12:49 | |
DANCE MUSIC PLAYS | 0:12:56 | 0:13:01 | |
It's a great freedom not be employed... | 0:16:10 | 0:16:12 | |
..in a nine-to-five job. | 0:16:15 | 0:16:18 | |
But I don't know. | 0:16:22 | 0:16:25 | |
The business of modelling is not something | 0:16:25 | 0:16:30 | |
I feel necessarily passionate about, | 0:16:30 | 0:16:35 | |
because it really has no weight. | 0:16:35 | 0:16:41 | |
It changes minute by minute, and it's based on nothing. | 0:16:45 | 0:16:49 | |
If you start to look at all those girls, | 0:16:51 | 0:16:53 | |
and you really look at each one and you bring them close to you, | 0:16:53 | 0:16:57 | |
and you look in their eyes and look in their faces, | 0:16:57 | 0:16:59 | |
you can start to see their age and their experience, | 0:16:59 | 0:17:05 | |
and the business is obsessed with youth, | 0:17:05 | 0:17:07 | |
and especially my business in Japan. | 0:17:07 | 0:17:10 | |
You can't be young enough, | 0:17:10 | 0:17:15 | |
and youth is beautiful, | 0:17:15 | 0:17:19 | |
because there's a luminosity, there's something in the skin. | 0:17:19 | 0:17:22 | |
There's something innocent. | 0:17:26 | 0:17:29 | |
That's what my eye has been trained to see from Japan. | 0:17:34 | 0:17:37 | |
So I look at beauty and I think of young girls, beautiful. | 0:17:39 | 0:17:43 | |
We had a really good casting yesterday. | 0:21:56 | 0:21:59 | |
Really beautiful girls, quite productive. | 0:21:59 | 0:22:01 | |
There were, like, 200 girls. | 0:22:01 | 0:22:03 | |
Probably, like, six girls, seven girls. | 0:22:08 | 0:22:12 | |
So I want to pick, maybe, | 0:22:12 | 0:22:14 | |
30 really great girls that I know I can confirm. | 0:22:14 | 0:22:16 | |
OK, Tigran, I'll talk to you again. OK, bye. | 0:22:16 | 0:22:19 | |
Tigran is a really hard-core business. | 0:22:23 | 0:22:26 | |
He's done what nobody else in this business has done, like, | 0:22:26 | 0:22:29 | |
the money he's made. | 0:22:29 | 0:22:30 | |
Whereas, when I work with Japan, they don't know what I do, where I go. | 0:22:35 | 0:22:41 | |
As long as I bring them the girls. | 0:22:41 | 0:22:43 | |
I have no job description of what I do or what I'm supposed to bring them. | 0:22:43 | 0:22:49 | |
They cover my expenses and I get a commission of whatever I bring them. | 0:22:49 | 0:22:55 | |
So that is freedom. | 0:22:55 | 0:22:57 | |
I can kind of get away with not really caring about this business that much. | 0:22:58 | 0:23:02 | |
But I never like to think of myself as an ex-model. | 0:23:06 | 0:23:09 | |
I never like to bring that point up. | 0:23:09 | 0:23:11 | |
But, of course, it does bring a different insight. | 0:23:13 | 0:23:16 | |
But I was the person that hated this business more than anybody, | 0:23:17 | 0:23:20 | |
and now I'm 15 years in it. | 0:23:20 | 0:23:24 | |
This whole place is hurting me too much. | 0:23:42 | 0:23:46 | |
Even if I do ten jobs in the next two weeks, | 0:23:46 | 0:23:48 | |
there won't be any money for me by the time I cover my expenses. | 0:23:48 | 0:23:52 | |
Fashion is so boring to me these days. | 0:23:54 | 0:23:56 | |
I don't even like to look at the magazines. | 0:23:56 | 0:23:58 | |
I mean, I do, but it's just all the same stuff all the time. | 0:23:58 | 0:24:02 | |
Anyone who does it must be an idiot. | 0:24:03 | 0:24:06 | |
So what are you trying to say? | 0:24:06 | 0:24:09 | |
What would you rather do? | 0:24:12 | 0:24:13 | |
Poetry? Yeah. | 0:24:13 | 0:24:15 | |
Girl, what happened to you in Tokyo, huh? | 0:24:19 | 0:24:22 | |
What's this twister taking you away for? | 0:24:23 | 0:24:26 | |
Is it really worth it? | 0:24:30 | 0:24:31 | |
Model? | 0:25:54 | 0:25:55 | |
Yes. | 0:25:55 | 0:25:56 | |
OK? | 0:26:47 | 0:26:48 | |
OK. | 0:26:48 | 0:26:49 | |
Take off your shoes. | 0:27:05 | 0:27:07 | |
OK. | 0:27:07 | 0:27:09 | |
What? Shoes? | 0:27:09 | 0:27:12 | |
Take off shoes. | 0:27:12 | 0:27:14 | |
Ah. | 0:27:15 | 0:27:16 | |
Oh. Yeah? | 0:27:16 | 0:27:18 | |
Yeah. | 0:27:18 | 0:27:19 | |
To live in a glass house. | 0:28:48 | 0:28:50 | |
It's great in the daytime, but scary at night. | 0:28:55 | 0:28:58 | |
When I stay here alone, I get scared. | 0:28:58 | 0:29:00 | |
It's like, if you're inside with the lights on, people can see you, | 0:29:03 | 0:29:07 | |
but you can't see them, and then there's, like, weird sounds. | 0:29:07 | 0:29:11 | |
It's pretty isolated. | 0:29:11 | 0:29:13 | |
They're sleeping. | 0:29:23 | 0:29:24 | |
One boy and one girl. | 0:29:28 | 0:29:29 | |
I got them from a dollar store, or something. | 0:29:34 | 0:29:37 | |
When I bought my house, I got the babies at the same time. | 0:29:38 | 0:29:41 | |
I felt like I had a home, so I should have a baby. | 0:29:41 | 0:29:46 | |
I was 23 at the time. | 0:29:47 | 0:29:49 | |
I had three, but then I dissected one. | 0:29:51 | 0:29:54 | |
I mean, the models that we meet in Russia are really little girls, | 0:29:57 | 0:30:00 | |
just the babies, but they're not my children. | 0:30:00 | 0:30:03 | |
I mean, I'm not at that point yet. | 0:30:03 | 0:30:06 | |
I'm in that precarious place where they don't really know, | 0:30:06 | 0:30:09 | |
like, can they be my friend? | 0:30:09 | 0:30:11 | |
I care about the girls a lot. I don't feel, like, inspired by... | 0:30:11 | 0:30:17 | |
I don't know. No, I do really care about the girls. It's just... | 0:30:22 | 0:30:26 | |
I don't feel so... | 0:30:27 | 0:30:28 | |
Like I have some, you know, | 0:30:30 | 0:30:34 | |
big truth to tell them about the amazing business, | 0:30:34 | 0:30:38 | |
that I'm going to change their lives and make them be fulfilled, | 0:30:38 | 0:30:43 | |
because it's very tough. | 0:30:43 | 0:30:45 | |
Very tough business. | 0:30:45 | 0:30:46 | |
I'm trying to remember how I felt the first time I landed in Japan. | 0:32:59 | 0:33:05 | |
I'm having a hard time remembering the first flight, | 0:33:08 | 0:33:11 | |
but I remember walking into the agency, | 0:33:11 | 0:33:14 | |
and meeting with Sako, who was my booker. | 0:33:14 | 0:33:17 | |
The Japanese always want something new. | 0:33:23 | 0:33:25 | |
And it's the best place for the new face to come, | 0:33:26 | 0:33:28 | |
so Tigran wants to send his models to Japan, | 0:33:28 | 0:33:31 | |
then Messiah wants to receive the new models. | 0:33:31 | 0:33:34 | |
It's more convenient to have me in New York | 0:33:35 | 0:33:38 | |
where I can meet girls in New York, | 0:33:38 | 0:33:40 | |
fly to Europe, cover certain regions, | 0:33:40 | 0:33:42 | |
so they pay me a small commission to be the scout. | 0:33:42 | 0:33:46 | |
Messiah owns Switch. He loves, I mean... | 0:33:48 | 0:33:52 | |
Loves models. | 0:33:55 | 0:33:56 | |
By foot, we go. | 0:34:00 | 0:34:01 | |
Three, two, action. | 0:34:27 | 0:34:30 | |
Hello, my name is Nadya and I'm 15 years old. | 0:34:30 | 0:34:33 | |
Many, many questions. | 0:37:11 | 0:37:13 | |
But don't answer. I don't hear answer. | 0:37:14 | 0:37:20 | |
Why? | 0:37:20 | 0:37:22 | |
Discuss. | 0:37:27 | 0:37:28 | |
I think that the main issue for me is that there is a lot of 13, | 0:37:46 | 0:37:49 | |
14, 15 years old girls. | 0:37:49 | 0:37:52 | |
I mean, there is, too, in Europe, | 0:37:52 | 0:37:54 | |
and all of them say that no, | 0:37:54 | 0:37:57 | |
in Europe and America they don't use any girl under 16 any more, | 0:37:57 | 0:38:00 | |
but the girls, I see them at the casting, I talk to them. | 0:38:00 | 0:38:03 | |
But who is to blame? | 0:38:03 | 0:38:05 | |
We can't blame the girls, because they're just being sent. | 0:38:05 | 0:38:08 | |
We can't blame the families, because maybe they are in need. | 0:38:08 | 0:38:10 | |
Can we blame the agency that took them on, | 0:38:10 | 0:38:12 | |
because a client will take them? | 0:38:12 | 0:38:14 | |
Can we blame the clients that will pretend or won't know, | 0:38:14 | 0:38:17 | |
actually, how old those girls are? | 0:38:17 | 0:38:19 | |
There's no-one to blame, but the whole thing is so wrong. | 0:38:19 | 0:38:22 | |
They all play blind, really, | 0:38:22 | 0:38:25 | |
and if they used 13 or 14-year-old girls, it means, did you not | 0:38:25 | 0:38:28 | |
want any girls that are the shape of a woman, really. | 0:38:28 | 0:38:33 | |
Seven for Russia, so you start from area code. | 0:38:47 | 0:38:50 | |
I don't know, it's your number. | 0:38:52 | 0:38:54 | |
You got area code? | 0:38:56 | 0:38:57 | |
Area. Do you have a dictionary? | 0:38:59 | 0:39:01 | |
Dictionary. | 0:39:02 | 0:39:03 | |
Dictionary. Do you have a book? | 0:39:05 | 0:39:07 | |
No. Russian-English book, you have. | 0:39:09 | 0:39:12 | |
Ah. | 0:39:12 | 0:39:13 | |
Bring, bring. Yes. | 0:39:13 | 0:39:15 | |
This, Russian. Ah, English. | 0:39:19 | 0:39:21 | |
So, | 0:39:25 | 0:39:26 | |
seven is Russia, and you put... | 0:39:28 | 0:39:31 | |
Erm, yes. | 0:39:36 | 0:39:38 | |
Press. | 0:39:38 | 0:39:39 | |
No. | 0:39:46 | 0:39:48 | |
Write down your number. | 0:39:48 | 0:39:50 | |
Ah, it's not in service. | 0:39:56 | 0:39:58 | |
We cannot call from this number. This phone doesn't work. | 0:39:58 | 0:40:02 | |
Here is me, getting my hair done in Japan. | 0:42:00 | 0:42:02 | |
I remember the birth, being a model, | 0:42:04 | 0:42:08 | |
and I hated it so much. | 0:42:08 | 0:42:10 | |
I've never been so down. | 0:42:10 | 0:42:13 | |
I remember days where I would just literally stay in my apartment | 0:42:13 | 0:42:16 | |
and stay in my bed all day. | 0:42:16 | 0:42:18 | |
I just couldn't even get out of bed. | 0:42:18 | 0:42:20 | |
I didn't know what to do with myself. I felt so depressed. | 0:42:20 | 0:42:22 | |
All I would think about is, | 0:42:24 | 0:42:25 | |
"OK, what am I going to really do with my life? | 0:42:25 | 0:42:28 | |
"Why am I doing this?" | 0:42:28 | 0:42:30 | |
"When can I go home?" | 0:42:30 | 0:42:32 | |
I realised that I didn't actually have to have | 0:42:34 | 0:42:37 | |
a death of modelling, because I started scouting, | 0:42:37 | 0:42:39 | |
and I could actually now be in control, and that was fun, | 0:42:39 | 0:42:44 | |
because I could decide when I want to travel, | 0:42:44 | 0:42:46 | |
and I could pick the models, and I was still a model, | 0:42:46 | 0:42:49 | |
so all my friends were models, a lot of them, so I just started | 0:42:49 | 0:42:53 | |
sending them to Japan, so right away, I had an instantaneous business. | 0:42:53 | 0:42:58 | |
The best thing I did was buy my little house. | 0:43:00 | 0:43:03 | |
And then I made more money when I sold it, which I'm doing now, | 0:43:03 | 0:43:06 | |
so I'm actually reaping the benefits of my modelling career right now. | 0:43:06 | 0:43:09 | |
So this is my favourite little spot. | 0:43:22 | 0:43:24 | |
I had these boxes made for these little mini prints. | 0:43:27 | 0:43:30 | |
Stockings. | 0:43:32 | 0:43:34 | |
Hands, gestures. | 0:43:37 | 0:43:39 | |
See, I'm trying to hide my camera under the table... | 0:43:45 | 0:43:47 | |
..so that they don't know that I'm photographing. | 0:43:50 | 0:43:53 | |
Sometimes I wouldn't photograph the girl's face, | 0:43:53 | 0:43:56 | |
I would just photograph her feet or her hands. | 0:43:56 | 0:43:59 | |
Sometimes I would try and find the legs, match the legs, | 0:44:07 | 0:44:11 | |
which legs went with which body. | 0:44:11 | 0:44:14 | |
Hey, does that work? That works. | 0:44:16 | 0:44:18 | |
Doesn't it? | 0:44:19 | 0:44:21 | |
Oh, no. Doesn't work. | 0:44:21 | 0:44:23 | |
Wait, almost works. | 0:44:23 | 0:44:24 | |
This is the same. This is the same bathing suit, though, look. | 0:44:25 | 0:44:29 | |
That fits that. If I had it on a tripod, then I could. | 0:44:31 | 0:44:35 | |
A lot of times, you do shoots, | 0:46:25 | 0:46:27 | |
and you never see the pictures in the end. | 0:46:27 | 0:46:30 | |
The pictures can be sold to a magazine afterwards, | 0:46:30 | 0:46:32 | |
and so you won't make any money, | 0:46:32 | 0:46:34 | |
because agencies don't want you to know what's going on, anyway. | 0:46:34 | 0:46:37 | |
It's better for them, because if you don't really know what's going on, | 0:46:37 | 0:46:41 | |
how much you're getting paid, what are your expenses, | 0:46:41 | 0:46:43 | |
they can get more money out of you. | 0:46:43 | 0:46:45 | |
You have to be really on top of everything, | 0:46:46 | 0:46:49 | |
and at 13 years old, she won't be on top of everything, | 0:46:49 | 0:46:52 | |
she'll be like, "Oh, my God, I'm going to Japan. I have all those jobs booked, | 0:46:52 | 0:46:55 | |
"I'm going to make that much money at least." | 0:46:55 | 0:46:57 | |
But they don't know that they're not getting those jobs. | 0:46:57 | 0:47:01 | |
They'll just take advantage of her. | 0:47:01 | 0:47:02 | |
Taxi. | 0:47:23 | 0:47:24 | |
S'il vous plait. | 0:47:25 | 0:47:27 | |
Concorde? Concorde. | 0:47:27 | 0:47:28 | |
Taxi! | 0:47:30 | 0:47:32 | |
I don't know if short-term would be defined by, like, | 0:47:36 | 0:47:40 | |
12 years of travelling. | 0:47:40 | 0:47:42 | |
It's more than short-term. It's an addiction. | 0:47:42 | 0:47:45 | |
It really is an addiction. | 0:47:49 | 0:47:51 | |
I stick with what I know, because I'm afraid to try new things. | 0:47:54 | 0:48:00 | |
Once you've travelled and seen so much, | 0:48:04 | 0:48:08 | |
you sort of want that stimulus again, | 0:48:08 | 0:48:12 | |
because there's a certain stimulus with new places. | 0:48:12 | 0:48:14 | |
Sorry, Tigran. I was just wanting to make sure I had it right. | 0:48:22 | 0:48:26 | |
You had it right. | 0:48:26 | 0:48:28 | |
I mean, this is what I know the most. | 0:48:28 | 0:48:31 | |
I started doing this when I was 17. | 0:48:31 | 0:48:33 | |
It's just, like, something I know, | 0:48:33 | 0:48:35 | |
but it's not something that I necessarily... | 0:48:35 | 0:48:37 | |
I need to be more business, like you. | 0:48:37 | 0:48:39 | |
Your business and this business. | 0:48:41 | 0:48:44 | |
So many people aren't business in this business, so... | 0:48:44 | 0:48:47 | |
I mean, if you catch the girl at 12, | 0:49:00 | 0:49:02 | |
when these girls are in these very delicate stages of their lives, | 0:49:02 | 0:49:05 | |
then you have more power, or more influence to guide and direct. | 0:49:05 | 0:49:08 | |
It's not really the age, it's how mature they are, | 0:49:08 | 0:49:11 | |
because at the age of 13, | 0:49:11 | 0:49:13 | |
she has something that most people rarely have, | 0:49:13 | 0:49:16 | |
and that's called dignity. | 0:49:16 | 0:49:17 | |
A 13-year-old will never go with a rich man, you know, for money, | 0:49:17 | 0:49:22 | |
Because she'll understand that | 0:49:24 | 0:49:27 | |
she's much happier with the 100,000 | 0:49:27 | 0:49:29 | |
that she earned, or with the 50,000 | 0:49:29 | 0:49:32 | |
that she earned, than with the | 0:49:32 | 0:49:34 | |
3 million that she gets from this | 0:49:34 | 0:49:36 | |
rich man, doing nothing other than | 0:49:36 | 0:49:39 | |
spreading her legs in front of him. | 0:49:39 | 0:49:41 | |
A 12-year-old or 13-year-old would never do it. | 0:49:41 | 0:49:44 | |
OK? | 0:49:44 | 0:49:46 | |
They're difficult girls. | 0:49:46 | 0:49:48 | |
So, to have a good effect of education, | 0:49:48 | 0:49:53 | |
we sometimes take these girls to the morgue, and we show them | 0:49:53 | 0:49:56 | |
these young girls or boys who did drugs and passed away. | 0:49:56 | 0:50:01 | |
That has an everlasting effect, | 0:50:01 | 0:50:03 | |
and if the model is still too hard-headed, | 0:50:03 | 0:50:06 | |
we have the autopsy done in front of them. | 0:50:06 | 0:50:08 | |
Believe me, that affects them so strongly. | 0:50:08 | 0:50:10 | |
You do that? | 0:50:10 | 0:50:11 | |
Yeah. | 0:50:11 | 0:50:13 | |
So you call up the morgue in St Petersburg? | 0:50:13 | 0:50:15 | |
That's right. | 0:50:15 | 0:50:16 | |
And you find out? | 0:50:16 | 0:50:18 | |
That's right. | 0:50:18 | 0:50:19 | |
You know, the worst part is when they realise | 0:50:19 | 0:50:21 | |
they could be in their place, | 0:50:21 | 0:50:25 | |
and that has a very, very strong effect on them. | 0:50:25 | 0:50:28 | |
Believe me, seeing a dead, young girl in front of you | 0:50:28 | 0:50:32 | |
has a really strong effect. | 0:50:32 | 0:50:34 | |
With an open body, you know. | 0:50:35 | 0:50:37 | |
I think I was a very bad person in my past life. | 0:50:47 | 0:50:50 | |
So I'm back to pay my debt. | 0:50:52 | 0:50:55 | |
I think I was a military person. | 0:50:58 | 0:51:01 | |
I know that, and I killed a lot of people. | 0:51:01 | 0:51:04 | |
So I think I'm back to now help people. | 0:51:04 | 0:51:08 | |
So... | 0:51:11 | 0:51:12 | |
Maybe... | 0:52:26 | 0:52:28 | |
It's my contract. | 0:52:34 | 0:52:35 | |
PHONE RINGS. | 0:52:57 | 0:52:59 | |
Hello? | 0:52:59 | 0:53:00 | |
Alyo? | 0:53:06 | 0:53:08 | |
Alyo? | 0:53:08 | 0:53:09 | |
I've been scouting with Tigran, | 0:54:48 | 0:54:51 | |
and this is Noah Models' most recent find. | 0:54:51 | 0:54:53 | |
But they have a real monopoly on the Russian market | 0:54:55 | 0:54:58 | |
because they have agencies stretching all the way across Russia, | 0:54:58 | 0:55:01 | |
and they have 20 little offices, so they're scouting in that area, | 0:55:01 | 0:55:06 | |
and they're really getting first option on all the girls, | 0:55:06 | 0:55:09 | |
because there's little agencies. | 0:55:09 | 0:55:11 | |
This is the bathroom? | 0:55:53 | 0:55:55 | |
Oh, my gosh! | 0:55:57 | 0:55:58 | |
Wow. | 0:55:59 | 0:56:01 | |
That is a pretty bad one. | 0:56:01 | 0:56:02 | |
That's pretty bad! | 0:56:04 | 0:56:06 | |
What do we have out here? | 0:56:08 | 0:56:11 | |
A garden? | 0:56:11 | 0:56:13 | |
Yeah, we know. | 0:56:13 | 0:56:14 | |
So, yes, it's not... Yeah. | 0:56:35 | 0:56:38 | |
It's not the best model's apartment. | 0:56:41 | 0:56:43 | |
But I guess it's OK. | 0:56:44 | 0:56:46 | |
Yeah. | 0:56:46 | 0:56:47 | |
OK. | 0:56:47 | 0:56:48 | |
You're going to, I mean, you're pretty busy with the castings, | 0:56:52 | 0:56:56 | |
and then, this weekend, I think you have a shooting. | 0:56:56 | 0:56:59 | |
Why, why is that funny? | 0:57:01 | 0:57:02 | |
Oh. | 0:57:07 | 0:57:09 | |
I don't work. Nadya and I. | 0:57:20 | 0:57:22 | |
We don't know yet. | 0:57:23 | 0:57:25 | |
I know, I don't work. | 0:57:25 | 0:57:28 | |
Why? | 0:57:28 | 0:57:29 | |
I don't know why. | 0:57:29 | 0:57:30 | |
You feel you don't work? | 0:57:30 | 0:57:31 | |
I don't work in this week, next week. | 0:57:32 | 0:57:39 | |
Nadya doesn't work this week and next week. | 0:57:39 | 0:57:41 | |
Why? | 0:57:41 | 0:57:42 | |
I don't know. | 0:57:42 | 0:57:43 | |
This is your feeling. | 0:57:43 | 0:57:45 | |
This is not the reality, because we don't know. | 0:57:45 | 0:57:50 | |
Still every day you're doing castings, right? | 0:57:50 | 0:57:53 | |
Yeah. | 0:57:53 | 0:57:54 | |
But this week we know no job. | 0:57:54 | 0:57:55 | |
No job. | 0:57:55 | 0:57:57 | |
And then next week, casting, casting. | 0:57:57 | 0:57:58 | |
Casting, casting, no job. | 0:57:58 | 0:58:00 | |
But maybe the next week you have a job. | 0:58:00 | 0:58:03 | |
I don't know. | 0:58:03 | 0:58:05 | |
All right. | 0:58:15 | 0:58:17 | |
Nadya. | 0:58:24 | 0:58:26 | |
OK. | 0:58:41 | 0:58:42 | |
What I wanted out of life was... | 0:58:59 | 0:59:04 | |
..I want my own security. | 0:59:06 | 0:59:09 | |
When I go back and read a lot of my writings, | 0:59:09 | 0:59:13 | |
a lot of the times I've been modelling I feel really scared. | 0:59:13 | 0:59:17 | |
I obsess about money and I just have to chill out. | 0:59:20 | 0:59:22 | |
I don't know. | 0:59:24 | 0:59:26 | |
Sometimes I think I'm not being professional, you know. | 0:59:26 | 0:59:29 | |
There's a lot of things that I've done that are bad in the business, | 0:59:29 | 0:59:32 | |
but I always try to play it off like I'm so good. | 0:59:32 | 0:59:35 | |
Maybe I'm not really that good at all. | 0:59:35 | 0:59:37 | |
It's just growing. | 0:59:44 | 0:59:45 | |
It's producing. It's very active, you know. | 0:59:46 | 0:59:48 | |
It's just doing its own thing. | 0:59:48 | 0:59:50 | |
I mean, I would be happy to be four months pregnant | 0:59:51 | 0:59:55 | |
with a healthy thing, but this is just something that's growing | 0:59:55 | 0:59:59 | |
for no reason, that eventually will have to be taken out. | 0:59:59 | 1:00:02 | |
One's here, | 1:00:02 | 1:00:05 | |
and one's here. | 1:00:05 | 1:00:07 | |
They said it's right at the top. | 1:00:07 | 1:00:09 | |
They just open it and there it is, sitting right there. | 1:00:09 | 1:00:12 | |
So... | 1:00:16 | 1:00:17 | |
One is a fibroid, and one is a cyst. | 1:00:20 | 1:00:23 | |
But hopefully it will be all right in ten days from now... | 1:00:27 | 1:00:31 | |
..when I get operated on by a robot. | 1:00:34 | 1:00:38 | |
Thank you so much. | 1:00:44 | 1:00:45 | |
I have diaries, probably more videotapes. | 1:02:37 | 1:02:42 | |
This is the truest evidence. | 1:02:43 | 1:02:46 | |
All the girls just want to get out, so they try. | 1:03:00 | 1:03:02 | |
They can be athletes, they can be gymnasts, | 1:03:02 | 1:03:04 | |
they can be ballerinas, they can be models, | 1:03:04 | 1:03:06 | |
they can be prostitutes. | 1:03:06 | 1:03:07 | |
Most of the time, they do a combination of both, | 1:03:13 | 1:03:17 | |
I mean, often, yeah. | 1:03:17 | 1:03:19 | |
They do. | 1:03:19 | 1:03:21 | |
There are certain agencies, high-class agencies that will | 1:03:21 | 1:03:24 | |
help facilitate, and especially ones if you have the experience | 1:03:24 | 1:03:29 | |
of making money and you are a model, | 1:03:29 | 1:03:32 | |
you only know how to make money as a model. | 1:03:32 | 1:03:35 | |
If you're not making money | 1:03:35 | 1:03:36 | |
as a model, you just know you're | 1:03:36 | 1:03:38 | |
a beautiful girl who uses her body, | 1:03:38 | 1:03:40 | |
so it's kind of natural to think, | 1:03:40 | 1:03:43 | |
"Well, I sell my body for the camera. | 1:03:43 | 1:03:47 | |
"What's the difference?" | 1:03:47 | 1:03:49 | |
You know the DVDs I gave you, and you could see, sometimes, | 1:03:49 | 1:03:54 | |
the girl presented herself in a certain way | 1:03:54 | 1:03:56 | |
at the castings in Russia. | 1:03:56 | 1:03:58 | |
Sometimes it was clearly like | 1:03:58 | 1:04:00 | |
she was presenting herself as a sex object. | 1:04:00 | 1:04:02 | |
Sometimes she was just a young girl. | 1:04:02 | 1:04:04 | |
I mean, those tapes are widely distributed. | 1:04:04 | 1:04:07 | |
And, of course, the goal is | 1:04:09 | 1:04:10 | |
that they get placed at modelling | 1:04:10 | 1:04:11 | |
agencies, but the reality is... | 1:04:11 | 1:04:15 | |
..that they get placed other places, too. | 1:04:18 | 1:04:20 | |
And I don't have first hand experience of these things. | 1:04:21 | 1:04:26 | |
I mean, I'm not, obviously, | 1:04:26 | 1:04:28 | |
participating in this, so... | 1:04:28 | 1:04:31 | |
It's just normal to be a prostitute. | 1:04:32 | 1:04:35 | |
For them, you know. | 1:04:38 | 1:04:40 | |
Maybe it's easier than being a model. | 1:04:41 | 1:04:44 | |
I don't know. | 1:04:44 | 1:04:45 | |
I mean, in a lot of countries, | 1:04:50 | 1:04:52 | |
prostitution is not considered a terrible thing. | 1:04:52 | 1:04:58 | |
Erm... | 1:05:00 | 1:05:01 | |
I don't really acknowledge that it exists. | 1:05:04 | 1:05:08 | |
I don't understand how new girls | 1:06:12 | 1:06:14 | |
like Nadya and Madlen can make you money, | 1:06:14 | 1:06:17 | |
can make Tigran money, can make Ashley money. | 1:06:17 | 1:06:19 | |
If they don't make money, why do you bring them in? | 1:06:37 | 1:06:39 | |
Here is some literature just on the procedure you had. | 1:07:17 | 1:07:19 | |
This is very broad, | 1:07:19 | 1:07:21 | |
and it's not truly specific to exactly what you had done. | 1:07:21 | 1:07:25 | |
You want to make sure you continue to eat well, but things to look out | 1:07:25 | 1:07:28 | |
for that you would need to call your doctor is if you notice any separation. | 1:07:28 | 1:07:33 | |
So it sometimes takes a little while | 1:07:34 | 1:07:36 | |
for the body to process all that you've received. | 1:07:36 | 1:07:39 | |
-OK, so I'll be right back. -OK. | 1:07:41 | 1:07:42 | |
It's painful to cough. | 1:07:50 | 1:07:51 | |
It's a small incision. | 1:07:53 | 1:07:55 | |
The fibroid they had to cut in 20 pieces to take it out. | 1:07:57 | 1:08:00 | |
They thought it was ten centimetres, but it was actually 15. | 1:08:00 | 1:08:04 | |
A baby's head, like, that big, that came out of me. | 1:08:04 | 1:08:09 | |
And then another one, this one. | 1:08:12 | 1:08:15 | |
This thing. | 1:08:18 | 1:08:19 | |
So disgusting. Oh, my God. This is the cyst. | 1:08:20 | 1:08:24 | |
This is blonde hair. They've never seen one with so much blonde hair. | 1:08:24 | 1:08:28 | |
My egg, splitting on its own. | 1:08:28 | 1:08:30 | |
They said I could have a baby in six months. | 1:08:33 | 1:08:36 | |
I mean, I want a baby, because that's what I'm born to do. | 1:08:36 | 1:08:40 | |
I mean, I'm born with these organs. | 1:08:43 | 1:08:45 | |
I want a little bit of everything, | 1:08:51 | 1:08:52 | |
but I do want a baby. | 1:08:52 | 1:08:53 | |
Hopefully that could travel | 1:08:55 | 1:08:57 | |
with me to Russia. | 1:08:57 | 1:08:58 | |
So when I go to have a baby, I'll, like, decide which date and then | 1:09:01 | 1:09:06 | |
just go and have the same operation that I just had, basically. | 1:09:06 | 1:09:09 | |
THEY SPEAK IN RUSSIAN | 1:11:54 | 1:11:56 | |
THEY SPEAK IN RUSSIAN | 1:12:01 | 1:12:05 | |
NADYA'S MOTHER SPEAKS RUSSIAN | 1:12:11 | 1:12:15 | |
NADYA'S MOTHER SPEAKS RUSSIAN | 1:12:31 | 1:12:34 | |
OK. | 1:13:03 | 1:13:05 | |
Which girls, particularly, are you looking for? | 1:13:05 | 1:13:07 | |
For my market, which is Japan, we are quite specific, | 1:13:07 | 1:13:11 | |
so we like young girls, | 1:13:11 | 1:13:13 | |
fresh girls, new faces. | 1:13:13 | 1:13:15 | |
The girls that I see today, | 1:13:15 | 1:13:17 | |
the chances are I will book some of them. | 1:13:17 | 1:13:19 | |
They should expect to work | 1:13:19 | 1:13:21 | |
very hard in Japan, | 1:13:21 | 1:13:22 | |
but it's a very safe place, | 1:13:22 | 1:13:25 | |
and every model has success in Japan. | 1:13:25 | 1:13:28 | |
Unlike other markets, | 1:13:28 | 1:13:30 | |
where they might go into debt, | 1:13:30 | 1:13:31 | |
they never do in Japan. | 1:13:31 | 1:13:33 | |
They only win. | 1:13:33 | 1:13:35 | |
Very good. | 1:13:35 | 1:13:36 | |
Oh, she's cute. | 1:13:43 | 1:13:45 | |
Hello. | 1:13:45 | 1:13:47 | |
Hello. | 1:13:47 | 1:13:48 | |
Do you speak English? | 1:13:48 | 1:13:50 | |
Yes. | 1:13:51 | 1:13:52 | |
Yes, you do? | 1:13:52 | 1:13:53 | |
A little English? | 1:13:55 | 1:13:57 | |
Yes. | 1:13:59 | 1:14:01 | |
She's so cute. | 1:14:01 | 1:14:03 | |
Yes. | 1:14:03 | 1:14:04 | |
Maria. | 1:14:06 | 1:14:08 | |
Can you introduce yourself? | 1:14:08 | 1:14:09 | |
# My name is Maria, Maria. # | 1:14:09 | 1:14:12 | |
My name is Maria. | 1:14:12 | 1:14:14 | |
And you are 13 years old? | 1:14:14 | 1:14:16 | |
Your age is 13? | 1:14:18 | 1:14:19 | |
13. | 1:14:22 | 1:14:23 | |
Beautiful. | 1:14:28 | 1:14:30 | |
Can you put your hair back? | 1:14:30 | 1:14:32 | |
You're so cute! | 1:14:33 | 1:14:36 | |
Do you think she'll grow a little bit? She'll grow, right? She's 13. | 1:14:36 | 1:14:39 | |
Yes, for sure. | 1:14:39 | 1:14:40 | |
Additional subtitles by Red Bee Media Ltd | 1:15:33 | 1:15:36 |