1 00:00:05,160 --> 00:00:07,440 Speaker 1: Hey, this is Annie and Samantha. I'm welcome to stuff 2 00:00:07,440 --> 00:00:20,520 Speaker 1: I Never told you production of iHeartRadio. And recently, as 3 00:00:20,560 --> 00:00:24,560 Speaker 1: you may have heard, we were fortunate enough to finally 4 00:00:24,600 --> 00:00:26,079 Speaker 1: reunite with friend. 5 00:00:25,920 --> 00:00:26,960 Speaker 2: Of the show, Bridget Todd. 6 00:00:27,640 --> 00:00:31,200 Speaker 1: And after a lot of times after we talked to Bridget, 7 00:00:31,280 --> 00:00:33,080 Speaker 1: we're like, oh gosh, we just want There's so many 8 00:00:33,080 --> 00:00:36,000 Speaker 1: other things we want to talk to you about. And 9 00:00:36,040 --> 00:00:39,720 Speaker 1: one of the things that came up was intimacy coordinators. 10 00:00:41,040 --> 00:00:44,600 Speaker 1: And especially since we just had the oscars and there 11 00:00:44,720 --> 00:00:50,240 Speaker 1: have been a lot of conversations about intimacy coordinators, I thought, 12 00:00:50,760 --> 00:00:55,800 Speaker 1: why not bring back that episode that we did. Seems 13 00:00:55,840 --> 00:01:00,520 Speaker 1: like it's really relevant to this day it is, so 14 00:01:00,600 --> 00:01:09,120 Speaker 1: please enjoy this classic episode. Hey, this is Annie and 15 00:01:09,120 --> 00:01:11,319 Speaker 1: Samantha and welcome to Stefan Never told you a protection 16 00:01:11,360 --> 00:01:26,319 Speaker 1: of iHeartRadio. And today, unfortunately, I guess once again we 17 00:01:26,360 --> 00:01:30,080 Speaker 1: have to talk about something after a man made a comment. 18 00:01:30,920 --> 00:01:34,039 Speaker 1: So we're talking about intimacy coordinators, what they do, why 19 00:01:34,040 --> 00:01:36,440 Speaker 1: are they're important, And this is something. 20 00:01:36,200 --> 00:01:37,360 Speaker 2: We've wanted to do for a while. 21 00:01:37,880 --> 00:01:40,720 Speaker 1: So you know, the circumstances might not be great, but 22 00:01:40,760 --> 00:01:42,480 Speaker 1: we have wanted to talk about this for a while, 23 00:01:43,040 --> 00:01:45,240 Speaker 1: we tried to get an intimacy coordinator on the show. 24 00:01:45,319 --> 00:01:48,800 Speaker 1: It hasn't worked out yet, but if anyone is in 25 00:01:48,840 --> 00:01:53,320 Speaker 1: the business or has any connections, you know where. 26 00:01:53,120 --> 00:01:53,840 Speaker 2: To find us. 27 00:01:54,440 --> 00:01:57,840 Speaker 1: Yes, because we would love to do a revisit with 28 00:01:57,920 --> 00:01:58,560 Speaker 1: an interview. 29 00:01:58,760 --> 00:01:59,720 Speaker 2: It'd be fantastic. 30 00:02:00,320 --> 00:02:04,640 Speaker 1: But in early August of twenty twenty two, I guess 31 00:02:04,640 --> 00:02:07,800 Speaker 1: because who knows. When you're listening to this, actor Sean 32 00:02:07,960 --> 00:02:12,400 Speaker 1: Bean made the comment that intimacy coordinators quote spoiled the 33 00:02:12,400 --> 00:02:15,720 Speaker 1: spontaneity and that sex scenes had so much better quote 34 00:02:15,880 --> 00:02:21,160 Speaker 1: flow before intimacy coordinators got involved, and so many women and. 35 00:02:22,080 --> 00:02:25,280 Speaker 2: Everyone else also, but a lot of women raise. 36 00:02:25,160 --> 00:02:28,080 Speaker 1: Their hands and were like, Hi, actually they're really important 37 00:02:28,200 --> 00:02:31,200 Speaker 1: and here's why. And we have a lot of quotes 38 00:02:31,600 --> 00:02:33,959 Speaker 1: from them that we're going to include towards the end. 39 00:02:34,360 --> 00:02:36,760 Speaker 2: Before we do that, we're going to get into some basics. 40 00:02:37,080 --> 00:02:39,440 Speaker 1: But also before we do that, you can see our 41 00:02:39,480 --> 00:02:42,320 Speaker 1: episode we did with bridget On, Evan Rachel Wood and 42 00:02:42,360 --> 00:02:45,880 Speaker 1: Brian Warner also known as Marilyn Manson, and her allegation 43 00:02:45,960 --> 00:02:48,639 Speaker 1: that he sexually assaulted her in a music video, which 44 00:02:48,680 --> 00:02:50,720 Speaker 1: is related to what we're going to be talking about. 45 00:02:51,760 --> 00:02:54,639 Speaker 1: And also content warning brief discussion of sexual assault and rape. 46 00:02:54,680 --> 00:02:57,640 Speaker 1: We're not going to get into any details, but brief 47 00:02:57,639 --> 00:03:04,200 Speaker 1: discussion and rants. So let's get into some of the basics. 48 00:03:04,560 --> 00:03:10,360 Speaker 1: Intimacy coordinators also known as intimacy directors, are, from my understanding, 49 00:03:10,639 --> 00:03:14,280 Speaker 1: a relatively new thing. Essentially, they are professionals to choreograph 50 00:03:14,400 --> 00:03:19,560 Speaker 1: and guide intimate scenes in our entertainment. They make sure 51 00:03:19,680 --> 00:03:22,960 Speaker 1: these vulnerable scenes are safe and that those involved know 52 00:03:23,040 --> 00:03:26,240 Speaker 1: what to expect and that they feel supported. The demand 53 00:03:26,520 --> 00:03:31,240 Speaker 1: for intimacy coordinators or ICs rose post me too, in 54 00:03:31,320 --> 00:03:34,320 Speaker 1: order to make sure sets were safe. The first film 55 00:03:34,760 --> 00:03:37,600 Speaker 1: or TV production to announce the use of an intimacy 56 00:03:37,640 --> 00:03:41,240 Speaker 1: coordinator was The Deuce during their second season in twenty eighteen. 57 00:03:41,640 --> 00:03:44,360 Speaker 1: Though of no, they have been used in live theater 58 00:03:44,520 --> 00:03:45,360 Speaker 1: for decades. 59 00:03:46,480 --> 00:03:47,120 Speaker 3: I didn't know that. 60 00:03:47,760 --> 00:03:51,160 Speaker 4: So in twenty twenty, seg After release the first standard 61 00:03:51,160 --> 00:03:54,920 Speaker 4: and protocols for intimacy coordinators, and soon after they release 62 00:03:55,000 --> 00:03:59,040 Speaker 4: an accreditation system for intimacy coordinators and a registry for 63 00:03:59,320 --> 00:04:02,800 Speaker 4: qualified i sees. And here's some quotes from those standards 64 00:04:02,800 --> 00:04:03,440 Speaker 4: and practices. 65 00:04:03,680 --> 00:04:03,960 Speaker 3: Quote. 66 00:04:04,040 --> 00:04:07,720 Speaker 4: Nudity and simulated sex often have an important role in 67 00:04:07,760 --> 00:04:10,760 Speaker 4: telling of a story, whether in the film, television, or 68 00:04:10,840 --> 00:04:15,640 Speaker 4: interactive world. Although performances in these scenes convey strong feelings 69 00:04:15,680 --> 00:04:18,920 Speaker 4: and powerful emotions to an audience, which can be integral 70 00:04:19,040 --> 00:04:24,160 Speaker 4: to a storyline, sag Aftra also recognizes the unique vulnerability 71 00:04:24,200 --> 00:04:28,200 Speaker 4: that arises from performers when performing hyper exposed work. 72 00:04:28,600 --> 00:04:32,560 Speaker 1: Yes, and they define intimacy coordinators as quote an advocate, 73 00:04:32,640 --> 00:04:35,719 Speaker 1: a liaison between actors and production and a movement coach 74 00:04:35,760 --> 00:04:38,880 Speaker 1: and or a choreographer in regards to nudity and simulated sex, 75 00:04:39,040 --> 00:04:42,520 Speaker 1: another intimate and hyper exposed scenes, and that they quote 76 00:04:42,760 --> 00:04:46,080 Speaker 1: ensure that performers and other production personnel adhere to proper 77 00:04:46,120 --> 00:04:50,400 Speaker 1: safety protocols, serves as a resource in realizing a director's vision, 78 00:04:50,720 --> 00:04:54,080 Speaker 1: assumes the role of movement choreographer if requested by the 79 00:04:54,160 --> 00:04:57,919 Speaker 1: director to enhance believability, strives to build an environment in 80 00:04:57,960 --> 00:05:00,479 Speaker 1: which actors understand what it's expected of them and hyper 81 00:05:00,480 --> 00:05:03,679 Speaker 1: exposed scenes, and to give their informed and continued consent. 82 00:05:04,120 --> 00:05:08,400 Speaker 1: And further, sag after also suggests that intimacy coordinators should 83 00:05:08,400 --> 00:05:11,280 Speaker 1: be used for any scene involving simulated sex or other 84 00:05:11,320 --> 00:05:15,520 Speaker 1: intimate are hyper exposed scenes and here are the key qualities. 85 00:05:15,560 --> 00:05:20,200 Speaker 1: They outline for qualified intimacy coordinators. Consent training, anti harassment, 86 00:05:20,279 --> 00:05:24,240 Speaker 1: anti sexual harassment training, movement coaching and masking techniques, proper 87 00:05:24,320 --> 00:05:28,560 Speaker 1: use of modesty, garments and barriers, meditation or conflict resolution training, 88 00:05:28,920 --> 00:05:33,440 Speaker 1: gender identity and sexual orientation training, anti racist EDI training 89 00:05:33,720 --> 00:05:38,719 Speaker 1: bystander intervention, mental health, first aid, trauma, stewardship or related training. 90 00:05:39,120 --> 00:05:42,320 Speaker 1: Must have a state and federal background check, experience, and 91 00:05:42,400 --> 00:05:45,599 Speaker 1: an ability to adapt and implement the rules, responsibilities, functions, 92 00:05:45,600 --> 00:05:49,680 Speaker 1: and protocols on a variety of sets. So, according to 93 00:05:49,720 --> 00:05:53,479 Speaker 1: sag Aftra, here's how an IC's responsibilities might break down. 94 00:05:53,520 --> 00:05:58,280 Speaker 1: So ideally, they are included in meetings with the writer, director, producer, 95 00:05:59,279 --> 00:06:01,560 Speaker 1: all of the above, sometimes just one of the above, 96 00:06:01,920 --> 00:06:05,560 Speaker 1: to go over the intimate scenes and key things like 97 00:06:05,720 --> 00:06:08,640 Speaker 1: the degree of nudity, specifics of the simulated sex, of 98 00:06:08,720 --> 00:06:12,320 Speaker 1: the nudity, and anything else that might be important. The 99 00:06:12,560 --> 00:06:16,599 Speaker 1: IC then communicates those to the actors and then relays 100 00:06:16,640 --> 00:06:20,600 Speaker 1: any concerns that they might have back to production. They 101 00:06:20,600 --> 00:06:23,960 Speaker 1: meet one on one with performers involved to discuss language 102 00:06:24,040 --> 00:06:27,320 Speaker 1: used sex writers that being something in your contract like 103 00:06:27,360 --> 00:06:30,599 Speaker 1: I won't do this, something like that. Ices are also 104 00:06:30,640 --> 00:06:34,039 Speaker 1: in charge of continually checking in on consent during the production, 105 00:06:34,560 --> 00:06:37,440 Speaker 1: they deal with any disagreements or misunderstandings about how the 106 00:06:37,480 --> 00:06:41,600 Speaker 1: scenes should go. They also make sure that proper nudity garments, barriers, 107 00:06:41,640 --> 00:06:43,839 Speaker 1: and prosthetics are provided. 108 00:06:44,200 --> 00:06:46,599 Speaker 3: So that's pre production on set. 109 00:06:46,720 --> 00:06:49,640 Speaker 4: The guidelines laid out by sag After are as follows 110 00:06:49,720 --> 00:06:54,200 Speaker 4: quote reviews, nudity writers, scene content modesty garments and barriers 111 00:06:54,200 --> 00:06:58,760 Speaker 4: with performers, directors and assistant directors, ensures the proper implementation 112 00:06:59,000 --> 00:07:03,360 Speaker 4: of closed set protocols, and a sag After Guidelines serves 113 00:07:03,400 --> 00:07:07,200 Speaker 4: as a resource for directors and assistant directors as needed 114 00:07:07,480 --> 00:07:11,320 Speaker 4: with any specialized movement or choreography to ensure consent and 115 00:07:11,400 --> 00:07:17,680 Speaker 4: safety while enhancing believability and director vision. Ensures continued consent 116 00:07:17,760 --> 00:07:20,760 Speaker 4: throughout the filming of scene. Both consent to what their 117 00:07:20,880 --> 00:07:23,840 Speaker 4: likeness is seen performing and how the action is achieved, 118 00:07:24,200 --> 00:07:29,200 Speaker 4: while minimizing interference in production flow. Protects minors consistent with 119 00:07:29,520 --> 00:07:31,640 Speaker 4: sag After guidelines. 120 00:07:31,200 --> 00:07:35,280 Speaker 1: Yes, and then in post production ices make themselves available 121 00:07:35,280 --> 00:07:38,720 Speaker 1: for questions and to make sure that contractual obligations around 122 00:07:39,080 --> 00:07:43,120 Speaker 1: these scenes are met and yes. As mentioned, sag after 123 00:07:43,280 --> 00:07:47,960 Speaker 1: does offer multiple accreditation programs for ices. On top of that, 124 00:07:49,080 --> 00:07:51,920 Speaker 1: I looked through the registry list and almost everyone on 125 00:07:52,080 --> 00:07:53,600 Speaker 1: there is a woman. 126 00:07:54,320 --> 00:07:56,840 Speaker 2: But the list is also very very short, right now, 127 00:07:57,160 --> 00:07:57,560 Speaker 2: very shorty. 128 00:07:57,720 --> 00:07:58,160 Speaker 3: I'm sure. 129 00:07:58,320 --> 00:08:01,360 Speaker 4: I'm very sure from the words of someone in the 130 00:08:01,400 --> 00:08:05,640 Speaker 4: business and is really leading the way. Ada O'Brien described 131 00:08:05,680 --> 00:08:10,120 Speaker 4: an intimacy coordinator as quote a practitioner who brings a 132 00:08:10,160 --> 00:08:14,440 Speaker 4: professional structure and skill to creating intimate content, just like 133 00:08:14,480 --> 00:08:17,000 Speaker 4: a choreographer would bring their skill to a dance or 134 00:08:17,040 --> 00:08:20,160 Speaker 4: a stunt coordinator would bring their skill to creating a fight. 135 00:08:20,600 --> 00:08:23,960 Speaker 1: And she went on to say, I say, your no 136 00:08:24,400 --> 00:08:26,960 Speaker 1: is a gift. We invite your no. It's really important 137 00:08:27,080 --> 00:08:29,800 Speaker 1: that we know your no, that we know your boundaries 138 00:08:29,880 --> 00:08:32,920 Speaker 1: so that your yes can be trusted. Any clear structure 139 00:08:32,960 --> 00:08:35,680 Speaker 1: gives freedom. Actually having a clear boundary allows you to 140 00:08:35,720 --> 00:08:37,960 Speaker 1: be free within that. I always say the work is 141 00:08:37,960 --> 00:08:39,840 Speaker 1: like an iceberg, where the body of the work is 142 00:08:39,880 --> 00:08:43,240 Speaker 1: actually in all of that preparation, all of those conversations 143 00:08:43,240 --> 00:08:46,480 Speaker 1: with the producer, director and the actors, all of that connecting, 144 00:08:46,559 --> 00:08:49,400 Speaker 1: in all of that sharing of the process rehearsing, so 145 00:08:49,440 --> 00:08:52,480 Speaker 1: that everybody knows the choreography. It means that the data 146 00:08:52,640 --> 00:08:58,200 Speaker 1: set everyone's relaxed, comfortable, they feel autonomous, empowered, respected, and 147 00:08:58,240 --> 00:09:01,000 Speaker 1: then it means that everybody can bring their skill, the 148 00:09:01,000 --> 00:09:03,520 Speaker 1: directors bringing their skill, the actors bringing the best of 149 00:09:03,559 --> 00:09:07,680 Speaker 1: their skill to the intimate content. And O'Brien, you can 150 00:09:07,679 --> 00:09:09,960 Speaker 1: find a lot of really great interviews with her and 151 00:09:10,120 --> 00:09:13,560 Speaker 1: her work. She worked on I Will Destroy You, among 152 00:09:13,720 --> 00:09:17,400 Speaker 1: many other critically acclaimed projects, and when that show won 153 00:09:17,559 --> 00:09:21,640 Speaker 1: Best Series at the BAFTA's actor and director of the series, 154 00:09:21,800 --> 00:09:25,400 Speaker 1: Mikaela Cole, paid tribute to O'Brien's work on the show. 155 00:09:26,120 --> 00:09:30,319 Speaker 1: And I do think I want to include this summary 156 00:09:30,320 --> 00:09:32,840 Speaker 1: from Esquire about the show because I think it'll show 157 00:09:32,840 --> 00:09:33,439 Speaker 1: why it's very. 158 00:09:33,400 --> 00:09:37,439 Speaker 2: Important that they had an intimacy coordinator on it. So quote. 159 00:09:37,559 --> 00:09:40,280 Speaker 1: The show centers on Arabella, a gregarious young writer in 160 00:09:40,320 --> 00:09:43,000 Speaker 1: London who must question her reality and rebuild her life 161 00:09:43,040 --> 00:09:46,160 Speaker 1: after she is drugged and sexually assaulted. Inspired by Cole's 162 00:09:46,200 --> 00:09:48,960 Speaker 1: own experience by suffering a sexual assault after her drink 163 00:09:49,000 --> 00:09:51,520 Speaker 1: was spiked, I May Destroy You threats a bread taking 164 00:09:51,600 --> 00:09:54,800 Speaker 1: needle and depicting the messy, non binary nature of consent 165 00:09:55,080 --> 00:09:58,280 Speaker 1: as well in showcasing sexual encounters not often seen on television. 166 00:09:58,480 --> 00:10:01,360 Speaker 1: An assault involving two men, salt involving the removal of 167 00:10:01,360 --> 00:10:04,160 Speaker 1: a condom mid intercourse, and period sex, just to name 168 00:10:04,200 --> 00:10:08,280 Speaker 1: a few. O'Brien was instrumental in bringing these scenes to life, 169 00:10:08,400 --> 00:10:11,440 Speaker 1: working closely with Cole and other performers to fully and 170 00:10:11,480 --> 00:10:14,040 Speaker 1: safely realize what existed on the page. 171 00:10:14,360 --> 00:10:16,640 Speaker 4: Right, and Yeah, got to remind you this was her 172 00:10:16,679 --> 00:10:20,679 Speaker 4: personal experience, so it's re traumatizing. I could not imagine 173 00:10:20,920 --> 00:10:24,680 Speaker 4: doing this performance and being like just just wing it. 174 00:10:24,360 --> 00:10:27,720 Speaker 2: Right, Yeah, absolutely, just go with the float. 175 00:10:28,040 --> 00:10:32,800 Speaker 4: Okay, great, So O'Brien has said it is also important 176 00:10:32,800 --> 00:10:36,480 Speaker 4: to prioritize self care. It's important for me to bookend 177 00:10:36,480 --> 00:10:39,199 Speaker 4: the day of work by speaking with the actors about 178 00:10:39,200 --> 00:10:40,720 Speaker 4: what they need to do to let go of where 179 00:10:40,720 --> 00:10:43,520 Speaker 4: they've gone and come back to themselves. I don't want 180 00:10:43,520 --> 00:10:46,240 Speaker 4: them keeping a residue of where they've been. I also 181 00:10:46,360 --> 00:10:48,680 Speaker 4: check in with them a day or so later, just 182 00:10:48,720 --> 00:10:50,480 Speaker 4: to make sure that they're happy with the work and 183 00:10:50,480 --> 00:10:52,760 Speaker 4: that we can address any concerns they may have. 184 00:10:53,000 --> 00:10:55,880 Speaker 1: Yeah, and some intimacy coordinators have really sung the praises 185 00:10:55,920 --> 00:10:59,960 Speaker 1: of the BDSM kink community. I have taken classes with 186 00:11:00,080 --> 00:11:01,719 Speaker 1: and that can we used to learn how this could work, 187 00:11:01,800 --> 00:11:04,400 Speaker 1: especially in terms of consent and negotiation as we have 188 00:11:04,440 --> 00:11:05,800 Speaker 1: talked about, right, I. 189 00:11:05,720 --> 00:11:08,000 Speaker 4: Mean they are on point, like they are an example 190 00:11:08,040 --> 00:11:09,080 Speaker 4: to follow for sure. 191 00:11:08,960 --> 00:11:10,040 Speaker 3: At least the ones we've talked to. 192 00:11:10,360 --> 00:11:14,679 Speaker 4: Yes, Yes, So intimacy coordinators have gotten a lot of 193 00:11:14,720 --> 00:11:19,600 Speaker 4: coverage with the popularity of Bridgerton, coordinated by Elizabeth Talbot, 194 00:11:19,640 --> 00:11:23,320 Speaker 4: and she widely discussed the intimacy writer that details what 195 00:11:23,440 --> 00:11:26,360 Speaker 4: an actor is willing to do in an intimate scene. 196 00:11:26,679 --> 00:11:30,160 Speaker 4: We've briefly discussed this with Sex and the City and yeah, 197 00:11:30,200 --> 00:11:32,640 Speaker 4: I think it's really interesting, Talbot said, quote with the 198 00:11:32,679 --> 00:11:35,040 Speaker 4: concept of consent that we work with. 199 00:11:35,360 --> 00:11:36,400 Speaker 3: Of course, if there's. 200 00:11:36,240 --> 00:11:38,840 Speaker 4: Anything where at any point anyone's like, oh, you know, 201 00:11:38,960 --> 00:11:41,120 Speaker 4: I don't want to do this, they never will. And 202 00:11:41,160 --> 00:11:43,480 Speaker 4: it's also my job to step in front of any 203 00:11:43,520 --> 00:11:46,080 Speaker 4: director or producer and be like, hey, you know, like 204 00:11:46,160 --> 00:11:49,000 Speaker 4: they're not comfortable with this. And I've been really lucky 205 00:11:49,040 --> 00:11:52,480 Speaker 4: to work with great directors and producers, so that's never happened. 206 00:11:52,880 --> 00:11:55,040 Speaker 3: And I would think that especially if. 207 00:11:54,920 --> 00:11:58,480 Speaker 4: Bringing one on would probably already go ahead and make 208 00:11:58,520 --> 00:12:01,440 Speaker 4: you realize they're more willing to listen and are aware 209 00:12:01,600 --> 00:12:07,480 Speaker 4: of keeping actors safe which is the point. Yeah, so Bridgeton, 210 00:12:07,640 --> 00:12:11,240 Speaker 4: actor Phoebe Dinniverse said she felt quote safe having an 211 00:12:11,240 --> 00:12:14,560 Speaker 4: intimacy coordinator on set. She says, it was so great 212 00:12:14,600 --> 00:12:17,319 Speaker 4: because it felt safe, because it felt safe and fun. 213 00:12:17,800 --> 00:12:20,320 Speaker 4: You choreograph it like a stunt or a dance, and 214 00:12:20,360 --> 00:12:23,160 Speaker 4: it's crazy to me that an intimacy coordinator hasn't been 215 00:12:23,200 --> 00:12:25,559 Speaker 4: there in the past. I've done sex scenes before that 216 00:12:25,640 --> 00:12:27,400 Speaker 4: I can't believe I did. It was only five or 217 00:12:27,440 --> 00:12:28,880 Speaker 4: six years ago, but it would not. 218 00:12:28,880 --> 00:12:33,560 Speaker 3: Be allowed now. And her saying that really bothersome because 219 00:12:33,559 --> 00:12:34,160 Speaker 3: she's a young and. 220 00:12:34,559 --> 00:12:36,880 Speaker 1: Yeah, yeah, well we're going to talk about that a 221 00:12:36,960 --> 00:12:39,560 Speaker 1: bit more. But especially young people, I think this is 222 00:12:39,800 --> 00:12:43,160 Speaker 1: really really important who don't maybe don't know how to 223 00:12:43,200 --> 00:12:43,640 Speaker 1: say no. 224 00:12:43,760 --> 00:12:45,680 Speaker 2: I don't want to do this to a director on 225 00:12:45,760 --> 00:12:46,840 Speaker 2: the big production. 226 00:12:46,920 --> 00:12:48,960 Speaker 1: But it's also, like you said, a problem of not 227 00:12:49,080 --> 00:12:53,120 Speaker 1: everyone has intimacy coordinators, and it already is a step 228 00:12:53,160 --> 00:12:53,880 Speaker 1: to be taken. 229 00:12:54,160 --> 00:12:59,839 Speaker 3: Did you see the SNL skit in which they have there. 230 00:13:00,000 --> 00:13:01,960 Speaker 4: I guess I don't know they're meaning to make fun 231 00:13:02,040 --> 00:13:04,560 Speaker 4: of the fact that there was an intimacy coordinator, but 232 00:13:05,880 --> 00:13:08,520 Speaker 4: it was quite interesting they have an intimacy coordinator on 233 00:13:08,600 --> 00:13:11,200 Speaker 4: set and then they replaced her with the two duos 234 00:13:11,360 --> 00:13:14,800 Speaker 4: being obviously not from their like not knowing what they're 235 00:13:14,800 --> 00:13:19,079 Speaker 4: doing and just so throwing out ridiculous things. But it's 236 00:13:19,200 --> 00:13:21,920 Speaker 4: very interesting that they immediately they picked up because Bridgeton 237 00:13:22,000 --> 00:13:25,200 Speaker 4: has been widely talked about because of the use of 238 00:13:25,240 --> 00:13:28,720 Speaker 4: intimacy coordinators for such a sexy, showy, speccy. 239 00:13:28,360 --> 00:13:30,520 Speaker 2: Show, yes, very spicy. 240 00:13:30,559 --> 00:13:38,360 Speaker 1: Indeed, interestingly, Talbot got her start coordinating fight scenes and 241 00:13:38,400 --> 00:13:41,920 Speaker 1: started looking into intimacy coordination in twenty fifteen because she 242 00:13:42,000 --> 00:13:44,679 Speaker 1: realized that while there were plenty of rules around choreographing 243 00:13:44,720 --> 00:13:47,360 Speaker 1: fight scenes, there were no such rules that existed when 244 00:13:47,360 --> 00:13:51,719 Speaker 1: it came to intimate scenes. A man to Blumenthal, who 245 00:13:51,720 --> 00:13:55,880 Speaker 1: worked on Euphoria and is the founder of Intimacy Professionals Association, 246 00:13:56,200 --> 00:13:59,320 Speaker 1: has said quote people often confuse my role with HR 247 00:13:59,600 --> 00:14:01,520 Speaker 1: That's not my job. I'm not here to tell you 248 00:14:01,559 --> 00:14:05,400 Speaker 1: what you can and can't say. And coordinator L. McAlpine 249 00:14:05,800 --> 00:14:08,560 Speaker 1: of Brave New World says quote, when we go on set, 250 00:14:08,600 --> 00:14:10,720 Speaker 1: we're sometimes called the fun police. It's not about that, 251 00:14:10,800 --> 00:14:13,040 Speaker 1: it's about educating people about this work. 252 00:14:14,600 --> 00:14:18,600 Speaker 4: It's really disturbing when you see the level of people 253 00:14:18,640 --> 00:14:21,600 Speaker 4: calling this just fun. And don't get me wrong if 254 00:14:21,640 --> 00:14:25,960 Speaker 4: it's a mutually agreed upon sex scene where it's supposed 255 00:14:26,000 --> 00:14:28,720 Speaker 4: to be. But thinking about how often you hear interviews 256 00:14:28,720 --> 00:14:30,640 Speaker 4: at the first time they meet someone they do a 257 00:14:30,680 --> 00:14:36,359 Speaker 4: sex scene, I don't Maybe it's just we're too traumatized 258 00:14:36,520 --> 00:14:40,400 Speaker 4: by our own past that this is alarming. 259 00:14:41,440 --> 00:14:45,120 Speaker 2: Oh yeah, fun police for whom, right exactly? 260 00:14:45,560 --> 00:14:48,440 Speaker 1: And I also think that quote about HR is I 261 00:14:48,480 --> 00:14:50,200 Speaker 1: want to include that because, and I'm going to talk 262 00:14:50,200 --> 00:14:51,480 Speaker 1: about this a little bit at the end, a lot 263 00:14:51,480 --> 00:14:55,320 Speaker 1: of you'd be surprised how many film sets don't have 264 00:14:55,560 --> 00:14:57,920 Speaker 1: HR right, so there's no way you can go report 265 00:14:57,920 --> 00:15:00,680 Speaker 1: it to. So it feels to me like when people 266 00:15:00,680 --> 00:15:04,400 Speaker 1: are confusing an intimacy coordinator for. 267 00:15:04,600 --> 00:15:09,000 Speaker 2: H R, that says right right. 268 00:15:10,080 --> 00:15:11,960 Speaker 1: Also, you're trying to get out of getting HR. I 269 00:15:12,040 --> 00:15:16,960 Speaker 1: see the EP of Normal People. Executive producer Ed Guiney 270 00:15:17,480 --> 00:15:20,840 Speaker 1: was originally concerned about hiring an intimacy coordinator, but later 271 00:15:20,920 --> 00:15:23,680 Speaker 1: praised the experience, saying, quote, it takes a lot of 272 00:15:23,680 --> 00:15:26,360 Speaker 1: the awkwardness out of shooting these scenes and really frees 273 00:15:26,440 --> 00:15:28,920 Speaker 1: the actors up to properly be in the moment. 274 00:15:29,760 --> 00:15:30,440 Speaker 2: And on top of this. 275 00:15:30,480 --> 00:15:32,760 Speaker 1: There are programs that focus on people of color and 276 00:15:32,880 --> 00:15:36,960 Speaker 1: LGBTQ plus folks when it comes to intimacy coordinators, though 277 00:15:36,960 --> 00:15:39,280 Speaker 1: they seem to be currently quite small, like it's already 278 00:15:39,280 --> 00:15:40,240 Speaker 1: pretty small. 279 00:15:40,680 --> 00:15:41,320 Speaker 2: Is this smaller? 280 00:15:42,400 --> 00:15:46,360 Speaker 1: But they're powerful and not to be dismissed nonetheless, And 281 00:15:46,440 --> 00:15:49,880 Speaker 1: I saw this, I thought this was interesting. Mia Shacter, 282 00:15:50,120 --> 00:15:54,320 Speaker 1: who's co founder of Century Co training program, recalls working 283 00:15:54,320 --> 00:15:57,360 Speaker 1: on the set of Insecure as an intimacy coordinator with 284 00:15:57,400 --> 00:15:59,560 Speaker 1: a white woman who is the director, and two black actors, 285 00:16:00,200 --> 00:16:02,080 Speaker 1: and the director asked the man to run his hand 286 00:16:02,200 --> 00:16:05,040 Speaker 1: through the woman's hair, but Shractor and ravened after discussing 287 00:16:05,040 --> 00:16:07,520 Speaker 1: with the black colleague on the grounds that this was 288 00:16:07,560 --> 00:16:11,200 Speaker 1: not how black people typically showed care and intimacy and love. 289 00:16:12,080 --> 00:16:13,920 Speaker 2: So that's pretty importantly it. 290 00:16:14,480 --> 00:16:17,880 Speaker 1: Yeah, and this is related to another field that we're 291 00:16:17,880 --> 00:16:19,920 Speaker 1: not really talking about today, but you've probably heard of 292 00:16:20,000 --> 00:16:24,080 Speaker 1: sensitivity readers, which is also growing, and we have used 293 00:16:24,280 --> 00:16:28,240 Speaker 1: sensitivity readers around here before. But basically they go through 294 00:16:28,280 --> 00:16:31,120 Speaker 1: and make sure you're not missing something or saying something 295 00:16:31,120 --> 00:16:33,680 Speaker 1: in a way that is clear that you don't really 296 00:16:33,720 --> 00:16:37,280 Speaker 1: understand the issue that you're talking about. Big fan of 297 00:16:37,320 --> 00:16:38,480 Speaker 1: sensitivity readers. 298 00:16:40,880 --> 00:16:46,360 Speaker 4: Yeah, and honestly, the ICs are clearly needed Before intimacy coordinators, 299 00:16:46,480 --> 00:16:49,160 Speaker 4: these things were largely handled by the director, who may 300 00:16:49,240 --> 00:16:52,800 Speaker 4: or may not have the expertise or even the humanity 301 00:16:53,000 --> 00:16:56,720 Speaker 4: to direct them. Entertainment is an industry that has allowed 302 00:16:56,720 --> 00:17:01,080 Speaker 4: people like Harvey Weinstein and Bill Cosby prey on women 303 00:17:01,400 --> 00:17:04,359 Speaker 4: for years and James Franco for a long time with 304 00:17:04,480 --> 00:17:10,560 Speaker 4: zero consequences while making bank. As discussed in that episode 305 00:17:10,560 --> 00:17:13,760 Speaker 4: with Bridget about Evan rachel Wood, there are examples of 306 00:17:13,800 --> 00:17:17,680 Speaker 4: filmed examples of someone usually a woman, being taken advantage 307 00:17:17,720 --> 00:17:20,880 Speaker 4: of or pushed past their comfort zone, assaulted, and even 308 00:17:21,000 --> 00:17:25,239 Speaker 4: rate perhaps especially younger women breaking into the industry. And 309 00:17:25,280 --> 00:17:27,119 Speaker 4: you know, we're not even talking about the old school 310 00:17:27,160 --> 00:17:31,120 Speaker 4: industry with the literal casting couch, with everybody knowing what 311 00:17:31,200 --> 00:17:33,840 Speaker 4: that was and what that meant, especially for young women. 312 00:17:34,640 --> 00:17:37,960 Speaker 4: But then we've all not talked about the old directors 313 00:17:37,960 --> 00:17:39,920 Speaker 4: who I'm like, we can't watch any of them anymore 314 00:17:40,040 --> 00:17:42,280 Speaker 4: because they were all discusting and push those boundaries and 315 00:17:42,320 --> 00:17:45,639 Speaker 4: would do things in order to shock women and or 316 00:17:45,720 --> 00:17:49,040 Speaker 4: traumatize women to get a great scene quote unquote. 317 00:17:49,080 --> 00:17:54,400 Speaker 1: Yes, yes, And there are horror stories about certain directors 318 00:17:54,440 --> 00:17:56,280 Speaker 1: that you would go audition for them and they would 319 00:17:56,320 --> 00:17:57,560 Speaker 1: be like, you know, you're going to take off your 320 00:17:57,560 --> 00:17:59,080 Speaker 1: clothes and now you're going to do this, and now 321 00:17:59,080 --> 00:18:02,840 Speaker 1: you're going to do this, and that was just like understood. 322 00:18:03,920 --> 00:18:06,840 Speaker 1: And that's for an audition that they would often film 323 00:18:06,880 --> 00:18:08,880 Speaker 1: and then he probably wouldn't get the role, but. 324 00:18:08,880 --> 00:18:13,400 Speaker 2: They have that tape forever. H Yeah, I have. I'm 325 00:18:13,400 --> 00:18:14,720 Speaker 2: going to talk some more about that later. 326 00:18:28,240 --> 00:18:32,280 Speaker 1: So Sean Bean is by far not the only person 327 00:18:32,400 --> 00:18:36,840 Speaker 1: to complain about intimacy coordinators. Director Adrian Lynz said it 328 00:18:36,920 --> 00:18:39,199 Speaker 1: implies a lack of trust, and that's all I have. 329 00:18:39,320 --> 00:18:41,320 Speaker 1: If the actors don't trust me, I might as well 330 00:18:41,359 --> 00:18:43,800 Speaker 1: go home. I've got to make myself vulnerable for them, 331 00:18:43,960 --> 00:18:46,000 Speaker 1: for them to know I would spill my guts do 332 00:18:46,080 --> 00:18:48,520 Speaker 1: anything for them. Then with any luck, I get the 333 00:18:48,520 --> 00:18:52,280 Speaker 1: same back. He said of his film Fatal Attraction, that 334 00:18:52,400 --> 00:18:56,480 Speaker 1: Glenn Close and Michael Douglas drank before more intimate scenes 335 00:18:56,720 --> 00:18:59,639 Speaker 1: and then lamented, you can't do that. Now, Why is 336 00:18:59,680 --> 00:19:02,280 Speaker 1: everything so serious? God, it's not like they're going to 337 00:19:02,359 --> 00:19:03,679 Speaker 1: get paralyzed or something. 338 00:19:04,240 --> 00:19:08,240 Speaker 4: Wow, it's all directs of Fatal Attraction. So that tells 339 00:19:08,240 --> 00:19:10,919 Speaker 4: me enough if we all know what their views on 340 00:19:10,960 --> 00:19:15,080 Speaker 4: women probably are in this movie in itself. But secondly, 341 00:19:16,080 --> 00:19:17,720 Speaker 4: that's not a good sign that they have to be 342 00:19:17,800 --> 00:19:18,760 Speaker 4: drunk to do their job. 343 00:19:19,040 --> 00:19:19,960 Speaker 2: Yeah. 344 00:19:20,280 --> 00:19:24,000 Speaker 1: Yeah, And I think, as like a boss, I think 345 00:19:24,040 --> 00:19:27,080 Speaker 1: the excuse they took, I believe it was tequila shots. 346 00:19:27,080 --> 00:19:30,080 Speaker 2: They drink tequila to do it and get comfortable. 347 00:19:30,160 --> 00:19:33,600 Speaker 1: Like, I don't think you should be just proud to 348 00:19:33,600 --> 00:19:35,080 Speaker 1: say that everywhere, right. 349 00:19:35,520 --> 00:19:38,760 Speaker 4: I don't know if they realize how close to someone 350 00:19:38,920 --> 00:19:41,320 Speaker 4: you have to get someone drunk to make them sleep 351 00:19:41,359 --> 00:19:44,200 Speaker 4: with you. And we all know what that is, and 352 00:19:44,359 --> 00:19:46,560 Speaker 4: that's frowned upon at this point in time. It should 353 00:19:46,600 --> 00:19:48,200 Speaker 4: be it is by us anyway. 354 00:19:48,560 --> 00:19:49,840 Speaker 2: Mm hm oh gosh. 355 00:19:50,160 --> 00:19:52,200 Speaker 1: And I also think like that whole it implies a 356 00:19:52,240 --> 00:19:55,119 Speaker 1: lack of trust. I don't think that's necessarily true. I 357 00:19:55,119 --> 00:19:58,040 Speaker 1: mean it might, especially for someone like you, But I 358 00:19:58,080 --> 00:20:00,720 Speaker 1: think it means that you're showing you want care for 359 00:20:00,760 --> 00:20:04,760 Speaker 1: the people that work with you, and that you understand 360 00:20:04,800 --> 00:20:08,520 Speaker 1: this is a vulnerable thing they're doing and you're taking 361 00:20:08,520 --> 00:20:10,680 Speaker 1: the steps to make it comfortable. 362 00:20:11,280 --> 00:20:14,639 Speaker 3: Also, again, it should be the other way around. 363 00:20:14,680 --> 00:20:17,160 Speaker 4: You're supposed to be earning trust, not just provam likely 364 00:20:17,200 --> 00:20:19,840 Speaker 4: giving it because you're the boss or whatever, what right? 365 00:20:20,119 --> 00:20:23,560 Speaker 4: That is an absurd, narcissistic type of idea, and that 366 00:20:23,840 --> 00:20:25,919 Speaker 4: again says a lot to who he was and who 367 00:20:26,000 --> 00:20:27,640 Speaker 4: we thought he should be seen as. 368 00:20:29,960 --> 00:20:31,280 Speaker 1: There's a lot to pick a part in that quote. 369 00:20:31,760 --> 00:20:35,840 Speaker 1: But we'll move on as promised. We do have a 370 00:20:35,880 --> 00:20:40,160 Speaker 1: lot of quotes from people who after this the Sean 371 00:20:40,240 --> 00:20:43,320 Speaker 1: Bean quote came out, raised their hand. A lot of 372 00:20:43,359 --> 00:20:46,240 Speaker 1: actors spoke up in disagreement, and yeah, we want to 373 00:20:46,240 --> 00:20:50,240 Speaker 1: include some of the quotes from them. So from Rachel Ziegler, 374 00:20:50,320 --> 00:20:52,280 Speaker 1: who filmed a sex scene at the age of eighteen 375 00:20:52,480 --> 00:20:56,800 Speaker 1: for West Side Story, she wrote, spontaneity and intimate scenes 376 00:20:56,880 --> 00:20:58,680 Speaker 1: can be in safe wake up. 377 00:21:00,080 --> 00:21:03,760 Speaker 4: Emma Thompson said in another conversation, you might find that 378 00:21:03,800 --> 00:21:06,520 Speaker 4: people go. It made me comfortable, It made me feel safe, 379 00:21:06,600 --> 00:21:08,359 Speaker 4: It made me feel as though I was able to 380 00:21:08,400 --> 00:21:11,320 Speaker 4: do this work. No, you can't just let it flow. 381 00:21:11,480 --> 00:21:13,280 Speaker 4: There's a camera there and a crew. It is not 382 00:21:13,320 --> 00:21:16,160 Speaker 4: on your own in a hotel room. You're surrounded by 383 00:21:16,200 --> 00:21:19,840 Speaker 4: a bunch of floats carrying things. And according to Thompson, 384 00:21:19,840 --> 00:21:23,880 Speaker 4: in most cases, filming intimate scenes is not a scene 385 00:21:24,160 --> 00:21:27,840 Speaker 4: is a not comfortable situation full stop. Which again I 386 00:21:27,840 --> 00:21:31,119 Speaker 4: feel like that's the constant rhetoric we hear when it 387 00:21:31,119 --> 00:21:33,399 Speaker 4: comes to people, because that's the first question, especially if 388 00:21:33,400 --> 00:21:33,720 Speaker 4: it's a. 389 00:21:33,640 --> 00:21:36,760 Speaker 3: Sexy movie, Oh, how did you feel about this? How 390 00:21:36,800 --> 00:21:37,840 Speaker 3: did you get into these scenes? 391 00:21:37,880 --> 00:21:41,760 Speaker 4: And immediately everyone's like, it's not sexy, it's work, it's awkward, 392 00:21:41,840 --> 00:21:42,439 Speaker 4: it's cold. 393 00:21:42,520 --> 00:21:43,360 Speaker 3: I didn't like it. 394 00:21:43,720 --> 00:21:46,320 Speaker 2: Yes, yes, I hard agree. 395 00:21:46,400 --> 00:21:49,639 Speaker 1: Like there's nothing comfortable and spontaneous about a lot of filming, 396 00:21:49,720 --> 00:21:53,040 Speaker 1: like most of filming as an actor, all of it 397 00:21:53,080 --> 00:21:54,879 Speaker 1: is like uncomfortable and strange. 398 00:21:55,400 --> 00:21:59,320 Speaker 2: I don't see why. I mean, especially it should be 399 00:21:59,359 --> 00:22:00,320 Speaker 2: in my opinion, and. 400 00:22:00,240 --> 00:22:04,439 Speaker 1: Like intimacy, like intimate scenes, because like there are all 401 00:22:04,480 --> 00:22:06,760 Speaker 1: these things. You have to hit your mark, maybe there's 402 00:22:06,760 --> 00:22:09,120 Speaker 1: a greed screen, and you have to be uncomfortably close 403 00:22:09,160 --> 00:22:11,800 Speaker 1: to each other to appear natural, like that, the amount 404 00:22:11,840 --> 00:22:15,040 Speaker 1: of distance to have like a natural amount of space 405 00:22:15,080 --> 00:22:18,240 Speaker 1: between somebody you're like right up in their face. It's 406 00:22:18,280 --> 00:22:21,159 Speaker 1: not comfortable. You have to have your eye line in 407 00:22:21,200 --> 00:22:23,800 Speaker 1: a certain place. All of this you're supposed to do 408 00:22:24,000 --> 00:22:26,760 Speaker 1: as if there aren't eye lines and marks and all 409 00:22:26,800 --> 00:22:28,280 Speaker 1: of these things that you're trying to keep in your 410 00:22:28,320 --> 00:22:30,919 Speaker 1: head while you're also saying lines and trying to look natural. 411 00:22:31,600 --> 00:22:34,000 Speaker 2: And I think like. 412 00:22:35,680 --> 00:22:40,639 Speaker 1: A lot of practice and rehearsing that doesn't necessarily remove 413 00:22:40,680 --> 00:22:44,320 Speaker 1: the spontananity. I think though, what you're doing is you're 414 00:22:44,840 --> 00:22:47,040 Speaker 1: marking out in a way that feels safe and comfortable. 415 00:22:47,040 --> 00:22:49,080 Speaker 1: You know what's going to happen. You can still have 416 00:22:49,119 --> 00:22:52,639 Speaker 1: little spontaneous moments within that as long as it's agreed 417 00:22:52,720 --> 00:22:55,560 Speaker 1: upon as right, Oh like a little giggle ers, I 418 00:22:55,640 --> 00:22:56,080 Speaker 1: don't know. 419 00:22:56,160 --> 00:23:00,440 Speaker 2: Like there there are ways we rehears that everything. 420 00:23:00,800 --> 00:23:03,639 Speaker 1: Why is it like this one thing all that removes 421 00:23:03,640 --> 00:23:04,560 Speaker 1: the spontaneity? 422 00:23:05,080 --> 00:23:05,320 Speaker 3: Right? 423 00:23:06,200 --> 00:23:08,520 Speaker 2: It's what right? 424 00:23:09,280 --> 00:23:12,320 Speaker 4: Like people will get mad when a line is improved 425 00:23:12,800 --> 00:23:15,240 Speaker 4: at times and it ruins the scene as in like 426 00:23:15,280 --> 00:23:17,680 Speaker 4: it gets people cracking up and they talk about how 427 00:23:17,760 --> 00:23:22,200 Speaker 4: much money is wasted because of that, and so oftentimes 428 00:23:22,240 --> 00:23:24,919 Speaker 4: you will have directors who are absolutely livid. I know 429 00:23:24,960 --> 00:23:27,199 Speaker 4: there's there's directors who love it if you can go 430 00:23:27,280 --> 00:23:29,720 Speaker 4: with it, but there's you know, like the level of 431 00:23:29,800 --> 00:23:32,120 Speaker 4: what is being said and who's wasting money and what's 432 00:23:32,119 --> 00:23:32,600 Speaker 4: doing what? 433 00:23:33,080 --> 00:23:35,480 Speaker 3: Why is this which can harm a person? Not as 434 00:23:35,600 --> 00:23:36,800 Speaker 3: us respect. 435 00:23:36,520 --> 00:23:39,359 Speaker 1: When you think of it as it does have to 436 00:23:39,359 --> 00:23:42,520 Speaker 1: be choreographed because you want to get their right camera angles, 437 00:23:42,560 --> 00:23:45,840 Speaker 1: like I don't get it, like, and it is a job. 438 00:23:46,000 --> 00:23:50,080 Speaker 1: It is a job, and just like all jobs, we 439 00:23:50,119 --> 00:23:53,480 Speaker 1: should be protecting the workers. And many people have pointed 440 00:23:53,480 --> 00:23:57,359 Speaker 1: out Emma Thompson is Sean Bean's age and she is 441 00:23:57,480 --> 00:23:59,879 Speaker 1: recounting a very different experience. 442 00:24:00,440 --> 00:24:03,800 Speaker 3: Is right love before I too? We do. 443 00:24:04,640 --> 00:24:07,880 Speaker 4: Lena Hall, who filmed the sex scene in Snow Piercer 444 00:24:08,119 --> 00:24:11,000 Speaker 4: with Being, said that while he made her feel comfortable 445 00:24:11,119 --> 00:24:13,960 Speaker 4: and was a good scene partner, quote, if there's any 446 00:24:14,000 --> 00:24:16,680 Speaker 4: part of me that is feeling weird, it grows overexposed, 447 00:24:16,720 --> 00:24:19,560 Speaker 4: et cetera. I'll either challenge the necessity of a scene 448 00:24:20,000 --> 00:24:23,160 Speaker 4: or I want an ic. I do feel that intimacy 449 00:24:23,200 --> 00:24:26,080 Speaker 4: coordinators are a welcome addition to the set and think 450 00:24:26,119 --> 00:24:30,240 Speaker 4: they could also help with the trauma experience in other scenes. 451 00:24:30,480 --> 00:24:34,119 Speaker 4: Sometimes you need them, sometimes you don't. But every single 452 00:24:34,119 --> 00:24:37,480 Speaker 4: person in scene and experience is different, which I think 453 00:24:37,600 --> 00:24:38,000 Speaker 4: is huge. 454 00:24:38,200 --> 00:24:38,800 Speaker 3: So the scene in. 455 00:24:38,840 --> 00:24:42,160 Speaker 4: Question was cut and is kind of at the heart 456 00:24:42,240 --> 00:24:46,080 Speaker 4: of this being said of Hall, I suppose it depends 457 00:24:46,119 --> 00:24:49,639 Speaker 4: on the actress. This one had a musical cabaret background, 458 00:24:49,880 --> 00:24:51,480 Speaker 4: so she was up for anything. 459 00:24:52,000 --> 00:24:56,680 Speaker 3: Wow, Wow, condescending and and yeah dismissive. 460 00:24:57,440 --> 00:25:01,480 Speaker 4: Hall responded, Just because I am in theater, not cabaret, 461 00:25:01,680 --> 00:25:03,760 Speaker 4: but I do perform them every once in a while, 462 00:25:03,880 --> 00:25:05,960 Speaker 4: does not mean that I am up for anything. I 463 00:25:05,960 --> 00:25:08,600 Speaker 4: don't even understand what that means. Was that like she 464 00:25:08,640 --> 00:25:10,359 Speaker 4: got her big break of the movies, so she was 465 00:25:10,440 --> 00:25:11,160 Speaker 4: up for anything. 466 00:25:12,200 --> 00:25:15,199 Speaker 1: Honestly, I could be wrong, but I feel like it 467 00:25:15,320 --> 00:25:16,280 Speaker 1: was some slut shaving. 468 00:25:17,320 --> 00:25:19,080 Speaker 3: Okay, is there like, is there. 469 00:25:20,680 --> 00:25:27,479 Speaker 4: An idea that theater people are are slutty I or cabaret. 470 00:25:26,920 --> 00:25:28,800 Speaker 2: People are cabaret. 471 00:25:28,440 --> 00:25:32,159 Speaker 1: I don't know for sure, but that's just the vibe 472 00:25:32,200 --> 00:25:34,639 Speaker 1: I got from that statement, or. 473 00:25:35,080 --> 00:25:36,160 Speaker 3: So he said. 474 00:25:36,200 --> 00:25:39,040 Speaker 4: It took out the spontanity. His partners are like, no, no, no, no, 475 00:25:39,520 --> 00:25:42,040 Speaker 4: I really wish we had them. I don't understand what 476 00:25:42,040 --> 00:25:45,840 Speaker 4: you're doing. So it's very gendered but also toxic. Masculinity 477 00:25:45,920 --> 00:25:48,040 Speaker 4: is a part of this when we have a conversation 478 00:25:48,080 --> 00:25:50,840 Speaker 4: about the fact that people who are so upset again 479 00:25:51,320 --> 00:25:56,920 Speaker 4: are most likely going to be domineering male types who 480 00:25:58,480 --> 00:26:01,000 Speaker 4: really think they look good having sex because in reality 481 00:26:01,080 --> 00:26:02,160 Speaker 4: sexless goofy as hell. 482 00:26:03,320 --> 00:26:07,840 Speaker 1: I agree, honestly, Like, sometimes I get that it turned 483 00:26:07,920 --> 00:26:11,400 Speaker 1: some people on, but for me, I'm usually like, oh no, 484 00:26:11,640 --> 00:26:12,000 Speaker 1: not this. 485 00:26:12,040 --> 00:26:17,440 Speaker 2: Single, please, it's a mess. It is. 486 00:26:19,960 --> 00:26:23,720 Speaker 1: Jamila Jamil tweeted it should only be technical. It's like 487 00:26:23,760 --> 00:26:26,040 Speaker 1: a stunt our. Job as actors is to make it 488 00:26:26,119 --> 00:26:30,160 Speaker 1: not look technical. Nobody wants an impromptu group. I love 489 00:26:30,160 --> 00:26:31,879 Speaker 1: that quote because I think that's I don't know if 490 00:26:31,880 --> 00:26:34,439 Speaker 1: I said it as succinctly as she did, but like 491 00:26:36,680 --> 00:26:39,520 Speaker 1: it's a yeah, you should coordinate it, and then the actor, 492 00:26:39,560 --> 00:26:42,439 Speaker 1: if they're a good actor, can make it look like 493 00:26:42,520 --> 00:26:45,520 Speaker 1: it's not coordinating. It's not technical, right, that's the job 494 00:26:45,560 --> 00:26:47,840 Speaker 1: of the actor. But you still want to have that 495 00:26:47,920 --> 00:26:50,359 Speaker 1: in place, right, How. 496 00:26:50,280 --> 00:26:51,600 Speaker 3: Are you going to do your job well? 497 00:26:51,680 --> 00:26:53,720 Speaker 4: If out like you're a half concerned about what they're 498 00:26:53,760 --> 00:26:56,800 Speaker 4: going to do and where they're in touch without permission, that. 499 00:26:56,840 --> 00:26:58,280 Speaker 1: You're going to be so in your head about it, 500 00:26:58,320 --> 00:27:00,399 Speaker 1: and I see that you're probably already to be in 501 00:27:00,440 --> 00:27:04,440 Speaker 1: your head about right. Amanda Seyfried said she wished she'd 502 00:27:04,480 --> 00:27:08,320 Speaker 1: had an intimacy coordinator on set as a younger actor. 503 00:27:08,520 --> 00:27:12,080 Speaker 1: End quote, being nineteen walking around without my underwear on? Like, 504 00:27:12,240 --> 00:27:14,240 Speaker 1: are you kidding me? How did I let that happen? 505 00:27:14,880 --> 00:27:16,080 Speaker 2: Oh? I know why I was. 506 00:27:16,160 --> 00:27:18,399 Speaker 1: Nineteen, and I didn't want to upset anybody, and I 507 00:27:18,400 --> 00:27:19,440 Speaker 1: wanted to keep my job. 508 00:27:19,680 --> 00:27:21,800 Speaker 2: That's why. Yep. 509 00:27:23,680 --> 00:27:28,480 Speaker 1: And then not a person or a woman, but the Broadcasting, Entertainment, 510 00:27:28,600 --> 00:27:32,640 Speaker 1: Communications and Theater Union issued this statement. Disappointing to hear 511 00:27:32,680 --> 00:27:35,399 Speaker 1: these comments from such a screen favorite and established actor 512 00:27:35,440 --> 00:27:38,439 Speaker 1: without acknowledging his position of privilege and the vulnerabilities and 513 00:27:38,520 --> 00:27:42,520 Speaker 1: challenges many in the industry, particularly young and less experienced actors, 514 00:27:42,640 --> 00:27:47,679 Speaker 1: may face as they engage in shooting intimate scenes. And 515 00:27:47,760 --> 00:27:51,000 Speaker 1: this is like, as we record this ongoing, people are 516 00:27:51,920 --> 00:27:54,080 Speaker 1: coming out of the woodwork to say, actually, yes, I 517 00:27:54,240 --> 00:27:55,680 Speaker 1: really would have wish we. 518 00:27:55,640 --> 00:27:57,280 Speaker 2: Had had an intimacy coordinator. 519 00:27:57,320 --> 00:27:59,840 Speaker 1: So I saw just this morning, I think some of 520 00:27:59,840 --> 00:28:02,720 Speaker 1: the cast of Boy Meets World said that they had 521 00:28:02,760 --> 00:28:07,360 Speaker 1: wished they had had intimacy coordinators on set for Boy 522 00:28:07,400 --> 00:28:07,880 Speaker 1: Meets World. 523 00:28:08,160 --> 00:28:09,000 Speaker 3: You know, I do. 524 00:28:09,080 --> 00:28:11,680 Speaker 4: I do think about stuff like that with young kids 525 00:28:11,720 --> 00:28:15,679 Speaker 4: having their first kiss on screen and how awkward that was. 526 00:28:16,080 --> 00:28:19,680 Speaker 4: I will say, I just watched recently the Wes Anderson 527 00:28:19,720 --> 00:28:23,359 Speaker 4: and the Older movie with kids half naked touching on 528 00:28:23,400 --> 00:28:25,080 Speaker 4: each other, and there were young kids and I'm sitting 529 00:28:25,119 --> 00:28:27,560 Speaker 4: here really horrified, like everything about this, And I'm like, 530 00:28:27,880 --> 00:28:32,359 Speaker 4: I really hope they had supervision because this in itself 531 00:28:32,520 --> 00:28:36,880 Speaker 4: is uncomfortable, awkward, and I hope those kids are okay. 532 00:28:37,520 --> 00:28:38,640 Speaker 2: Yeah, I mean. 533 00:28:40,440 --> 00:28:42,720 Speaker 1: It's gonna sound strang, but that's actually a great point 534 00:28:42,960 --> 00:28:45,720 Speaker 1: in terms of the audience, Like you would have enjoyed 535 00:28:45,760 --> 00:28:47,360 Speaker 1: it better if you had known. 536 00:28:48,280 --> 00:28:49,120 Speaker 3: I think I would. 537 00:28:49,720 --> 00:28:52,360 Speaker 4: I should have read like I was so I wanted 538 00:28:52,400 --> 00:28:53,800 Speaker 4: to fast forward it fast. 539 00:28:54,240 --> 00:28:55,840 Speaker 1: I mean not to say like some things just make 540 00:28:55,880 --> 00:28:58,520 Speaker 1: you uncomfortable, but I think a lot of times for me, 541 00:28:58,720 --> 00:29:03,160 Speaker 1: I would enjoy something better if I knew, Okay, they've 542 00:29:03,240 --> 00:29:06,600 Speaker 1: took these safety precautions, the people on set were taken 543 00:29:06,640 --> 00:29:08,200 Speaker 1: care of, like for me as a. 544 00:29:08,400 --> 00:29:12,000 Speaker 4: Viewer, right, well, I mean, and it should be where 545 00:29:12,040 --> 00:29:15,320 Speaker 4: it's a professional, like person who's a liison in between 546 00:29:15,400 --> 00:29:18,440 Speaker 4: those people, because you don't always have this good relationship. 547 00:29:18,440 --> 00:29:22,320 Speaker 4: And I feel like Lena Hall was being nice, especially 548 00:29:22,400 --> 00:29:25,640 Speaker 4: after reading Sean Bean's comment, wondering did he really was 549 00:29:25,680 --> 00:29:27,560 Speaker 4: he really a good partner or was she just saying 550 00:29:27,600 --> 00:29:31,280 Speaker 4: that so not to piss off a legendary film actor 551 00:29:31,360 --> 00:29:34,360 Speaker 4: or whatever whatnot? Because you know, we know in Game 552 00:29:34,400 --> 00:29:38,120 Speaker 4: of Thrones, Amelia Clark talked about how she would not 553 00:29:38,320 --> 00:29:40,520 Speaker 4: have been able to get through those scenes had she 554 00:29:40,600 --> 00:29:43,720 Speaker 4: not had such a great actor who protected. 555 00:29:43,280 --> 00:29:46,080 Speaker 3: Her literally being like, are you okay with this? Like 556 00:29:46,200 --> 00:29:48,200 Speaker 3: had to do some coordinating on their. 557 00:29:48,120 --> 00:29:52,320 Speaker 4: Own in order for protection. But it was him m hm, going, 558 00:29:52,400 --> 00:29:54,200 Speaker 4: you know, making the initiative. And I don't know if 559 00:29:54,200 --> 00:29:56,520 Speaker 4: they were intimency coordinators, but it didn't sound like it 560 00:29:56,600 --> 00:29:59,320 Speaker 4: not from what Clark was saying that it was all 561 00:29:59,480 --> 00:30:03,480 Speaker 4: pretty much him protecting her from this and he's like, 562 00:30:03,480 --> 00:30:06,040 Speaker 4: if you're not comfortable, tell me, I'll fight them like 563 00:30:06,160 --> 00:30:07,240 Speaker 4: that level. 564 00:30:07,520 --> 00:30:09,080 Speaker 3: And she talked about that the fact that it. 565 00:30:09,000 --> 00:30:12,320 Speaker 4: Took her after season one of being a big enough 566 00:30:12,400 --> 00:30:14,360 Speaker 4: name to be like, I don't want to do this anymore. 567 00:30:14,600 --> 00:30:16,240 Speaker 2: Yeah. Yeah. 568 00:30:16,280 --> 00:30:18,400 Speaker 1: And I think, as we've mentioned throughout that is a 569 00:30:18,400 --> 00:30:23,440 Speaker 1: big part of the problem is there's just this pervasive 570 00:30:24,880 --> 00:30:29,080 Speaker 1: messaging to especially young women entering trying to enter the business, 571 00:30:29,120 --> 00:30:31,480 Speaker 1: like there are thousands like you that want to be here. 572 00:30:31,720 --> 00:30:33,360 Speaker 1: If you can't suck it up and do what we 573 00:30:33,400 --> 00:30:35,120 Speaker 1: tell you to do, we can get rid of you 574 00:30:35,200 --> 00:30:36,640 Speaker 1: and replace you. 575 00:30:36,760 --> 00:30:39,040 Speaker 3: And they will do this easily. Yeah. 576 00:30:39,120 --> 00:30:41,680 Speaker 4: And I think it's also just like the blase attitude 577 00:30:41,920 --> 00:30:45,920 Speaker 4: that some of these men have shown and we're saying 578 00:30:45,960 --> 00:30:48,360 Speaker 4: it's not a big deal, it's hilarious, it's funny, or 579 00:30:48,400 --> 00:30:49,560 Speaker 4: you know, it feels nice. 580 00:30:49,600 --> 00:30:51,520 Speaker 3: Who doesn't want to make out with these young girls. 581 00:30:51,800 --> 00:30:54,920 Speaker 4: I'm sure that's some people's attitudes, but the fact of 582 00:30:54,920 --> 00:30:57,080 Speaker 4: the matters. There's a lot of trauma. There was a 583 00:30:57,120 --> 00:30:59,360 Speaker 4: scene and I think about this all the time. It 584 00:30:59,400 --> 00:31:01,880 Speaker 4: pisses me all off and also puts me at like, yeah, 585 00:31:01,960 --> 00:31:03,240 Speaker 4: Chris Pratt's the worst Chris. 586 00:31:03,840 --> 00:31:05,280 Speaker 3: Sorry, that's just a personal opinion. 587 00:31:06,080 --> 00:31:09,080 Speaker 4: But in one of the outtakes he thought was hysterical 588 00:31:10,040 --> 00:31:12,680 Speaker 4: and shared was the fact that he got completely naked, 589 00:31:12,880 --> 00:31:14,440 Speaker 4: took off his Like the scene was that he was 590 00:31:14,440 --> 00:31:16,800 Speaker 4: supposed to be naked, but of course he had the 591 00:31:16,920 --> 00:31:20,160 Speaker 4: underwear or whatever. They yeah, but he took it off, 592 00:31:20,320 --> 00:31:23,880 Speaker 4: flashing Amy Poehler and Rashida Jones. And he came back 593 00:31:23,920 --> 00:31:25,880 Speaker 4: when he was telling this story about how they were 594 00:31:25,880 --> 00:31:28,800 Speaker 4: really upset about it, and like he tried to play 595 00:31:28,800 --> 00:31:30,040 Speaker 4: it off as a joke and they even put it 596 00:31:30,080 --> 00:31:32,479 Speaker 4: as a b clip blueber and he was like, they 597 00:31:32,480 --> 00:31:34,880 Speaker 4: were actually upset but thought it was hilarious to tell it. 598 00:31:34,960 --> 00:31:37,640 Speaker 4: And I'm like, that is sexual assault. I'm sorry, that 599 00:31:37,680 --> 00:31:40,160 Speaker 4: is sexual assault in the harassment and honestly, as a 600 00:31:40,240 --> 00:31:43,040 Speaker 4: traumatized victim, that would have had me on the floor. 601 00:31:43,600 --> 00:31:50,160 Speaker 1: Right right, I think that gosh, that is such a 602 00:31:50,160 --> 00:31:53,360 Speaker 1: figure conversation. But yeah, I do think because women just 603 00:31:53,400 --> 00:31:58,680 Speaker 1: statistically experience sexual assault and related things at such higher 604 00:31:58,760 --> 00:32:03,280 Speaker 1: rates that we have to think about that everywhere. But 605 00:32:03,400 --> 00:32:07,240 Speaker 1: like I feel like an art scenes, an artistic endeavors, 606 00:32:07,240 --> 00:32:08,880 Speaker 1: it's sort of thrown out the window, like, oh, but 607 00:32:08,960 --> 00:32:10,960 Speaker 1: this will be good art and it shouldn't be thrown 608 00:32:11,000 --> 00:32:14,160 Speaker 1: out the window. And I think men just don't think 609 00:32:14,200 --> 00:32:16,400 Speaker 1: about it because it's not something they have to worry 610 00:32:16,440 --> 00:32:20,520 Speaker 1: about every in it of all day. And yes, men 611 00:32:20,560 --> 00:32:23,360 Speaker 1: can be assaulted too, but I just it's statistically me 612 00:32:24,760 --> 00:32:26,960 Speaker 1: so for him to do that, like it probably never 613 00:32:27,040 --> 00:32:30,640 Speaker 1: occurred to him, right this Maybe they have a horrible 614 00:32:30,680 --> 00:32:33,440 Speaker 1: experience that this is gonna right off. 615 00:32:33,560 --> 00:32:36,720 Speaker 4: And being a part of the industry, they probably really have. Probably, 616 00:32:36,800 --> 00:32:38,360 Speaker 4: But the thing about the matter is like they're so 617 00:32:38,400 --> 00:32:42,920 Speaker 4: flippant that this even bypassed people on the set watching 618 00:32:43,000 --> 00:32:45,480 Speaker 4: him do it, not thinking anything about it and just 619 00:32:45,560 --> 00:32:47,600 Speaker 4: letting it go and saying this is a huge joke. 620 00:32:47,920 --> 00:32:50,200 Speaker 4: Him being told don't tell people this because this is 621 00:32:50,200 --> 00:32:51,920 Speaker 4: going to get you in trouble. But he told it 622 00:32:51,960 --> 00:32:54,600 Speaker 4: on a national TV because he just thought it was hilarious. 623 00:32:54,800 --> 00:32:57,280 Speaker 4: Has he ever apologized to it. No, And no one's 624 00:32:57,320 --> 00:32:59,800 Speaker 4: really kept them, all them accountablebout everybody treated it as 625 00:32:59,800 --> 00:33:02,000 Speaker 4: a And you know what, I get that, I get 626 00:33:02,080 --> 00:33:03,920 Speaker 4: that to a certain degree of like he really thought 627 00:33:03,960 --> 00:33:08,320 Speaker 4: this would be hilarious, which stop. Just if anybody wants 628 00:33:08,360 --> 00:33:09,840 Speaker 4: to know, that's not funny to me, So don't do 629 00:33:09,920 --> 00:33:10,240 Speaker 4: that to me. 630 00:33:10,360 --> 00:33:10,640 Speaker 3: Thanks. 631 00:33:11,200 --> 00:33:13,960 Speaker 4: But all of that matter in this conversation is like 632 00:33:14,040 --> 00:33:18,080 Speaker 4: this is the level of what they think is acceptable. 633 00:33:18,160 --> 00:33:20,880 Speaker 4: They just part of the job and that this is 634 00:33:20,920 --> 00:33:24,640 Speaker 4: okay and realizing no, this is why it needs a breakdown. 635 00:33:24,800 --> 00:33:27,240 Speaker 4: And I'm sorry that the quote unquote fun police have 636 00:33:27,320 --> 00:33:29,360 Speaker 4: come through, but for a lot of us, this is 637 00:33:29,400 --> 00:33:30,800 Speaker 4: not fun exactly. 638 00:33:31,280 --> 00:33:37,200 Speaker 1: And just because this is artistic, it's still a job. 639 00:33:37,520 --> 00:33:40,560 Speaker 1: If you did that at any other job, I would 640 00:33:40,640 --> 00:33:43,440 Speaker 1: hope you would be fired. Unfortunately we have instances where 641 00:33:43,480 --> 00:33:46,959 Speaker 1: that's not been the case. But generally you should be fired. 642 00:33:47,400 --> 00:33:51,680 Speaker 1: And if you have coordinated something out like that and 643 00:33:51,680 --> 00:33:56,000 Speaker 1: everyone's prepared, that's different than you just do it as 644 00:33:56,040 --> 00:33:56,840 Speaker 1: a joke. 645 00:33:58,040 --> 00:33:58,760 Speaker 2: Yeah. 646 00:33:58,880 --> 00:34:00,760 Speaker 4: And this's the thing is like the converse, it's not 647 00:34:00,840 --> 00:34:04,320 Speaker 4: about stopping it, stopping sex scenes, stopping. 648 00:34:04,040 --> 00:34:06,520 Speaker 3: The spicy scenes. Don't get me wrong, they're like, oh, okay, cool. 649 00:34:07,360 --> 00:34:10,960 Speaker 4: But at the same it doesn't also mean that there 650 00:34:11,280 --> 00:34:13,200 Speaker 4: doesn't need to be regulation. There's a reason there's a 651 00:34:13,320 --> 00:34:16,640 Speaker 4: rating system to begin with for the viewers. There should 652 00:34:16,640 --> 00:34:19,480 Speaker 4: be a system to set up to protect the actors. 653 00:34:20,040 --> 00:34:23,920 Speaker 1: Yes, and I also think that we should come back 654 00:34:23,920 --> 00:34:25,239 Speaker 1: and talk about this. I know we've talked about it 655 00:34:25,239 --> 00:34:27,640 Speaker 1: a little bit more, but you know, depending on who's 656 00:34:27,640 --> 00:34:31,200 Speaker 1: writing it, who's directing it. I think, as some of 657 00:34:31,280 --> 00:34:33,760 Speaker 1: these actors have said, you know, there are certain scenes 658 00:34:33,960 --> 00:34:36,160 Speaker 1: I don't want to do, and a lot of it's 659 00:34:36,160 --> 00:34:39,560 Speaker 1: coming from a male gaze of treating a woman as 660 00:34:39,600 --> 00:34:42,440 Speaker 1: an object in a scene. So it's okay to traumatize 661 00:34:42,440 --> 00:34:45,880 Speaker 1: her or depict a sexual assault. Maybe it's not necessary, 662 00:34:46,120 --> 00:34:51,000 Speaker 1: And maybe intimacy coordinators can be the person who's like, well, 663 00:34:51,040 --> 00:34:53,399 Speaker 1: why are we what are we trying to communicate here? 664 00:34:54,320 --> 00:34:56,360 Speaker 1: Because if it can be cut, the actor's not comfortable, 665 00:34:57,160 --> 00:35:00,040 Speaker 1: Like that's also a part of this. And then and 666 00:35:00,920 --> 00:35:04,360 Speaker 1: I did want to run through some really quick personal 667 00:35:04,400 --> 00:35:09,160 Speaker 1: experiences I've had because I have worked in some acting before, 668 00:35:11,080 --> 00:35:14,280 Speaker 1: and I think like we've mentioned a lot of this throughout, 669 00:35:14,280 --> 00:35:16,520 Speaker 1: and I bet a lot of professions can connect this. 670 00:35:16,600 --> 00:35:21,240 Speaker 1: But I've certainly been pressured into uncomfortable situations. There generally 671 00:35:21,280 --> 00:35:24,520 Speaker 1: has not been hr or if there have been, I 672 00:35:24,560 --> 00:35:27,040 Speaker 1: have not been told where they are. Oh I don't 673 00:35:27,080 --> 00:35:29,759 Speaker 1: know who to contact. I don't think ever have I 674 00:35:29,800 --> 00:35:31,799 Speaker 1: been on a set. And then a lot of times, 675 00:35:31,840 --> 00:35:33,920 Speaker 1: if you do an intimate scene, it's supposed to be 676 00:35:35,200 --> 00:35:38,480 Speaker 1: only necessary personnel are in there, and they're not supposed 677 00:35:38,480 --> 00:35:41,600 Speaker 1: to bring their cell phones. And I have been at 678 00:35:41,680 --> 00:35:44,600 Speaker 1: least one time where I saw cell phones and I 679 00:35:44,640 --> 00:35:45,440 Speaker 1: didn't know what to like. 680 00:35:45,640 --> 00:35:48,080 Speaker 2: It's like I thought we said there was no cell phones. 681 00:35:48,080 --> 00:35:52,640 Speaker 1: I couldn't have my cell phone. And then yeah, the 682 00:35:52,680 --> 00:35:55,640 Speaker 1: whole idea like oh, if you don't do it, thousands 683 00:35:55,680 --> 00:35:56,160 Speaker 1: behind you. 684 00:35:57,280 --> 00:35:58,920 Speaker 2: And another thing people brought up. 685 00:35:58,880 --> 00:36:01,719 Speaker 1: A lot that I thought was a great point is 686 00:36:01,760 --> 00:36:05,560 Speaker 1: that scripts can be really vague. They are so like 687 00:36:05,680 --> 00:36:09,680 Speaker 1: one example a lot of people gave is make passionate love, Like. 688 00:36:09,600 --> 00:36:11,759 Speaker 2: Don't you want to choreograph that? What does that mean? 689 00:36:11,840 --> 00:36:12,640 Speaker 2: What does that mean? 690 00:36:12,680 --> 00:36:14,680 Speaker 3: You're to roll around and push each other and. 691 00:36:15,080 --> 00:36:20,040 Speaker 1: Yay, right, like, and people can have different ideas of 692 00:36:20,040 --> 00:36:21,799 Speaker 1: what that means for one thing, and you don't want 693 00:36:21,800 --> 00:36:25,560 Speaker 1: it to like get a black eye or whatever whatever 694 00:36:25,600 --> 00:36:27,600 Speaker 1: you're accidentally throwing elbows, and. 695 00:36:28,960 --> 00:36:31,799 Speaker 2: So that's another area where I just. 696 00:36:32,040 --> 00:36:34,239 Speaker 4: I'm sorry, I just had a moment of like make 697 00:36:34,320 --> 00:36:35,799 Speaker 4: passionate love elbow in the face. 698 00:36:36,680 --> 00:36:41,359 Speaker 1: You know you're rolling about an elbow prowl Uh. Yes, 699 00:36:41,800 --> 00:36:43,719 Speaker 1: well but yeah, I mean I think that's that's a 700 00:36:43,760 --> 00:36:47,719 Speaker 1: great point. How are you supposed to interpret that as 701 00:36:47,719 --> 00:36:51,520 Speaker 1: an actor? And then if you're lucky, if you work 702 00:36:51,560 --> 00:36:53,400 Speaker 1: on a big enough production, you get to work with 703 00:36:53,400 --> 00:36:55,759 Speaker 1: said actor before that and talk about it, discuss it. 704 00:36:55,800 --> 00:36:58,120 Speaker 1: But that's not always true either. Sometimes you just walk 705 00:36:58,160 --> 00:37:00,200 Speaker 1: in and they're like go of. 706 00:37:00,280 --> 00:37:02,040 Speaker 3: Like things like this is planned for next Thursday. 707 00:37:02,080 --> 00:37:03,560 Speaker 4: Oh no, we're doing it today because this is the 708 00:37:03,560 --> 00:37:05,960 Speaker 4: best time, or something's gone wrong with the other things. 709 00:37:06,120 --> 00:37:08,600 Speaker 1: Yes, yes, that has happened to me, not with an 710 00:37:08,600 --> 00:37:11,799 Speaker 1: intimate scene, but with an emotionally intense scene where they're like, 711 00:37:11,920 --> 00:37:15,840 Speaker 1: actually we're doing that today, right, all right, I have 712 00:37:15,920 --> 00:37:17,640 Speaker 1: five minutes to really get in the state. 713 00:37:18,440 --> 00:37:20,000 Speaker 2: So yeah, that's something that happens. 714 00:37:22,480 --> 00:37:26,760 Speaker 1: And then, as I mentioned, auditions themselves, which are essentially 715 00:37:26,840 --> 00:37:31,279 Speaker 1: job interviews, can get really gross and they'll just give 716 00:37:31,320 --> 00:37:33,920 Speaker 1: you no warning, tell you to come in and be like, 717 00:37:33,920 --> 00:37:35,680 Speaker 1: actually you need to see what you would look like 718 00:37:35,719 --> 00:37:38,360 Speaker 1: in a bikini, so can you take off your clothes, 719 00:37:39,440 --> 00:37:42,520 Speaker 1: and there's no like, there's no warning you. Again, you're 720 00:37:42,600 --> 00:37:47,880 Speaker 1: kind of like no, how much you have that mon 721 00:37:47,920 --> 00:37:49,319 Speaker 1: of like does that mean I won't get the job 722 00:37:49,360 --> 00:37:50,799 Speaker 1: if I don't do it? But I don't want to 723 00:37:50,840 --> 00:37:53,600 Speaker 1: do it, So that's all gross. And I've heard horror stories, 724 00:37:53,640 --> 00:37:56,319 Speaker 1: as I said, about big directors doing way worse than that, 725 00:37:58,160 --> 00:38:00,879 Speaker 1: which is related to the idea of the male, which 726 00:38:00,880 --> 00:38:04,799 Speaker 1: we've talked before, who gets away with everything in the 727 00:38:04,880 --> 00:38:08,080 Speaker 1: name of art, even if it means hurting women, sometimes 728 00:38:08,160 --> 00:38:11,919 Speaker 1: especially if it means hurting women. So I think that 729 00:38:12,440 --> 00:38:17,200 Speaker 1: is at play throughout all of this. And yeah, you 730 00:38:17,200 --> 00:38:19,040 Speaker 1: can get really wrapped up in the moment and not 731 00:38:19,160 --> 00:38:21,720 Speaker 1: know how to speak up and say you're uncomfortable, especially 732 00:38:21,719 --> 00:38:26,799 Speaker 1: if you don't have an advocate, especially if expontaneity is 733 00:38:26,880 --> 00:38:29,880 Speaker 1: involved and all of a sudden someone's kissing you or. 734 00:38:29,880 --> 00:38:32,359 Speaker 2: Whatever and you don't know you don't want to break 735 00:38:32,360 --> 00:38:32,800 Speaker 2: the scene. 736 00:38:32,960 --> 00:38:50,040 Speaker 1: You don't know what's happening, Like it's not good. We've 737 00:38:50,160 --> 00:38:53,319 Speaker 1: just heard so many, over and over again stories of 738 00:38:53,400 --> 00:39:00,040 Speaker 1: young actresses being taken advantage of by older men, and 739 00:39:00,120 --> 00:39:01,879 Speaker 1: these scenes can be. 740 00:39:02,200 --> 00:39:04,480 Speaker 2: Just a rife space for that. 741 00:39:06,120 --> 00:39:10,680 Speaker 1: And yeah, I mean enthusiastic, consent and sexy this idea 742 00:39:10,880 --> 00:39:13,279 Speaker 1: that a lot of it, a lot of it embodies 743 00:39:13,960 --> 00:39:16,400 Speaker 1: that men who don't like it, it seems to be like, wait, what, 744 00:39:16,640 --> 00:39:18,200 Speaker 1: I can't do anything I want? 745 00:39:19,280 --> 00:39:21,840 Speaker 2: The fashion romance is diod. 746 00:39:23,360 --> 00:39:25,440 Speaker 4: Well I mean, and also like I just remember the 747 00:39:25,560 --> 00:39:29,000 Speaker 4: Nicole Kidman movie Dogville. Had no idea what the promise 748 00:39:29,000 --> 00:39:31,520 Speaker 4: of the movie was. It was getting a lot of accolades, 749 00:39:33,040 --> 00:39:36,600 Speaker 4: and there was a woman. There was a moment when 750 00:39:36,960 --> 00:39:39,920 Speaker 4: in the movie there are rape scenes, but it's pretty 751 00:39:40,000 --> 00:39:42,160 Speaker 4: much like laid out like it's a play, so it's 752 00:39:42,200 --> 00:39:44,400 Speaker 4: just cut, just taped off. 753 00:39:44,400 --> 00:39:45,960 Speaker 3: You're supposed to know what this is. But it was 754 00:39:46,000 --> 00:39:48,600 Speaker 3: absolutely a movie, a play within a movie. 755 00:39:49,120 --> 00:39:54,000 Speaker 4: And still in Scarsguard has a really intense rape scene 756 00:39:54,200 --> 00:39:57,840 Speaker 4: with Nicole Kidman. He talks about it and he couldn't 757 00:39:57,840 --> 00:40:00,600 Speaker 4: even speak it in English, like he was so distraught 758 00:40:00,640 --> 00:40:03,359 Speaker 4: from the scene he was so disturbed by it, like 759 00:40:03,840 --> 00:40:07,480 Speaker 4: as they were interviewing him about the scene, because I 760 00:40:07,520 --> 00:40:09,319 Speaker 4: had to go, I had to like detox for it, 761 00:40:09,320 --> 00:40:11,920 Speaker 4: and I need to know. They were okay, like that's 762 00:40:11,960 --> 00:40:14,319 Speaker 4: how far I had to go for it. Of course, 763 00:40:14,320 --> 00:40:17,399 Speaker 4: it's large vauntrier who is one of those that really 764 00:40:17,440 --> 00:40:23,040 Speaker 4: pushes quote unquote the envelope or whatever, and he was 765 00:40:23,080 --> 00:40:26,120 Speaker 4: disturbed by it. He was so perturbed by that he 766 00:40:26,200 --> 00:40:29,080 Speaker 4: literally could not explain what he was what. 767 00:40:29,000 --> 00:40:31,479 Speaker 3: Had happened in English was I thought. 768 00:40:31,600 --> 00:40:33,160 Speaker 4: I was like, this is before I knew who he 769 00:40:33,280 --> 00:40:35,279 Speaker 4: was as the big actor that he was, and I 770 00:40:35,360 --> 00:40:37,319 Speaker 4: was like, oh my god, what's happening. He has a 771 00:40:37,320 --> 00:40:42,080 Speaker 4: really good English uh razor accident in the movie, but 772 00:40:42,120 --> 00:40:45,200 Speaker 4: then he's just like breaking down crying, Like this is 773 00:40:45,280 --> 00:40:49,239 Speaker 4: about the fact that in those scenes, I hope as 774 00:40:49,280 --> 00:40:53,240 Speaker 4: a human that these male actors who have to portray 775 00:40:53,280 --> 00:40:57,239 Speaker 4: this feel just as bad and discussing and gross about this, right. 776 00:40:57,680 --> 00:40:59,239 Speaker 1: I mean, yeah, we've been talking a lot about women, 777 00:40:59,280 --> 00:41:03,120 Speaker 1: but anybody in is right. Those are emotionally intense and 778 00:41:03,160 --> 00:41:05,400 Speaker 1: traumatic scenes, right. 779 00:41:05,560 --> 00:41:07,719 Speaker 4: And of course we are going like a different route 780 00:41:07,760 --> 00:41:09,719 Speaker 4: with that conversation, like like oh, it's just not fun, 781 00:41:09,760 --> 00:41:12,520 Speaker 4: and it takes out a spontaneity. Again though we know 782 00:41:12,640 --> 00:41:15,080 Speaker 4: most of the times a lot of these movies take 783 00:41:15,320 --> 00:41:19,480 Speaker 4: unnecessary leaps into making it traumatic and a violation for 784 00:41:19,560 --> 00:41:22,799 Speaker 4: women for the characters, which sometimes is like this is 785 00:41:22,840 --> 00:41:26,400 Speaker 4: not necessary, I don't understand what this is and like 786 00:41:26,440 --> 00:41:29,640 Speaker 4: the fact that, yeah, it's traumatizing to everyone around. I 787 00:41:29,680 --> 00:41:32,880 Speaker 4: would hope there should be a conversation and a breakdown 788 00:41:32,880 --> 00:41:35,280 Speaker 4: of the scenes or you know, what's happening without truly 789 00:41:35,360 --> 00:41:38,840 Speaker 4: violating either one of the actors in these moments, and 790 00:41:38,880 --> 00:41:40,960 Speaker 4: theos asks to consist. Of course we're not really in 791 00:41:41,000 --> 00:41:43,200 Speaker 4: the movie. You know, that's not supposed to be the play, 792 00:41:43,280 --> 00:41:45,240 Speaker 4: but you should be able to do so behind the scenes, 793 00:41:45,280 --> 00:41:50,360 Speaker 4: to do it correctly and safely for both actors. 794 00:41:50,239 --> 00:41:52,120 Speaker 2: Mm everyone involved. 795 00:41:52,160 --> 00:41:54,360 Speaker 1: It's like, yeah, I would even hope, like they have 796 00:41:54,480 --> 00:41:59,719 Speaker 1: like a speech they give to the crew. And there 797 00:41:59,760 --> 00:42:04,839 Speaker 1: are there are some instances of underqualified ices that have 798 00:42:04,880 --> 00:42:11,759 Speaker 1: gotten through and have provided bad experiences, and that is 799 00:42:11,880 --> 00:42:14,400 Speaker 1: something that those in the in the small industry are 800 00:42:14,400 --> 00:42:16,040 Speaker 1: working to change. 801 00:42:16,320 --> 00:42:19,320 Speaker 2: But overall it seems that they make everything. 802 00:42:19,560 --> 00:42:21,880 Speaker 1: They make things better for everybody, and they make the 803 00:42:22,160 --> 00:42:27,520 Speaker 1: set more safe, and they make you know the enerchangmage better. 804 00:42:28,239 --> 00:42:31,680 Speaker 2: Uh so, yeah, yeah. 805 00:42:31,160 --> 00:42:33,759 Speaker 1: If you're interested, there are resources available online which I 806 00:42:33,800 --> 00:42:34,440 Speaker 1: definitely checked out. 807 00:42:34,480 --> 00:42:36,520 Speaker 2: I was just kind of curious. I was like, what 808 00:42:36,560 --> 00:42:38,040 Speaker 2: am I going to have to do if I wanted 809 00:42:38,040 --> 00:42:38,440 Speaker 2: to do this? 810 00:42:39,880 --> 00:42:43,760 Speaker 1: They do say it takes like years, like they aren't 811 00:42:43,840 --> 00:42:46,719 Speaker 1: young Intimacy coordinators really like, you really have to put 812 00:42:46,719 --> 00:42:49,359 Speaker 1: in the time and work. But yes, you should go 813 00:42:49,480 --> 00:42:52,239 Speaker 1: check that out if you're at all interested. And yeah, 814 00:42:52,280 --> 00:42:56,200 Speaker 1: my TLDR for this one is intimacy scenes. Intimate scenes 815 00:42:56,200 --> 00:42:59,640 Speaker 1: are stunts, They're vulnerable stunts and this whole thing, it's 816 00:42:59,680 --> 00:43:05,760 Speaker 1: a job. So intimacy coordinators are important for ensuring everyone's safety, comfort. 817 00:43:05,440 --> 00:43:08,080 Speaker 2: And the best performances on an everyone. 818 00:43:08,680 --> 00:43:08,919 Speaker 4: Yeah. 819 00:43:10,040 --> 00:43:14,360 Speaker 1: Yes, So if you would like to contact us you can. 820 00:43:14,520 --> 00:43:17,400 Speaker 1: Our email is Stephanie moms steffantiheartmia dot com. You can 821 00:43:17,400 --> 00:43:19,200 Speaker 1: find us on Twitter at mom Stuff podcast or on 822 00:43:19,200 --> 00:43:20,560 Speaker 1: Instagram at steffan Never Told You. 823 00:43:20,640 --> 00:43:22,600 Speaker 2: Thanks. It's always to our super producer Christie. 824 00:43:23,239 --> 00:43:25,200 Speaker 3: Thank you, Christina, and thanks to you. 825 00:43:25,120 --> 00:43:27,600 Speaker 1: For listening Stuff and Never Told You respection from iHeartRadio. 826 00:43:27,640 --> 00:43:29,400 Speaker 1: For more podcasts from iHeartRadio, you can check out the 827 00:43:29,440 --> 00:43:32,520 Speaker 1: iHeartRadio app. Apple Podcast where you listen to your favorite shows.