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Speaker 1: Good news everyone.

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Speaker 2: I listened to the Black Guy Who Tips podcast because

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Speaker 2: Rod and Karen are hot.

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Speaker 3: Hey, welcome to the Blackouts Podcast. I'm your host, Rod,

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Speaker 3: joined us always by my coast Karen, and we are

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Speaker 3: live on a Tuesday, ready to do some podcasting, very

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Speaker 3: special Tuesday, Tuesday after my birthday. Yes, okay, forty six

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Speaker 3: is officially loading, and we're gonna see where this thing

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Speaker 3: takes us.

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Speaker 4: A thing, I'll give it a shot.

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Speaker 3: The official weapon of our show is voting cheer. That's

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Speaker 3: right in the unofficial sport bullet ball extreme And I've

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Speaker 3: been looking forward to this show for a long time,

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Speaker 3: or it feels like a long time because we have

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Speaker 3: very special guests. I made her acquaintance on The Karen

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Speaker 3: Hunter Show when she was a guest there, and she

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Speaker 3: was so smart and knowledgeable, and she's talking about something.

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Speaker 4: That we're very nerdy about here. Everyone knows.

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Speaker 3: At the Blackout Tips, we love to do like TV

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Speaker 3: show reviews, yes, especially for like Game of Thrones.

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Speaker 4: We've done The Walking Dead, We've done True Blood.

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Speaker 3: I remember that horrible time for the last two seasons,

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Speaker 3: but we had like such a good time and I said,

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Speaker 3: oh my god, I want to interview on our show,

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Speaker 3: because you're like, this is right up our alley. It's

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Speaker 3: Zuri Prior Grades, MSWM E D. I'm gonna ask what

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Speaker 3: them letters mean.

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Speaker 1: The second, Yes, we love some letters in the front.

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Speaker 2: I told them black people love letters, particular black women

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Speaker 2: in the front of the name or the back of

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Speaker 2: the name. We're gonna have some extra letters somewhere.

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Speaker 3: She is a sag AFTER certified Intimacy Coordinator, sexuality clinician,

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Speaker 3: sex therapists and on set therapist, sexual educator, and sexual

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Speaker 3: cultural competency consultant.

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Speaker 4: Come on through, Come on, that's what them letters mean.

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Speaker 3: I guess it's our girl, Zuri Prior Grades.

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Speaker 4: It is nice to see you again. How you doing.

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Speaker 5: It's so good to see you echoing it on.

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Speaker 3: Oh that's my fault. Hold on, hold on, I got you. No,

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Speaker 3: that's that's the setting that I have to control. Boom,

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Speaker 3: you should not be echoing there you.

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Speaker 5: Go, Okay, sorry, thank you, And it's so good to

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Speaker 5: see you again. Thank you so much for having me.

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Speaker 5: It is a really nice tuesday.

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Speaker 3: Yeah, and so the first thing I have to ask,

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Speaker 3: I think is the thing most people are asking, like,

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Speaker 3: how what is the path to become an intimacy coordinator.

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Speaker 2: And is that because because it was a fairly new position,

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Speaker 2: isn't it not only fairly knew, but newer because before

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Speaker 2: I don't think this was there because I had never

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Speaker 2: heard of it before. Until I heard somebody else was

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Speaker 2: doing it, I was like, I guess in my mind,

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Speaker 2: I assumed that somebody was doing that job.

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Speaker 1: I know that might sound crazy.

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Speaker 2: I assumed that somebody was there for the protection of

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Speaker 2: everybody around in the first place. But apparently people have

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Speaker 2: to push for the protection of the people on set

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Speaker 2: doing these intimate moments.

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Speaker 5: Yes, and unfortunately I think that everybody thought that. So No,

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Speaker 5: it was a blind spot for everyone, And I think

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Speaker 5: overall safety is the responsibility of everybody. But when it

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Speaker 5: comes to scenes of intimacy, to not have anybody who

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Speaker 5: was specifically there to do that job was a problem,

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Speaker 5: and people started to notice it was a problem. You said,

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Speaker 5: Newer probably about twenty eighteen or so, as you know,

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Speaker 5: the Me Too movement twenty seventeen, so we.

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Speaker 6: Kind of came and were birth from that.

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Speaker 5: When you asked about how people go around to getting

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Speaker 5: this job, my pathway is a little bit unconventional. But

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Speaker 5: now they have certifications, they have courses that you can take,

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Speaker 5: and all of those things are done online, so they

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Speaker 5: do some like in person things so you can get

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Speaker 5: like the on set knowledge, but those are few and

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Speaker 5: far in between.

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Speaker 2: Wow, do they have like I know, I sound city,

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Speaker 2: but do they have like certifications? They go, Okay, you

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Speaker 2: must meet these standards, you must pay these tests, you

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Speaker 2: must know these rules before we allow you to even.

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Speaker 1: Attempt to go on anybody's set.

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Speaker 6: Yeah, that's that's what you want.

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Speaker 5: Right So with the newer position we are and I've

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Speaker 5: been called like a gatekeeper, and I think this is

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Speaker 5: one of those times where I'm okay with that because

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Speaker 5: we are looking out for people's safety and these really

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Speaker 5: super vulnerable moments because at right now we are trying

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Speaker 5: to get we're trying to unionize, we're trying to become

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Speaker 5: a part of SAG Like I'm a SAG after a

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Speaker 5: like I'm on their registry, but we don't have any

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Speaker 5: official affiliation. So right now we're trying to be a

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Speaker 5: part of the union, and with that we can have

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Speaker 5: these standards that we can say, okay, if you have

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Speaker 5: not done this that in the third But at this

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Speaker 5: point there's no, really way, real way to back that upright,

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Speaker 5: So people are walking on the set and saying, oh, yeah,

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Speaker 5: I'm doing this, and then productions are getting sued because

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Speaker 5: they didn't do any of the things that they were

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Speaker 5: supposed to do and they are legal elements of our

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Speaker 5: job and they are all these other things.

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Speaker 6: So it's it's a.

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Speaker 5: Little complicated right now, but I'm hoping in the next

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Speaker 5: year gets a little bit less complicated and a little

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Speaker 5: bit more standardized.

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Speaker 3: Now, I do have to ask what is MSW as

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Speaker 3: a like what does that mean? And like, I see

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Speaker 3: MSW med is so obviously if this is a twenty

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Speaker 3: eighteen like kind of twenty nineteen ish invention of a job,

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Speaker 3: what did you go to school for? And are these

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Speaker 3: things that you're able to use from your education into

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Speaker 3: this job or is it like no, this is kind

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Speaker 3: of starting from scratch.

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Speaker 5: A little bit of both. But I my MSW. Both

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Speaker 5: of my degrees are in sexuality. I have two master's

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Speaker 5: degrees and I'm working on my PhD all in.

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Speaker 6: The sex world.

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Speaker 5: So my master's in in my MSW is and master's

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Speaker 5: in social work and it's with a clinical focus on sexuality.

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Speaker 5: So it's a clinical sexuality degree and then my med

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Speaker 5: is an educational sexuality degree, and so that's a I

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Speaker 5: have a master's in education. So that's where the sexologist

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Speaker 5: comes from, is the master's in education. The sex therapist is.

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Speaker 5: I am a sexuality clinician and social worker and therapist.

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Speaker 3: And what were you doing with that before you know,

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Speaker 3: moving into this field.

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Speaker 6: I actually work with kids.

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Speaker 5: I was living in I live in Atlanta now, I

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Speaker 5: was living in Philadelphia, and I worked for an organization

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Speaker 5: that supported hi predominantly HIV positive LGBT youth, huge homeless

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Speaker 5: and marginalized population of thirteen to twenty four. And people

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Speaker 5: are like, you did sex therapy with kids, and I'm like, absolutely, everybody,

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Speaker 5: the second you're born, you have a sexuality, right, it

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Speaker 5: just doesn't Sexuality doesn't necessarily mean you're you know, intercourse,

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Speaker 5: so it means a plethor are different things. And so

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Speaker 5: that was I was a therapist for a nonprofit organization

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Speaker 5: doing that.

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Speaker 3: Yeah, And I think also a couple of things that happened. One,

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Speaker 3: kids do have sex. Many of us had sex before

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Speaker 3: we were eighteen. It's like, it's honestly, I took too long.

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Speaker 3: It was people being like what's the problem, you know

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Speaker 3: what I mean? So I don't know why we pretend

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Speaker 3: like that doesn't happen, like once we start talking about this,

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Speaker 3: but also being educated, learning about yourself, learning about intimacy,

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Speaker 3: learning about sex, that that's not a bad thing to

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Speaker 3: be learning. And especially when we think about stuff like consent,

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Speaker 3: like when we talk about like the me Too movement,

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Speaker 3: how much of that is about people's one either lack

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Speaker 3: of understanding about consent or just willfully taking advantage of

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Speaker 3: people who didn't understand how things work. So learning those

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Speaker 3: things at a young age could be helpful. So I

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Speaker 3: can definitely understand that as a calling, and even though

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Speaker 3: it's not a direct connection, I can kind of see

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Speaker 3: how that could connect to intimacy coordination.

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Speaker 5: Yeah.

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Speaker 2: Oh, and also to piggyback along, Roger was talking about children.

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Speaker 1: Children are curious.

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Speaker 2: About sex, and it's just something that comes to people naturally,

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Speaker 2: and sometimes people forget that children are small people and

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Speaker 2: so any feelings that adults have and any children go

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Speaker 2: through these things might not be on the same level.

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Speaker 2: They might not have set the same knowledge, but they

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Speaker 2: go through these things. And I think that if more

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Speaker 2: children were aware, that would be more comfortable than their bodies.

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Speaker 2: They would be more open about abuse, Like when they're

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Speaker 2: getting abuse, they would actually come out and like say

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Speaker 2: these things are happening, or they would say things. They

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Speaker 2: would be like I don't feel comfortable, I'm not conceding,

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Speaker 2: like so you know, things like that, so that people

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Speaker 2: be aware of things, because a lot of times when

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Speaker 2: you talk to children, particularly when they're smaller, they don't

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Speaker 2: even use biological words of the body. They use like

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Speaker 2: made up words and things like that. And some parents,

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Speaker 2: I've heard some parents gonna know, we ain't use no nicknames, call.

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Speaker 4: It what it is.

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Speaker 2: So when something happens and you're being interviewed or something

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Speaker 2: like that, we can you know, go through that process.

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Speaker 3: Also, there's a lot of miss information out there. And lately,

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Speaker 3: over the last few years there's been a targeting of

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Speaker 3: actual like school knowledge and learning. So I can absolutely

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Speaker 3: see how that's like a great start and cause and

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Speaker 3: and thing to get into. Now, what when you made

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Speaker 3: this transition over what like how did that feel? Because

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Speaker 3: you are you feeling like I'm leaving these kids behind

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Speaker 3: or is this like a well one day I'll come back,

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Speaker 3: or is it like listen these checks kids y'all got

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Speaker 3: to understand, Okay, this charity just the fiber one see

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Speaker 3: like that.

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Speaker 1: A lot of com mus and zeros right.

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Speaker 5: Well, unfortunately for me not there are fewer people in

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Speaker 5: the world who think like us and what you're talking

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Speaker 5: about right now, and far more people who do not

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Speaker 5: understand the value in it.

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Speaker 6: So I actually lost my job. So they but not me.

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Speaker 6: They did away with the.

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Speaker 5: Entire therapy program at the nonprofit that I was working in.

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Speaker 6: They didn't see the benefit in it.

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Speaker 5: They've leaned into the social work side of things, and

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Speaker 5: and but I mean the work that I was doing, yes,

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Speaker 5: and talking about consent and things, but I had most

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Speaker 5: of my most of my kids were sex workers, you know,

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Speaker 5: they were they were engaging in survival sex because they

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Speaker 5: were put out by their parents for.

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Speaker 6: Being queer, being trans or being whatever.

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Speaker 5: And they were so being able to support that and

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Speaker 5: be like, Okay, this is where we are, this is

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Speaker 5: what we're doing, let's do it safely. So and then

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Speaker 5: creating those safe spaces. But apparently therapy is not necessary

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Speaker 5: for those people. So so I actually I lost my

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Speaker 5: job and I moved to Atlanta and I started, uh

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Speaker 5: this random fact, I played roller Derby professionally gre eat years.

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Speaker 3: I was going to ask about that. I saw that

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Speaker 3: in your bio. I was like, I have to add,

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Speaker 3: how do you.

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Speaker 5: Yeah?

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Speaker 6: I love I mean, I loved it.

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Speaker 5: It was It was definitely a moment in my life

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Speaker 5: that I will never forget. And it also led me

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Speaker 5: to this work because a lot of those folks because

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Speaker 5: they were participating in stunts on set, and stunts is

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Speaker 5: a huge segue into intimacy on sets, which is kind

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Speaker 5: of weird because it's all about movement. It's all about

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Speaker 5: so just like you're faking a punch, you know, you're faking,

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Speaker 5: You're faking an orgasm, You're faking the way something looks.

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Speaker 5: It's about tricking cameras, it's about doing choreography. It's about

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Speaker 5: creating repeatable actions where you can make something happen, you know.

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Speaker 5: And so I found the way I found it through that,

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Speaker 5: you know, and meeting people who were in stunts and

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Speaker 5: finding my way onto sets and being like I might

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Speaker 5: not be your stunt person, but I think I can

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Speaker 5: help in this other way, and kind of building into

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Speaker 5: the foundation of what it was at the time. Like

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Speaker 5: that's why I said my route is a little bit

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Speaker 5: unconventional because I didn't do these trainings. I helped make

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Speaker 5: them up. So I was around when we were trying

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Speaker 5: to figure out what is this going to be? And

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Speaker 5: then you also asked about like, so what is that

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Speaker 5: transition when I'm working with actors like I know we

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Speaker 5: talked about this on the Karen Hunter Show, like more chesna.

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Speaker 5: I don't need to teach them how to do the

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Speaker 5: thing right. But I can come from a consent based

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Speaker 5: practice and from a therapeutic lens and say, Okay, how

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Speaker 5: do we create a safe space so we can.

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Speaker 6: Do this work right?

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Speaker 5: You know, what are you bringing to it? What are

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Speaker 5: you bringing to it? Let's let's make something that we

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Speaker 5: can both be proud of.

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Speaker 3: I can imagine that it can be challenging working with

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Speaker 3: people in that area for a couple of reasons.

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Speaker 4: One, you have people that have been.

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Speaker 3: In the game for a long time before this position existed,

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Speaker 3: so of course they think like, nah, this is how

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Speaker 3: we do it. We don't need all of this riga morole,

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Speaker 3: We just gonna go do it. I always feel bad

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Speaker 3: whenever I see an interview with an older star and

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Speaker 3: they're essuwing the intimacy, coordination like they're kind of like

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Speaker 3: shitting on it, where like I saw Jennifer Anderson did

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Speaker 3: this last season of the Morning Show where she's like, Oh,

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Speaker 3: we didn't need we just get in there, we don't

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Speaker 3: need all that, and it's just like it's not like

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Speaker 3: it would hurt, Like it's like, what's so, what's the

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Speaker 3: worst thing.

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Speaker 4: To get y'all agree? You involve the.

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Speaker 3: Intimacy coordinator and you film the scene that and everyone's

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Speaker 3: on the oven up or your freestyle it, and then

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Speaker 3: later on someone's like, I actually thought that was bad,

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Speaker 3: and then right, oh, so that's what de positions for,

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Speaker 3: so I thought that's interesting. And then the second thing

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Speaker 3: is everyone thinks they know how to have sex sex

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Speaker 3: No one wants to hear like the fake sex that

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Speaker 3: we're having on screen is you need to like this

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Speaker 3: is different and you need to.

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Speaker 4: Be good at this in a different way.

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Speaker 3: Right, Because everyone's so confident about both of those, you know,

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Speaker 3: both of those things, I.

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Speaker 2: Think right, And also my thing, I guess, I guess

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Speaker 2: my question is this, when it comes to this, you're

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Speaker 2: dealing with people from all backgrounds, all walks of life,

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Speaker 2: all sexualities, and I know a lot of times a

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Speaker 2: lot of the uncomfortableness comes from like a female perspective.

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Speaker 2: Have you ever had men approach you and me like,

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Speaker 2: I'm uncomfortable with this?

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Speaker 3: I like, how, just real quick, how I have my question?

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Speaker 3: Karen just stole, like, get your questions out of here. I

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Speaker 3: have a different question, but please answer cars.

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Speaker 2: I'm off, Yes, yes, thank you.

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Speaker 6: You all are hilarious.

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Speaker 5: Yes, and I heard what I was hearing that you

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Speaker 5: didn't say, I'm thinking about sexuality. So there are all

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Speaker 5: these different layers, right, So folks who are playing a

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Speaker 5: role where they don't necessarily identify with the sexual orientation

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Speaker 5: they're playing. That might I identify with the gender that

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Speaker 5: they're playing, the gender expression. But in terms of uh

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Speaker 5: to keeping keeping it binary in terms of like males

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Speaker 5: and females or whatever. I think that what is said

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Speaker 5: in private and what said in front of others is

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Speaker 5: extremely different in terms of I have most of the

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Speaker 5: guys come to me, and it ends the dialogue is whatever,

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Speaker 5: whatever they're comfortable with, whatever she's comfortable with, whatever she's

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Speaker 5: comfortable with. And it's like, Okay, when was the last

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Speaker 5: somebody sometimes last time someone.

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Speaker 6: Asked you what you're comfortable with?

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Speaker 4: Right?

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Speaker 5: And that translates from like their actual bedroom onto the stage,

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Speaker 5: and then they end up being in these scenes and

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Speaker 5: because if we don't have those conversations, they end up

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Speaker 5: being the most uncomfortable in the room because you know it,

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Speaker 5: just the balance is crazy. And then you have the

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Speaker 5: women who are like, oh, I'm fine with everything because

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Speaker 5: they're trying to make the guy more comfortable, and it's like, okay,

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Speaker 5: this is why we have these conversations ahead of time

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Speaker 5: that sometimes this going back to what Rod was saying,

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Speaker 5: that people don't want to have because they're like, we've

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Speaker 5: done this a million times, and then we end up

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Speaker 5: in the space and it's like remember that time I

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Speaker 5: called you and I was like, hey, we should talk

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Speaker 5: about this, and you were like I've got it, and

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Speaker 5: I'm like, okay, all right, I'm not gonna push you

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Speaker 5: too hard. But so that answers a little bit of

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Speaker 5: both of your questions. But yeah, there is a level

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Speaker 5: of discomfort, I think from both sides. And I just

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Speaker 5: wish that people are a little bit more honest right

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Speaker 5: inside of the bedroom and in the bedrooms on stage,

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Speaker 5: and if they were, I think all of this would

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Speaker 5: be a lot more safe.

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Speaker 3: Does that lead to you having to kind of on

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Speaker 3: the fly, like, Okay, you didn't neglected the opportunities to

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Speaker 3: prepare for this scene. So now that we're in the scene,

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Speaker 3: because I've worked on TV sets before and like it's

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Speaker 3: I know what it looks like on TV. I know

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Speaker 3: what what that result looks like to people. There are

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Speaker 3: so many cameras, there are so many stage people. There

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Speaker 3: are some there's directors, there's writers, there's there's other actors.

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Speaker 3: There's so much stuff that is happening, lighting, sound. It's

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Speaker 3: not sexy in the way that like it may look sexy,

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Speaker 3: but that's because those people are good at acting and

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Speaker 3: everyone else is good at their job.

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Speaker 4: So are you having these moments.

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Speaker 3: Where there we're rolling, you know, they're like, this is

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Speaker 3: the time we have set for this, the sunlight is

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Speaker 3: going down or whatever.

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Speaker 1: We you we actually five hours ago.

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Speaker 3: And you have to like kind of intimacy coordinate on

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Speaker 3: the fly now because people didn't do the advance.

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Speaker 5: Work one hundred percent of the time. And sometimes it's

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Speaker 5: not because of the actor. Sometimes it's like small production

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Speaker 5: budgets there wasn't time for rehearsal. You're shooting a movie

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Speaker 5: in ten days that by the time the person flies in,

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Speaker 5: they're working every day, you know, so there are lots

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Speaker 5: of reasons why, you know, we might not get the

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Speaker 5: time that we need. And sometimes things don't come up

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Speaker 5: in rehearsal because people are not comfortable. That one rehearsal

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Speaker 5: we get might be that first stage where they're getting

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Speaker 5: to meet each other and be comfortable, and unfortunately, because

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Speaker 5: of time contrage, they're figuring out some other stuff on stage.

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Speaker 5: So I will say, as somebody who is not an

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Speaker 5: actor and doesn't come from this world, one of the

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Speaker 5: things that I did have to learn that I'm not

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Speaker 5: showing a good example of here is my economy of words.

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Speaker 5: So being able to have really quick things to fly

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Speaker 5: in say that are actionable that an actor can digest with,

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Speaker 5: you know, like their actor language right to say, and

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Speaker 5: it's going to have to do with speed, it's gonna

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Speaker 5: have to do with a particular type of movement, or

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Speaker 5: if I don't have the words, which a lot of

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Speaker 5: times I don't, I'll just go and do it and

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Speaker 5: be like yeah, like this and then like like.

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Speaker 3: This, like no, like like this, like the camera's gonna

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Speaker 3: be over here, you need to be exactly here, or

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Speaker 3: it's not gonna look right, you know the other thing.

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Speaker 3: And I thought about this because I think at to

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Speaker 3: me too movement, like I feel or after I guess

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Speaker 3: post me to whatever era we're in, this feels like

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Speaker 3: it's still happening, but it's never gonna not be happening anyway.

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Speaker 3: So in this era now, I feel like there was

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Speaker 3: a period time where there was almost a quote unquote overcorrection,

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Speaker 3: if you know, if that's the word to use with,

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Speaker 3: where a lot of stuff became very like sexless, like

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Speaker 3: it was just like listen, Marvel heroes have twelve pack

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Speaker 3: apps and they take their shirts off, but they do

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Speaker 3: not kiss and they do not have sex.

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Speaker 4: And I think.

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Speaker 3: In a large part like there was you know, kind

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Speaker 3: of a de sexifying of even like the adult risk

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Speaker 3: type of stuff is like go down. But then I

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Speaker 3: feel like it's kind of shifting back now to like

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Speaker 3: people are like, no, it's time to get sex scenes back.

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Speaker 3: It's you know, people, I mean, you still can't help

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Speaker 3: what ratings are people tune in for you? For you

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Speaker 3: so like we'd be into now to be like, well,

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Speaker 3: no one wants to see that. Apparently some people want

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Speaker 3: to see that, yes, And The thing I've been noticed

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Speaker 3: and lately in interviews is a lot of these actors,

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Speaker 3: especially actresses, when they're doing their press runs, they're almost

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Speaker 3: having to be like proactive, like I wanted this scene.

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Speaker 4: Or it was important for my character to be nude.

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Speaker 3: This is very famously in Oppenheimer I Want Florence Pugh,

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Speaker 3: Florence Pugh. It's like every interview she was like, oh no,

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Speaker 3: I wanted the nudity. It was important in this character.

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Speaker 3: It wasn't just that, you know, and so are you

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Speaker 3: feeling like at this point there's like a shift back

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Speaker 3: to I don't know what. I wouldn't even say normal,

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Speaker 3: because I feel like it was crazy back in the day,

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Speaker 3: but like some sort of ship pendulum shifting backwards, back

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Speaker 3: or back towards sex.

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Speaker 5: I think, just from a viewer standpoint, I think there

404
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Speaker 5: is a huge pendulum. I think that like post Me

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Speaker 5: Too movement, You're right, I think that people to go

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Speaker 5: out because they were like, we don't want any we

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Speaker 5: don't want these problems. And then they were like, oh,

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Speaker 5: intacy coordinators. So then they were like, if we're gonna

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Speaker 5: intacy coordinator, we're.

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Speaker 6: Gonna do all the things.

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Speaker 5: But then intimacy coordinators came into hot and they were like, Okay,

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Speaker 5: we are directors and we are we are the sex

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Speaker 5: police and all of this, and I mean, I'm glad

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Speaker 5: I was never that person, but that's what happened. So

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Speaker 5: then so I feel like, so now, not from a

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Speaker 5: viewer perspective, from an inside the production perspective, people are

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Speaker 5: getting out.

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Speaker 6: Of that tiptoe.

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Speaker 5: So I think that like they were, they were really excited.

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Speaker 5: Some people were excited about the idea of intimacy coordinators

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Speaker 5: right and being like Okay, so now I can go

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Speaker 5: back to writing simulated sexual situations and things. And then

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Speaker 5: we got here and they're like, okay, this is not

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Speaker 5: what I thought it was going to be. So and

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Speaker 5: now they're realizing, Okay, this is how we can use

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Speaker 5: this person. This is how this person can help enhance

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Speaker 5: our production as opposed to being there to police it,

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Speaker 5: and this is how things can make it better. So

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Speaker 5: I feel like there is a pendulum and then there's

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Speaker 5: now what do you what is that thing?

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Speaker 6: But yeah, yeah, the balance is balance.

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Speaker 5: The balance is being restored, and I think the balance

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Speaker 5: is being restored in a way where people can move

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Speaker 5: in safety as long as you have the right intimacy

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Speaker 5: coordinator on the project, and you have actors and a

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Speaker 5: production who trusts the process.

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Speaker 1: Yeah.

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00:21:17,000 --> 00:21:21,040
Speaker 2: And with the intimacy coordinator, do they cover like all

439
00:21:21,160 --> 00:21:24,200
Speaker 2: forms of sex, be it like here's a sex scene,

440
00:21:24,280 --> 00:21:26,280
Speaker 2: here's an oral scene, like whatever it is.

441
00:21:26,720 --> 00:21:28,040
Speaker 1: Their job is to be there.

442
00:21:27,920 --> 00:21:32,040
Speaker 2: Anytime is any form of sexual activity.

443
00:21:32,119 --> 00:21:35,320
Speaker 5: Yes, and we I usually say anytime there's any hyper

444
00:21:35,320 --> 00:21:38,480
Speaker 5: sensitive material. And that goes back to my therapy brain,

445
00:21:38,720 --> 00:21:41,399
Speaker 5: like I try to get on projects where there it

446
00:21:41,440 --> 00:21:44,440
Speaker 5: could be anything from sexual assault, and sexual assault might

447
00:21:44,520 --> 00:21:47,600
Speaker 5: not lead to anything, but it is you know, it's

448
00:21:47,680 --> 00:21:50,200
Speaker 5: highly emotionals and things.

449
00:21:50,240 --> 00:21:52,280
Speaker 6: And then you have the other side of that.

450
00:21:52,320 --> 00:21:54,360
Speaker 5: And I've talked a rod about this on Careen Hunter

451
00:21:54,440 --> 00:21:57,720
Speaker 5: show The Righteous Gymsones, which I've been on for three years,

452
00:21:57,760 --> 00:22:00,840
Speaker 5: and they I don't know that I've well, this season

453
00:22:00,840 --> 00:22:04,160
Speaker 5: is the first season I'm really done sex scene.

454
00:22:04,320 --> 00:22:04,520
Speaker 6: You know.

455
00:22:04,560 --> 00:22:09,359
Speaker 5: Everything else has been a baby suckling abreast, you know,

456
00:22:09,600 --> 00:22:13,520
Speaker 5: or somebody mooning somebody, or somebody flashing somebody's peness or

457
00:22:14,680 --> 00:22:16,879
Speaker 5: or what have you. So it runs the gamut of

458
00:22:16,960 --> 00:22:19,560
Speaker 5: anything where you feel like there should be a limited

459
00:22:19,600 --> 00:22:22,920
Speaker 5: number of people in the room. There is there is

460
00:22:23,000 --> 00:22:25,520
Speaker 5: potential exposure and nudity there, or someone is going to

461
00:22:25,560 --> 00:22:28,280
Speaker 5: be put in a really vulnerable and highly sensitive situation.

462
00:22:29,680 --> 00:22:33,320
Speaker 5: We we implement a certain level of protocols that are

463
00:22:33,320 --> 00:22:34,840
Speaker 5: different from regular set.

464
00:22:34,880 --> 00:22:35,840
Speaker 6: It's called the closed set.

465
00:22:35,840 --> 00:22:39,600
Speaker 5: It just means limited number of people, the fewest number

466
00:22:39,640 --> 00:22:42,240
Speaker 5: of people possible to be able to get the shot.

467
00:22:43,640 --> 00:22:46,720
Speaker 6: And also depending on how.

468
00:22:46,520 --> 00:22:50,400
Speaker 5: Deep that goes, we will have a legal document that

469
00:22:50,720 --> 00:22:53,120
Speaker 5: supports that. So that would it's called a nudity writer

470
00:22:53,280 --> 00:22:56,240
Speaker 5: or a simulated sex writer, and I would be in

471
00:22:56,280 --> 00:22:59,080
Speaker 5: the space with that, with the knowledge of what the

472
00:22:59,160 --> 00:23:02,520
Speaker 5: languages in it, make sure that those boundaries are being withheld.

473
00:23:03,000 --> 00:23:05,840
Speaker 3: And you've what what all shows have you worked on?

474
00:23:05,920 --> 00:23:12,399
Speaker 3: Because i mean, obviously I love Righteous Gem styles, but.

475
00:23:11,480 --> 00:23:13,800
Speaker 4: But what what other shows have you worked on too?

476
00:23:16,720 --> 00:23:23,760
Speaker 5: Yeah, I've done a lot of Stars things, p Valley, BMF, Netflix,

477
00:23:24,160 --> 00:23:28,320
Speaker 5: uh Neon, Or's some other things. I'm bad at this

478
00:23:28,520 --> 00:23:33,399
Speaker 5: the piano lesson most recently reasonable doubt, but probably probably

479
00:23:33,400 --> 00:23:35,879
Speaker 5: about forty productions in the last five years.

480
00:23:35,960 --> 00:23:39,240
Speaker 4: So what is what do you find yourself?

481
00:23:39,400 --> 00:23:42,320
Speaker 3: Because I'm assuming each each set is a little different,

482
00:23:43,040 --> 00:23:46,640
Speaker 3: Is there like a different doing like the comedy nudity

483
00:23:47,080 --> 00:23:53,359
Speaker 3: and sexual uh material versus like your dramatic like sexual

484
00:23:53,440 --> 00:23:56,680
Speaker 3: material and stuff. Is there any like difference in how

485
00:23:56,720 --> 00:23:58,840
Speaker 3: you have to coordinate it? And the reason I'm asking

486
00:23:58,880 --> 00:24:01,560
Speaker 3: is because I love right Gemstones. I love that whole

487
00:24:01,600 --> 00:24:08,239
Speaker 3: crew walking goggins, like like, so I'm just imagining just

488
00:24:08,280 --> 00:24:10,800
Speaker 3: from how much I've watched a lot of that must

489
00:24:10,880 --> 00:24:14,879
Speaker 3: be improv and improv must be kind of a like

490
00:24:14,920 --> 00:24:18,199
Speaker 3: a wild card to coordinate because it's like, you know,

491
00:24:18,400 --> 00:24:20,720
Speaker 3: I would assume you go into a scene if if

492
00:24:20,720 --> 00:24:23,400
Speaker 3: someone's gonna pull out a penis or something like, everyone

493
00:24:23,640 --> 00:24:27,280
Speaker 3: does know that hopefully, but at the same time, it

494
00:24:27,720 --> 00:24:29,880
Speaker 3: might not be like a script that like you say

495
00:24:29,880 --> 00:24:32,600
Speaker 3: this line, the penis comes out, then you say this

496
00:24:32,720 --> 00:24:35,160
Speaker 3: line or or however that works out.

497
00:24:35,200 --> 00:24:38,199
Speaker 4: So like, what differences are there in these sets to you?

498
00:24:39,640 --> 00:24:43,120
Speaker 5: Yeah, I mean rather no random penises, so at least

499
00:24:43,119 --> 00:24:46,840
Speaker 5: everybody could know that something is happening. So creating a

500
00:24:46,920 --> 00:24:49,640
Speaker 5: container and that goes for anything from sexual assault where

501
00:24:49,640 --> 00:24:52,240
Speaker 5: there might be screaming me pulling the crew aside during

502
00:24:52,280 --> 00:24:54,439
Speaker 5: our safey MEEDIU and being like, hey, these are the

503
00:24:54,440 --> 00:24:57,800
Speaker 5: auditory things that might be heard in your work today.

504
00:24:58,040 --> 00:25:00,520
Speaker 5: It might be moaning, it might be screaming, it might

505
00:25:00,560 --> 00:25:02,639
Speaker 5: be pain, it might be pleasure, it might be something.

506
00:25:02,720 --> 00:25:07,120
Speaker 5: So equipping people with that knowledge and information, and then

507
00:25:07,480 --> 00:25:09,399
Speaker 5: like on the flip side of that with the silly stuff,

508
00:25:09,440 --> 00:25:12,280
Speaker 5: creating a container where it's like, okay, I know that

509
00:25:12,359 --> 00:25:15,600
Speaker 5: this scene says this, like and also giving especially on

510
00:25:15,600 --> 00:25:18,240
Speaker 5: the right of Gymstones, being like everybody's okay, everything's okay

511
00:25:18,240 --> 00:25:20,880
Speaker 5: because they look at me and they're like, like, I'm

512
00:25:20,920 --> 00:25:24,240
Speaker 5: not hr you know, like it's fine, Like no, I'm

513
00:25:24,280 --> 00:25:27,480
Speaker 5: hearing this conversation, right, you know, I'm I feel like

514
00:25:27,520 --> 00:25:30,040
Speaker 5: I know where you're going with this. That's okay, you know,

515
00:25:30,080 --> 00:25:32,280
Speaker 5: as long as everybody's okay with it, that's okay. Again,

516
00:25:32,440 --> 00:25:35,160
Speaker 5: not the police, just like and so I think one

517
00:25:35,160 --> 00:25:37,439
Speaker 5: of my favorite parts of my job is creating a

518
00:25:37,440 --> 00:25:40,199
Speaker 5: safe space for that creative freedom to flourish, agree and

519
00:25:40,240 --> 00:25:43,239
Speaker 5: making sure that everybody supported in that as long as

520
00:25:43,280 --> 00:25:45,200
Speaker 5: everybody's informed and consents to it.

521
00:25:45,520 --> 00:25:47,720
Speaker 3: Yeah, because I can imagine they look at you like

522
00:25:47,720 --> 00:25:50,760
Speaker 3: the hall monitor and it's and on the show that

523
00:25:50,880 --> 00:25:53,160
Speaker 3: funny that has to be interesting too, because it's like,

524
00:25:53,560 --> 00:25:56,040
Speaker 3: I'm sure there's things you find funny that that like

525
00:25:56,240 --> 00:25:59,359
Speaker 3: you're like Dad's or you see something like that's good jokes,

526
00:25:59,600 --> 00:26:01,640
Speaker 3: but they're kind of like looking over like.

527
00:26:02,880 --> 00:26:05,680
Speaker 6: I walk around the whole time, like do we crossed

528
00:26:05,720 --> 00:26:06,040
Speaker 6: the line?

529
00:26:06,080 --> 00:26:06,600
Speaker 1: I don't know.

530
00:26:07,560 --> 00:26:09,399
Speaker 4: That's honestly how I watch it. I watch it like

531
00:26:09,440 --> 00:26:09,760
Speaker 4: that too.

532
00:26:09,840 --> 00:26:11,600
Speaker 3: I'd be like, oh my god, I can't believe y'all

533
00:26:11,600 --> 00:26:12,160
Speaker 3: still y'all.

534
00:26:13,720 --> 00:26:16,200
Speaker 5: Yeah, but rob more serious stuff, it does get I

535
00:26:16,680 --> 00:26:19,720
Speaker 5: I didn't. I only answered halfy question. I'm sorry, but like, yeah,

536
00:26:19,760 --> 00:26:22,640
Speaker 5: I I do. I if you can't tell already, I'm

537
00:26:22,680 --> 00:26:24,720
Speaker 5: trying to be a little bit lighthearted, but I'm a

538
00:26:24,760 --> 00:26:28,600
Speaker 5: pretty serious person. I'm an academic, my coming from that

539
00:26:28,680 --> 00:26:31,480
Speaker 5: therapy world. My mother was a therapist. I am a

540
00:26:31,520 --> 00:26:34,399
Speaker 5: pretty straight and narrow, like it is what it is,

541
00:26:34,480 --> 00:26:36,160
Speaker 5: kind of person. So when we're dealing with the more

542
00:26:36,200 --> 00:26:39,000
Speaker 5: serious things, I think I have that energy and presence

543
00:26:39,080 --> 00:26:41,040
Speaker 5: enough where people don't people know when to play and

544
00:26:41,080 --> 00:26:44,679
Speaker 5: when not to and and I think that I really

545
00:26:44,840 --> 00:26:47,200
Speaker 5: try to create that container in that space for people

546
00:26:47,200 --> 00:26:50,200
Speaker 5: who are doing something, even if it's something that doesn't

547
00:26:50,200 --> 00:26:52,480
Speaker 5: look hard for someone else. You never know the conversations

548
00:26:52,480 --> 00:26:54,959
Speaker 5: I've had with an actor and how challenging it's going

549
00:26:55,000 --> 00:26:56,280
Speaker 5: to be for them to get through that day, and

550
00:26:56,320 --> 00:26:57,080
Speaker 5: anything I can.

551
00:26:56,920 --> 00:27:01,160
Speaker 6: Do to help that be a little bit easy. I try.

552
00:27:01,359 --> 00:27:04,359
Speaker 2: And when people talk to you, is there like a

553
00:27:05,040 --> 00:27:07,679
Speaker 2: I don't know, just makes it like a confidentiality clause

554
00:27:07,760 --> 00:27:09,680
Speaker 2: or something, because like they're coming to you and it's

555
00:27:09,680 --> 00:27:13,160
Speaker 2: something really intimate, it's specifically designed for you, and your

556
00:27:13,200 --> 00:27:16,280
Speaker 2: position is not might not be designed for anybody else.

557
00:27:16,840 --> 00:27:19,639
Speaker 2: So is it where they can come to you like, Okay,

558
00:27:19,800 --> 00:27:21,480
Speaker 2: this is what's going on, this is how I feel,

559
00:27:21,480 --> 00:27:22,960
Speaker 2: and blah blah blah blah, and it kind of just

560
00:27:23,000 --> 00:27:25,399
Speaker 2: stays there mm hmmm.

561
00:27:25,600 --> 00:27:27,880
Speaker 5: And I think that yes, yes, Karen, And I think

562
00:27:27,920 --> 00:27:31,080
Speaker 5: that that comes from also being a therapist, right, you know,

563
00:27:31,359 --> 00:27:35,840
Speaker 5: like I've started my you know stuff, and so but

564
00:27:35,960 --> 00:27:38,239
Speaker 5: when it comes to production, there are things that I

565
00:27:38,320 --> 00:27:41,560
Speaker 5: have to and I always I would let somebody know that.

566
00:27:41,600 --> 00:27:44,320
Speaker 5: I'm like, this is actually like it's like, okay, are

567
00:27:44,359 --> 00:27:46,359
Speaker 5: you willing to tell a story? That's a question I

568
00:27:46,400 --> 00:27:48,240
Speaker 5: ask a lot because if somebody's like, oh, I'm not

569
00:27:48,280 --> 00:27:50,000
Speaker 5: comfortable with doing that, and it's like, okay, are you

570
00:27:50,040 --> 00:27:52,119
Speaker 5: not comfortable with doing that particular action? Are you not

571
00:27:52,160 --> 00:27:55,440
Speaker 5: comfortable with telling the story? Because that is a conversation.

572
00:27:55,600 --> 00:27:58,680
Speaker 5: That's me going to the writers and being like, this

573
00:27:58,920 --> 00:28:00,800
Speaker 5: may need to be where it's vibe, or this person

574
00:28:00,840 --> 00:28:03,439
Speaker 5: may need to be recast. You know, if that person

575
00:28:03,560 --> 00:28:06,960
Speaker 5: is like, this is a truly boundary, whereas if somebody's like,

576
00:28:07,000 --> 00:28:09,200
Speaker 5: I'm willing to tell that story, but I don't want

577
00:28:09,240 --> 00:28:11,640
Speaker 5: to do that particular thing. And I'll give an example

578
00:28:11,680 --> 00:28:13,520
Speaker 5: of this. I had a scene where there was like

579
00:28:13,520 --> 00:28:18,280
Speaker 5: a BDSM situation and it was about power play and dynamics,

580
00:28:18,320 --> 00:28:20,880
Speaker 5: and somebody was like, it was written in there that

581
00:28:21,000 --> 00:28:24,320
Speaker 5: the actress was to be choked, and that actress came

582
00:28:24,359 --> 00:28:27,399
Speaker 5: to me and they were like, absolutely not. And I

583
00:28:27,520 --> 00:28:29,640
Speaker 5: was like totally fine, And I'm like, and you don't

584
00:28:29,640 --> 00:28:32,040
Speaker 5: need to tell me why whatever they told me why right.

585
00:28:32,320 --> 00:28:34,080
Speaker 5: I ended up getting a lot of information, and that

586
00:28:34,119 --> 00:28:37,159
Speaker 5: does happen a lot. People do disclose a lot with me.

587
00:28:37,560 --> 00:28:43,080
Speaker 5: I don't need to go. What I need to say is, hey,

588
00:28:43,880 --> 00:28:46,840
Speaker 5: I have some offers for you of some other ways

589
00:28:46,840 --> 00:28:50,400
Speaker 5: that we can potentially tell this story, but the choking

590
00:28:50,560 --> 00:28:53,360
Speaker 5: is a boundary for this actress, So hey, can we

591
00:28:53,400 --> 00:28:56,320
Speaker 5: try maybe does this, this or this work for you?

592
00:28:57,440 --> 00:29:00,000
Speaker 5: These are actions that I've talked to the actress about

593
00:29:00,080 --> 00:29:03,640
Speaker 5: they're comfortable with and we think it will hopefully continue

594
00:29:03,640 --> 00:29:05,640
Speaker 5: to tell the story that you want to tell and

595
00:29:05,720 --> 00:29:06,800
Speaker 5: have that negotiation.

596
00:29:07,920 --> 00:29:08,160
Speaker 4: Uh.

597
00:29:08,200 --> 00:29:10,479
Speaker 5: And sometimes that person might come back and be like, no,

598
00:29:10,520 --> 00:29:13,000
Speaker 5: I want it the way I want it, and you

599
00:29:13,120 --> 00:29:13,440
Speaker 5: just hope.

600
00:29:13,800 --> 00:29:16,840
Speaker 3: Let me You know, you're talking about being serious on

601
00:29:16,880 --> 00:29:20,040
Speaker 3: the set, but let me tell you what people appreciate

602
00:29:20,040 --> 00:29:22,800
Speaker 3: when there's a problem, seriousness.

603
00:29:22,400 --> 00:29:24,520
Speaker 1: Like they appreciate that person.

604
00:29:25,120 --> 00:29:28,240
Speaker 3: I'm yeah, well you have an issue and you need

605
00:29:28,280 --> 00:29:30,000
Speaker 3: to come and be like, listen, this needs to be

606
00:29:30,040 --> 00:29:32,640
Speaker 3: communicated with the writing staff, the crew, the director, all

607
00:29:32,680 --> 00:29:33,120
Speaker 3: this stuff.

608
00:29:33,680 --> 00:29:36,480
Speaker 4: I want a serious person. I'm not there for jokes.

609
00:29:36,520 --> 00:29:38,840
Speaker 3: I don't want like, we're not yuck yucking right now,

610
00:29:38,880 --> 00:29:42,080
Speaker 3: because when it's seen, that happens if it's not right

611
00:29:42,320 --> 00:29:44,320
Speaker 3: and we don't know what kind of trauma and stuff

612
00:29:44,400 --> 00:29:45,120
Speaker 3: is going to lead to.

613
00:29:46,240 --> 00:29:49,160
Speaker 4: And I think people this happened, and this happens a.

614
00:29:49,120 --> 00:29:52,240
Speaker 3: Lot around conversations about like, you know, sexual assault, all

615
00:29:52,240 --> 00:29:55,040
Speaker 3: the stuff we're seeing with Diddy and all this type

616
00:29:55,040 --> 00:29:58,120
Speaker 3: of stuff. And I always notice that there's these assumptions

617
00:29:58,280 --> 00:30:01,400
Speaker 3: everyone a lot of people watchn't everyone. A lot of

618
00:30:01,440 --> 00:30:05,320
Speaker 3: people have the assumption that people aren't walking around.

619
00:30:06,000 --> 00:30:07,000
Speaker 4: That are survivors.

620
00:30:07,160 --> 00:30:09,120
Speaker 3: Like it's like, unless that is your story that you're

621
00:30:09,160 --> 00:30:13,880
Speaker 3: just telling everybody every day, then everyone's default is not

622
00:30:14,280 --> 00:30:14,880
Speaker 3: a survivor.

623
00:30:14,880 --> 00:30:16,120
Speaker 4: This shouldn't bother you at all.

624
00:30:16,480 --> 00:30:18,560
Speaker 3: But I feel like in a job like you have,

625
00:30:19,640 --> 00:30:22,680
Speaker 3: clearly you're going to see people that have experienced things,

626
00:30:22,680 --> 00:30:24,480
Speaker 3: whether they want to share it with you or not,

627
00:30:25,400 --> 00:30:27,760
Speaker 3: that may be triggered by the scene, may be triggered

628
00:30:27,800 --> 00:30:29,840
Speaker 3: by writing, may be triggered by whatever.

629
00:30:31,640 --> 00:30:33,320
Speaker 4: Are you having to deal with that too?

630
00:30:33,400 --> 00:30:37,240
Speaker 3: Where like you know, the the it's like a surprise

631
00:30:37,360 --> 00:30:40,080
Speaker 3: almost like or there's people that maybe I thought I

632
00:30:40,120 --> 00:30:42,560
Speaker 3: could do this scene, but now I'm doing it, I

633
00:30:42,680 --> 00:30:46,520
Speaker 3: can't for whatever reason there's a block or what like.

634
00:30:46,520 --> 00:30:48,080
Speaker 4: Are you experiencing that as well?

635
00:30:50,240 --> 00:30:52,000
Speaker 6: Yes, And that's what I'm happy that it's me.

636
00:30:53,040 --> 00:30:55,720
Speaker 5: You know, as a as a cinician, as a therapist,

637
00:30:55,760 --> 00:30:59,320
Speaker 5: I have had people bursting the tears on set. I've

638
00:30:59,320 --> 00:31:02,800
Speaker 5: had people off I've had I've been prepared for it

639
00:31:02,880 --> 00:31:06,479
Speaker 5: at times, you know, like we've had conversations be like Okay,

640
00:31:07,320 --> 00:31:09,440
Speaker 5: if you're not saying no, I'm not going to say no.

641
00:31:09,480 --> 00:31:11,880
Speaker 6: For you, right, you know, you want to move forward

642
00:31:11,960 --> 00:31:12,640
Speaker 6: with this work.

643
00:31:12,840 --> 00:31:15,680
Speaker 5: These are the things that may result that if you

644
00:31:15,720 --> 00:31:18,120
Speaker 5: want to move forward in this way, these are things

645
00:31:18,160 --> 00:31:20,640
Speaker 5: that might happen. You know, if they happen, how do

646
00:31:20,680 --> 00:31:22,560
Speaker 5: you want me to handle this? You know, how do

647
00:31:22,600 --> 00:31:25,280
Speaker 5: you want me to move in the space? And so

648
00:31:25,320 --> 00:31:27,240
Speaker 5: we can kind of make an action plan if something

649
00:31:27,280 --> 00:31:30,320
Speaker 5: comes up a lot of times, especially.

650
00:31:30,000 --> 00:31:32,240
Speaker 6: If I'm coming in and I'm popping into a set.

651
00:31:32,480 --> 00:31:34,680
Speaker 5: For a day because something has come up, I don't

652
00:31:34,720 --> 00:31:36,880
Speaker 5: know this actor, they don't have a reason. They might

653
00:31:36,880 --> 00:31:38,440
Speaker 5: trust me a little bit, but then I don't have to.

654
00:31:38,480 --> 00:31:39,480
Speaker 5: I don't know their story.

655
00:31:40,080 --> 00:31:42,520
Speaker 6: And then next thing you know, we're in a situation

656
00:31:42,600 --> 00:31:43,680
Speaker 6: where we're in like.

657
00:31:43,680 --> 00:31:47,400
Speaker 5: Triage, if that makes sense, to try to to try

658
00:31:47,400 --> 00:31:49,479
Speaker 5: to figure things out. And sometimes that person can come

659
00:31:49,520 --> 00:31:51,360
Speaker 5: back to that scene, and sometimes they can't.

660
00:31:53,080 --> 00:31:55,200
Speaker 6: So it just depends. But yes, that has that does

661
00:31:55,400 --> 00:31:56,160
Speaker 6: happen quite a bit.

662
00:31:56,200 --> 00:31:58,880
Speaker 5: And I've also, I think I mentioned this before, I've

663
00:31:58,920 --> 00:32:01,880
Speaker 5: had people try to use whose scenes that they're in

664
00:32:02,040 --> 00:32:05,760
Speaker 5: as shadow work, which I zero out of ten do

665
00:32:05,840 --> 00:32:09,000
Speaker 5: not recommend, Like if they've had a trauma or an

666
00:32:09,040 --> 00:32:11,400
Speaker 5: assault or some kind of well, I won't even say assault.

667
00:32:11,400 --> 00:32:13,680
Speaker 5: If they've had some form of trauma that's a link

668
00:32:13,760 --> 00:32:17,840
Speaker 5: to something in a scene, and they are now using

669
00:32:17,920 --> 00:32:21,080
Speaker 5: the scene to take back that power and control that

670
00:32:21,120 --> 00:32:26,240
Speaker 5: they didn't have during that traumatic situation. So now through

671
00:32:26,320 --> 00:32:30,920
Speaker 5: it as their opportunity to do shadow work with themselves,

672
00:32:30,920 --> 00:32:34,040
Speaker 5: to be like, Okay, yes, this story was told without

673
00:32:34,040 --> 00:32:36,800
Speaker 5: my consent at one point in time, but I'm gonna

674
00:32:36,840 --> 00:32:37,760
Speaker 5: tell it my way.

675
00:32:37,560 --> 00:32:40,520
Speaker 6: This time, and it is not it is. I've never

676
00:32:40,560 --> 00:32:42,280
Speaker 6: seen that workout too, oh for anyone.

677
00:32:42,600 --> 00:32:46,760
Speaker 3: Yeah, man, that's so interesting because I guess it's some

678
00:32:46,800 --> 00:32:52,280
Speaker 3: trial by fire stuff, but clearly you know you'd want

679
00:32:52,280 --> 00:32:54,640
Speaker 3: to loop somebody in on that just in case that

680
00:32:54,680 --> 00:32:57,280
Speaker 3: doesn't go right, you know, like just like if you

681
00:32:57,360 --> 00:33:00,120
Speaker 3: see me break down, just know that something's going going

682
00:33:00,200 --> 00:33:03,280
Speaker 3: on as opposed to like having that. And then it's

683
00:33:03,280 --> 00:33:06,600
Speaker 3: so interesting too because actors, you have to like harness

684
00:33:07,040 --> 00:33:09,440
Speaker 3: the a lot of times, you have to harness stuff

685
00:33:09,480 --> 00:33:12,080
Speaker 3: from your real life to play these characters and get

686
00:33:12,080 --> 00:33:14,520
Speaker 3: in these roles and get in these moments. So you're

687
00:33:14,560 --> 00:33:18,560
Speaker 3: playing with your real emotions even as you're faate doing

688
00:33:18,560 --> 00:33:19,040
Speaker 3: a scene.

689
00:33:19,120 --> 00:33:22,240
Speaker 4: So I can definitely see how that would happen. Is

690
00:33:22,280 --> 00:33:22,760
Speaker 4: it all?

691
00:33:23,000 --> 00:33:28,480
Speaker 3: So? Is it always sex. The intimacy coordination is it conversation?

692
00:33:28,760 --> 00:33:31,040
Speaker 3: Like if there's a script where like there's a there's

693
00:33:31,080 --> 00:33:33,680
Speaker 3: an argument and the argument is about sex, but there's

694
00:33:33,720 --> 00:33:36,400
Speaker 3: not going to be an actual sex scene in it.

695
00:33:36,440 --> 00:33:39,160
Speaker 3: Is that something that they look at you toward for

696
00:33:39,520 --> 00:33:41,680
Speaker 3: or is that not 's something they go Now, that's

697
00:33:41,720 --> 00:33:42,440
Speaker 3: not your purview.

698
00:33:44,880 --> 00:33:49,200
Speaker 6: It depends on the production, and yeah, it depends.

699
00:33:49,600 --> 00:33:51,600
Speaker 5: Like a lot of times, if I have the opportunity

700
00:33:51,680 --> 00:33:55,160
Speaker 5: to be on the entire run of a show or

701
00:33:55,360 --> 00:33:57,240
Speaker 5: through it for an entire movie, and I'm not just

702
00:33:57,280 --> 00:33:59,720
Speaker 5: being brought in for one day or something like that,

703
00:34:00,000 --> 00:34:03,240
Speaker 5: I read the whole script and I'll flag everything. So

704
00:34:03,280 --> 00:34:05,960
Speaker 5: I'll flag everything that I think that I could provide

705
00:34:05,960 --> 00:34:10,000
Speaker 5: any kind of support in and just give them the

706
00:34:10,000 --> 00:34:12,440
Speaker 5: opportunity to be like, no, that's not that's not for you,

707
00:34:12,520 --> 00:34:14,920
Speaker 5: but I that has worked out in My favorite piano

708
00:34:14,960 --> 00:34:17,920
Speaker 5: lesson is one of them. I was the intimacy coordinator

709
00:34:17,920 --> 00:34:20,080
Speaker 5: there and then I was hired by Netflix to come

710
00:34:20,120 --> 00:34:24,560
Speaker 5: in as a sensitivity consultant. On one day of shooting

711
00:34:24,600 --> 00:34:29,040
Speaker 5: that was and it was around slavery, and.

712
00:34:30,160 --> 00:34:33,279
Speaker 6: Yeah, and then on another day there.

713
00:34:33,239 --> 00:34:35,360
Speaker 5: Were also around slavery, but this was more in the

714
00:34:35,400 --> 00:34:37,200
Speaker 5: capacity I forgot what they put me on the call

715
00:34:37,200 --> 00:34:40,279
Speaker 5: sheet ask, but it was like a set therapist because

716
00:34:41,560 --> 00:34:43,040
Speaker 5: it was slavery and it was a.

717
00:34:42,920 --> 00:34:46,080
Speaker 6: Mother losing a child. And I was so.

718
00:34:45,880 --> 00:34:47,919
Speaker 5: Happy that I was there that day because I think

719
00:34:48,080 --> 00:34:50,120
Speaker 5: like when I was there and I introduced myself and

720
00:34:50,160 --> 00:34:52,000
Speaker 5: people team me around as an intimacy coordinator, and I

721
00:34:52,080 --> 00:34:54,080
Speaker 5: was like, this is the capacity I'm here today, I

722
00:34:54,120 --> 00:34:56,360
Speaker 5: think everybody was like, yeah, yeah, cool, cool cool. I

723
00:34:56,520 --> 00:34:59,280
Speaker 5: passed out so many tissues and gave so many hugs

724
00:34:59,320 --> 00:35:02,320
Speaker 5: that day. People don't you don't know how, like, especially

725
00:35:02,320 --> 00:35:06,000
Speaker 5: when you have an amazing actor like that, entire production

726
00:35:06,120 --> 00:35:08,440
Speaker 5: is going to be phenomenal. These people will take you

727
00:35:08,520 --> 00:35:10,600
Speaker 5: there right, you know, and you don't know how that's

728
00:35:10,640 --> 00:35:11,879
Speaker 5: gonna make you feel right?

729
00:35:12,040 --> 00:35:14,279
Speaker 4: Right? Do you feel like?

730
00:35:14,360 --> 00:35:17,799
Speaker 3: This Is another thing I've noticed too, which I think

731
00:35:17,920 --> 00:35:20,200
Speaker 3: is like kind of dope after the Me Too movement,

732
00:35:20,880 --> 00:35:23,799
Speaker 3: is that there's a lot of adjusting to certain like

733
00:35:23,920 --> 00:35:26,720
Speaker 3: for my example, I go to examples gamer throws, gamer

734
00:35:26,800 --> 00:35:30,520
Speaker 3: throws before like me Too movement, Before, people were very

735
00:35:30,600 --> 00:35:34,920
Speaker 3: vocal about stuff like sex position, which is when a

736
00:35:35,000 --> 00:35:38,600
Speaker 3: character is explaining some boring plot point and the and

737
00:35:38,640 --> 00:35:41,279
Speaker 3: the writers and the and the director, and everybody's like,

738
00:35:41,360 --> 00:35:45,520
Speaker 3: don't nobody care about who did fought the Great War?

739
00:35:45,719 --> 00:35:49,279
Speaker 3: And which king betrayed the other king? They don't know

740
00:35:49,360 --> 00:35:52,000
Speaker 3: what cast or what land. So in order to get

741
00:35:52,040 --> 00:35:54,120
Speaker 3: them to pay attention in the background, we're just gonna

742
00:35:54,120 --> 00:35:57,320
Speaker 3: have two people scissoring and and there and their moaning

743
00:35:57,440 --> 00:35:59,520
Speaker 3: and then the gods giving the monologue. And that's the

744
00:35:59,600 --> 00:36:02,440
Speaker 3: only way we can think of to convey this information.

745
00:36:03,640 --> 00:36:07,880
Speaker 3: And I think, uh, afterwards, there's after a lot of

746
00:36:07,920 --> 00:36:10,800
Speaker 3: criticism and and a lot of like directors and stuff

747
00:36:10,960 --> 00:36:13,440
Speaker 3: doing interviews or they show they truly did not understand,

748
00:36:13,560 --> 00:36:16,640
Speaker 3: like like even the interview wasn't like, oh no, we

749
00:36:16,760 --> 00:36:19,400
Speaker 3: considered these things and we decided to do the scene anyway.

750
00:36:19,440 --> 00:36:21,359
Speaker 4: It's like what people got a problem with that?

751
00:36:21,600 --> 00:36:24,080
Speaker 3: So like so like I feel like that, you know,

752
00:36:24,120 --> 00:36:26,880
Speaker 3: that's the rise of your intimacy coordinators. But also I

753
00:36:27,480 --> 00:36:31,799
Speaker 3: see people like writing differently, Like in the new game

754
00:36:31,800 --> 00:36:36,160
Speaker 3: of r Thorne's House is Dragon, they've replaced almost all

755
00:36:36,320 --> 00:36:41,960
Speaker 3: sexual violence stuff with stuff like women having harowing births

756
00:36:42,280 --> 00:36:45,359
Speaker 3: like like they are they are they have like they

757
00:36:45,360 --> 00:36:49,239
Speaker 3: are saying now like instead of it being you know,

758
00:36:49,320 --> 00:36:53,120
Speaker 3: whatever sexual assault, it is also just as dangerous to

759
00:36:53,120 --> 00:36:56,000
Speaker 3: be a woman in this universe because a woman has

760
00:36:56,040 --> 00:36:56,399
Speaker 3: to have.

761
00:36:56,320 --> 00:36:57,560
Speaker 4: A kid and a man does not.

762
00:36:58,120 --> 00:37:03,560
Speaker 3: And in this medieval eraror style whatever, the maternal health

763
00:37:03,640 --> 00:37:05,560
Speaker 3: rate is bad. It don't matter if you're a queen.

764
00:37:06,239 --> 00:37:09,080
Speaker 3: Every single time you have a child you could die.

765
00:37:09,280 --> 00:37:13,719
Speaker 3: And whether you know, like and just the harrowiness of that.

766
00:37:14,760 --> 00:37:17,680
Speaker 3: Do one do you have to would you have to

767
00:37:17,800 --> 00:37:20,560
Speaker 3: like have an intimacy coordinator for something like that? That's

768
00:37:20,640 --> 00:37:24,439
Speaker 3: like about birth, that's not even like sex as people

769
00:37:24,600 --> 00:37:28,000
Speaker 3: like to think of it. And two do you like

770
00:37:28,640 --> 00:37:31,319
Speaker 3: is that taking food off your plate? If they're like,

771
00:37:31,400 --> 00:37:34,360
Speaker 3: we took the sex out, but we did put the

772
00:37:34,400 --> 00:37:36,040
Speaker 3: birth scene in, but we don't need you to see.

773
00:37:35,880 --> 00:37:42,520
Speaker 5: Still traumatizing, right, And I think that goes back to yes,

774
00:37:42,600 --> 00:37:45,000
Speaker 5: I mean I would prefer to be there a lot

775
00:37:45,000 --> 00:37:47,200
Speaker 5: of times, like if I mean, if production has not

776
00:37:47,280 --> 00:37:49,720
Speaker 5: asked me to be there and I've read that scene

777
00:37:49,760 --> 00:37:51,839
Speaker 5: and I'm like, I'll go to the actor and not

778
00:37:51,880 --> 00:37:54,040
Speaker 5: to have them bully production or anything, right, but to

779
00:37:54,080 --> 00:37:55,880
Speaker 5: be like, hey, how are you feeling about this scene?

780
00:37:56,160 --> 00:37:57,480
Speaker 6: Would you like me to be there?

781
00:37:57,760 --> 00:37:58,160
Speaker 4: Right?

782
00:37:58,719 --> 00:38:01,279
Speaker 5: And a lot of times is not thinking about it.

783
00:38:01,320 --> 00:38:03,400
Speaker 5: If they're thinking about anything, they're thinking about the budget.

784
00:38:03,960 --> 00:38:04,160
Speaker 3: You know.

785
00:38:04,920 --> 00:38:07,480
Speaker 5: Well, depending some people are really genuinely thoughtful. I don't

786
00:38:07,520 --> 00:38:10,799
Speaker 5: want to I don't want to disregard them, but a

787
00:38:10,840 --> 00:38:13,400
Speaker 5: lot of times it is about budget. And if it doesn't,

788
00:38:13,440 --> 00:38:16,520
Speaker 5: like you ask like what is and what isn't intimacy

789
00:38:16,719 --> 00:38:19,480
Speaker 5: if it doesn't check off all those boxes that SAG

790
00:38:19,600 --> 00:38:23,319
Speaker 5: is trying to make the boxes to check, do you

791
00:38:23,520 --> 00:38:27,080
Speaker 5: need that person there? And a lot of times, like

792
00:38:27,120 --> 00:38:31,880
Speaker 5: I've I've had scenes like with younger actors like BMF scenes.

793
00:38:32,040 --> 00:38:33,920
Speaker 5: I can't wait for you guys to see this upcoming season,

794
00:38:34,360 --> 00:38:36,920
Speaker 5: but we have some younger actors who are who are

795
00:38:36,960 --> 00:38:41,520
Speaker 5: engaging in things that if you wrote it based on

796
00:38:41,520 --> 00:38:43,680
Speaker 5: what SAG is trying to make, it would be like, nah,

797
00:38:43,719 --> 00:38:46,920
Speaker 5: that's not really intimacy, Like a kiss is not really intimacy.

798
00:38:46,840 --> 00:38:47,080
Speaker 6: You know.

799
00:38:47,200 --> 00:38:49,480
Speaker 5: But if you have an actor who's who's asking for

800
00:38:49,480 --> 00:38:51,880
Speaker 5: that kind of support, listen to them, right, you know,

801
00:38:52,000 --> 00:38:55,719
Speaker 5: So with the of birth, with abortion, you know, with

802
00:38:55,760 --> 00:38:58,000
Speaker 5: any kind of doctor or anything like I've been I've

803
00:38:58,000 --> 00:39:01,160
Speaker 5: consulted on shows where you have somebody who comes in

804
00:39:01,360 --> 00:39:03,320
Speaker 5: unconscious and maybe has bullet wounds and they have to

805
00:39:03,360 --> 00:39:07,960
Speaker 5: cut off their clothes. You don't necessarily see nudity, especially

806
00:39:07,960 --> 00:39:09,880
Speaker 5: if it's like you know, you're talking about your Foxes,

807
00:39:09,880 --> 00:39:13,240
Speaker 5: your ABC's, your NBCs and things. You're not seeing a boob,

808
00:39:13,600 --> 00:39:16,120
Speaker 5: But you have a person, a whole human that you're

809
00:39:16,160 --> 00:39:19,400
Speaker 5: throwing on a table and then cutting off their clothes

810
00:39:19,480 --> 00:39:21,400
Speaker 5: and putting fake blood all over them, putting them in

811
00:39:21,440 --> 00:39:23,759
Speaker 5: a hospital situation. You never know what that's going to

812
00:39:23,800 --> 00:39:28,759
Speaker 5: bring up for them. So kind of gets into like

813
00:39:28,800 --> 00:39:33,040
Speaker 5: the mental health coordinator, sensitivity person or whatever. But as

814
00:39:33,080 --> 00:39:35,360
Speaker 5: an intimacy coordinator, because of my background, I really do

815
00:39:35,440 --> 00:39:37,400
Speaker 5: try to flag those things.

816
00:39:37,480 --> 00:39:39,960
Speaker 1: Yeah, and you're talking about that. That also makes me

817
00:39:40,080 --> 00:39:41,240
Speaker 1: think of like fights.

818
00:39:41,680 --> 00:39:44,120
Speaker 2: You know, when people are fighting, sometimes they might pull

819
00:39:44,160 --> 00:39:47,920
Speaker 2: off clothes, they might you know, tear clothes when maybe

820
00:39:48,000 --> 00:39:51,200
Speaker 2: breast us showing the buttocks, us showing fight in the

821
00:39:51,280 --> 00:39:52,680
Speaker 2: newe like, oh yeah, fight.

822
00:39:53,360 --> 00:39:56,600
Speaker 3: We're just watching Agatha All Along, which is a comedy

823
00:39:56,760 --> 00:39:59,879
Speaker 3: and it's a Disney show and it's funny. But they're

824
00:40:00,080 --> 00:40:02,680
Speaker 3: and Catherine Hahn in the interview set, she's the one

825
00:40:02,680 --> 00:40:05,040
Speaker 3: who wanted to scene this way. But there's a scene

826
00:40:05,040 --> 00:40:09,200
Speaker 3: where she's just but ass naked. It's covered, you know,

827
00:40:09,280 --> 00:40:12,200
Speaker 3: like you're not seeing anything you like are rated. But

828
00:40:12,360 --> 00:40:16,360
Speaker 3: like she and we've seen this with men in Themorrowl

829
00:40:16,440 --> 00:40:18,360
Speaker 3: universe at the time, Like it's a big thing for

830
00:40:18,480 --> 00:40:21,359
Speaker 3: like these men that get on the steroids and all

831
00:40:21,360 --> 00:40:23,000
Speaker 3: that stuff. So it's like they do the like butt

832
00:40:23,040 --> 00:40:24,439
Speaker 3: shot where you see the guys button.

833
00:40:25,320 --> 00:40:25,920
Speaker 4: But she's the.

834
00:40:25,920 --> 00:40:28,279
Speaker 3: First woman to ever do that in one of these

835
00:40:28,320 --> 00:40:32,839
Speaker 3: superhero roles. But yeah, once again, I can imagine even

836
00:40:32,880 --> 00:40:35,160
Speaker 3: with it being her idea, even with her being behind it,

837
00:40:35,600 --> 00:40:37,360
Speaker 3: be like, Okay, so this is how you're gonna have

838
00:40:37,400 --> 00:40:39,960
Speaker 3: to like handle this on the set. This is how

839
00:40:39,960 --> 00:40:42,040
Speaker 3: it's gonna have to be ended, probably in the script

840
00:40:42,200 --> 00:40:44,720
Speaker 3: so that it doesn't look exploitative, so that it doesn't

841
00:40:44,719 --> 00:40:48,359
Speaker 3: look like you're just doing this out of nowhere. So

842
00:40:48,440 --> 00:40:50,440
Speaker 3: I can imagine all of that stuff, because if you

843
00:40:50,440 --> 00:40:53,480
Speaker 3: have to stunt coordinate like a punch, right, you definitely

844
00:40:53,560 --> 00:40:54,640
Speaker 3: gotta you gotta.

845
00:40:54,440 --> 00:40:55,240
Speaker 4: Think of all that stuff.

846
00:40:55,239 --> 00:40:56,919
Speaker 3: And like I said, I don't think people think about

847
00:40:57,239 --> 00:40:59,200
Speaker 3: it's so many people on the set, a lot of

848
00:40:59,200 --> 00:41:00,279
Speaker 3: people you don't know.

849
00:41:00,280 --> 00:41:02,000
Speaker 4: Any of their stories. No one comes over to your

850
00:41:02,000 --> 00:41:06,320
Speaker 4: cameraman and be like so what's your history with with nudity?

851
00:41:06,520 --> 00:41:09,200
Speaker 3: Like, they're just like, you obviously should film this because

852
00:41:09,200 --> 00:41:11,399
Speaker 3: you hear and you getting paid scales, so don't worry

853
00:41:11,400 --> 00:41:13,760
Speaker 3: about it, right.

854
00:41:14,400 --> 00:41:17,280
Speaker 5: Like, and you said so many different things in that

855
00:41:17,280 --> 00:41:19,799
Speaker 5: that are so relevant and so true and things that

856
00:41:19,800 --> 00:41:21,759
Speaker 5: people don't think about. And I'm thinking, like, the first

857
00:41:21,760 --> 00:41:23,920
Speaker 5: thing that I thought about is, I don't know if

858
00:41:23,920 --> 00:41:26,160
Speaker 5: you remember last season we did a nicked fight in

859
00:41:26,200 --> 00:41:30,040
Speaker 5: the Righteous Gym set. Yes, and that was wild, that's

860
00:41:30,080 --> 00:41:34,480
Speaker 5: probably and it won an award, which is an intimacy

861
00:41:34,480 --> 00:41:38,120
Speaker 5: coordinators don't get awards yet I was gonna categor.

862
00:41:38,160 --> 00:41:42,120
Speaker 2: That's I'm planning it. They go like, you did joke

863
00:41:42,160 --> 00:41:44,000
Speaker 2: sang you kept the people safe.

864
00:41:45,560 --> 00:41:47,480
Speaker 6: Right, And it's like, but we we did do that.

865
00:41:47,520 --> 00:41:49,359
Speaker 5: And the thing that I think about when you're saying that,

866
00:41:49,400 --> 00:41:51,400
Speaker 5: and when you're talking about that movie, there are so

867
00:41:51,440 --> 00:41:53,839
Speaker 5: many people involved. Yes, you've got the camera folks, and

868
00:41:53,840 --> 00:41:55,720
Speaker 5: and you know, the sound and everybody else.

869
00:41:55,920 --> 00:41:59,280
Speaker 6: But each of those people had multiple doubles.

870
00:42:00,440 --> 00:42:03,440
Speaker 5: So if you are writing a scene and that actor

871
00:42:03,600 --> 00:42:06,120
Speaker 5: is consenting to the scene, you now also have to

872
00:42:06,120 --> 00:42:09,319
Speaker 5: find someone that consents to telling that story the way

873
00:42:09,320 --> 00:42:12,000
Speaker 5: that they have agreed to do it. So it's not

874
00:42:12,239 --> 00:42:16,319
Speaker 5: just that actor being nude, it's maybe two three other

875
00:42:16,320 --> 00:42:20,399
Speaker 5: people being naked too, you know, and so being able.

876
00:42:20,440 --> 00:42:22,480
Speaker 5: So that's what when I'm thinking about her and saying that,

877
00:42:22,560 --> 00:42:24,799
Speaker 5: it's like good for you, But I'm like, did you check?

878
00:42:24,800 --> 00:42:28,200
Speaker 5: Because if someone on that level probably has a stunt double, right,

879
00:42:28,239 --> 00:42:30,399
Speaker 5: you know what I mean? Like some people you hire

880
00:42:30,480 --> 00:42:33,520
Speaker 5: random people, and it depends on if it's skiing or

881
00:42:34,080 --> 00:42:36,160
Speaker 5: fighting or whatever, and it's going to be a different person.

882
00:42:36,560 --> 00:42:39,680
Speaker 5: Some people, you know, like Rock, you know, he's got

883
00:42:39,680 --> 00:42:43,160
Speaker 5: his cousin that is his stunt double, you know, and

884
00:42:43,160 --> 00:42:45,600
Speaker 5: and unless it's something really obscure, it's going to be

885
00:42:45,600 --> 00:42:46,080
Speaker 5: his cousin.

886
00:42:46,360 --> 00:42:48,040
Speaker 6: Does his cousin want to walk around nicked? Just because

887
00:42:48,080 --> 00:42:49,560
Speaker 6: the Rock said he was going to? I don't know,

888
00:42:50,560 --> 00:42:53,520
Speaker 6: you know, That's what I was thinking about that, And

889
00:42:53,560 --> 00:42:55,200
Speaker 6: I was like, yo, I don't. That gave me a

890
00:42:55,200 --> 00:42:56,640
Speaker 6: little a little cringe.

891
00:42:56,680 --> 00:42:58,840
Speaker 5: But I mean maybe their person is completely fine with that,

892
00:42:58,880 --> 00:43:00,560
Speaker 5: but I would just hope that people are considering that

893
00:43:00,600 --> 00:43:03,560
Speaker 5: when they're making these decisions that go far beyond them.

894
00:43:03,600 --> 00:43:05,920
Speaker 3: So is this how your brain works all the time?

895
00:43:06,000 --> 00:43:10,040
Speaker 3: Meaning like cause, like you know, I imagine that. It's

896
00:43:10,040 --> 00:43:15,560
Speaker 3: almost like how NBA players they like they watch basketball recreationally,

897
00:43:15,640 --> 00:43:20,200
Speaker 3: but also their professional basketball players consist. So like when

898
00:43:20,239 --> 00:43:24,520
Speaker 3: you see Lebron James going to watch the Las Vegas

899
00:43:24,560 --> 00:43:29,200
Speaker 3: Aces play the Indiana Fever or whatever, and it's women's basketball,

900
00:43:29,800 --> 00:43:32,200
Speaker 3: he's still thinking like, Okay, you gotta get in your

901
00:43:32,200 --> 00:43:33,000
Speaker 3: triple third position.

902
00:43:33,040 --> 00:43:34,880
Speaker 4: Oh, they're not gonna run the back door screen on that.

903
00:43:35,040 --> 00:43:37,360
Speaker 3: See that's just dumb. Okay, down they double team and

904
00:43:37,400 --> 00:43:40,560
Speaker 3: where's the Whe's the cutter? Is it like that for you?

905
00:43:40,640 --> 00:43:43,959
Speaker 3: Like when you're watching like Insecure and they're like, man,

906
00:43:44,120 --> 00:43:47,120
Speaker 3: look at Lawrence and Tasha, what a great scene. But

907
00:43:47,160 --> 00:43:49,920
Speaker 3: you're like, oh, I mean I can see how they

908
00:43:49,920 --> 00:43:51,879
Speaker 3: feel that. You tell you have to block it this

909
00:43:51,920 --> 00:43:53,640
Speaker 3: way and you have to do this, and I hope.

910
00:43:53,440 --> 00:43:55,839
Speaker 4: They got that done. Like are you able to turn

911
00:43:55,880 --> 00:43:56,520
Speaker 4: that off at all?

912
00:43:59,239 --> 00:44:01,080
Speaker 5: I don't think I really ever turn it off, But

913
00:44:01,120 --> 00:44:03,839
Speaker 5: I don't think I look at it in the Lebron way. Yeah,

914
00:44:03,840 --> 00:44:06,040
Speaker 5: I'm critical in things, but I'm also like I'm a

915
00:44:06,320 --> 00:44:08,560
Speaker 5: natural student, Like I've been I don't know how many

916
00:44:08,640 --> 00:44:11,759
Speaker 5: years I've been in school and gone back, and how

917
00:44:11,800 --> 00:44:14,480
Speaker 5: indepth I am and all of that. But when I

918
00:44:14,520 --> 00:44:17,720
Speaker 5: watch things, I look for opportunities like I'm like, oh,

919
00:44:17,760 --> 00:44:19,919
Speaker 5: that was an interesting choice, or like, oh, I wonder

920
00:44:19,920 --> 00:44:21,960
Speaker 5: what modesty garment they use. I wonder what was in

921
00:44:22,000 --> 00:44:24,080
Speaker 5: between them. I wonder if that, Like I wonder if

922
00:44:24,080 --> 00:44:26,200
Speaker 5: that was a real penis. I wonder if this, you know.

923
00:44:26,280 --> 00:44:29,160
Speaker 5: Like so I'm always thinking, I'm always curious, and I'll

924
00:44:29,239 --> 00:44:31,359
Speaker 5: like go back and watch tex scenes over and over

925
00:44:31,400 --> 00:44:34,640
Speaker 5: to try to try to figure out how they did it.

926
00:44:35,880 --> 00:44:37,360
Speaker 6: So, yeah, that's kind of how I look at it.

927
00:44:37,440 --> 00:44:41,120
Speaker 2: Will you talk about modesty garments, There's different types and

928
00:44:41,200 --> 00:44:47,280
Speaker 2: cons mm hmm. Is it any to what body part

929
00:44:47,320 --> 00:44:47,880
Speaker 2: de're covering?

930
00:44:48,000 --> 00:44:50,600
Speaker 1: Is it a thickness to it? I'm you know, because

931
00:44:50,640 --> 00:44:51,279
Speaker 1: I just don't know.

932
00:44:52,960 --> 00:44:53,359
Speaker 4: M hmm.

933
00:44:53,560 --> 00:44:56,640
Speaker 5: So there are modesty barriers and there are modesty garments.

934
00:44:56,840 --> 00:45:00,960
Speaker 5: So are there are barriers in gard? Okay, so one,

935
00:45:01,120 --> 00:45:03,280
Speaker 5: like a garment, you always are going to have something

936
00:45:03,320 --> 00:45:06,680
Speaker 5: that covers your genitals so that no actual set and

937
00:45:06,719 --> 00:45:10,279
Speaker 5: this is I'm just talking about simulated sex. So we're

938
00:45:10,320 --> 00:45:12,319
Speaker 5: always going to have something that's covering the genitals that

939
00:45:12,360 --> 00:45:16,320
Speaker 5: protects both parties from being able to ever touch genitals.

940
00:45:17,160 --> 00:45:20,720
Speaker 5: But depending on the action will depend on what barrier

941
00:45:20,800 --> 00:45:24,800
Speaker 5: you have, So that could be anything from a pillow

942
00:45:26,200 --> 00:45:30,600
Speaker 5: to a yoga ball. Like if you see something that

943
00:45:30,680 --> 00:45:31,960
Speaker 5: is like a new thing that we're doing, is like

944
00:45:31,960 --> 00:45:34,920
Speaker 5: a deflated yoga ball, uh, and you put it in

945
00:45:34,960 --> 00:45:37,600
Speaker 5: between somebody, especially like if somebody's like riding somebody on

946
00:45:37,640 --> 00:45:39,720
Speaker 5: top and they can like bounce on the ball instead

947
00:45:39,760 --> 00:45:40,680
Speaker 5: of bouncing on the person.

948
00:45:42,840 --> 00:45:44,400
Speaker 6: So yeah, and we have I mean, and like I.

949
00:45:44,400 --> 00:45:48,759
Speaker 5: Said, pillows, but I actually borrow a lot from the

950
00:45:48,840 --> 00:45:52,000
Speaker 5: queer community and the like gender affirming things.

951
00:45:52,280 --> 00:45:55,680
Speaker 6: So tuck kits, I use a lot of so.

952
00:45:55,760 --> 00:45:58,920
Speaker 5: Things that in the real world people are using to

953
00:45:59,520 --> 00:46:03,920
Speaker 5: tuck their penises and they're and they're like testes, okay,

954
00:46:04,040 --> 00:46:07,000
Speaker 5: so that they look like the flat I'll actually use

955
00:46:07,120 --> 00:46:11,920
Speaker 5: those on vulvas and vaginas because it will it just

956
00:46:12,080 --> 00:46:15,839
Speaker 5: keeps everything intact. And I can and because they're usually

957
00:46:15,920 --> 00:46:19,160
Speaker 5: a little bit bigger for a penis or for testes,

958
00:46:19,520 --> 00:46:22,760
Speaker 5: I can put a pad in there to help limit friction.

959
00:46:23,320 --> 00:46:25,120
Speaker 6: So I can use like you know, like a breast cup.

960
00:46:25,200 --> 00:46:27,600
Speaker 5: I've taken the things out of bathing suit thing because

961
00:46:27,719 --> 00:46:29,560
Speaker 5: right now we're still making this up, so I have

962
00:46:29,640 --> 00:46:31,120
Speaker 5: some things on the way that I'm trying to come

963
00:46:31,200 --> 00:46:34,680
Speaker 5: up with. But cut up yoga mats, because you can

964
00:46:34,719 --> 00:46:36,680
Speaker 5: take a yoga mat it. You can get one, you know,

965
00:46:36,719 --> 00:46:40,360
Speaker 5: for five bucks, cut it into the shape of someone's body,

966
00:46:40,760 --> 00:46:44,080
Speaker 5: put a sticker over it, tape them in it, all

967
00:46:44,160 --> 00:46:46,680
Speaker 5: kinds of all kinds of things that we use to

968
00:46:47,239 --> 00:46:48,560
Speaker 5: seal and protect people.

969
00:46:48,800 --> 00:46:49,319
Speaker 1: Okay, I see.

970
00:46:49,360 --> 00:46:51,279
Speaker 2: We're just saying yeah, because eventually you want to go

971
00:46:51,320 --> 00:46:53,640
Speaker 2: with this is the equipment that we have. This kind

972
00:46:53,640 --> 00:46:56,879
Speaker 2: of if you're doing this, we know we need this.

973
00:46:56,960 --> 00:46:58,799
Speaker 2: If we're doing this, we know we need this. I'm

974
00:46:58,800 --> 00:46:59,160
Speaker 2: with it.

975
00:46:59,239 --> 00:47:03,799
Speaker 4: You'll not so y'all don't have y'all don't have a

976
00:47:03,960 --> 00:47:04,640
Speaker 4: union yet.

977
00:47:05,160 --> 00:47:10,239
Speaker 3: But is there like a communication between intimacy coordinators, Like

978
00:47:10,280 --> 00:47:12,360
Speaker 3: do y'all have like where you can share.

979
00:47:13,480 --> 00:47:15,640
Speaker 4: Trade secrets or techniques.

980
00:47:15,160 --> 00:47:17,200
Speaker 3: And stuff like that, or is everyone kind of out

981
00:47:17,200 --> 00:47:19,880
Speaker 3: there for themselves.

982
00:47:20,160 --> 00:47:20,359
Speaker 6: Yeah.

983
00:47:20,360 --> 00:47:23,560
Speaker 5: We have a Facebook group that was started I would

984
00:47:23,600 --> 00:47:27,080
Speaker 5: say probably twenty nineteen that now I feel like it's

985
00:47:27,200 --> 00:47:29,600
Speaker 5: very overrun. We've got a lot because we've got people

986
00:47:29,600 --> 00:47:31,200
Speaker 5: in there asking questions and then we've got people in

987
00:47:31,239 --> 00:47:34,840
Speaker 5: there doing the work. So in terms of having a community,

988
00:47:34,920 --> 00:47:39,840
Speaker 5: I have we they're about seven seven or eight of

989
00:47:39,880 --> 00:47:42,800
Speaker 5: us in Atlanta who are certified and who are trained

990
00:47:43,120 --> 00:47:43,840
Speaker 5: doing this work.

991
00:47:43,960 --> 00:47:45,279
Speaker 6: There are a lot of other people saying they are,

992
00:47:45,320 --> 00:47:45,759
Speaker 6: but they're not.

993
00:47:46,000 --> 00:47:48,600
Speaker 5: And we have a text group so when things kind

994
00:47:48,640 --> 00:47:51,120
Speaker 5: of and we were a lot more active in that

995
00:47:51,160 --> 00:47:53,200
Speaker 5: text group at one point. I wish we were a

996
00:47:53,239 --> 00:47:56,120
Speaker 5: little bit more active now because things happen all the time, right,

997
00:47:56,800 --> 00:47:58,600
Speaker 5: Like I had an intimate last week, and it's just

998
00:47:58,680 --> 00:48:01,040
Speaker 5: kind of like I'm a department of one, you know,

999
00:48:01,239 --> 00:48:03,239
Speaker 5: and I'm sitting there and I'm like, I think that

1000
00:48:03,360 --> 00:48:06,360
Speaker 5: this should be happening differently, and I have no idea

1001
00:48:07,080 --> 00:48:08,440
Speaker 5: who to talk to you about it, And it does

1002
00:48:08,480 --> 00:48:12,040
Speaker 5: get really lonely, and it does get really concerning when

1003
00:48:12,560 --> 00:48:16,080
Speaker 5: the stakes are so high. And I think that when

1004
00:48:16,120 --> 00:48:18,799
Speaker 5: we do unionize, well, I'm hoping that there will be

1005
00:48:18,960 --> 00:48:23,160
Speaker 5: more lines of communication and things, because it is it

1006
00:48:23,239 --> 00:48:25,879
Speaker 5: is really challenging to do this work and do.

1007
00:48:25,800 --> 00:48:28,600
Speaker 3: This work, yeah working and I would just worked on

1008
00:48:28,640 --> 00:48:31,080
Speaker 3: a talk show, like a late night TV show. So

1009
00:48:31,120 --> 00:48:34,400
Speaker 3: it wasn't like we filmed stuff, but it wasn't anything

1010
00:48:34,480 --> 00:48:37,600
Speaker 3: that was like risky or whatever. But what I learned

1011
00:48:37,640 --> 00:48:39,640
Speaker 3: from that is just how much a set is just

1012
00:48:39,760 --> 00:48:45,320
Speaker 3: a living, breathing like thing, like a body, and everyone

1013
00:48:45,440 --> 00:48:48,719
Speaker 3: is an organ in that body, and everyone has like

1014
00:48:48,760 --> 00:48:52,440
Speaker 3: an important job to be everyone to you need to

1015
00:48:52,440 --> 00:48:54,040
Speaker 3: have a lever that you could pull a plug on

1016
00:48:54,080 --> 00:48:56,359
Speaker 3: something and be like who WHOAOA, we gotta make sure

1017
00:48:56,520 --> 00:48:57,040
Speaker 3: this is right.

1018
00:48:57,120 --> 00:48:57,319
Speaker 4: You know.

1019
00:48:57,400 --> 00:49:00,040
Speaker 3: I was a writer, and so sometimes I would go

1020
00:49:00,120 --> 00:49:03,360
Speaker 3: out we would do these like man on the Street interviews,

1021
00:49:03,960 --> 00:49:06,799
Speaker 3: and we wrote questions all day. But sometimes stuff just

1022
00:49:06,840 --> 00:49:09,480
Speaker 3: hems up on the fly or so and you just

1023
00:49:09,680 --> 00:49:11,160
Speaker 3: to be like, who WHOA, go back.

1024
00:49:11,239 --> 00:49:11,839
Speaker 4: And do this.

1025
00:49:12,040 --> 00:49:14,680
Speaker 3: He's gonna say this, you say that, Let's give that

1026
00:49:14,719 --> 00:49:18,239
Speaker 3: a shot, right. I'm imagining the same thing with like,

1027
00:49:19,600 --> 00:49:23,520
Speaker 3: of course writers are unionized, so and there's like it's

1028
00:49:23,600 --> 00:49:27,200
Speaker 3: kind of written into the flow chart that if something's

1029
00:49:27,280 --> 00:49:29,359
Speaker 3: bad enough or good enough whatever, we as writers can

1030
00:49:29,360 --> 00:49:32,279
Speaker 3: be like, hey, hold on, we need to talk about this, right.

1031
00:49:33,440 --> 00:49:37,799
Speaker 3: I imagine with it not being unionized, it's like are you

1032
00:49:38,680 --> 00:49:43,000
Speaker 3: having differences on different sets where like sometimes they're like, Zuri,

1033
00:49:43,520 --> 00:49:44,680
Speaker 3: what should we do?

1034
00:49:44,719 --> 00:49:47,600
Speaker 4: And then sometimes they're just kind of like, oh, you comes, Zuri.

1035
00:49:47,680 --> 00:49:49,080
Speaker 4: I hope she don't say nothing, you.

1036
00:49:49,040 --> 00:49:54,160
Speaker 5: Know, yeah, absolutely, and yeah, and it is kind of lonely,

1037
00:49:54,280 --> 00:49:56,399
Speaker 5: and it's also kind of weird because like what you're

1038
00:49:56,400 --> 00:49:58,360
Speaker 5: saying with the union that protects writers, and you're like

1039
00:49:58,400 --> 00:50:00,560
Speaker 5: watching something and you're looking at your script, looking up, You're

1040
00:50:00,560 --> 00:50:00,960
Speaker 5: looking up.

1041
00:50:00,960 --> 00:50:03,000
Speaker 6: You're like, no, we've gotten too far away from that,

1042
00:50:03,320 --> 00:50:04,200
Speaker 6: let's run it back.

1043
00:50:04,640 --> 00:50:08,200
Speaker 5: So I mean, I do similar things, but because we're

1044
00:50:08,200 --> 00:50:12,960
Speaker 5: not unionized, and because we're in a safety role on set, we.

1045
00:50:12,840 --> 00:50:15,759
Speaker 6: Have a lot of power that is unchecked.

1046
00:50:15,760 --> 00:50:17,600
Speaker 5: And that's kind of what I touched on earlier and

1047
00:50:17,640 --> 00:50:19,120
Speaker 5: being like, it has to be the right type of

1048
00:50:19,120 --> 00:50:23,040
Speaker 5: intimacy coordinator because I've heard I've replaced so many intimacy

1049
00:50:23,040 --> 00:50:25,560
Speaker 5: coordinators on sets who come in and be like and

1050
00:50:25,640 --> 00:50:27,200
Speaker 5: been like, this is how we're going to do things,

1051
00:50:27,239 --> 00:50:30,960
Speaker 5: and and they're in violation of the DJA, but they

1052
00:50:31,000 --> 00:50:32,640
Speaker 5: aren't because are they a real role.

1053
00:50:32,719 --> 00:50:33,960
Speaker 6: Like it's it's you.

1054
00:50:33,920 --> 00:50:35,919
Speaker 5: Know, because they're doing too much, they're being too loud,

1055
00:50:35,960 --> 00:50:38,200
Speaker 5: they're taking up too much space, and it's like, it's

1056
00:50:38,760 --> 00:50:41,200
Speaker 5: the best. I think the most important about her about

1057
00:50:41,200 --> 00:50:42,480
Speaker 5: this job is to try to find a way to

1058
00:50:42,480 --> 00:50:46,600
Speaker 5: be seamless. That said, I can shut shit down right

1059
00:50:47,360 --> 00:50:50,640
Speaker 5: so if and that is something that I and I've

1060
00:50:50,920 --> 00:50:51,960
Speaker 5: I've been at that lone.

1061
00:50:51,960 --> 00:50:53,600
Speaker 6: I've never shut anything down.

1062
00:50:53,760 --> 00:50:56,560
Speaker 5: Well, something shut itself down and then I kept it

1063
00:50:56,560 --> 00:50:58,480
Speaker 5: shut down, right, That was That was one thing that

1064
00:50:58,680 --> 00:50:58,960
Speaker 5: we had.

1065
00:50:59,000 --> 00:51:00,560
Speaker 6: I had an actress who left and I was like, no,

1066
00:51:00,680 --> 00:51:02,600
Speaker 6: we're not doing this again. Like they were like, oh, yeah,

1067
00:51:02,600 --> 00:51:04,640
Speaker 6: when did she come. It's like, what are you talking about,

1068
00:51:04,840 --> 00:51:07,600
Speaker 6: She's not coming back. But I also have been at

1069
00:51:07,600 --> 00:51:08,920
Speaker 6: the line where I'm sitting there and I'm like, oh,

1070
00:51:08,960 --> 00:51:11,640
Speaker 6: we got one more time. Yeah, You've got one more time.

1071
00:51:12,000 --> 00:51:14,200
Speaker 5: I'm not gonna have them do this again. You get

1072
00:51:14,239 --> 00:51:17,040
Speaker 5: it this time, or we're done, you know, and and

1073
00:51:17,040 --> 00:51:20,440
Speaker 5: and doing that. But I don't have that same protection,

1074
00:51:20,840 --> 00:51:23,719
Speaker 5: right you know, So so.

1075
00:51:23,640 --> 00:51:26,000
Speaker 3: They could, like they could technically be like, oh, you

1076
00:51:26,040 --> 00:51:28,399
Speaker 3: shut it down, Well we're shutting you down. We'll get

1077
00:51:28,400 --> 00:51:30,399
Speaker 3: somebody else to come in, and then we're gonna get

1078
00:51:30,600 --> 00:51:33,279
Speaker 3: until we find a yes person. We're is gonna keep

1079
00:51:33,320 --> 00:51:35,800
Speaker 3: finding people, which which yeah, that sucks.

1080
00:51:36,600 --> 00:51:39,840
Speaker 5: Yeah, there's a whole yes situation happening right now with

1081
00:51:39,920 --> 00:51:41,400
Speaker 5: the former one of my shows.

1082
00:51:41,680 --> 00:51:43,279
Speaker 6: But uh yeah, I mean, but I could also just

1083
00:51:43,280 --> 00:51:44,239
Speaker 6: pick up just grab my phone.

1084
00:51:44,239 --> 00:51:45,759
Speaker 5: I could pick up the phone and call SAG it

1085
00:51:45,800 --> 00:51:48,719
Speaker 5: doesn't have to be me, right, like I get you know,

1086
00:51:48,800 --> 00:51:51,160
Speaker 5: and I'm very I've gotten very close with the SAG

1087
00:51:51,360 --> 00:51:53,600
Speaker 5: you know, the SAG team around here, and I was

1088
00:51:53,600 --> 00:51:56,800
Speaker 5: just her name is Susan, my SAG person, call Susan, Susan.

1089
00:51:56,920 --> 00:51:58,600
Speaker 6: There's there's some stuff going awry.

1090
00:51:59,400 --> 00:52:03,359
Speaker 5: I'm gonna go, but uh, how long, like how long

1091
00:52:03,400 --> 00:52:04,399
Speaker 5: will it take you to get here?

1092
00:52:04,480 --> 00:52:07,480
Speaker 3: Yeah? Because ultimately your job is there to protect like

1093
00:52:08,000 --> 00:52:11,480
Speaker 3: first low key is protecting everybody, but also to protect

1094
00:52:11,480 --> 00:52:12,640
Speaker 3: these actors and stuff.

1095
00:52:13,760 --> 00:52:15,720
Speaker 4: Which is always funny about safety roles.

1096
00:52:15,600 --> 00:52:17,960
Speaker 3: Right, because people hate it, hate it, hate it until

1097
00:52:18,000 --> 00:52:20,680
Speaker 3: you get into, until you're getting through, tell us some

1098
00:52:20,760 --> 00:52:23,040
Speaker 3: story about your set and now that you got to

1099
00:52:23,120 --> 00:52:25,560
Speaker 3: live with this tarnish and you when you in interviews

1100
00:52:25,880 --> 00:52:26,960
Speaker 3: talking about this and not.

1101
00:52:27,280 --> 00:52:29,719
Speaker 4: The show anymore, until.

1102
00:52:29,480 --> 00:52:33,799
Speaker 1: You wish you would, right, you know.

1103
00:52:35,160 --> 00:52:37,640
Speaker 2: And and when it comes to this stuff, right, just

1104
00:52:37,640 --> 00:52:41,200
Speaker 2: talking about like the move different moving pieces. When it

1105
00:52:41,280 --> 00:52:43,880
Speaker 2: comes to this stuff, what do you do about makeup?

1106
00:52:43,920 --> 00:52:46,239
Speaker 2: Because I know sometimes you have like makeup and things,

1107
00:52:46,239 --> 00:52:48,080
Speaker 2: so you do something make up gets mudge.

1108
00:52:48,520 --> 00:52:50,920
Speaker 1: Now we have to reapply to makeup and things like that.

1109
00:52:51,200 --> 00:52:53,520
Speaker 2: But you have these garments and stuff, on too, Like,

1110
00:52:53,840 --> 00:52:55,880
Speaker 2: how how does that all go together?

1111
00:52:58,520 --> 00:53:01,440
Speaker 6: Yeah, that's a great question. So being a coordinator.

1112
00:53:02,360 --> 00:53:04,719
Speaker 5: One of the reasons why we took that roll on

1113
00:53:04,800 --> 00:53:06,960
Speaker 5: instead of being like a consultant or something like that,

1114
00:53:07,160 --> 00:53:09,000
Speaker 5: is because our one of our main jobs is to

1115
00:53:09,040 --> 00:53:12,880
Speaker 5: coordinate departments. So call it like making sure I have

1116
00:53:12,920 --> 00:53:14,719
Speaker 5: a whole document when I get on a show and

1117
00:53:14,840 --> 00:53:19,320
Speaker 5: it has a column for hair notes, makeup notes, special effects,

1118
00:53:19,480 --> 00:53:22,440
Speaker 5: anything to try to make sure all the apartments departments

1119
00:53:22,480 --> 00:53:25,560
Speaker 5: are aware of what we've discussed and what the choreography

1120
00:53:25,640 --> 00:53:27,400
Speaker 5: is going to be because it might just say in

1121
00:53:27,480 --> 00:53:31,560
Speaker 5: the script and then they have sex that gives that

1122
00:53:31,640 --> 00:53:42,520
Speaker 5: doesn't give any information and to anyone, Internet went out

1123
00:53:43,480 --> 00:53:45,480
Speaker 5: something weird, But yeah, I.

1124
00:53:47,880 --> 00:53:50,239
Speaker 4: Think we got we can hear.

1125
00:53:50,320 --> 00:53:54,400
Speaker 6: But anyway, so like makeup, I'm sorry.

1126
00:53:54,480 --> 00:53:57,000
Speaker 5: Makeup is like, so if it's a kissing scene or

1127
00:53:57,040 --> 00:53:58,640
Speaker 5: if it's a sex scene, I can let them know

1128
00:53:58,760 --> 00:54:00,120
Speaker 5: if there is going to be kissing or their not

1129
00:54:00,160 --> 00:54:02,840
Speaker 5: going to be kissing, so that they can, you know,

1130
00:54:03,000 --> 00:54:04,920
Speaker 5: make sure that in between takes, we definitely need to

1131
00:54:04,960 --> 00:54:07,879
Speaker 5: be reapplying. And if you have a very fair skin

1132
00:54:08,000 --> 00:54:11,440
Speaker 5: actor and a dark skin actor and they're kissing, you're

1133
00:54:11,480 --> 00:54:14,800
Speaker 5: getting makeup transfer everywhere you've got, you know, and so

1134
00:54:14,920 --> 00:54:17,080
Speaker 5: it's not just lips, it's like you're gonna have to

1135
00:54:17,200 --> 00:54:21,520
Speaker 5: re correct this makeup and being able to communicate with

1136
00:54:21,560 --> 00:54:23,359
Speaker 5: wardrobe to be they're going to be the people who

1137
00:54:23,400 --> 00:54:25,319
Speaker 5: are going to provide the modesty garments that are going

1138
00:54:25,400 --> 00:54:28,600
Speaker 5: to be at the request of whatever the scene entails,

1139
00:54:29,560 --> 00:54:32,719
Speaker 5: and also letting them know what is if there's a

1140
00:54:32,760 --> 00:54:35,799
Speaker 5: scene where clothes are coming off, working with them to say, okay,

1141
00:54:35,920 --> 00:54:38,279
Speaker 5: we have two seconds to get these clothes off. Can

1142
00:54:38,400 --> 00:54:41,440
Speaker 5: you make snaps for buttons instead of like we can

1143
00:54:41,520 --> 00:54:43,360
Speaker 5: do the first button, but then can you make the

1144
00:54:43,400 --> 00:54:44,240
Speaker 5: rest of them snaps?

1145
00:54:44,800 --> 00:54:44,960
Speaker 3: You know?

1146
00:54:45,239 --> 00:54:48,280
Speaker 6: Or just different things like that, Or if there's a belt.

1147
00:54:48,680 --> 00:54:51,320
Speaker 5: Belt, especially with people with nails, if you're in a series,

1148
00:54:51,360 --> 00:54:53,600
Speaker 5: a lot of times these folks have press on nails,

1149
00:54:53,920 --> 00:54:56,000
Speaker 5: having makeup on stand by to replace the nails that

1150
00:54:56,080 --> 00:54:59,000
Speaker 5: come off, and then rigging a belt from wardrobe and

1151
00:54:59,040 --> 00:55:01,520
Speaker 5: being like, okay, wardrobe, like this belt is going to

1152
00:55:01,600 --> 00:55:02,080
Speaker 5: have to come off.

1153
00:55:02,160 --> 00:55:05,480
Speaker 6: Can you make it easier for this person to take off?

1154
00:55:05,880 --> 00:55:08,040
Speaker 5: There are all these different pieces that go into these

1155
00:55:08,080 --> 00:55:10,240
Speaker 5: scenes to try to make them a little bit more seamless,

1156
00:55:10,480 --> 00:55:13,239
Speaker 5: and it is me communicating with all these departments to

1157
00:55:13,320 --> 00:55:16,000
Speaker 5: make sure that they're aware of what's going on and

1158
00:55:16,080 --> 00:55:18,919
Speaker 5: seeing if they're willing to collaborate with me to build

1159
00:55:18,960 --> 00:55:21,520
Speaker 5: a plan. Some people, because I wasn't around, they just

1160
00:55:21,600 --> 00:55:22,839
Speaker 5: want to know what the the scene is and they

1161
00:55:22,840 --> 00:55:24,359
Speaker 5: don't want me involved. They're going to figure it out

1162
00:55:24,360 --> 00:55:25,480
Speaker 5: and then they're going to tell me what it is

1163
00:55:25,560 --> 00:55:28,960
Speaker 5: so I can incorporate it into the choreography. But a

1164
00:55:29,080 --> 00:55:32,280
Speaker 5: great team is a group of people who are like, Okay,

1165
00:55:32,880 --> 00:55:36,240
Speaker 5: we understand why you're here. Let's work together and let's build.

1166
00:55:36,080 --> 00:55:37,160
Speaker 6: Something that works for everybody.

1167
00:55:37,440 --> 00:55:39,600
Speaker 4: How long does it take the film a sex scene?

1168
00:55:39,640 --> 00:55:41,800
Speaker 3: Normally like it's I mean, I'm sure it varies, but

1169
00:55:42,360 --> 00:55:44,560
Speaker 3: like obviously on TV it looks like, oh.

1170
00:55:44,480 --> 00:55:47,240
Speaker 4: Man, sixty seconds of sex. That was easy. But I'm

1171
00:55:47,320 --> 00:55:48,560
Speaker 4: guessing it's clearly not that.

1172
00:55:48,760 --> 00:55:49,920
Speaker 1: Lotsa probably.

1173
00:55:50,120 --> 00:55:52,960
Speaker 6: Yeah, I've been in a sex scene for eight hours.

1174
00:55:54,160 --> 00:55:58,279
Speaker 4: Wow, Oh my god, Oh my god, that's I have been.

1175
00:55:59,160 --> 00:56:01,600
Speaker 6: I mean the worst.

1176
00:56:01,960 --> 00:56:04,360
Speaker 5: I mean, it's the worst ever to ask that of

1177
00:56:04,400 --> 00:56:08,200
Speaker 5: your actors, to ask that of anybody. It is completely

1178
00:56:08,440 --> 00:56:11,720
Speaker 5: to me irresponsible, and it's happened, and I've had it happen?

1179
00:56:11,960 --> 00:56:14,640
Speaker 5: And I mean that's when I'm saying sometimes these scenes

1180
00:56:14,719 --> 00:56:16,960
Speaker 5: like that naked fight took all day, but that was

1181
00:56:17,640 --> 00:56:19,719
Speaker 5: a lot. There are a lot of movie pieces in

1182
00:56:19,760 --> 00:56:22,200
Speaker 5: that we have people going through tables, running into the lawn,

1183
00:56:22,480 --> 00:56:23,719
Speaker 5: like there are all these things.

1184
00:56:23,880 --> 00:56:25,800
Speaker 6: That makes sense that it's going to take hours. You

1185
00:56:25,880 --> 00:56:26,799
Speaker 6: know it's going to take a day.

1186
00:56:27,280 --> 00:56:30,440
Speaker 5: But a scene with just two people in a bedroom

1187
00:56:30,600 --> 00:56:33,319
Speaker 5: because you want to see very specific things. That's one

1188
00:56:33,360 --> 00:56:34,759
Speaker 5: of the scenes where I was sitting there and I'm like,

1189
00:56:34,800 --> 00:56:35,640
Speaker 5: you got one more time?

1190
00:56:35,960 --> 00:56:37,239
Speaker 4: Oh my god, eight hours.

1191
00:56:37,680 --> 00:56:39,560
Speaker 6: It's not here to ask that of anyone.

1192
00:56:39,760 --> 00:56:41,000
Speaker 4: Yeah, that's that's some acting.

1193
00:56:41,080 --> 00:56:43,319
Speaker 3: By the way, if you can still act like you're

1194
00:56:43,640 --> 00:56:46,840
Speaker 3: you're all horned up eight hours later, you a good actor.

1195
00:56:46,880 --> 00:56:50,000
Speaker 3: Because I feel like somewhere around hour two is like,

1196
00:56:50,120 --> 00:56:54,680
Speaker 3: hey man, listen, Okay, no one wants to have sex anymore.

1197
00:56:54,960 --> 00:56:56,839
Speaker 1: You know what what you say has made complete sense.

1198
00:56:56,880 --> 00:56:59,440
Speaker 2: I remember Laurence Fishburne was talking about when he was

1199
00:56:59,480 --> 00:57:01,200
Speaker 2: doing All Things, What's love got to do with It?

1200
00:57:01,280 --> 00:57:04,920
Speaker 2: With Angela Baskett, and he was saying she was much younger.

1201
00:57:05,000 --> 00:57:07,279
Speaker 2: He was saying, but one seen it because he had

1202
00:57:07,560 --> 00:57:09,160
Speaker 2: been acting for a long time. He said they was

1203
00:57:09,200 --> 00:57:10,960
Speaker 2: taking too long. He was like, y'all got one more time,

1204
00:57:11,040 --> 00:57:14,000
Speaker 2: and we're not doing this Nobo. I was like when

1205
00:57:14,040 --> 00:57:15,560
Speaker 2: you said, I was like, yeah, that makes sense. He

1206
00:57:15,680 --> 00:57:17,360
Speaker 2: was like, We're not going to do this anymore. You're

1207
00:57:17,400 --> 00:57:18,080
Speaker 2: taking too long.

1208
00:57:18,280 --> 00:57:20,080
Speaker 1: You better wrap this up.

1209
00:57:20,960 --> 00:57:22,960
Speaker 3: I have a couple more questions and then we're going

1210
00:57:23,000 --> 00:57:25,040
Speaker 3: to wrap this up as well. We're not going to

1211
00:57:25,080 --> 00:57:29,080
Speaker 3: do an eight hour podcast. Do you have like a

1212
00:57:29,240 --> 00:57:32,400
Speaker 3: dream project, Like, is there anything like you're looking at

1213
00:57:32,480 --> 00:57:34,000
Speaker 3: me like this is what I would like.

1214
00:57:34,040 --> 00:57:34,400
Speaker 4: To work on?

1215
00:57:34,560 --> 00:57:43,960
Speaker 6: Yes, I yes, I think that I always wanted to.

1216
00:57:44,040 --> 00:57:47,120
Speaker 5: I've always wanted to work with Easter, and I think

1217
00:57:47,160 --> 00:57:49,160
Speaker 5: that's just because we're about the same age. I think

1218
00:57:49,240 --> 00:57:52,400
Speaker 5: that when I started getting really passionate about TV and

1219
00:57:52,560 --> 00:57:54,919
Speaker 5: watching it from a different lens, like she was doing

1220
00:57:54,960 --> 00:57:55,240
Speaker 5: her thing.

1221
00:57:55,360 --> 00:57:57,600
Speaker 6: So I just feel some kind of like kindred energy there.

1222
00:57:58,360 --> 00:58:00,600
Speaker 5: I'd also really love to do like a Jordan Peel

1223
00:58:00,640 --> 00:58:04,840
Speaker 5: thriller situation, like I'm also the only people I've ever

1224
00:58:04,920 --> 00:58:08,400
Speaker 5: name for black people because I'm like, really, my biggest

1225
00:58:08,480 --> 00:58:11,680
Speaker 5: thing in this world is to make sure that black

1226
00:58:11,760 --> 00:58:15,120
Speaker 5: people have the support that I feel like they need.

1227
00:58:15,200 --> 00:58:17,640
Speaker 5: On sets, and ninety nine percent of the people doing

1228
00:58:17,680 --> 00:58:20,760
Speaker 5: this work are white women. So if I can put

1229
00:58:20,800 --> 00:58:25,240
Speaker 5: myself in the like rap shit white person, like anything's

1230
00:58:25,280 --> 00:58:28,040
Speaker 5: the way, lean Away Jordan, all of that white people.

1231
00:58:28,520 --> 00:58:30,480
Speaker 5: So I really want to put myself in a position

1232
00:58:30,600 --> 00:58:32,919
Speaker 5: where I can because I hear I've work just because

1233
00:58:32,960 --> 00:58:35,720
Speaker 5: I wasn't working with these actors on those projects. I've

1234
00:58:35,800 --> 00:58:37,640
Speaker 5: worked with them and they're like they wish that it

1235
00:58:37,800 --> 00:58:38,960
Speaker 5: was someone who looked like them.

1236
00:58:39,040 --> 00:58:40,680
Speaker 6: It would help them feel more comfortable.

1237
00:58:42,280 --> 00:58:44,040
Speaker 5: So yeah, I think that, like I would love to

1238
00:58:44,120 --> 00:58:47,800
Speaker 5: do some kind of scary, super scary, some kind of

1239
00:58:48,160 --> 00:58:52,040
Speaker 5: sex situation. But yeah, and then leaning more into the

1240
00:58:52,080 --> 00:58:55,880
Speaker 5: mental health side, I think that I really feel like

1241
00:58:55,960 --> 00:58:59,200
Speaker 5: I want to support projects that are extremely emotionally charged and.

1242
00:59:01,960 --> 00:59:03,680
Speaker 6: Could use some mental health support.

1243
00:59:03,840 --> 00:59:08,840
Speaker 3: Black people definitely have different concerns about stuff than a

1244
00:59:08,880 --> 00:59:10,560
Speaker 3: white person may be able to pick up, you know,

1245
00:59:10,720 --> 00:59:15,400
Speaker 3: different stereotypes, different social stigmas, all that type of stuff.

1246
00:59:16,240 --> 00:59:17,360
Speaker 4: The way our bodies look.

1247
00:59:17,440 --> 00:59:21,400
Speaker 3: I won't say the actress, but I definitely remember watching

1248
00:59:21,440 --> 00:59:23,360
Speaker 3: this TV show. I wasn't a sex scene, it was

1249
00:59:23,360 --> 00:59:27,320
Speaker 3: a movie actually, but I was so mad because it

1250
00:59:27,480 --> 00:59:32,240
Speaker 3: was two people laying in bed together like talking, and

1251
00:59:32,640 --> 00:59:36,440
Speaker 3: the black person's legs were ashy, and I was so mad.

1252
00:59:36,680 --> 00:59:39,080
Speaker 4: I was like, this is a movie set.

1253
00:59:39,560 --> 00:59:40,600
Speaker 1: Many people saw this?

1254
00:59:41,880 --> 00:59:47,280
Speaker 3: Who what you don't send? This is unforgivable. They could

1255
00:59:47,280 --> 00:59:49,760
Speaker 3: be a meme right now. They lucky like a lot

1256
00:59:49,800 --> 00:59:51,439
Speaker 3: of people. Not a lot of people saw it because

1257
00:59:51,600 --> 00:59:54,280
Speaker 3: I would have been sharing that, like remember this. So

1258
00:59:54,680 --> 00:59:57,280
Speaker 3: I definitely feel you on that for sure.

1259
00:59:58,160 --> 01:00:00,360
Speaker 5: I asked people, socks are no socks? Like I get

1260
01:00:00,440 --> 01:00:02,360
Speaker 5: into the like the things that I feel like are

1261
01:00:02,400 --> 01:00:04,480
Speaker 5: not going to come up with a white woman like

1262
01:00:04,560 --> 01:00:05,480
Speaker 5: we're getting into it.

1263
01:00:05,520 --> 01:00:08,080
Speaker 6: What do you what do you need? You want music

1264
01:00:08,160 --> 01:00:10,120
Speaker 6: right now? What kind of music? All of those things

1265
01:00:10,160 --> 01:00:11,360
Speaker 6: are going to be very different.

1266
01:00:12,600 --> 01:00:13,560
Speaker 1: Yeah, that's true.

1267
01:00:13,600 --> 01:00:16,120
Speaker 2: Yeah, because when you say socks and no socks, certain shit,

1268
01:00:16,240 --> 01:00:18,200
Speaker 2: certain scenes will be showing bottom of feats.

1269
01:00:18,400 --> 01:00:22,640
Speaker 3: Yeah, it wasn't so like I can matter. I can

1270
01:00:22,720 --> 01:00:26,000
Speaker 3: see someone thinking like this doesn't really matter. It's not

1271
01:00:26,080 --> 01:00:28,280
Speaker 3: even like a sex scene. It's like, I don't know

1272
01:00:28,600 --> 01:00:31,200
Speaker 3: black people look at actually on any scene, it's gonna

1273
01:00:31,200 --> 01:00:31,920
Speaker 3: stick out to us.

1274
01:00:32,120 --> 01:00:34,400
Speaker 4: It might not stick out to you, it will always

1275
01:00:34,440 --> 01:00:35,200
Speaker 4: stick out to us.

1276
01:00:36,240 --> 01:00:39,760
Speaker 3: And does real life stuff that happens, Like does that

1277
01:00:39,880 --> 01:00:41,400
Speaker 3: affect attitudes on set.

1278
01:00:41,480 --> 01:00:44,880
Speaker 4: The stuff come up, like like right now we're seeing

1279
01:00:44,920 --> 01:00:45,760
Speaker 4: this diddy stuff.

1280
01:00:46,000 --> 01:00:50,320
Speaker 3: You're seeing people doing like uh, podcast interviews and stuff

1281
01:00:50,440 --> 01:00:52,720
Speaker 3: down playing it or being you know, acting like it's

1282
01:00:52,760 --> 01:00:53,800
Speaker 3: not a big deal whatever.

1283
01:00:54,480 --> 01:00:55,240
Speaker 4: I'm imagining.

1284
01:00:55,280 --> 01:01:00,959
Speaker 3: These conversations also, especially with it being in entertainment, must

1285
01:01:01,280 --> 01:01:04,360
Speaker 3: either reveal or affect some of the attitudes on these

1286
01:01:04,440 --> 01:01:06,360
Speaker 3: sets around these issues as well.

1287
01:01:07,320 --> 01:01:08,560
Speaker 4: Does is that something you see?

1288
01:01:10,480 --> 01:01:13,760
Speaker 5: I think so, I think like like people may try

1289
01:01:13,800 --> 01:01:16,440
Speaker 5: to make light of things like and it lets you

1290
01:01:16,520 --> 01:01:18,640
Speaker 5: know that they're on their mind, right, especially a lot

1291
01:01:18,680 --> 01:01:20,880
Speaker 5: of my male actors, they'll say something about, well, I

1292
01:01:20,880 --> 01:01:22,520
Speaker 5: don't want to get me too, or I don't want

1293
01:01:22,520 --> 01:01:23,760
Speaker 5: to It's like, that's not funny.

1294
01:01:24,120 --> 01:01:25,320
Speaker 6: But I get where you're saying.

1295
01:01:25,360 --> 01:01:27,600
Speaker 5: I understand why you're saying it, and it's because it's

1296
01:01:27,640 --> 01:01:30,280
Speaker 5: what you're thinking about and you are extremely concerned. And

1297
01:01:30,320 --> 01:01:34,160
Speaker 5: I've had influencers and things who have who've been like,

1298
01:01:34,280 --> 01:01:36,400
Speaker 5: I'm not comfortable with doing this because I know I'm

1299
01:01:36,400 --> 01:01:37,040
Speaker 5: about to become a.

1300
01:01:37,080 --> 01:01:39,200
Speaker 6: Mean I know if I do this, I'm gonna end

1301
01:01:39,280 --> 01:01:39,880
Speaker 6: up on porn Hub.

1302
01:01:40,040 --> 01:01:41,400
Speaker 5: I know if I like or it has to be

1303
01:01:41,440 --> 01:01:43,680
Speaker 5: done in this particular way because of the age of

1304
01:01:43,760 --> 01:01:48,400
Speaker 5: social media and sometimes, like you're saying, with politics and

1305
01:01:48,480 --> 01:01:50,200
Speaker 5: the news and the things that are happening, people are

1306
01:01:50,240 --> 01:01:51,120
Speaker 5: aware of those things.

1307
01:01:52,000 --> 01:01:56,840
Speaker 3: Yeah, So the last thing for aspiring people that want

1308
01:01:56,880 --> 01:02:00,120
Speaker 3: to get into this field, what do you suggest they

1309
01:02:00,200 --> 01:02:03,000
Speaker 3: do if this is something like they want to get

1310
01:02:03,000 --> 01:02:04,520
Speaker 3: into some intimacy coordination.

1311
01:02:07,920 --> 01:02:09,240
Speaker 6: Absolutely, I think that.

1312
01:02:09,880 --> 01:02:13,080
Speaker 5: Well, first I'd say pause, I say, we're really trying

1313
01:02:13,080 --> 01:02:15,760
Speaker 5: to reel back, We're really trying to get a handle

1314
01:02:15,840 --> 01:02:19,240
Speaker 5: on this, and I'd say within the next year that's

1315
01:02:19,280 --> 01:02:22,440
Speaker 5: going to happen, Like we're really like last week we

1316
01:02:23,000 --> 01:02:26,080
Speaker 5: actually had our big meeting with SAG and all of that, Like,

1317
01:02:26,200 --> 01:02:31,000
Speaker 5: these things are happening. But right now, the industry, because

1318
01:02:31,040 --> 01:02:33,720
Speaker 5: we're coming out of two strikes, is very slow. There

1319
01:02:33,880 --> 01:02:37,160
Speaker 5: is not a lot of work and so therefore there's

1320
01:02:37,200 --> 01:02:39,760
Speaker 5: not a lot of opportunities to train people and it's

1321
01:02:39,800 --> 01:02:42,480
Speaker 5: really expensive. So if you want to go and do

1322
01:02:42,600 --> 01:02:45,440
Speaker 5: one of these training programs, it's an investment, and it's

1323
01:02:45,520 --> 01:02:48,960
Speaker 5: investment on purpose because there are so many people trying

1324
01:02:49,000 --> 01:02:52,600
Speaker 5: to get into this work. They want people to really

1325
01:02:52,760 --> 01:02:55,520
Speaker 5: realize the investment that they're making. But it's like they're

1326
01:02:55,560 --> 01:02:58,360
Speaker 5: gonna their levels to it. You can get to a

1327
01:02:58,440 --> 01:03:01,160
Speaker 5: certain level in the training, and then there really isn't

1328
01:03:01,200 --> 01:03:04,280
Speaker 5: a way to complete the final stages of it because

1329
01:03:04,280 --> 01:03:08,160
Speaker 5: their production is just really slow right now. And we're

1330
01:03:08,160 --> 01:03:10,000
Speaker 5: hoping that that picks up. And we're also hoping that

1331
01:03:10,080 --> 01:03:12,000
Speaker 5: by the time it picks up, we'll have a better

1332
01:03:12,080 --> 01:03:13,920
Speaker 5: handle on what it is and we'll be able to

1333
01:03:14,000 --> 01:03:17,680
Speaker 5: get the right people in to on the right productions

1334
01:03:17,840 --> 01:03:21,440
Speaker 5: and have the right alignments, because that's the biggest thing,

1335
01:03:21,600 --> 01:03:24,040
Speaker 5: right Like productions will hire a person because they relate

1336
01:03:24,640 --> 01:03:28,760
Speaker 5: to the producers, but they don't look anything like their actors.

1337
01:03:28,480 --> 01:03:30,960
Speaker 3: And it just doesn't make sense, all right, And tell

1338
01:03:31,040 --> 01:03:33,720
Speaker 3: everybody where to find you if you have anything you

1339
01:03:33,800 --> 01:03:34,480
Speaker 3: want to promote.

1340
01:03:36,040 --> 01:03:38,200
Speaker 4: We enjoyed this. It was very fun.

1341
01:03:38,480 --> 01:03:41,280
Speaker 6: Yes, yeah, thank you so much.

1342
01:03:41,400 --> 01:03:43,760
Speaker 5: And I've enjoyed this too, And I loved talking about

1343
01:03:43,800 --> 01:03:45,840
Speaker 5: what I do if you can't tell, so having people

1344
01:03:45,840 --> 01:03:48,480
Speaker 5: who are genuinely curious about it. I love your questions.

1345
01:03:48,960 --> 01:03:53,200
Speaker 5: I really appreciate it. Yeah, I mentioned the piano lesson

1346
01:03:53,240 --> 01:03:56,280
Speaker 5: a couple of times. It's definitely it's coming out. It's

1347
01:03:56,320 --> 01:04:00,000
Speaker 5: on its way, and I am so excited about that.

1348
01:04:00,120 --> 01:04:03,320
Speaker 5: That comes out in November, and there's very know this

1349
01:04:03,480 --> 01:04:05,840
Speaker 5: is a different way to see intimacy. You're gonna be like, Okay,

1350
01:04:05,880 --> 01:04:07,439
Speaker 5: well there's no sex in this. There is no sex

1351
01:04:07,480 --> 01:04:08,960
Speaker 5: in it, but look at the other places where you

1352
01:04:09,000 --> 01:04:11,520
Speaker 5: think I may have shown up. I would love to

1353
01:04:11,680 --> 01:04:15,520
Speaker 5: get some feedback on that. And on the other side

1354
01:04:15,600 --> 01:04:18,640
Speaker 5: of the camera, I've been doing some kind of strange things.

1355
01:04:19,480 --> 01:04:23,360
Speaker 5: I am on this upcoming season of the floor if

1356
01:04:23,400 --> 01:04:26,840
Speaker 5: for Mere tomorrow it's a Fox game show. Yeah, and

1357
01:04:27,400 --> 01:04:30,400
Speaker 5: defending a category that's come up a couple of times

1358
01:04:30,440 --> 01:04:32,520
Speaker 5: on here, and that has to do with sports.

1359
01:04:32,640 --> 01:04:34,040
Speaker 6: So that's my little teaser for that.

1360
01:04:34,680 --> 01:04:35,480
Speaker 4: So see how I do.

1361
01:04:35,720 --> 01:04:38,560
Speaker 6: I'm competing for two hundred and fifty thousand dollars.

1362
01:04:38,320 --> 01:04:41,720
Speaker 4: And I hope you get to see. Okay, I can't

1363
01:04:41,800 --> 01:04:44,400
Speaker 4: tell from like right now, you look like money. You

1364
01:04:44,520 --> 01:04:46,720
Speaker 4: look like you might have some money. I can't tell.

1365
01:04:46,840 --> 01:04:49,280
Speaker 4: But so I'm not gonna I'm not. I'm just guessing.

1366
01:04:49,440 --> 01:04:51,760
Speaker 4: But you know we love to see it, Yeah, we do.

1367
01:04:52,080 --> 01:04:54,960
Speaker 3: We'll be rooting for you real. Thank you so much

1368
01:04:55,040 --> 01:04:57,320
Speaker 3: for being on with us. I hope everyone in the

1369
01:04:57,480 --> 01:05:00,959
Speaker 3: in the audience I enjoyed this. I know we stand

1370
01:05:01,080 --> 01:05:03,880
Speaker 3: for like TV shows and all, and these are all

1371
01:05:04,040 --> 01:05:06,120
Speaker 3: questions that I had wanted to ask.

1372
01:05:07,720 --> 01:05:09,800
Speaker 1: How can people find you on social media?

1373
01:05:11,440 --> 01:05:16,680
Speaker 5: Yes, please please follow me intimacy with z It's just

1374
01:05:17,000 --> 01:05:21,480
Speaker 5: how it sounds. I intimacy and then the word with

1375
01:05:21,920 --> 01:05:24,720
Speaker 5: and then z H. I post a lot about sexual health.

1376
01:05:24,760 --> 01:05:27,800
Speaker 5: I post a lot about intimacy and relationships and sex

1377
01:05:27,920 --> 01:05:32,400
Speaker 5: therapy and things, and then and just about the different

1378
01:05:32,440 --> 01:05:33,600
Speaker 5: things that I'm doing.

1379
01:05:35,640 --> 01:05:38,360
Speaker 6: So yeah, I would love that. And I'm also trying

1380
01:05:38,440 --> 01:05:40,600
Speaker 6: to do more in front of the camera work.

1381
01:05:40,680 --> 01:05:43,440
Speaker 5: So if anything that I'm doing seems like an aligns

1382
01:05:43,520 --> 01:05:46,080
Speaker 5: with what you're up to, I would I would love

1383
01:05:46,160 --> 01:05:46,600
Speaker 5: to chat.

1384
01:05:46,760 --> 01:05:48,960
Speaker 3: There you go, guys, look her up and thank you

1385
01:05:49,040 --> 01:05:52,440
Speaker 3: for listening. We'll be back throughout the week until next time.

1386
01:05:52,520 --> 01:05:53,520
Speaker 1: I love you. I love you too.

1387
01:05:53,760 --> 01:05:53,920
Speaker 5: Why