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Betty and Monica are addicted to crack, Monica is homeless when she’s not crashing with friends or sympathetic drivers, and both are entangled in dysfunctional relationships.
“I can feel money,” Betty says, a kind of human divining rod, and yet she spends most of the film desperately searching for just that.
MJ: What was it about the encounter that intrigued you?
AP: There was something about the set of her jaw—she had the strength of someone who had come to grips with a hard life.
When arranging deals over the CB radio, the sex workers would ask the truck drivers, “what color is your house? ” MJ: The film briefly introduces a gay male prostitute offering “massages.” How common are male sex workers on the lot? This begs the question: Why did none of them feature prominently in the film? One of the concerns we had with our lead characters is that selecting them downplays the prevalence of pimps and trafficking in the industry.
AP: We heard a lot of stories, but the only one we met was Jesse. There’s the risk of violence motivated by homophobia. There’s an amazing organization called Truckers Against Trafficking that addresses the issue.
While his claim might sound hyperbolic—or like a canny bit of marketing—it rings true: He logged thousands of miles and hundreds of hours to make the film, braving roach motels, crack highs, and homicidal pimps.
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By the end it was challenging to document rather than participate.
My experience on the project helped me recognize that I would rather be a participant. MJ: Describe the different codes or shorthand that prostitutes use when advertising themselves on CB radios. Most truck drivers refer to the sex workers as “lot lizards.” The girls prefer the term “working girls.” They call the act itself “turning a trick” or “dating.” I find the euphemisms indicative.