ABOUT THE HARASSMENT CAMPAIGN THAT THE PERFORMER ROOSTER HAS BEEN CONDUCTING AGAINST ME FOR A YEAR AND A HALF.

 Rooster and I meet in April 2017. We immediately become lovers.

I meet Rooster at the Porn Film Festival in London in April 2017. Rooster tells me they loved my first movie, The Bitchhiker, we talk. We meet again the next day. The two of us spend the afternoon at the Tate Modern, talking about alternative porn. And we go, later that night, to my hotel. Rooster and I spend our first night together. 

I’m going back to Paris the next day. Rooster and I stay in touch. They sends me messages daily, accompanied by heart emojis. At this time, I am working on the pre-production of two films for Erika Lust Films. Rooster tells me that they dreams of performing for this production company. So I offer Rooster to put them in contact with Erika Lust Films.

Rooster goes through two casting interviews with Erika Lust Films (one with a talent manager, and the other one with Erika Lust), in which they is asked about their sexual boundaries, and also if they would be OK to perform with me. We are finally booked together to shoot in a XConfessions film: Architecture Porn. We receive the script and agree that we would perform a pegging scene together. The use of toys and harnesses for the sex scene is discussed in detail.

Rooster writes to me that they would like to see me. I would too, so I organize a weekend in France in an AirBnB by the sea. Walks on the beach, moules frites, Polaroid sessions, nap overlooking the sea. We take advantage of this time together to adjust our practices and our consent for the pegging scene that will take place during the filming of Architecture Porn. During this weekend, our bond is growing stronger, and Rooster is showing a lot of enthusiasm for my work, so I invite them to perform as well in my film Don’t Call Me A Dick. It will be shot in Barcelona just after Architecture Porn. Rooster will perform alongside Bishop Black and Heidi Switch.

Rooster performs in two short films, shot in Barcelona in June 2017. I direct the first one: Don’t Call Me A Dick. The second one, Architecture Porn, is directed by Erika Lust, we are co-performers.

During the preparation of Don’t Call Me A Dick, Rooster is treated with all the professionalism needed for the pre-production of any ethical porn film. The scenario of the film is sent to them weeks in advance. Rooster confirms in writing and orally that they is comfortable with the sexual acts described. They is given an opportunity to talk with Heidi Switch and explain their limits before shooting. I make sure they are both happy to perform together.

Rooster and I meet again in Barcelona, a few days before the shooting of Architecture Porn and Don’t Call Me A Dick. Rooster is asking to spend time with me, but I am very busy with the pre-production of my films. They comes to sleep to my apartment instead of enjoying their hotel room. It gives us the opportunity to talk again about what we will do on set of Architecture Porn.

Rooster and I perform together in Architecture Porn on June 9, 2017. We laugh and play, the atmosphere is relaxed and warm. During the shooting, each position we perform is previously discussed between us and with the director, Erika Lust, in the presence of the main film crew and of the talent manager. A « making-of » precisely documents the shooting. After the shooting, Rooster tells me and the crew they is very happy with their experience. We sleep together the same evening.

The day before the filming of Don’t Call Me A Dick, Rooster says they is starting to feel a little sick, that they has caught a cold. I offer them not to shoot, and to rest to get better instead. Bishop Black is OK to perform Rooster’s role in the film, so replacing Rooster does not create any problem at all for us. Rooster insists on shooting. 

On June 11th, on the set of Don’t Call Me A Dick, Rooster arrives tired. They starts the day by taking a long time off, leaving the studio, while they was expected on set. I offer them again to return to their hotel and sleep. Out of the blue, Rooster takes me aside and asks me if I will not be jealous of their co-performer, Heidi Switch, when they perform together. I answer: no, of course not! Rooster seems hurt by my answer. They closes up. 

We change the shooting plan to give Rooster time to rest in the studio in the morning. Several hours later, when it’s Rooster’s turn to perform, the production and I ask them again if they feels ready to perform. Rooster answers: yes, they wants to shoot. So we shoot the sexual practices Rooster agreed on, and only these sexual practices. I ask them several times if they is fine. They does not, at any point, tells me that they is not feeling comfortable with something. The same evening, Rooster comes to sleep at my place.

 I go back to Paris and put an end to our romantic relationship.

The next day, I go back to France to start editing the films. In the morning, before my departure to the airport, Rooster confesses to me that they found me distant during the shooting of Don’t Call Me A Dick. That they would have liked me to show more empathy for their cold, and that they would have liked to see that my professional mission mattered to me less than our personal relationship. I answer that collaborating on a film together should not turn into me having to make a choice between them and the film. 

As soon as I arrive at the airport, Rooster sends me very long audio messages, insisting that they does not want our relationship to end, and confessing paranoid tendencies in a previous romantic relationship.

When I arrive in Paris, I explain to Rooster that I do not see myself continuing a relationship with them. We spend a long time on the phone, I clearly expose the reasons why I do not project myself into a relationship with them. We agree to stay friends. 

 I maintain my offer to Rooster to be the DOP of my next film, shot in Berlin in July 2017. But the collaboration is difficult, at every level. 

I had offered Rooster, back in May 2017, shortly after we met, to work with me on my 4th film, the orgy We Are The (Fucking) World. This film had to be shot in Berlin in July 2017. Rooster would this time be behind the camera. 

I am having mixed feelings, after the experience of Don’t Call Me A Dick, but Rooster and I decided to remain friends, and I do not want the end of our intimate relationship to take away a professional opportunity from them. Hence, I maintain my proposal to work with me as director of photography. 

When we meet in Berlin, Rooster insists that we talk about us, without me understanding what we still can say about it. Once on set, Rooster turns out to be particularly difficult to work with. Overly taking their time, when time is running out, refusing to listen to the line producer, and answering my questions with anger, when not ignoring them. I find their attitude aggressive and unprofessional. 

While I’m editing the film in Paris, the line producer and I even receive aggressive audio messages from Rooster, because I told Rooster that we have problems with the focus and the exposition on their rushes. They calls our comments “bullshit”. 

The line producer sets the record straight with Rooster. She sends them the following message:

 “I have watched your rushes, and I must say, I am disappointed. You took only a few short shots and no close ups. You did not shoot the whole thing. You would not take direction from Barbara or myself. You were not open to any dialogue with me in order to trouble shoot problems or come up with alternative solutions.

You did not do your job. As you have been in the beginning, I am willing to do this job for you. I assumed you cared. I assumed you were invested. Your lack of motivation to capture what you are asked to document is shocking. “

 In August 2017, I put an end to my professional relationship with Rooster and inform Lust Productions. In October 2017, Rooster and I see each other at the Porn Film Festival in Berlin.

At their request, Rooster and I see each other in October 2017, at the Porn Film Festival in Berlin. We talk openly about my feedback about their work to Lust Production. Rooster is friendly with me. They asks me if they can introduce me to other performers. Introducing me to other performers … a sign among many others that at this point, Rooster has nothing to reproach me. They recommends me to sex workers friends.

After this moment together in Berlin, our relationship remains friendly. The following month, Rooster supports the promotion of the films they has worked on with me. We plan a trip to Poland for a film festival. 

 End of November 2017, Rooster tells me that they wants to “reignite” a romantic relationship with me. I tell them that I met someone.

The last week of November 2017, I’m in London for a screening of We Are The (Fucking) World. Rooster offers that we spend an evening together. I accept. But before we actually meet, they sends me a message in which they expresses a desire to renew an intimate relationship together. 

« Maybe we would like to try and reignite our « more-than-friendship-but-not-really-a-relationship » relationship. »

I answer that it’s impossible because I met someone and I am in an exclusive relationship with that person. I maintain my desire to see them at the screening and to have a friendly dinner with them. But Rooster sends me a long audio message, angry that time, that he tells to be his “final” message. They says that they feels emotionally manipulated, and that they does not want to hear about me at a personal level anymore. They wants to keep in touch with me only on a professional level, for the promotion of the films:

“I know I still have a relationship with you that we are doing together, but I think it’s a good idea to do that. time, and as I said, drag this on to be so long since June, even if it’s not even about me or not, but it’s not really about the time of day. That’s why I’ve been manipulated and stuffed, and I’m not sure why you’re going to be able to speak to anyone at this moment of clarity. Unfortunately, not traumatized, but to be more like, from where I’m coming from feeling emotionally manipulated. I would not want that to happen again and for me to be spiraled. I’ve been thinking a lot. I’m really good at being outside of work, and I’m not feeling like meeting up with you. “

I respect their choice and do not give them any more news.

 In may 2018, I hear through a festival that Rooster says one of their sexual boundaries was not respected on set of my movie Don’t Call Me A Dick. I try to understand.

In May 2018, I learn through the festival La Fête du Slip that Rooster goes since at least the month of March from festival to festival, saying that they was sexually assaulted on the set of Don’t Call Me A Dick. 

My requests for explanations are ignored by Rooster. They repeats that one of their boundaries has been violated but refuse to give more explanation, and to specify what exactly happened. 

I contact the team that was present on the set of Don’t Call Me A Dick, and reach out to Heidi Switch, who co-performed with Rooster in the film (Bishop Black had no interaction with Rooster), to try to understand. Nobody gets the accusations. 

Rooster’s allegations are confused and vague, but it is clear that I am the only person targeted. I understand the following weeks that they contacts everyone I’ve worked with, to tell them that I’m a “dangerous” person.  

After an attempt at mediation entirely at my expense, during which Rooster refuses once again to say more about the aggression that he claims to have suffered, I decide to stop the contact. 

 Rooster multiplies conflicting accusations on many social medias and platforms. Within a few months, they publishes around a hundred posts targeting me.

Rooster takes their accusations to social networks. They starts publishing extensively our private correspondence from when we were seeing each other (for a purpose that I do not grasp) as well as intimate photos of me in bed, and pictures of my face scrawled maniacally in black. The messages published are partially cropped, re-framed and put into different context, attempting to cast a slur at me. But above all, they uses the hashtag #metoo. And they seriously calls me Harvey Weinstein. 

In a few months, they posts a hundred posts on all the platforms and social networks you can think of, from YouTube to Facebook and Instagram to Twitter and Medium, accusing me of being a “manipulative”, “dangerous” person, who has committed sexual assaults. They develops their harassment campaign by targeting Erika Lust as well, who produced and distributes my films. Erika Lust’s name is bigger than mine. Rooster gains visibility. Getting the attention of some influencers, Rooster posts even more, and multiplies the versions of their allegations, without worrying about contradicting themself.

Rooster first continues to claim that they has been sexually assaulted on the set of Don’t Call Me a Dick, pointing their finger at me as their assaulter, but not wanting to say more. However, Heidi Switch is the only person with whom they had sexual interaction during the shooting. Rooster never accuses Heidi Switch of having crossed any of their limits that day. Their accusations always target me personally.

Rooster and I were not alone for a second that day, I was at every moment with the DOP and/or the assistant director. More than a dozen of people were constantly on set. Rooster had agreed beforehand to the list of sexual actions that they would perform. When Rooster performed, we only shot sexual practices they had agreed on. While shooting, they never expressed discomfort or asked to stop the scene, neither to me nor to anyone in the production.

In a second step, Rooster suddenly claims that our relationship has always been exclusively professional, and that I have harassed and sexually abused them in the frame of our work together. According to them, I would have led them to believe that, in order to shoot in Architecture Porn, they had to have sex with me. I would have told him that having sex with me to rehearse the scene was mandatory, according to the protocols of Lust Productions.

 I file a claim.

At that time I refuse to publish Rooster’s affectionate messages, selfies, sexting, and even the angry messages they sent me after feeling romantically rejected. It would easily prove Rooster’s bad faith and harmful intentions. But it does not feel like me. It is important for me to react in a way that feels right and worthy. And I do not want to submit myself to those shams of people’s court that happen on social networks. I do not want either to make my private life public, or to justify myself for disjointed, even absurd accusations. 

I make the choice to file claims in France for public defamation (slender), as well as harassment and invasion of privacy. I hire a lawyer and decide to submit to justice, despite the cost, and slowness of the process. Putting together a claim for harassment will literally take us months, as we have to gather testimonies, certificates, and to list the dozens and dozens of URLS of Rooster’s posts. But we make it. My claim for harassment and invasion of privacy is available here, it recounts the facts clearly and accurately.  

  The harassment is intensifying.

Of course, before filing a claim, I have sent formal notices to Rooster, asking them to stop this behaviour. But it has had no effect on them. Rooster continues week after week, month after month, to create restlessly web pages, and accounts on social networks, all fully dedicated to accusing me of the worst crimes. Their posts try to engage as many people as possible, with the injonction to call me out, and stop any contact with me. Rooster posts fall on me in bursts – up to dozens in a few hours.

The posts get seen and shared by more and more people. The dynamics on social networks are so, that people do not try to understand, to check the facts. It would have been simple though … there were 12 people on the set, clearly identified, and easy to contact in order to verify Rooster’s story. But it is easier to be outraged straight away, to relay the post and to call for a virtual lynching, right? I know the feeling, the satisfaction. It makes us feel like we did something good, fought a villain and protected the weak and innocent, all with one click. But what a harmful click. 

Friends and professional acquaintances turn their back on me. People I do not know contact me to insult me.

I go to the police in UK. Rooster receives a warning for harassment by the London Met Police.

I contact the police in the United Kingdom, of which Rooster is a citizen (and resides at), to signal the harassment, hoping that an investigation and an injunction will take place more quickly than in France. And it does. Rooster receives a warning for harassment from the London Met Police. They denies for a while knowing about it, then changes version a few months later, clamoring on social networks that I threaten them, in order to silence them. 

I am socially withdrawing, while Rooster is working twice as hard to spread their allegations. I did not think that simple posts, that something immaterial, that virtual life could generate that much suffering. I feel constant anxiety for months and months. Between two salves of attacks, I have the impression of a sword of Damocles hanging over me. I dread Rooster’s next lie. Given the way their story evolved, changed, and unfolded so far, I am wondering how far they will go. I lose sleep, appetite, my focus. I go through months of stupor.

☛ Stalking, showing up at events uninvited, posting about “harming someone”… The harassment takes a dimension that I experience as physically threatening.

I start a therapy, and I stay away from the festivals where my films are screened. Despite being blocked, Rooster stalks my social networks and takes the opportunity to go to these festivals that I am avoiding now, even when they have nothing to do with porn, even without being invited at all. They rises on stage when Don’t Call Me A Dick is screened, to talk about the film in my place. They posts pictures of them on stage, during talks, triumphal. The threat becomes physical. Rooster stalks and goes without notice to events to which I am invited. Which makes me feel like avoiding those events even more.

Rooster also publishes threats of suicide or physical aggression on their social networks. 

« It had gotten to the point where the only options I had left during that intense period of time were: i). to harm myself or ii). to inflict harm to someone else. » 

Someone ? Hard not to feel targeted.

I go back to the police in UK, report that the harassment continues. They investigate the case and convoke Rooster for an interview.

 In the spring of 2019, Rooster changes their narrative again. They now says that they has been raped. On the set of Architecture Porn, this time.

Rooster continues their accusations with waves of posts. They changes version again, and announce to have filed a claim for rape against me. To date, I have not received any notification, but they publishes the first page of a lawyer’s document on social networks. I can not presume their truth. Has they really made a slanderous denunciation or is it yet another intimidation attempt? I do not know. 

In that claim, Rooster seems to admit again they has been in a romantic relationship with me; the document mentions that being a couple doesn’t presuppose that sex is consented.

Rooster claims at first that they was penetrated by surprise. The images show that it’s impossible.

Online, Rooster claims at first that the scene of pegging in Architecture Porn would have taken place under the effect of the surprise. A making-of the film is online. The images show very clearly the impossibility of a penetration by surprise. We see Rooster waiting for the penetration scene, already in position, even before I enter the frame.  Erika Lust also refuted the possibility of rape or sexual assault on this shooting that happened under the watch of 20 crew members, and on the shooting of Don’t Call Me A Dick. 

Then Rooster talks about a secret sign between us, which I would have deliberately ignored. Again, the images show the opposite.

Rooster then prefers to accuse me of ignoring a sign that they would have made, so that we stop the penetration during the scene. This secret sign never existed. Why would we have agreed to a sign, when we could just talk to each other, as we did all the rest of the shooting?

The Porn Architecture rushes are in my possession, and they show the scene in its entirety, without any cut, from the beginning to the end of the penetration. (I will only share the password on demand). The pictures once again contradict Rooster’s accusations. No cryptic sign is exchanged, we are connected at all times though looks and touching. We talk, we laugh, we look at each other. The moment Rooster wishes to change position, we change position. The end of the penetration scene is also clearly visible in the making-of.

Moreover, Rooster, interviewed after the scene, talks happily about the the freedom that was granted to us on set. They says in this same making-of:

“I really love that she (Erika Lust) was OK with a lot of freedom, to do whatever we wanted.”

Rooster misuses a letter I sent them about Don’t Call Me A Dick.

As a last resort, Rooster publishes a letter of formal notice that I sent them at the beginning of their harassment campaign against me, when their allegations still related to the movie Don’t Call Me A Dick. My lawyer reiterated in this notice the boundaries that Rooster had told me about for this film, in which they performed with Heidi Switch. Here is an extract from the letter.

“(Olympe de G.) invited you to appear in a film she was making entitled Don’t Call Me a Dick. You did so appear. When invited to appear you told (Olympe de G.) you were not willing to have oral sex performed on you, nor to be penetrated in a ’doggy style’ position. You did not set any other sexual boundaries. (Olympe de G.) respected your stipulations about oral sex and doggy style anal sex. “

In the pegging scene of Architecture Porn, Rooster lays on his stomach. When Rooster and I had both talked about our boundaries in France, before the filming of Architecture Porn, Rooster told me that doggy style was a position that they only practiced if they felt intimate with someone. Rooster had then proposed, that same evening, to practice doggy style with them, saying that with me, they felt it would be OK. That night, I preferred that we do not practice it.

Our sexual boundaries depend on the context in which we have sex, and on the partners we have sex with. Rooster did not want to be penetrated doggy style on a shooting with Heidi Switch, who they did not know. This boundary has of course been respected. On the other hand, Rooster was keen on practicing doggy style together with me.

This is what the Architecture Porn’s images show: Rooster is waiting on the stomach for me to join them, and is guiding me. The sex that is filmed has been discussed, and prepared. And this detailed talk about the sex scene before the shooting had many witnesses: Erika and her main crew. Even a talent manager was present to make sure that we, as performers, felt good and were heard.

Why I find deeply revolting the way Rooster instrumentalizes #MeToo

If Rooster’s rape claim has really been filed, I will not hesitate to file a claim for slanderous denunciation.

Beyond the nightmare that Rooster made me live these past 17 months – I have already expressed myself on the psychological consequences of his campaign of harassment – I am deeply shocked by the way Rooster misuses the #MeToo movement to satisfy his desires for personal revenge. 

Women have been fighting for years for victims of sexual assault to be heard, without being systematically discredited. This new, fragile context, which helps freeing a speech as sincere as it is painful, is based on the fact that the testimonies of victims are accepted without questioning. #MeToo is to believe without hesitation a person who expresses their pain of being assaulted. It is a useful and positive step when the victims are motivated by nothing but a thirst for justice. 

I participated in the #MeToo movement in the fall of 2017, speaking on social networks for the first time of sexual assault that happened to me when I was between 11 and my 21 yo. I understand the feeling of injustice, and the need to be heard. #MeToo has been an important moment in my life. On the other hand, that this dynamic turns against me, I did not see it coming. For me, the backlash has been almost instantaneous.

When Rooster used the hashtags #MeToo, #TimesUp, it was to propagate opportunistically some terrible lies. They used MeToo for personal revenge against me. Associated with the hashtag #MeToo, their testimonials have not been questioned, they have been welcomed with sympathy. Rooster has been publicly thanked by festivals for their bravery, and has been invited to participate in roundtables to talk about their experience, to raise awareness about porn performer’s safety on porn shootings. 

Such a cynicism is appalling. #MeToo is not an instrument of revenge, #MeToo is not made to manage a feeling of rejection, frustration, paranoia. #MeToo is not a weapon that someone can turn against a woman who did not want them. Using #MeToo to harm someone is deeply dishonest, it’s opportunistic, and it’s the worst one can do to victims who are fighting for their speech to be not questioned, doubted. 

When a liar takes advantage of #MeToo, and makes false accusations of rape or sexual assault to harm someone, it gives water to the mills of all those who put in doubt the voice of the victims. The very existence of this opportunist speech weakens the word of the real victims. And that is revolting. Stop it.

☛ September 2019, Rooster is indicted for defamation.

Rooster has been indicted for public defamation at the Justice Court in France, for their posts on Medium.

A few days after they was heard by the judge in Paris, they posts videos encouraging cyber harassment against me on Instagram and YouTube…

“If people wanna call out Olympe or call in Olympe – especially if you’re French – please do it! Don’t keep on like putting you know … Use your privilege and do it! (…) She can not sue us all”

Still, this indictment is good news. And here is a useful information, if you happen to be the target of online harassment in France. Cyber harassment raids are punished since August 2018 by Loi Schiappa, a law that punishes more seriously sexual and sexist violences, including those that are committed online.

☛☛☛ TLDR?

After being romantically rejected, the porn actor Rooster makes a series of spiraling and conflicting accusations against their ex lover, the porn director Olympe de G. Rooster accuses her of sexual assault, then rape, on social medias. She shares in all transparence the making-of and uncut images of the film. And files a claim for harassement. Rooster is indicted for defamation in France.