1 00:00:05,120 --> 00:00:07,880 Speaker 1: Hey, this is Annie and Samantha and welcome to Stephane. 2 00:00:07,880 --> 00:00:21,320 Speaker 1: Never told you a protection of I Heart Radio and today, Uh, unfortunately, 3 00:00:21,400 --> 00:00:24,880 Speaker 1: I guess once again we have to talk about something 4 00:00:25,720 --> 00:00:28,760 Speaker 1: after a man made a comment. Um, so we're talking 5 00:00:28,760 --> 00:00:32,800 Speaker 1: about intimacy coordinators, what they do while they're important, and 6 00:00:32,880 --> 00:00:34,680 Speaker 1: this is something we've wanted to do for a while. 7 00:00:35,159 --> 00:00:38,040 Speaker 1: So you know, the circumstances might not be great, but 8 00:00:38,080 --> 00:00:39,760 Speaker 1: we have wanted to talk about this for a while. 9 00:00:40,360 --> 00:00:42,560 Speaker 1: We tried to get an intimacy coordinator on the show. 10 00:00:42,640 --> 00:00:46,120 Speaker 1: It hasn't worked out yet, but if anyone is in 11 00:00:46,159 --> 00:00:50,479 Speaker 1: the business or has any connections, you know where to 12 00:00:50,560 --> 00:00:54,840 Speaker 1: find us, because we would love to do a revisit 13 00:00:55,080 --> 00:01:00,200 Speaker 1: with an interview. I'd be fantastic. But in early August 14 00:01:00,360 --> 00:01:03,160 Speaker 1: of two, I guess, because who knows. When you're listening 15 00:01:03,160 --> 00:01:08,200 Speaker 1: to this, actor Sean Bean made the comment that intimacy 16 00:01:08,240 --> 00:01:12,039 Speaker 1: coordinators quote spoiled the spontaneity and that sex scenes had 17 00:01:12,080 --> 00:01:15,960 Speaker 1: so much better quote flow before intimacy coordinators got involved, 18 00:01:16,600 --> 00:01:20,480 Speaker 1: and so many women and and everyone else also, but 19 00:01:20,520 --> 00:01:23,640 Speaker 1: a lot of women raise their hands and we're like, hi, 20 00:01:23,959 --> 00:01:27,520 Speaker 1: actually they're really important, and here's why. Uh, and we 21 00:01:27,680 --> 00:01:29,800 Speaker 1: have a lot of quotes from them that we're going 22 00:01:29,880 --> 00:01:32,720 Speaker 1: to include towards the end. Before we do that, we're 23 00:01:32,760 --> 00:01:35,480 Speaker 1: going to get into some basics. But also before we 24 00:01:35,520 --> 00:01:38,040 Speaker 1: do that, you can see our episode we did with 25 00:01:38,080 --> 00:01:41,080 Speaker 1: bridget On, Evan Rachel Wood and Brian Warner also known 26 00:01:41,120 --> 00:01:44,360 Speaker 1: as Marilyn Manson and her allegation that he sexually assaulted 27 00:01:44,400 --> 00:01:46,920 Speaker 1: her in a music video, which is related to what 28 00:01:46,959 --> 00:01:50,280 Speaker 1: we're gonna be talking about um and also content warning, 29 00:01:50,280 --> 00:01:52,280 Speaker 1: brief discussion of sexual assault and rape. We're not going 30 00:01:52,320 --> 00:01:56,400 Speaker 1: to get into any details, but brief discussion in ryans, 31 00:01:58,200 --> 00:02:03,120 Speaker 1: so let's get it into some of the basics. Intimacy coordinators, 32 00:02:03,160 --> 00:02:08,000 Speaker 1: also known as intimacy directors, are, from my understanding, a 33 00:02:08,040 --> 00:02:11,800 Speaker 1: relatively new thing. Essentially, they are professionals who choreograph and 34 00:02:11,880 --> 00:02:17,160 Speaker 1: guide intimate scenes in our entertainment. They make sure these 35 00:02:17,200 --> 00:02:20,440 Speaker 1: vulnerable scenes are safe and that those involved know what 36 00:02:20,520 --> 00:02:23,880 Speaker 1: to expect and that they feel supported. The demand for 37 00:02:24,120 --> 00:02:28,360 Speaker 1: intimacy coordinators or I sees um rose post me too 38 00:02:28,440 --> 00:02:31,160 Speaker 1: in order to make sure sets were safe. The first 39 00:02:31,240 --> 00:02:34,400 Speaker 1: film or TV production to announce the use of an 40 00:02:34,440 --> 00:02:39,240 Speaker 1: intimacy coordinator was The Deuce during their second season, though 41 00:02:39,520 --> 00:02:41,680 Speaker 1: um of no, they have been used in live theater 42 00:02:41,800 --> 00:02:47,000 Speaker 1: for decades. I didn't know that. So in sech after 43 00:02:47,040 --> 00:02:50,720 Speaker 1: I release the first standard and protocols for intimacy coordinators, 44 00:02:50,800 --> 00:02:53,760 Speaker 1: and soon after they released in an accreditation system for 45 00:02:53,880 --> 00:02:58,480 Speaker 1: intimacy coordinators and a registry for qualified I sees um 46 00:02:58,520 --> 00:03:01,280 Speaker 1: and here are some quotes from those stays and practices. Quote. 47 00:03:01,360 --> 00:03:05,040 Speaker 1: Nudity and stimulating sex often have an important role in 48 00:03:05,080 --> 00:03:08,080 Speaker 1: telling of a story, whether in the film, television, or 49 00:03:08,160 --> 00:03:12,959 Speaker 1: interactive world. Although performances in these scenes convey strong feelings 50 00:03:13,000 --> 00:03:16,280 Speaker 1: and powerful emotions to an audience, which can be integral 51 00:03:16,360 --> 00:03:21,440 Speaker 1: to a storyline, sag AFTRA also recognizes the unique vulnerability 52 00:03:21,520 --> 00:03:26,200 Speaker 1: that arises from performers when performing hyper exposed work. Yes, 53 00:03:26,400 --> 00:03:30,040 Speaker 1: and they define intimacy coordinators as quote an advocate, a 54 00:03:30,080 --> 00:03:33,200 Speaker 1: liaison between actors and production and a movement coach and 55 00:03:33,240 --> 00:03:36,640 Speaker 1: our choreographer in regards to nudity and simulated sex another 56 00:03:36,720 --> 00:03:40,440 Speaker 1: intimate and hyper exposed scenes and that they quote ensure 57 00:03:40,560 --> 00:03:44,600 Speaker 1: that performers and other production personnel adhered to proper safety protocols. 58 00:03:44,760 --> 00:03:48,480 Speaker 1: Serves as a resource in realizing a director's vision. Assumes 59 00:03:48,520 --> 00:03:52,000 Speaker 1: the role of movement choreographer if requested by the director 60 00:03:52,000 --> 00:03:55,440 Speaker 1: to enhance believability, strives to build an environment in which 61 00:03:55,480 --> 00:03:58,560 Speaker 1: actors understand what is expected of them and hyper exposed scenes, 62 00:03:58,800 --> 00:04:01,960 Speaker 1: and to give their informed and continued consent. And further, 63 00:04:02,360 --> 00:04:06,160 Speaker 1: sag After also suggests that intimacy coordinators should be used 64 00:04:06,160 --> 00:04:09,160 Speaker 1: for any scene involving simulated sex or other intimate are 65 00:04:09,240 --> 00:04:12,840 Speaker 1: hyper exposed scenes. Um and here are the key qualities 66 00:04:12,880 --> 00:04:17,560 Speaker 1: they outline for qualified intimacy coordinators. Consent training, anti harassment, 67 00:04:17,600 --> 00:04:21,520 Speaker 1: anti sexual harassment training, movement coaching and masking techniques, proper 68 00:04:21,640 --> 00:04:25,880 Speaker 1: use of modesty, garments and barriers, meditation are, conflict resolution training, 69 00:04:26,200 --> 00:04:29,960 Speaker 1: gender identity and sexual orientation training, anti racist e d 70 00:04:30,120 --> 00:04:34,920 Speaker 1: I training bystander intervention, mental health, first aid, trauma, stewardship 71 00:04:35,040 --> 00:04:38,599 Speaker 1: or related training. Must have a state and federal background check, 72 00:04:38,760 --> 00:04:42,880 Speaker 1: experience and an ability to adapt and implement the rules, responsibilities, functions, 73 00:04:42,880 --> 00:04:47,000 Speaker 1: and protocols on a variety of sets. So, according to 74 00:04:47,000 --> 00:04:50,800 Speaker 1: sag Aftra, here's how an I sees responsibilities might break down. 75 00:04:50,839 --> 00:04:55,120 Speaker 1: So ideally they are included in meetings with the writer, director, 76 00:04:55,120 --> 00:04:58,440 Speaker 1: producer all of the above. Sometimes it's just one of 77 00:04:58,480 --> 00:05:02,080 Speaker 1: the above to go over the intimate scenes and key 78 00:05:02,200 --> 00:05:05,479 Speaker 1: things like the degree of nudity, specifics of the simulated 79 00:05:05,480 --> 00:05:09,120 Speaker 1: sex of the nudity, and anything else that might be important. 80 00:05:09,560 --> 00:05:13,200 Speaker 1: The i C then communicates those to the actors and 81 00:05:13,240 --> 00:05:17,479 Speaker 1: then relays any concerns that they might have back to production. 82 00:05:17,760 --> 00:05:20,760 Speaker 1: They meet one on one with performers involved to discuss 83 00:05:20,760 --> 00:05:23,920 Speaker 1: the language used sex writers that being something in your 84 00:05:23,960 --> 00:05:26,640 Speaker 1: contract like I won't do this, uh, something like that. 85 00:05:27,080 --> 00:05:29,920 Speaker 1: I sees are also in charge of continually checking in 86 00:05:30,000 --> 00:05:33,279 Speaker 1: on consent during the production. They deal with any disagreements 87 00:05:33,360 --> 00:05:36,599 Speaker 1: or misunderstandings about how the scenes should go. They also 88 00:05:36,640 --> 00:05:40,120 Speaker 1: make sure that proper nudity garments, barriers and prosthetics are 89 00:05:40,200 --> 00:05:45,000 Speaker 1: provided so that's pre production on set. The guidelines laid 90 00:05:45,000 --> 00:05:48,799 Speaker 1: out by sag After are as follows quote reviews, nudity writers, 91 00:05:49,000 --> 00:05:53,120 Speaker 1: seeing content, modesty, garments and barriers with performers, directors and 92 00:05:53,160 --> 00:05:57,840 Speaker 1: assistant directors ensures the proper implementation of close set protocols 93 00:05:58,000 --> 00:06:02,120 Speaker 1: and a sag After Guidelines serves as a resource for 94 00:06:02,200 --> 00:06:06,320 Speaker 1: directors and assistant directors as needed with any specialized movement 95 00:06:06,400 --> 00:06:11,039 Speaker 1: or choreography to ensure consent and safety while enhancing believability 96 00:06:11,160 --> 00:06:16,480 Speaker 1: and director vision ensures continued consent throughout the filming of Seen, 97 00:06:16,960 --> 00:06:19,600 Speaker 1: both consent to what their likeness is seen performing and 98 00:06:19,640 --> 00:06:24,000 Speaker 1: how the action is achieved, while minimizing interference in production 99 00:06:24,040 --> 00:06:29,080 Speaker 1: flow protects minors. Consistent with sag after guidelines, Yes and 100 00:06:29,120 --> 00:06:32,680 Speaker 1: then in post production, I sees make themselves available for 101 00:06:32,760 --> 00:06:36,599 Speaker 1: questions and to make sure that contractual obligations around these 102 00:06:36,600 --> 00:06:40,480 Speaker 1: scenes are met UM and Yes. As mentioned, sag after 103 00:06:40,600 --> 00:06:44,880 Speaker 1: does offer multiple accreditation programs for I sees. On top 104 00:06:44,920 --> 00:06:47,960 Speaker 1: of that, UM, I looked through the registry list and 105 00:06:48,000 --> 00:06:52,120 Speaker 1: almost everyone on there is a woman. But the list 106 00:06:52,200 --> 00:06:55,800 Speaker 1: is also very very short. Right now, I'm sure, I'm 107 00:06:55,920 --> 00:06:58,560 Speaker 1: very sure. Um. And from the words of someone in 108 00:06:58,600 --> 00:07:01,440 Speaker 1: the business, UM and as really leading the way. Ada 109 00:07:01,560 --> 00:07:06,919 Speaker 1: O'Brien described an intimacy coordinator as quote a practitioner who 110 00:07:06,960 --> 00:07:11,000 Speaker 1: brings a professional structure and skill to creating intimate content, 111 00:07:11,400 --> 00:07:13,640 Speaker 1: just like a choreographer would bring their skill to a 112 00:07:13,720 --> 00:07:16,440 Speaker 1: dance or a stunt coordinator would bring their skill to 113 00:07:16,480 --> 00:07:20,520 Speaker 1: creating a fight. And she went on to say, I say, 114 00:07:20,800 --> 00:07:23,600 Speaker 1: your no is a gift. We invite your no. It's 115 00:07:23,640 --> 00:07:26,280 Speaker 1: really important that we know your know that we know 116 00:07:26,400 --> 00:07:29,520 Speaker 1: your boundaries, so that your yes can be trusted. Any 117 00:07:29,560 --> 00:07:32,800 Speaker 1: clear structure gives freedom. Actually having a clear boundary allows 118 00:07:32,800 --> 00:07:34,920 Speaker 1: you to be free within that. I always say the 119 00:07:34,920 --> 00:07:36,720 Speaker 1: work is like an iceberg, where the body of the 120 00:07:36,760 --> 00:07:39,640 Speaker 1: work is actually in all of that preparation, all of 121 00:07:39,680 --> 00:07:42,960 Speaker 1: those conversations to the producer, director and the actors, all 122 00:07:43,000 --> 00:07:46,560 Speaker 1: of that connecting, in all of that sharing of the process, rehearsing, 123 00:07:46,600 --> 00:07:49,440 Speaker 1: so that everybody knows the choreography. It means that the 124 00:07:49,520 --> 00:07:55,120 Speaker 1: day on set, everyone's relaxed, comfortable, they feel autonomous, empowered, respected, 125 00:07:55,440 --> 00:07:57,840 Speaker 1: And then it means that everybody can bring their skill, 126 00:07:58,200 --> 00:08:00,520 Speaker 1: the directors bringing their skill, the act is bringing the 127 00:08:00,520 --> 00:08:04,400 Speaker 1: best of their skill to the intimate content. And O'Brien, 128 00:08:04,680 --> 00:08:06,680 Speaker 1: you can find a lot of really great interviews with 129 00:08:06,720 --> 00:08:10,400 Speaker 1: her and her work. She worked on I Will Destroy You, 130 00:08:10,480 --> 00:08:14,400 Speaker 1: among many other critically acclaimed projects, and when that show 131 00:08:14,520 --> 00:08:18,080 Speaker 1: won Best Series at the BAFTA's actor and director of 132 00:08:18,240 --> 00:08:22,000 Speaker 1: the series, MICHAELA. Cole, paid tribute to O'Brien's work on 133 00:08:22,160 --> 00:08:25,560 Speaker 1: the show and um, I do think I want to 134 00:08:25,560 --> 00:08:29,360 Speaker 1: include this uh summary from Esquire about the show because 135 00:08:29,400 --> 00:08:32,240 Speaker 1: I think it will show why it's very important that 136 00:08:32,280 --> 00:08:34,920 Speaker 1: they had an intimacy coordinator on it. So quote. The 137 00:08:34,960 --> 00:08:37,920 Speaker 1: show centers on Arabella, a gregarious YO writer in London 138 00:08:37,920 --> 00:08:40,560 Speaker 1: who must question her reality and rebuild her life after 139 00:08:40,640 --> 00:08:43,720 Speaker 1: she has drugged and sexually assaulted. Inspired by Cole's own 140 00:08:43,760 --> 00:08:46,760 Speaker 1: experience by suffering a sexual assault after her drink was spiked, 141 00:08:47,000 --> 00:08:49,679 Speaker 1: I May Destroy You, threats a breathtaking needle, and depicting 142 00:08:49,720 --> 00:08:52,800 Speaker 1: the messy, non binary nature of consent, as well in 143 00:08:52,840 --> 00:08:56,320 Speaker 1: showcasing sexual encounters not often seen on television, and assault 144 00:08:56,320 --> 00:08:58,760 Speaker 1: involving two men, an assault involving the removal of a 145 00:08:58,800 --> 00:09:01,840 Speaker 1: condom mid intercourse, and period sex, just to name a few. 146 00:09:02,480 --> 00:09:06,000 Speaker 1: O'Brien was instrumental in bringing these scenes to life, working 147 00:09:06,000 --> 00:09:09,199 Speaker 1: closely with Cole and other performers to fully and safely 148 00:09:09,240 --> 00:09:12,560 Speaker 1: realize what existed on the page. Right, And yeah, I 149 00:09:12,559 --> 00:09:15,120 Speaker 1: got to remind you this was her personal experience, so 150 00:09:15,160 --> 00:09:19,280 Speaker 1: it's re traumatizing. I could not imagine doing this performance 151 00:09:19,600 --> 00:09:23,280 Speaker 1: in being like just just wing it right, Yeah, absolutely, 152 00:09:24,040 --> 00:09:28,959 Speaker 1: just go with the float um. So O'Brien has said, 153 00:09:29,080 --> 00:09:32,800 Speaker 1: it is also important to prioritize self care. It's important 154 00:09:32,800 --> 00:09:34,880 Speaker 1: for me to book in the day of work by 155 00:09:34,880 --> 00:09:37,240 Speaker 1: speaking with the actors about what they need to do 156 00:09:37,320 --> 00:09:39,800 Speaker 1: to let go where they've gone and come back to themselves. 157 00:09:40,200 --> 00:09:42,800 Speaker 1: I don't want them keeping a residue of where they've been. 158 00:09:43,200 --> 00:09:45,520 Speaker 1: I also checken with them a day or so later, 159 00:09:45,840 --> 00:09:47,680 Speaker 1: just to make sure that they're happy with the work 160 00:09:47,679 --> 00:09:50,520 Speaker 1: and that we can address any concerns they may have. Yeah, 161 00:09:50,600 --> 00:09:53,600 Speaker 1: and some intimacy coordinators have really sung the praises of 162 00:09:53,679 --> 00:09:56,839 Speaker 1: the b D s M kink community. I have taken 163 00:09:56,840 --> 00:09:59,000 Speaker 1: classes within that community to learn how this could work, 164 00:09:59,080 --> 00:10:01,680 Speaker 1: especially in terms of consent to negotiation as we have 165 00:10:01,760 --> 00:10:04,400 Speaker 1: talked about, right, I mean, they are on point, like 166 00:10:04,480 --> 00:10:06,640 Speaker 1: they are an example to follow for sure, at least 167 00:10:06,640 --> 00:10:11,400 Speaker 1: the ones we've talked to. So Intimacy coordinators have gotten 168 00:10:11,440 --> 00:10:15,400 Speaker 1: a lot of coverage with the popularity of Britain. Coordinated 169 00:10:15,440 --> 00:10:19,480 Speaker 1: by Elizabeth Talbot, and she widely discussed the intimacy writer 170 00:10:19,559 --> 00:10:22,520 Speaker 1: that details what an actor is willing to do in 171 00:10:22,520 --> 00:10:25,960 Speaker 1: in an intimate scene. We've briefly discussed this with Sex 172 00:10:26,000 --> 00:10:28,480 Speaker 1: in the City. Uh and yeah, I think it's really interesting, 173 00:10:28,720 --> 00:10:31,760 Speaker 1: Talbot said, quote with the concept of consent that we 174 00:10:31,880 --> 00:10:34,480 Speaker 1: work with. Of course, if there's anything where at any 175 00:10:34,520 --> 00:10:36,760 Speaker 1: point anyone's like, oh, you know, I don't want to 176 00:10:36,760 --> 00:10:39,400 Speaker 1: do this, they never will. And it's also my job 177 00:10:39,480 --> 00:10:41,840 Speaker 1: to step in front of any director or producer and 178 00:10:41,880 --> 00:10:44,960 Speaker 1: be like, hey, you know, like they're not comfortable with this. 179 00:10:45,360 --> 00:10:47,520 Speaker 1: And I've been really lucky to work with great directors 180 00:10:47,520 --> 00:10:50,880 Speaker 1: and producers, so that's never happened. And I would think 181 00:10:50,920 --> 00:10:54,920 Speaker 1: that especially if bringing one on probably already go ahead 182 00:10:54,920 --> 00:10:58,200 Speaker 1: and make you realize they're more willing to listen and 183 00:10:58,200 --> 00:11:02,720 Speaker 1: are aware of keeping actors safe, which is the point 184 00:11:03,440 --> 00:11:07,560 Speaker 1: so Bridgerton. Actor A Phoebe Dinniverse said she felt quote 185 00:11:07,600 --> 00:11:11,160 Speaker 1: safe having an intimacy coordinator on set. She says, it 186 00:11:11,280 --> 00:11:13,880 Speaker 1: was so great because it felt safe, because it felt 187 00:11:13,880 --> 00:11:17,000 Speaker 1: safe and fun. You choreograph it like a stunt or 188 00:11:17,000 --> 00:11:19,400 Speaker 1: a dance, and it's crazy to me that an intimacy 189 00:11:19,440 --> 00:11:22,280 Speaker 1: coordinator hasn't been there in the past. I've done sex 190 00:11:22,280 --> 00:11:24,200 Speaker 1: scenes before that I can't believe I did. It was 191 00:11:24,240 --> 00:11:26,120 Speaker 1: only five or six years ago, but it would not 192 00:11:26,160 --> 00:11:30,640 Speaker 1: be allowed now. And her saying that really bothers him 193 00:11:30,679 --> 00:11:33,640 Speaker 1: because she's a young in Yeah, yeah, we're going to 194 00:11:33,720 --> 00:11:36,120 Speaker 1: talk about that a bit more, but especially young people, 195 00:11:36,240 --> 00:11:39,920 Speaker 1: I think this is really really important. Who don't maybe 196 00:11:39,920 --> 00:11:41,520 Speaker 1: don't know how to say no, I don't want to 197 00:11:41,520 --> 00:11:44,840 Speaker 1: do this to a director production. But it's also, like 198 00:11:44,880 --> 00:11:49,160 Speaker 1: you said, a problem of not everyone has intimacy coordinators. Um, 199 00:11:49,160 --> 00:11:51,640 Speaker 1: and it already is a step to be taken. Did 200 00:11:51,640 --> 00:11:57,200 Speaker 1: you see the snl uh skit in which they have there. 201 00:11:57,240 --> 00:11:59,040 Speaker 1: I guess I don't know if they're meaning to make 202 00:11:59,080 --> 00:12:01,640 Speaker 1: fun of the fact that there was an intimacy coordinator, 203 00:12:01,800 --> 00:12:05,040 Speaker 1: but um, it was quite interesting. They have an intimacy 204 00:12:05,080 --> 00:12:07,920 Speaker 1: coordinator on set and then they replaced her with the 205 00:12:07,960 --> 00:12:11,520 Speaker 1: two dues being obviously not from there, like not knowing 206 00:12:11,559 --> 00:12:15,400 Speaker 1: what they're doing and just throwing out ridiculous things. But 207 00:12:16,240 --> 00:12:18,599 Speaker 1: it's very interesting that they immediately they picked up with 208 00:12:18,760 --> 00:12:22,360 Speaker 1: Bridgetain has been widely talked about because of the use 209 00:12:22,400 --> 00:12:26,880 Speaker 1: of intimacy coordinators for such a sexy show show yes 210 00:12:27,080 --> 00:12:34,520 Speaker 1: very spicy indeed, Interestingly, Talbot got her start coordinating fight 211 00:12:34,679 --> 00:12:39,640 Speaker 1: scenes and started looking into intimacy coordination because she realized 212 00:12:39,640 --> 00:12:42,640 Speaker 1: that while there were plenty of rules around choreographing fight scenes, 213 00:12:42,679 --> 00:12:45,040 Speaker 1: there were no such rules that existed when it came 214 00:12:45,160 --> 00:12:49,360 Speaker 1: to intimate scenes. A man to Bluementhal who worked on 215 00:12:49,400 --> 00:12:53,680 Speaker 1: Euphoria and is the founder of Intimacy Professionals Association, has 216 00:12:53,720 --> 00:12:57,160 Speaker 1: said quote, people often confused my role with HR. That's 217 00:12:57,200 --> 00:12:58,960 Speaker 1: not my job. I'm not here to tell you what 218 00:12:59,040 --> 00:13:03,200 Speaker 1: you can and can't say. In coordinator L. McAlpine of 219 00:13:03,280 --> 00:13:05,880 Speaker 1: Brave New World says quote, when we go on set, 220 00:13:05,920 --> 00:13:08,080 Speaker 1: we're sometimes called the fun police. It's not about that, 221 00:13:08,120 --> 00:13:13,359 Speaker 1: it's about educating people about this work. It's really disturbing 222 00:13:14,240 --> 00:13:17,040 Speaker 1: when you see the level of people calling this just fun. 223 00:13:17,120 --> 00:13:20,000 Speaker 1: And don't get me wrong, if it's an a mutually 224 00:13:20,040 --> 00:13:23,640 Speaker 1: agreed upon sex scene where it's supposed to be. But 225 00:13:23,960 --> 00:13:26,400 Speaker 1: thinking about how often you hear interviews at the first 226 00:13:26,440 --> 00:13:31,000 Speaker 1: time they meet someone they do a sex scene. I don't. 227 00:13:31,040 --> 00:13:34,760 Speaker 1: I don't. Maybe it's just too traumatized by our own 228 00:13:34,880 --> 00:13:40,520 Speaker 1: past that this is alarming. Oh yes, fun police for 229 00:13:40,600 --> 00:13:44,360 Speaker 1: whom right exactly? And I also think that that quote 230 00:13:44,360 --> 00:13:47,240 Speaker 1: about HR, I want to include that because I'm going 231 00:13:47,280 --> 00:13:48,600 Speaker 1: to talk about this a little bout the end. A 232 00:13:48,600 --> 00:13:52,439 Speaker 1: lot of you'd be surprised how many film sets don't 233 00:13:52,480 --> 00:13:55,240 Speaker 1: have HR, so there's no way you can go report 234 00:13:55,240 --> 00:13:58,000 Speaker 1: it too. So it feels to me like when people 235 00:13:58,000 --> 00:14:04,200 Speaker 1: are confusing an intimacy coordinator for h R that says 236 00:14:04,280 --> 00:14:08,560 Speaker 1: something right right. Also, you're trying to get out of 237 00:14:08,559 --> 00:14:13,160 Speaker 1: getting hrs. Uh. The EP of Normal People executive producer 238 00:14:13,760 --> 00:14:17,760 Speaker 1: Ed Guiney was originally concerned about hiring an intimacy coordinator, 239 00:14:17,760 --> 00:14:20,720 Speaker 1: but later praised the experience, saying, quote, it takes a 240 00:14:20,720 --> 00:14:23,120 Speaker 1: lot of the awkwardness out of shooting these seeds and 241 00:14:23,160 --> 00:14:26,240 Speaker 1: really free the actors up to properly be in the moment. 242 00:14:27,080 --> 00:14:29,000 Speaker 1: And on top of this, there are programs that focus 243 00:14:29,080 --> 00:14:32,120 Speaker 1: on people of color and lgbt Q plus folks. When 244 00:14:32,160 --> 00:14:34,760 Speaker 1: it comes to intimacy coordinators, though they seem to be 245 00:14:34,840 --> 00:14:38,120 Speaker 1: currently quite small, like it's already protty small, is this 246 00:14:38,240 --> 00:14:42,960 Speaker 1: smaller um? But they're powerful and not to be dismissed nonetheless, 247 00:14:43,600 --> 00:14:46,120 Speaker 1: and I saw this, I thought this was interesting. Um 248 00:14:46,400 --> 00:14:50,640 Speaker 1: Mi a Shackter who's co founder of Century Co training program, 249 00:14:50,920 --> 00:14:54,120 Speaker 1: recalls working on the set of Insecure as an intimacy 250 00:14:54,160 --> 00:14:55,960 Speaker 1: coordinator with a white woman who is the director and 251 00:14:56,000 --> 00:14:58,560 Speaker 1: two black actors, and the in director asked the man 252 00:14:58,600 --> 00:15:00,960 Speaker 1: to run his hand through the woman hair, but shractor 253 00:15:01,000 --> 00:15:03,880 Speaker 1: and revened after discussing with the black colleague on the 254 00:15:03,920 --> 00:15:06,560 Speaker 1: grounds that this was not how black people typically showed 255 00:15:06,920 --> 00:15:10,760 Speaker 1: care and intimacy and love. So that's why that's pretty 256 00:15:10,760 --> 00:15:14,920 Speaker 1: importantly important. Yeah, and this is related to another field 257 00:15:14,920 --> 00:15:16,960 Speaker 1: that we're not really talking about today, but you've probably 258 00:15:16,960 --> 00:15:20,800 Speaker 1: heard of sensitivity readers, which is also growing. UM and 259 00:15:20,840 --> 00:15:25,000 Speaker 1: we have used sensitivity readers around here before. But basically 260 00:15:25,040 --> 00:15:27,720 Speaker 1: they go through and make sure you're not missing something 261 00:15:27,840 --> 00:15:30,320 Speaker 1: or saying something in a way that it's clear that 262 00:15:30,360 --> 00:15:33,720 Speaker 1: you don't really understand the issue that you're talking about. UM. 263 00:15:33,880 --> 00:15:39,960 Speaker 1: Big fan of sensitivity readers. Uh. Yeah, And honestly, the 264 00:15:40,000 --> 00:15:44,000 Speaker 1: i c s are clearly needed. Before intimacy coordinators, these 265 00:15:44,000 --> 00:15:46,600 Speaker 1: things were largely handled by the director, who may or 266 00:15:46,640 --> 00:15:50,320 Speaker 1: may not have the expertise or even the humanity to 267 00:15:50,480 --> 00:15:54,040 Speaker 1: direct them. UM entertainment as an industry that has allowed 268 00:15:54,040 --> 00:15:58,400 Speaker 1: people like Harvey Weinstein and Bill Cosby prey on women 269 00:15:58,680 --> 00:16:01,640 Speaker 1: for years and James Franco for a long time with 270 00:16:01,760 --> 00:16:07,440 Speaker 1: zero consequences while making bank UM. As discussed in that 271 00:16:07,480 --> 00:16:10,840 Speaker 1: episode with bridget about Evan rachel Wood, there are examples 272 00:16:11,080 --> 00:16:15,000 Speaker 1: filmed examples of someone, usually a woman, being taken advantage 273 00:16:15,040 --> 00:16:19,240 Speaker 1: of or pushed past their comfort zone assaulted and even raped. Um, 274 00:16:19,320 --> 00:16:22,760 Speaker 1: perhaps especially younger women breaking into the industry. And you know, 275 00:16:22,800 --> 00:16:25,280 Speaker 1: we're not even talking about the old school industry with 276 00:16:25,400 --> 00:16:29,040 Speaker 1: the literal casting couch, with everybody knowing what that was 277 00:16:29,160 --> 00:16:32,040 Speaker 1: and what that meant, especially for young women. Um. But 278 00:16:32,080 --> 00:16:35,480 Speaker 1: then we've all not talked about the old directors who 279 00:16:35,480 --> 00:16:37,560 Speaker 1: am like, we can't watch any of them anymore because 280 00:16:37,600 --> 00:16:39,840 Speaker 1: they were all disgusting and push those boundaries and would 281 00:16:39,880 --> 00:16:43,640 Speaker 1: do things in order to shock women and or traumatized 282 00:16:43,680 --> 00:16:47,320 Speaker 1: women to get a great scene quote unquote yes, yes, 283 00:16:47,440 --> 00:16:51,800 Speaker 1: And there are horror stories about uh, certain directors that 284 00:16:51,840 --> 00:16:53,840 Speaker 1: you would go audition for them and they would be like, 285 00:16:53,880 --> 00:16:55,440 Speaker 1: you know, you're gonna take off your clothes and now 286 00:16:55,480 --> 00:16:57,080 Speaker 1: you're going to do this, and now you're gonna do this, 287 00:16:57,440 --> 00:17:01,680 Speaker 1: and that was just like understood good. And that's for 288 00:17:01,720 --> 00:17:04,520 Speaker 1: an audition that they would often film and then you 289 00:17:04,760 --> 00:17:07,200 Speaker 1: probably wouldn't get the role, but they have that tape 290 00:17:07,640 --> 00:17:11,120 Speaker 1: for uh yeah, I have some I'm going to talk 291 00:17:11,119 --> 00:17:27,760 Speaker 1: some more about that later. So Sean Bean is by 292 00:17:27,840 --> 00:17:31,920 Speaker 1: far not the only person to complain about intimacy Coordinators. 293 00:17:32,240 --> 00:17:35,600 Speaker 1: Director Adrian Lynz said it implies a lack of trust, 294 00:17:35,680 --> 00:17:37,919 Speaker 1: and that's all I have. If the actors don't trust me, 295 00:17:37,960 --> 00:17:39,920 Speaker 1: I might as well go home. I've got to make 296 00:17:39,960 --> 00:17:42,200 Speaker 1: myself vulnerable for them, for them to know I would 297 00:17:42,200 --> 00:17:45,400 Speaker 1: spill my guts do anything for them. Then with any luck, 298 00:17:45,480 --> 00:17:47,920 Speaker 1: I get the same back. He said of his film 299 00:17:47,960 --> 00:17:52,600 Speaker 1: Fatal Attraction that Glenn Close and Michael Douglas drank before 300 00:17:52,760 --> 00:17:56,440 Speaker 1: more intimate scenes and then lamented, you can't do that. Now, 301 00:17:56,640 --> 00:17:59,320 Speaker 1: Why is everything so serious? God, it's not like they're 302 00:17:59,320 --> 00:18:04,879 Speaker 1: gonna get pair realized or something. Well direct a Fatal Attraction. 303 00:18:04,960 --> 00:18:06,960 Speaker 1: So that tells me enough, because we all know what 304 00:18:07,640 --> 00:18:11,480 Speaker 1: their views on women probably are in this movie in itself. 305 00:18:11,520 --> 00:18:14,800 Speaker 1: But secondly, that's not a good sign that they have 306 00:18:14,880 --> 00:18:18,560 Speaker 1: to be drunk to do their job. Yeah, and I think, 307 00:18:18,600 --> 00:18:22,760 Speaker 1: as like a boss, I think the excuse they took 308 00:18:22,760 --> 00:18:26,200 Speaker 1: I believe it was tequila shots. They drink tequila to 309 00:18:26,320 --> 00:18:29,520 Speaker 1: do it and get comfortable, Like, I don't think you 310 00:18:29,560 --> 00:18:32,919 Speaker 1: should be just proud to say that everywhere, right. I 311 00:18:32,920 --> 00:18:36,320 Speaker 1: don't know if they realize how close to someone you 312 00:18:36,400 --> 00:18:38,960 Speaker 1: have to get someone drunk to make them sleep with you, 313 00:18:39,520 --> 00:18:42,359 Speaker 1: and we all know what that is. And that's frowned 314 00:18:42,400 --> 00:18:44,359 Speaker 1: upon at this point in time, it should be it 315 00:18:44,400 --> 00:18:48,240 Speaker 1: is by us anyway, Oh gosh. And I also think 316 00:18:48,240 --> 00:18:50,320 Speaker 1: like that whole it implies a lack of trust. I 317 00:18:50,320 --> 00:18:53,680 Speaker 1: don't think that's necessarily true. I mean it might, especially 318 00:18:53,680 --> 00:18:56,199 Speaker 1: for someone like you, But I think it means that 319 00:18:56,240 --> 00:18:58,639 Speaker 1: you're showing you want to care for the people that 320 00:18:58,840 --> 00:19:02,440 Speaker 1: work with you, and that you understand this is a 321 00:19:02,520 --> 00:19:06,360 Speaker 1: vulnerable thing and they're doing and you're taking the steps 322 00:19:06,720 --> 00:19:11,119 Speaker 1: to make it comfortable. Also, again, it should be the 323 00:19:11,160 --> 00:19:13,680 Speaker 1: other way around. You're supposed to be earning trust, not 324 00:19:13,760 --> 00:19:17,159 Speaker 1: justly given it because you're the boss or whatever. What right. 325 00:19:17,440 --> 00:19:20,919 Speaker 1: That is an absurd, narcissistic type of idea, and that 326 00:19:21,160 --> 00:19:23,280 Speaker 1: again says a lot to who he was and who 327 00:19:23,320 --> 00:19:27,679 Speaker 1: we thought he should be seen as. There's a lot 328 00:19:27,720 --> 00:19:30,240 Speaker 1: to pick a part in that quote, but we'll move 329 00:19:30,320 --> 00:19:33,399 Speaker 1: on um as promised. We do have a lot of 330 00:19:33,480 --> 00:19:38,159 Speaker 1: quotes from people who after this uh Sean Bean quote 331 00:19:38,160 --> 00:19:41,240 Speaker 1: came out raised her hand. A lot of factors spoke 332 00:19:41,280 --> 00:19:44,000 Speaker 1: up in disagreement, and yeah, we want to include some 333 00:19:44,040 --> 00:19:47,800 Speaker 1: of the quotes from them. So from Rachel Zeigler, who 334 00:19:47,800 --> 00:19:49,800 Speaker 1: filmed a sex scene at the age of eighteen for 335 00:19:49,920 --> 00:19:54,320 Speaker 1: West side story, she wrote, spontaneity and intimate scenes can 336 00:19:54,359 --> 00:19:59,359 Speaker 1: be unsafe. Wake up. Yeah, and Emma Thompson said in 337 00:19:59,400 --> 00:20:01,919 Speaker 1: another convert station, you might find that people go. It 338 00:20:01,960 --> 00:20:04,200 Speaker 1: made me comfortable, It made me feel safe, It made 339 00:20:04,200 --> 00:20:07,080 Speaker 1: me feel as though I was able to do this work. No, 340 00:20:07,280 --> 00:20:09,640 Speaker 1: you can't just let it flow. There's a camera there 341 00:20:09,680 --> 00:20:11,359 Speaker 1: and a crew. It's not on your own in a 342 00:20:11,440 --> 00:20:15,639 Speaker 1: hotel room. You're surrounded by a bunch of blows carrying things. 343 00:20:16,080 --> 00:20:18,679 Speaker 1: Um and, according to Thompson, in most cases filming intimate 344 00:20:18,720 --> 00:20:24,320 Speaker 1: scenes is not seen is a not comfortable situation full stop. 345 00:20:24,400 --> 00:20:27,520 Speaker 1: Which again I feel like that's the constant rhetoric we 346 00:20:27,680 --> 00:20:30,200 Speaker 1: hear when it comes to people, because that's the first question, 347 00:20:30,280 --> 00:20:32,439 Speaker 1: especially if it's a sexy movie. Oh how did you 348 00:20:32,480 --> 00:20:34,479 Speaker 1: feel about this? How did you? How did you get 349 00:20:34,520 --> 00:20:37,560 Speaker 1: into these scenes? And immediately it was like, it's not sexy, 350 00:20:37,520 --> 00:20:42,040 Speaker 1: it's work, it's awkward, it's cold. I don't like it. Yes, yes, 351 00:20:42,440 --> 00:20:45,960 Speaker 1: I I hard agree. Like there's nothing comfortable and spontaneous 352 00:20:45,960 --> 00:20:48,920 Speaker 1: about a lot of filming, Like most of filming as 353 00:20:48,920 --> 00:20:52,320 Speaker 1: an actor, all of it is like uncomfortable and strange. 354 00:20:52,680 --> 00:20:56,639 Speaker 1: I don't see why. I mean especially it should be 355 00:20:56,680 --> 00:21:01,120 Speaker 1: in my opinion, like intimacy, like intimate scenes, because like 356 00:21:01,400 --> 00:21:03,200 Speaker 1: they're all these things. You have to hit your mark, 357 00:21:03,640 --> 00:21:05,359 Speaker 1: maybe there's a green discreet and you have to be 358 00:21:05,520 --> 00:21:08,639 Speaker 1: uncomfortably close to each other to appear natural, like the 359 00:21:08,760 --> 00:21:12,080 Speaker 1: amount of distance to have like a natural amount of 360 00:21:12,080 --> 00:21:15,080 Speaker 1: space between somebody you're like right up in their face. 361 00:21:15,359 --> 00:21:18,360 Speaker 1: It's not comfortable. Um, you have to have your eyeline 362 00:21:18,400 --> 00:21:20,919 Speaker 1: in a certain place. All of this you're supposed to 363 00:21:20,920 --> 00:21:24,080 Speaker 1: do as if there aren't eyelines and marks and all 364 00:21:24,119 --> 00:21:25,600 Speaker 1: of these things that you're trying to keep in your 365 00:21:25,600 --> 00:21:28,240 Speaker 1: head while you're also saying lines and trying to look natural. 366 00:21:28,920 --> 00:21:35,160 Speaker 1: And I think like a lot of practice and rehearsing 367 00:21:36,440 --> 00:21:40,359 Speaker 1: that doesn't necessarily remove the spontaneity. I think though, what 368 00:21:40,400 --> 00:21:43,080 Speaker 1: you're doing is you're you're marking out in a way 369 00:21:43,119 --> 00:21:45,320 Speaker 1: that feels safe and comfortable. You know what's going to happen. 370 00:21:45,720 --> 00:21:49,040 Speaker 1: You can still have little spontaneous moments within that as 371 00:21:49,040 --> 00:21:52,040 Speaker 1: long as it's agreed upon as right, oh, like a 372 00:21:52,040 --> 00:21:54,479 Speaker 1: little giggle or I don't know, Like there's there are 373 00:21:54,520 --> 00:21:59,480 Speaker 1: ways we rehearse everything. Why is it like this one 374 00:21:59,560 --> 00:22:05,720 Speaker 1: thing all that removes the spontaneity, right, it's what right. 375 00:22:06,680 --> 00:22:10,320 Speaker 1: People will get mad when a line is improved at 376 00:22:10,359 --> 00:22:12,679 Speaker 1: times and it ruins the scene, as in like it 377 00:22:12,800 --> 00:22:15,280 Speaker 1: gets people cracking up, and they talked about how much 378 00:22:15,320 --> 00:22:19,600 Speaker 1: money is wasted because of that, and so oftentimes you 379 00:22:19,600 --> 00:22:22,480 Speaker 1: will have directors who are absolutely livid. I know there's 380 00:22:22,600 --> 00:22:24,880 Speaker 1: there's directors who love it if you can go with it, 381 00:22:24,920 --> 00:22:27,159 Speaker 1: but there's a you know, like the level of what 382 00:22:27,400 --> 00:22:29,800 Speaker 1: is being said and who's wasting money and what's doing what? 383 00:22:30,359 --> 00:22:32,720 Speaker 1: Why is this which can harm a person? Not as 384 00:22:32,960 --> 00:22:36,320 Speaker 1: us respond when you think of it as it does 385 00:22:36,400 --> 00:22:38,320 Speaker 1: have to be choreographed because you want to get the 386 00:22:38,480 --> 00:22:42,240 Speaker 1: right camera angles, like I don't get it like, and 387 00:22:42,320 --> 00:22:45,440 Speaker 1: it is a job. It is a job, and just 388 00:22:45,520 --> 00:22:49,800 Speaker 1: like all jobs, we should be protecting the workers. And 389 00:22:49,880 --> 00:22:53,120 Speaker 1: many people have pointed out Emma Thompson is Sean Bean's 390 00:22:53,160 --> 00:22:57,440 Speaker 1: age and she is recounting a very different experience than 391 00:22:57,440 --> 00:23:03,120 Speaker 1: he is. Right are to do U. Lena Hall, who 392 00:23:03,119 --> 00:23:06,640 Speaker 1: filmed the sex scene in Snow Piercer with Being, said 393 00:23:06,680 --> 00:23:09,000 Speaker 1: that while he made her feel comfortable and was a 394 00:23:09,000 --> 00:23:11,800 Speaker 1: good scene partner, quote, if there's any part of me 395 00:23:11,840 --> 00:23:14,920 Speaker 1: that is feeling weird, it grows overexposed, et cetera. I'll 396 00:23:14,960 --> 00:23:18,000 Speaker 1: either challenge the necessity of the scene or I'll want 397 00:23:18,000 --> 00:23:21,560 Speaker 1: an icee. I do feel that intimacy coordinators are a 398 00:23:21,560 --> 00:23:23,959 Speaker 1: welcome addition to the set and think they could you 399 00:23:24,040 --> 00:23:28,320 Speaker 1: also help with the trauma experience in other scenes. Sometimes 400 00:23:28,480 --> 00:23:31,760 Speaker 1: you need them, sometimes you don't. But every single person 401 00:23:31,840 --> 00:23:35,320 Speaker 1: in scene and experience is different, which I think is huge. 402 00:23:35,520 --> 00:23:38,200 Speaker 1: So the scene in question was cut um and it's 403 00:23:38,280 --> 00:23:41,680 Speaker 1: kind of at the heart of this being said of Hall. 404 00:23:42,359 --> 00:23:45,080 Speaker 1: I suppose it depends on the actress. This one had 405 00:23:45,119 --> 00:23:49,840 Speaker 1: a musical cabaret background, so she was up for anything. Wow, 406 00:23:50,040 --> 00:23:56,440 Speaker 1: how condescending and and uh yeah, dismissive. Haul responded, Just 407 00:23:56,520 --> 00:23:59,840 Speaker 1: because I'm in theater, not cabaret, but I do perform 408 00:24:00,200 --> 00:24:02,280 Speaker 1: every once in a while, does not mean that I 409 00:24:02,320 --> 00:24:04,720 Speaker 1: am up for anything. I don't even understand what that means. 410 00:24:05,440 --> 00:24:07,199 Speaker 1: Was it like she got her big break of the movies, 411 00:24:07,320 --> 00:24:11,240 Speaker 1: so she was up for anything? Honestly, I could be wrong, 412 00:24:11,560 --> 00:24:15,199 Speaker 1: but I feel like it was from slut shaving. Okay, Like, 413 00:24:15,359 --> 00:24:19,680 Speaker 1: is there like is there an idea that theater people 414 00:24:19,720 --> 00:24:25,760 Speaker 1: are are slutty I or cabaret people are care I 415 00:24:28,400 --> 00:24:31,320 Speaker 1: but that's just the vibe I got from that statement. 416 00:24:32,080 --> 00:24:36,320 Speaker 1: He said, it took out the spontaneity. His partners are like, no, no, no, no, 417 00:24:36,840 --> 00:24:38,840 Speaker 1: I really wish we had them. I don't. I don't 418 00:24:38,880 --> 00:24:42,479 Speaker 1: understand what you're doing. So it's very gender but also toxic. 419 00:24:42,520 --> 00:24:44,840 Speaker 1: Masculinity is a part of this when we have a 420 00:24:44,840 --> 00:24:47,120 Speaker 1: conversation about the fact that people who are so upset 421 00:24:47,760 --> 00:24:52,800 Speaker 1: again are most likely going to be domineering male uh 422 00:24:53,240 --> 00:24:57,280 Speaker 1: types who don't really think they look good having sex 423 00:24:57,320 --> 00:25:02,760 Speaker 1: because in reality, sexless goofy as hell. I agree honestly, 424 00:25:03,040 --> 00:25:05,720 Speaker 1: Like sometimes I get that it termed some people on, 425 00:25:05,800 --> 00:25:10,160 Speaker 1: but for me, I'm usually like, oh no, not this angle, please, 426 00:25:11,520 --> 00:25:20,600 Speaker 1: it is Jamilla Jamille tweated it should only be technical. 427 00:25:20,720 --> 00:25:22,960 Speaker 1: It's like a stunt our. Job as actors is to 428 00:25:23,000 --> 00:25:26,840 Speaker 1: make it not look technical. Nobody wants an impromptu group 429 00:25:27,080 --> 00:25:28,800 Speaker 1: and I love that because I think that's why. I 430 00:25:28,800 --> 00:25:31,400 Speaker 1: don't know if I said it as scinctly as she did, 431 00:25:31,480 --> 00:25:36,119 Speaker 1: but like it's a yeah, you should coordinate it, and 432 00:25:36,160 --> 00:25:38,400 Speaker 1: then the actor, if they're a good actor, can make 433 00:25:38,440 --> 00:25:41,919 Speaker 1: it look like it's not coordinated. It's not technical, right, 434 00:25:42,160 --> 00:25:44,280 Speaker 1: That's the job of the actor, but you still want 435 00:25:44,280 --> 00:25:47,840 Speaker 1: to have that in place, right, how are you going 436 00:25:47,880 --> 00:25:50,520 Speaker 1: to do your job? Well? If like you're half concerned 437 00:25:50,520 --> 00:25:52,440 Speaker 1: about what they're going to do and where they're touch 438 00:25:52,560 --> 00:25:55,040 Speaker 1: without permission, that you're going to be so in your 439 00:25:55,040 --> 00:25:57,280 Speaker 1: head about it. And I see that you're probably already 440 00:25:57,280 --> 00:25:59,960 Speaker 1: going to be in your head about right. I mean 441 00:26:00,000 --> 00:26:02,120 Speaker 1: and to say, Fred said she wished she'd had an 442 00:26:02,119 --> 00:26:06,320 Speaker 1: intimacy coordinator on set as a younger actor and quote 443 00:26:06,400 --> 00:26:09,679 Speaker 1: being nineteen walking around without my underwear on, Like, are 444 00:26:09,720 --> 00:26:12,360 Speaker 1: you kidding me? How did I let that happen? Oh? 445 00:26:12,480 --> 00:26:14,600 Speaker 1: I know why. I was nineteen and I didn't want 446 00:26:14,600 --> 00:26:16,720 Speaker 1: to upset anybody, and I wanted to keep my job. 447 00:26:17,040 --> 00:26:22,760 Speaker 1: That's why. Mm hmm yep. Um. And then not a 448 00:26:23,320 --> 00:26:26,760 Speaker 1: person or a woman, but the Broadcasting, Entertainment, Communications and 449 00:26:26,800 --> 00:26:30,600 Speaker 1: Theater Union issued this statement. Disappointing to hear these comments 450 00:26:30,600 --> 00:26:33,560 Speaker 1: from such a screen favorite and established actor without acknowledging 451 00:26:33,600 --> 00:26:36,560 Speaker 1: his position of privilege and the vulnerabilities and challenges many 452 00:26:36,640 --> 00:26:40,120 Speaker 1: in the industry, particularly young and less experienced actors, may 453 00:26:40,160 --> 00:26:45,000 Speaker 1: face as they engage in shooting intimate scenes. Um, and 454 00:26:45,080 --> 00:26:48,320 Speaker 1: this is like as we record this ongoing people are 455 00:26:49,240 --> 00:26:51,480 Speaker 1: coming out of the woodwork to say, actually, yes, I 456 00:26:51,520 --> 00:26:54,560 Speaker 1: really would have wished we had had an intimacy coordinator. 457 00:26:54,640 --> 00:26:57,199 Speaker 1: So I saw just this morning, I think some of 458 00:26:57,200 --> 00:26:59,960 Speaker 1: the cast of Boy Meets World said that they had 459 00:27:00,080 --> 00:27:05,200 Speaker 1: wished they had had intimacy coordinators on set for Boyme's World. 460 00:27:05,920 --> 00:27:08,199 Speaker 1: I do. I do think about stuff like that with 461 00:27:08,400 --> 00:27:12,240 Speaker 1: young kids having their first kiss on screen and how 462 00:27:12,280 --> 00:27:15,800 Speaker 1: awkward that was. I will say I just watched recently 463 00:27:16,040 --> 00:27:18,560 Speaker 1: The Wes Anderson and it's an older, one old movie 464 00:27:18,920 --> 00:27:21,399 Speaker 1: with kids half naked touching on each other, and they 465 00:27:21,400 --> 00:27:23,600 Speaker 1: were young kids, and I'm sitting here really horrified, like 466 00:27:23,640 --> 00:27:26,080 Speaker 1: everything about this, and I'm like, I really hope they 467 00:27:26,119 --> 00:27:32,719 Speaker 1: had supervision because this in itself is uncomfortable, awkward, and 468 00:27:32,800 --> 00:27:37,920 Speaker 1: I hope those kids are Okay. Yeah, I mean it's 469 00:27:37,960 --> 00:27:40,359 Speaker 1: gonna sound straight, But that's actually a great point in 470 00:27:40,480 --> 00:27:43,159 Speaker 1: terms of the audience, Like you would have enjoyed it 471 00:27:43,200 --> 00:27:47,080 Speaker 1: matter if you had known. I think I would. I 472 00:27:47,119 --> 00:27:49,760 Speaker 1: should have really like I was so I wanted to 473 00:27:49,840 --> 00:27:52,639 Speaker 1: fast forward it. I mean not to say, like some 474 00:27:52,680 --> 00:27:55,199 Speaker 1: things just make you uncomfortable, but I think a lot 475 00:27:55,240 --> 00:27:57,480 Speaker 1: of times for me, I would enjoy something better if 476 00:27:57,520 --> 00:28:02,920 Speaker 1: I knew, Okay, they've took the safety precautions. The people 477 00:28:02,920 --> 00:28:05,320 Speaker 1: on set, we're taking care of like for me as 478 00:28:05,359 --> 00:28:08,880 Speaker 1: a viewer, right well, I mean and it should be 479 00:28:09,119 --> 00:28:12,240 Speaker 1: whereas a professoral le like person who's a ligison in 480 00:28:12,280 --> 00:28:15,720 Speaker 1: between those people, because you don't always have this good relationship. 481 00:28:15,760 --> 00:28:19,640 Speaker 1: And I feel like Lena Hall was being nice, especially 482 00:28:19,720 --> 00:28:22,960 Speaker 1: after reading Sean Bean's comment, wondering did he really was 483 00:28:23,000 --> 00:28:25,000 Speaker 1: he really good partner or was she just saying that 484 00:28:25,040 --> 00:28:28,760 Speaker 1: so not to piss off a legendary film actor or 485 00:28:28,760 --> 00:28:31,680 Speaker 1: whatever whatnot? Um because you know, we know in Game 486 00:28:31,720 --> 00:28:35,480 Speaker 1: of Thrones, Amelia Clark talked about how she would not 487 00:28:35,640 --> 00:28:37,800 Speaker 1: have been able to get through those scenes had she 488 00:28:37,920 --> 00:28:41,200 Speaker 1: not had such a great actor who protected her, literally 489 00:28:41,200 --> 00:28:43,360 Speaker 1: being like, are you okay with this? Can we like 490 00:28:43,480 --> 00:28:46,480 Speaker 1: had to do some coordinating on their own in orders 491 00:28:46,520 --> 00:28:50,200 Speaker 1: for protection, but it was him going, you know, making 492 00:28:50,240 --> 00:28:52,880 Speaker 1: the initiative. And I don't know if they were intimency coordinators, 493 00:28:52,880 --> 00:28:55,080 Speaker 1: but it didn't sound like it' not from what Clark 494 00:28:55,200 --> 00:28:59,080 Speaker 1: was saying that it was all pretty much him protecting 495 00:28:59,120 --> 00:29:01,720 Speaker 1: her wrong this and mean he's like, if you're not comfortable, 496 00:29:01,800 --> 00:29:04,920 Speaker 1: tell me, I'll fight them like that that level, and 497 00:29:04,960 --> 00:29:06,720 Speaker 1: she talked about that, the fact that it took her 498 00:29:06,840 --> 00:29:10,040 Speaker 1: after season one of being a big enough name to 499 00:29:10,040 --> 00:29:13,520 Speaker 1: be like, I don't want to do this anymore. Yeah. Yeah, 500 00:29:13,600 --> 00:29:15,720 Speaker 1: And I think, as we've mentioned throughout, that is a 501 00:29:15,720 --> 00:29:20,720 Speaker 1: big part of the problem is there's just this pervasive 502 00:29:22,200 --> 00:29:26,400 Speaker 1: messaging to especially young women entering trying to enter the business, 503 00:29:26,440 --> 00:29:28,760 Speaker 1: like there are thousands like you that want to be here. 504 00:29:29,000 --> 00:29:30,680 Speaker 1: If you can't suck it up and do what we 505 00:29:30,720 --> 00:29:32,480 Speaker 1: tell you to do, we can get rid of you 506 00:29:32,520 --> 00:29:36,160 Speaker 1: and replace you. And they will do this easily. Yeah. 507 00:29:36,440 --> 00:29:39,040 Speaker 1: And I think it's also just like the blase attitude 508 00:29:39,240 --> 00:29:43,240 Speaker 1: that some of these men have shown, and we're saying 509 00:29:43,280 --> 00:29:45,680 Speaker 1: it's not a big deal, it's hilarious, it's funny, or 510 00:29:45,720 --> 00:29:47,720 Speaker 1: you know, it feels nice. Who doesn't want to make 511 00:29:47,720 --> 00:29:51,280 Speaker 1: out with these young girls. I'm sure that's some people's attitudes, 512 00:29:51,640 --> 00:29:53,360 Speaker 1: But the fact of the matters. There's a lot of trauma. 513 00:29:53,840 --> 00:29:56,240 Speaker 1: There was a scene and I think about this all 514 00:29:56,280 --> 00:29:58,600 Speaker 1: the time. It pisces me off and also puts me 515 00:29:58,640 --> 00:30:01,680 Speaker 1: at like, yeah, Chris Pratt's the word Chris. Sorry, that's 516 00:30:01,680 --> 00:30:05,000 Speaker 1: just a personal opinion. Um, But one of the outtakes 517 00:30:05,040 --> 00:30:08,400 Speaker 1: he thought was hysterical. Um and shared was the fact 518 00:30:08,440 --> 00:30:11,120 Speaker 1: that he got completely naked, took off his Like the 519 00:30:11,160 --> 00:30:12,640 Speaker 1: scene was that he was supposed to be naked, but 520 00:30:12,680 --> 00:30:16,760 Speaker 1: of course he had the underwear or whatever. Yeah, but 521 00:30:16,800 --> 00:30:20,400 Speaker 1: he took it off, flashing Amy Poehler and Rashida Jones. 522 00:30:20,480 --> 00:30:22,400 Speaker 1: And he came back when he was telling the story 523 00:30:22,440 --> 00:30:25,320 Speaker 1: about how they were really upset about it and like 524 00:30:25,520 --> 00:30:26,720 Speaker 1: he tried to play it off as a joke and 525 00:30:26,760 --> 00:30:29,400 Speaker 1: they even put it as a bee clip blooper and 526 00:30:29,440 --> 00:30:31,080 Speaker 1: he's like, they were actually upset but thought it was 527 00:30:31,160 --> 00:30:34,200 Speaker 1: hilarious to tell it. And I'm like, that is sexual assault. 528 00:30:34,360 --> 00:30:37,240 Speaker 1: I'm sorry, that is sexual assault and harassment. And honestly, 529 00:30:37,280 --> 00:30:39,560 Speaker 1: as a traumatized victim, that would have had me on 530 00:30:39,560 --> 00:30:47,160 Speaker 1: the floor, right right. I think that gosh I did 531 00:30:47,240 --> 00:30:49,600 Speaker 1: such a figure conversation. But yeah, I do think because 532 00:30:50,240 --> 00:30:55,120 Speaker 1: women just statistically experienced sexual assault and related things at 533 00:30:55,400 --> 00:30:58,840 Speaker 1: such higher rates that we have to think about that. 534 00:30:59,400 --> 00:31:02,400 Speaker 1: Um be where. But like I feel like an art 535 00:31:02,520 --> 00:31:05,920 Speaker 1: scenes and artistic endeavors, it's sort of thrown out the window, like, 536 00:31:05,920 --> 00:31:08,280 Speaker 1: oh but this will be good art initially be thrown 537 00:31:08,280 --> 00:31:11,440 Speaker 1: out the window and I think men just don't think 538 00:31:11,480 --> 00:31:13,760 Speaker 1: about it because it's not something they have to worry 539 00:31:13,760 --> 00:31:18,040 Speaker 1: about every minute of all day. And yes, men could 540 00:31:18,040 --> 00:31:20,640 Speaker 1: be assaulted too, but I just it's statistic to wright, 541 00:31:22,040 --> 00:31:24,240 Speaker 1: so for him to do that, like it probably never 542 00:31:24,320 --> 00:31:28,480 Speaker 1: occurred to him, right, Maybe they have a horrible experience 543 00:31:28,520 --> 00:31:31,440 Speaker 1: that this is kind of write off, and being a 544 00:31:31,480 --> 00:31:34,200 Speaker 1: part of the industry, they probably really have. Probably, But 545 00:31:34,240 --> 00:31:36,240 Speaker 1: the thing about the matter is like they's so flippant 546 00:31:36,280 --> 00:31:40,440 Speaker 1: that this even bypassed people on the set watching him 547 00:31:40,480 --> 00:31:43,160 Speaker 1: do it, not thinking anything about it and just letting 548 00:31:43,160 --> 00:31:45,440 Speaker 1: it go and saying this is a huge joke. Him 549 00:31:45,440 --> 00:31:47,720 Speaker 1: being told don't tell people this because this is gonna 550 00:31:47,800 --> 00:31:49,480 Speaker 1: get you in trouble. But he told it on a 551 00:31:49,880 --> 00:31:52,280 Speaker 1: national team because he just thought it was hilarious. Has 552 00:31:52,280 --> 00:31:54,760 Speaker 1: he ever apologized to it. No, And no one's really 553 00:31:54,840 --> 00:31:57,160 Speaker 1: kept them, hold them accountable to everybody treated it as 554 00:31:57,200 --> 00:31:59,120 Speaker 1: a joke. And you know what, I get that, I 555 00:31:59,160 --> 00:32:01,080 Speaker 1: get that to a certain degree of like he really 556 00:32:01,080 --> 00:32:05,440 Speaker 1: thought this would be hilarious, which stop. Just if anybody 557 00:32:05,440 --> 00:32:07,080 Speaker 1: wants to know, that's not funny to me, So don't 558 00:32:07,120 --> 00:32:10,080 Speaker 1: do that to me. Thanks. But all of that matter 559 00:32:10,160 --> 00:32:12,280 Speaker 1: in this conversation, it's like, this is the level of 560 00:32:12,320 --> 00:32:16,360 Speaker 1: what uh they think is acceptable. They just part of 561 00:32:16,440 --> 00:32:19,960 Speaker 1: the job and that this is okay and realizing now 562 00:32:20,040 --> 00:32:22,800 Speaker 1: this is why it needs a breakdown. And I'm sorry 563 00:32:22,800 --> 00:32:25,280 Speaker 1: that the quote unquote fun police have come through, but 564 00:32:25,720 --> 00:32:28,200 Speaker 1: for a lot of us, this is not fun exactly. 565 00:32:28,600 --> 00:32:34,520 Speaker 1: And just because this is artistic, it's still a job. 566 00:32:34,800 --> 00:32:37,880 Speaker 1: If you did that at any other job, I would 567 00:32:37,960 --> 00:32:40,800 Speaker 1: hope you would be fired. Unfortunately we have instances where 568 00:32:40,840 --> 00:32:44,280 Speaker 1: that's not been the case, but generally you should be fired. 569 00:32:44,680 --> 00:32:48,960 Speaker 1: And if you have coordinated something out like that and 570 00:32:49,000 --> 00:32:53,280 Speaker 1: everyone's prepared, that's different than you just do it as 571 00:32:53,320 --> 00:32:57,600 Speaker 1: a joke. Yeah, and there's some things like the conversation 572 00:32:57,680 --> 00:33:01,440 Speaker 1: is it's not about stopping it, stopping sexy, stopping the 573 00:33:01,480 --> 00:33:03,800 Speaker 1: spicy scenes. Don't get me wrong, they're like okay, cool. 574 00:33:04,680 --> 00:33:08,440 Speaker 1: But at the same it doesn't also mean that there's 575 00:33:08,600 --> 00:33:10,560 Speaker 1: doesn't need to be regulation. There's a reason there's a 576 00:33:10,640 --> 00:33:13,920 Speaker 1: rating system to begin with for the viewers. There should 577 00:33:13,960 --> 00:33:17,760 Speaker 1: be a system to set up to protect the actors. Yes, 578 00:33:18,120 --> 00:33:21,280 Speaker 1: and I also think that we should come back and 579 00:33:21,320 --> 00:33:22,840 Speaker 1: talk about this. I know we've talked about a little 580 00:33:22,840 --> 00:33:25,440 Speaker 1: bit more but you know, depending on who's writing it, 581 00:33:25,560 --> 00:33:29,200 Speaker 1: who's directing it. I think, as some of these actors 582 00:33:29,200 --> 00:33:31,520 Speaker 1: have said, you know, there are certain scenes I don't 583 00:33:31,560 --> 00:33:33,800 Speaker 1: want to do, and a lot of it's coming from 584 00:33:33,840 --> 00:33:37,400 Speaker 1: a male gaze of treating a woman as an object 585 00:33:37,440 --> 00:33:40,400 Speaker 1: in a scene. So it's okay to traumatize her or 586 00:33:40,440 --> 00:33:43,920 Speaker 1: depict a sexual assault, maybe it's not necessary, and maybe 587 00:33:44,240 --> 00:33:48,520 Speaker 1: intimacy coordinators can be the person who's like, well, why 588 00:33:48,520 --> 00:33:51,520 Speaker 1: are we whatever? What are we trying to communicate here? Um? 589 00:33:51,600 --> 00:33:54,560 Speaker 1: Because if it can be cut, the actor is not comfortable, Like, 590 00:33:54,800 --> 00:33:58,440 Speaker 1: that's also a part of this. And then I did 591 00:33:58,520 --> 00:34:02,480 Speaker 1: want to run through some really quick personal experiences I've 592 00:34:02,520 --> 00:34:08,360 Speaker 1: had because I have worked in some acting before UM, 593 00:34:08,400 --> 00:34:11,600 Speaker 1: And I think like we've mentioned a lot of this throughout, 594 00:34:11,640 --> 00:34:13,840 Speaker 1: and I bet a lot of professions can connect to this. 595 00:34:13,920 --> 00:34:18,120 Speaker 1: But I've certainly been pressured into uncomfortable situations. UM. There 596 00:34:18,160 --> 00:34:21,839 Speaker 1: generally has not been hr or if there happen, I 597 00:34:21,880 --> 00:34:24,440 Speaker 1: have not been told where they are. I don't know 598 00:34:24,480 --> 00:34:27,239 Speaker 1: who to contact. I don't think ever have I been 599 00:34:27,239 --> 00:34:29,279 Speaker 1: on a set. And then a lot of times, if 600 00:34:29,280 --> 00:34:32,800 Speaker 1: you do an intimate scene, it's supposed to be only 601 00:34:32,960 --> 00:34:35,840 Speaker 1: necessary personnel are in there, and they're not supposed to 602 00:34:35,840 --> 00:34:39,200 Speaker 1: bring their cell phones. And I have been at least 603 00:34:39,320 --> 00:34:42,160 Speaker 1: one time where I saw cell phones and I didn't 604 00:34:42,160 --> 00:34:44,480 Speaker 1: know what to like, Like I thought we said there 605 00:34:44,520 --> 00:34:49,000 Speaker 1: was no cell phones, I couldn't have my cell phone. Um, 606 00:34:49,080 --> 00:34:51,000 Speaker 1: and then yeah, the whole idea like oh if you 607 00:34:51,040 --> 00:34:55,799 Speaker 1: don't do it, thousands behind you. And another thing people 608 00:34:55,800 --> 00:34:58,160 Speaker 1: brought up a lot I thought was a great point, um, 609 00:34:58,960 --> 00:35:02,240 Speaker 1: is that scripts can be really egg they are so 610 00:35:02,800 --> 00:35:04,759 Speaker 1: like one example a lot of people gave is make 611 00:35:04,840 --> 00:35:08,480 Speaker 1: passionate love, Like don't you want to choreograph that? What 612 00:35:08,520 --> 00:35:10,480 Speaker 1: does that mean? What does that mean? We're just gonna 613 00:35:10,560 --> 00:35:15,560 Speaker 1: roll around and push each other and right like, and 614 00:35:15,600 --> 00:35:18,160 Speaker 1: people can have different ideas of what that means for 615 00:35:18,200 --> 00:35:19,759 Speaker 1: one thing, and you don't want it to like get 616 00:35:19,880 --> 00:35:24,480 Speaker 1: a black eye or whatever whatever you're accidentally throwing elbows 617 00:35:24,520 --> 00:35:29,880 Speaker 1: and um, so that's another area where I just I'm sorry, 618 00:35:29,920 --> 00:35:32,239 Speaker 1: I just had a moment of like, make passionate love, 619 00:35:32,360 --> 00:35:35,000 Speaker 1: elbow in the face, you know what you're rolling about? 620 00:35:35,239 --> 00:35:40,200 Speaker 1: An elbow? Pro yes? Well, but yeah, I mean I 621 00:35:40,200 --> 00:35:42,800 Speaker 1: think that's that's a great point. How are you supposed 622 00:35:42,840 --> 00:35:47,520 Speaker 1: to interpret that? As an actor. And then if you're lucky, 623 00:35:48,360 --> 00:35:50,200 Speaker 1: if you work on a big enough production, you get 624 00:35:50,239 --> 00:35:52,640 Speaker 1: to work with said actor before that and talk about it, 625 00:35:52,640 --> 00:35:54,920 Speaker 1: discussed it. But that's it's always true either. Sometimes you 626 00:35:55,040 --> 00:35:57,520 Speaker 1: just walk in and they're like, go, I've heard of 627 00:35:57,560 --> 00:35:59,600 Speaker 1: like things like this is planned for next Thursday. Oh no, 628 00:35:59,640 --> 00:36:01,480 Speaker 1: we're doing today because this is the best time, or 629 00:36:01,680 --> 00:36:04,880 Speaker 1: something's gone wrong with the other things. Yes, yes, that 630 00:36:04,960 --> 00:36:06,600 Speaker 1: has happened to me, not with an intimate scene, but 631 00:36:06,640 --> 00:36:09,719 Speaker 1: with an emotionally intense scene where they're like, actually, we're 632 00:36:09,760 --> 00:36:13,880 Speaker 1: doing that today, right, alright, I have five minutes of 633 00:36:14,000 --> 00:36:16,680 Speaker 1: really good in the state. Um. So yeah, that's something 634 00:36:16,719 --> 00:36:23,200 Speaker 1: that happens. Um. And then, as I mentioned, auditions themselves, 635 00:36:23,280 --> 00:36:27,239 Speaker 1: which are essentially job interviews, can get really gross and 636 00:36:27,280 --> 00:36:30,719 Speaker 1: they'll just give you no warning, tell you to come 637 00:36:30,719 --> 00:36:32,400 Speaker 1: in and be like, actually you need to see what 638 00:36:32,400 --> 00:36:34,640 Speaker 1: you would look like in a bikini, so can you 639 00:36:34,680 --> 00:36:38,359 Speaker 1: take off your clothes? Um, And there's no like, there's 640 00:36:38,360 --> 00:36:41,759 Speaker 1: no warning. You come again, you're kind of like, um, no, 641 00:36:43,719 --> 00:36:45,719 Speaker 1: watch do you have that moment of like does that 642 00:36:45,719 --> 00:36:47,360 Speaker 1: mean I won't get the job if I don't do it? 643 00:36:47,360 --> 00:36:49,880 Speaker 1: But I don't want to do it. So that's all gross. 644 00:36:49,920 --> 00:36:51,799 Speaker 1: And I've heard horror stories, as I said, about big 645 00:36:51,840 --> 00:36:56,400 Speaker 1: directors doing way worse than that. Um which is related 646 00:36:56,400 --> 00:36:59,120 Speaker 1: to the idea of the male genius, which we've talked before, 647 00:36:59,680 --> 00:37:02,839 Speaker 1: who gets away with everything in the name of art, 648 00:37:03,400 --> 00:37:06,160 Speaker 1: even if it means hurting women. Sometimes especially if it 649 00:37:06,160 --> 00:37:10,080 Speaker 1: means hurting women. UM So I think that is at 650 00:37:10,120 --> 00:37:14,879 Speaker 1: play throughout all of this. And yeah, you can get 651 00:37:14,880 --> 00:37:16,759 Speaker 1: really wrapped up in the moment and not know how 652 00:37:16,800 --> 00:37:19,279 Speaker 1: to speak up and say you're uncomfortable, especially if you 653 00:37:19,320 --> 00:37:24,799 Speaker 1: don't have an advocate, especially if expontaneity is involved, and 654 00:37:24,800 --> 00:37:28,239 Speaker 1: all of a sudden someone's kissing you or whatever, and 655 00:37:28,320 --> 00:37:30,080 Speaker 1: you don't know, you don't want to break the scene, 656 00:37:30,280 --> 00:37:47,400 Speaker 1: you don't know what's happening, Like it's not good. We've 657 00:37:47,440 --> 00:37:50,640 Speaker 1: just heard so many, over and over again stories of 658 00:37:50,719 --> 00:37:56,760 Speaker 1: young actresses being taken advantage of by older men, and 659 00:37:57,360 --> 00:38:01,839 Speaker 1: these scenes can be just a life space for that. 660 00:38:03,440 --> 00:38:08,000 Speaker 1: And yeah, I mean enthusiastic consent and sexy this idea 661 00:38:08,200 --> 00:38:10,520 Speaker 1: that a lot of it, a lot of it embodies 662 00:38:11,280 --> 00:38:13,799 Speaker 1: that men who don't like it. It seems to be like, wait, what, 663 00:38:13,920 --> 00:38:21,200 Speaker 1: I can't do anything, I n well, I mean and 664 00:38:21,239 --> 00:38:24,839 Speaker 1: also like I just remember the Nicole Kidman movie dog 665 00:38:24,880 --> 00:38:26,680 Speaker 1: Bill had no idea what the promos of the movie 666 00:38:26,880 --> 00:38:30,640 Speaker 1: as it was getting a lot of accolades, um, and 667 00:38:31,320 --> 00:38:34,359 Speaker 1: there was a woman. There was a moment when in 668 00:38:34,400 --> 00:38:37,480 Speaker 1: the movie there are rape scenes, but it's pretty much 669 00:38:37,480 --> 00:38:40,040 Speaker 1: like laid out like it's a play, so it's just cut, 670 00:38:40,560 --> 00:38:43,000 Speaker 1: just taped off. You're supposed to know what this is. 671 00:38:43,040 --> 00:38:45,920 Speaker 1: But it was absolutely a movie, a play within a movie. 672 00:38:46,480 --> 00:38:50,120 Speaker 1: And uh still in Scars, Guard has a really intense 673 00:38:50,719 --> 00:38:54,719 Speaker 1: rape scene with Nicole Kidman. He talks about it and 674 00:38:54,760 --> 00:38:56,799 Speaker 1: he couldn't even speak it in English, like he was 675 00:38:56,920 --> 00:39:00,480 Speaker 1: so distraught from the scene. It was so dis by it, 676 00:39:00,560 --> 00:39:04,720 Speaker 1: Like as they were interviewing him about the scene, because 677 00:39:04,719 --> 00:39:06,560 Speaker 1: I had to go I had to like detalk about 678 00:39:06,560 --> 00:39:08,560 Speaker 1: it and I need to know, they were okay, like 679 00:39:08,640 --> 00:39:10,600 Speaker 1: that's what how far I had to go for it? 680 00:39:11,280 --> 00:39:13,920 Speaker 1: Of course, it's a large von Trier, who is one 681 00:39:13,960 --> 00:39:18,960 Speaker 1: of those that really pushes quote unquote the envelope or whatever, um, 682 00:39:19,040 --> 00:39:22,880 Speaker 1: and he was disturbed by it. He was so perturbed 683 00:39:22,880 --> 00:39:26,080 Speaker 1: by that he literally could not explain what he was 684 00:39:26,160 --> 00:39:29,239 Speaker 1: what had happened in English? Was I thought. I was like, 685 00:39:29,400 --> 00:39:31,040 Speaker 1: this is before I knew who he was as the 686 00:39:31,040 --> 00:39:33,000 Speaker 1: big actor that he was, and I was like, oh 687 00:39:33,040 --> 00:39:36,719 Speaker 1: my god, what's happening. He has a really good English 688 00:39:37,000 --> 00:39:40,080 Speaker 1: ractor accident in the movie, but then he's just like 689 00:39:40,200 --> 00:39:43,520 Speaker 1: breaking down crying, Like this is about the fact that 690 00:39:44,280 --> 00:39:48,400 Speaker 1: in those things, I hope as a human that these 691 00:39:48,640 --> 00:39:51,560 Speaker 1: male actors who have to portray this feel just as 692 00:39:51,560 --> 00:39:55,439 Speaker 1: bad and disgusting and grows about this, right, I mean, yeah, 693 00:39:55,480 --> 00:39:57,640 Speaker 1: we've been talking a lot about women, but anybody involved 694 00:39:57,800 --> 00:40:02,359 Speaker 1: is right. Those are emotionally intense and traumatic scenes, right, 695 00:40:02,840 --> 00:40:05,000 Speaker 1: and of course we are going like a different round 696 00:40:05,040 --> 00:40:07,000 Speaker 1: with that conversation and like, oh, it's just not fun 697 00:40:07,040 --> 00:40:09,880 Speaker 1: and it takes out a spontaneity. Again, though we know 698 00:40:09,920 --> 00:40:12,359 Speaker 1: most of the times a lot of these movies take 699 00:40:12,600 --> 00:40:17,200 Speaker 1: unnecessary leaps into making it traumatic and violation for women 700 00:40:17,600 --> 00:40:20,960 Speaker 1: for the characters, which sometimes it's like this is not necessary, 701 00:40:21,000 --> 00:40:24,719 Speaker 1: I don't understand what this is and like the fact that, yeah, 702 00:40:24,800 --> 00:40:28,040 Speaker 1: it's traumatizing to everyone. In a round, I would hope, um, 703 00:40:28,080 --> 00:40:30,400 Speaker 1: there should be a conversation and a breakdown of the 704 00:40:30,400 --> 00:40:33,439 Speaker 1: scenes and you know what's happening without truly violating either 705 00:40:33,520 --> 00:40:36,680 Speaker 1: one of the actors in these moments, and this asks 706 00:40:36,719 --> 00:40:38,960 Speaker 1: to consider, of course we're not really in the movie. 707 00:40:39,120 --> 00:40:40,719 Speaker 1: You know, that's not supposed to be played, but you 708 00:40:40,719 --> 00:40:42,680 Speaker 1: should be able to do so behind the scenes, to 709 00:40:42,800 --> 00:40:50,520 Speaker 1: do it correctly and safely for both actors. Like, yeah, 710 00:40:50,560 --> 00:40:52,360 Speaker 1: I would even hope like they have like a speech 711 00:40:52,360 --> 00:40:59,680 Speaker 1: they give to the crew. And there are some instances 712 00:40:59,719 --> 00:41:02,840 Speaker 1: of a qualified I c s that have gotten through 713 00:41:03,719 --> 00:41:09,640 Speaker 1: and have provided bad experiences. Um, and that is something 714 00:41:09,680 --> 00:41:11,919 Speaker 1: that those in the in the small industry are working 715 00:41:11,960 --> 00:41:16,640 Speaker 1: to change. But overall, it seems that they make everything. 716 00:41:16,880 --> 00:41:19,239 Speaker 1: They make things better for everybody, and they make the 717 00:41:19,440 --> 00:41:24,040 Speaker 1: set more safe and they make you know, the energy 718 00:41:24,080 --> 00:41:29,399 Speaker 1: image better. Uh so yeah, yeah, if you're interested, there 719 00:41:29,440 --> 00:41:31,800 Speaker 1: are resources available online which I definitely checked out. I 720 00:41:31,880 --> 00:41:33,840 Speaker 1: was just kind of curious. I was like, oh, what 721 00:41:33,880 --> 00:41:35,320 Speaker 1: am I going to have to do if I wanted 722 00:41:35,360 --> 00:41:40,120 Speaker 1: to do this? They do say it takes like years, 723 00:41:40,239 --> 00:41:43,479 Speaker 1: like they aren't young intimacy coordinators really like you really 724 00:41:43,520 --> 00:41:45,880 Speaker 1: have to put in the time and work. But yes, 725 00:41:46,000 --> 00:41:48,440 Speaker 1: you should go check that out if you're at all interested. 726 00:41:49,200 --> 00:41:52,800 Speaker 1: And yeah, my t LDR for this one is intimacy scenes. 727 00:41:52,840 --> 00:41:56,560 Speaker 1: Intimate scenes are stunts. They're vulnerable stunts and this whole thing, 728 00:41:56,880 --> 00:42:01,400 Speaker 1: it's a job. So intimacy coordinators are important for ensuring 729 00:42:01,440 --> 00:42:05,399 Speaker 1: everyone's safety, comfort, and the best performances in the merom Wood. 730 00:42:06,000 --> 00:42:10,799 Speaker 1: Yes so uh. If you would like to contact us 731 00:42:11,120 --> 00:42:13,160 Speaker 1: you can. Our email is a stuff in Your mom 732 00:42:13,160 --> 00:42:14,879 Speaker 1: Stuff at I hurt me dot com. You can find 733 00:42:14,920 --> 00:42:16,960 Speaker 1: us on Twitter at mom Stuff podcast on Instagram at 734 00:42:16,960 --> 00:42:19,040 Speaker 1: stuff whatever told You. Thanks it's always to our super 735 00:42:19,040 --> 00:42:22,520 Speaker 1: producer Christie. Thank you, Christina, and thanks to you for 736 00:42:22,560 --> 00:42:25,040 Speaker 1: listening Stuff and Never tolduced Pection from iHeart Radio. For 737 00:42:25,040 --> 00:42:26,719 Speaker 1: more podcast from iHeart Radio, you can check out the 738 00:42:27,040 --> 00:42:29,600 Speaker 1: radio app Apple Podcast wherever you listen to your favorite shows,