1 00:00:00,320 --> 00:00:07,400 Speaker 1: This is a podcast about failure with me. Lola Berry, author, nutritionist, 2 00:00:07,880 --> 00:00:11,440 Speaker 1: and yoga teacher, join me as we get to know 3 00:00:11,560 --> 00:00:16,040 Speaker 1: these guests and learn about how their failures have ultimately 4 00:00:16,120 --> 00:00:21,760 Speaker 1: shaped their dreams. Welcome to Fearlessly Failing with Lola Berry. 5 00:00:36,920 --> 00:00:41,160 Speaker 1: Quick question, have you watched Bridgington? I'm going to guess 6 00:00:41,200 --> 00:00:43,320 Speaker 1: that you probably have, or you at least know what 7 00:00:43,320 --> 00:00:44,120 Speaker 1: I'm talking about. 8 00:00:44,400 --> 00:00:45,600 Speaker 2: I'm one of those people. 9 00:00:45,360 --> 00:00:48,560 Speaker 1: That binge watch it on Boxing Day and I haven't 10 00:00:48,560 --> 00:00:50,839 Speaker 1: stopped listening to the soundtrack ever since. So I'm a 11 00:00:50,880 --> 00:00:52,280 Speaker 1: massive Bridgeton fan. 12 00:00:52,360 --> 00:00:53,160 Speaker 2: And if you are. 13 00:00:53,080 --> 00:00:57,160 Speaker 1: Too, then today's guests few. Lizzie Talbot is the intimacy 14 00:00:57,200 --> 00:00:58,520 Speaker 1: coordinator of Bridgington. 15 00:00:58,920 --> 00:01:01,240 Speaker 2: So all those steam any sex scenes that leave you 16 00:01:01,280 --> 00:01:04,760 Speaker 2: wanting more, that's Lizzie's doing. And we really get. 17 00:01:04,560 --> 00:01:09,839 Speaker 1: Into the choreography, creating a safe space and the lead 18 00:01:09,920 --> 00:01:11,640 Speaker 1: up to shooting. It's like a six She had a 19 00:01:11,680 --> 00:01:14,120 Speaker 1: six week rehearsal period with the actors. 20 00:01:13,800 --> 00:01:15,520 Speaker 2: Before they even called action. 21 00:01:16,319 --> 00:01:19,160 Speaker 1: I really hope you love this episode. I am just 22 00:01:19,200 --> 00:01:21,840 Speaker 1: so grateful that she jumped on zoom. We recorded this 23 00:01:22,480 --> 00:01:25,160 Speaker 1: literally this is Friday night. As I record this intro 24 00:01:25,319 --> 00:01:28,040 Speaker 1: for you and we're speeding up so that you're going 25 00:01:28,080 --> 00:01:30,200 Speaker 1: to get at first thing Monday morning. I hope you 26 00:01:30,280 --> 00:01:32,800 Speaker 1: love this episode. I'm nerding out right now. I'm a 27 00:01:32,840 --> 00:01:40,360 Speaker 1: massive bridge in the fan. Enjoy this episode. Lizzie is unreal. Okay, 28 00:01:41,160 --> 00:01:43,440 Speaker 1: Lizzie Talbert, I am so. 29 00:01:43,720 --> 00:01:45,280 Speaker 2: Pumped to have you on this podcast. 30 00:01:45,360 --> 00:01:48,560 Speaker 1: I feel like I've insta stalked you and DMed you 31 00:01:48,640 --> 00:01:49,360 Speaker 1: for a few weeks. 32 00:01:49,400 --> 00:01:51,520 Speaker 2: I mean like you got to make this happen. 33 00:01:51,600 --> 00:01:54,200 Speaker 1: So thank you, first of all, so much for jumping 34 00:01:54,240 --> 00:01:56,000 Speaker 1: on the pod today. 35 00:01:56,640 --> 00:01:57,840 Speaker 3: Thank you so much for having me. 36 00:01:59,120 --> 00:02:00,920 Speaker 1: Well, you're in line and I mean, do you know 37 00:02:01,000 --> 00:02:05,040 Speaker 1: Byron Bay in Australia. Yeah, I'm in Byron Bay. So 38 00:02:05,120 --> 00:02:07,920 Speaker 1: it's like thirty degree it's really hot today and the 39 00:02:08,000 --> 00:02:10,960 Speaker 1: sun's going down for me and coming up for you. 40 00:02:12,120 --> 00:02:14,800 Speaker 3: Yeah yeah, yeah, it's been up for a little while now, 41 00:02:16,160 --> 00:02:18,240 Speaker 3: and it is not I promise you as not thirty 42 00:02:18,280 --> 00:02:19,040 Speaker 3: six degrees here. 43 00:02:20,639 --> 00:02:22,679 Speaker 2: Okay. So I am. 44 00:02:22,800 --> 00:02:26,240 Speaker 1: I am one of the people that Binge watched bridgeton 45 00:02:26,360 --> 00:02:30,440 Speaker 1: on Boxing Day and within two days it was watched 46 00:02:30,480 --> 00:02:34,640 Speaker 1: and consumed and then I was on those people that 47 00:02:34,680 --> 00:02:36,520 Speaker 1: listened to the soundtrack on repeat. 48 00:02:37,600 --> 00:02:39,200 Speaker 3: So we've got. 49 00:02:39,120 --> 00:02:42,880 Speaker 1: To talk your wonderful role in Bridgington, But before that, 50 00:02:42,960 --> 00:02:45,000 Speaker 1: I want to hear your story because I think it's really, 51 00:02:45,000 --> 00:02:50,360 Speaker 1: really fascinating. So you're an intimacy coordinator, can you first 52 00:02:50,360 --> 00:02:53,120 Speaker 1: of all, can you take me through what that actually involves? 53 00:02:54,120 --> 00:02:58,720 Speaker 3: Yeah, for sure. So intimacy coordination. One of the ways 54 00:02:58,880 --> 00:03:01,400 Speaker 3: to think about it is to think that it is 55 00:03:02,360 --> 00:03:06,360 Speaker 3: like fights, like a stunt coordinator, but we focus on intimacy. 56 00:03:06,880 --> 00:03:10,239 Speaker 3: So we sort of split the roll up into three sections. 57 00:03:10,320 --> 00:03:13,359 Speaker 3: You've got the advocacy part, and you've got the sort 58 00:03:13,360 --> 00:03:16,320 Speaker 3: of collaboration with departments, and then you've got really at 59 00:03:16,320 --> 00:03:19,240 Speaker 3: the heart of it, which is the choreography section. So 60 00:03:19,280 --> 00:03:22,440 Speaker 3: that's really how sort of the role is divided. That's 61 00:03:22,440 --> 00:03:25,240 Speaker 3: how I spend my time when I'm working on a project. 62 00:03:25,760 --> 00:03:28,600 Speaker 1: And is it true that your background is almost like 63 00:03:29,440 --> 00:03:34,480 Speaker 1: fight choreography and combat and is it kick? 64 00:03:34,560 --> 00:03:35,520 Speaker 2: So is that to your background? 65 00:03:35,560 --> 00:03:35,640 Speaker 3: Then? 66 00:03:35,680 --> 00:03:37,320 Speaker 1: Did you see that there was kind of this gap 67 00:03:37,320 --> 00:03:39,560 Speaker 1: where you're like, oh, hang on a sec this thing 68 00:03:39,600 --> 00:03:41,400 Speaker 1: that needs to exist doesn't exist. 69 00:03:42,920 --> 00:03:45,520 Speaker 3: Yeah, So when you're working in the fight, well, there's 70 00:03:45,520 --> 00:03:48,200 Speaker 3: a lot of protocols, there's a lot of sort of 71 00:03:48,640 --> 00:03:52,360 Speaker 3: like safety considerations that need to be made when you're 72 00:03:52,440 --> 00:03:55,520 Speaker 3: choreographing fight work. And so when you think about the 73 00:03:55,520 --> 00:04:00,880 Speaker 3: fact that we were often involved in scenes like domestic violence, 74 00:04:00,960 --> 00:04:05,280 Speaker 3: and the violence side would be you know, completely fine 75 00:04:05,360 --> 00:04:07,560 Speaker 3: with us. We would be able to choreograph that, no problem. 76 00:04:07,960 --> 00:04:10,320 Speaker 3: But when it came to like the intimacy section, there 77 00:04:10,360 --> 00:04:14,000 Speaker 3: was often you know, like actors were resting like on 78 00:04:14,040 --> 00:04:15,960 Speaker 3: the good graces of their scene partner a lot of 79 00:04:16,000 --> 00:04:20,159 Speaker 3: the time, and that was incredibly like problematic as we 80 00:04:20,200 --> 00:04:22,640 Speaker 3: have seen. And just the fact that there were no 81 00:04:22,920 --> 00:04:27,599 Speaker 3: protocols really made it difficult for there to be any 82 00:04:27,640 --> 00:04:32,040 Speaker 3: sort of consistency and safety involved in that. So when 83 00:04:32,040 --> 00:04:34,640 Speaker 3: I started comparing with two, I realized that yes, there 84 00:04:34,720 --> 00:04:37,280 Speaker 3: was this like big gap, as you said. And one 85 00:04:37,279 --> 00:04:39,359 Speaker 3: of the ways to sort of combat that was to 86 00:04:39,480 --> 00:04:43,839 Speaker 3: start like researching, and I sort of like sent a 87 00:04:43,839 --> 00:04:46,480 Speaker 3: couple of posts out to people and sort of said, 88 00:04:46,520 --> 00:04:50,120 Speaker 3: you know, how you're scenes with intimacy, And so that 89 00:04:50,200 --> 00:04:53,600 Speaker 3: started to snowball, and I got in touch with a 90 00:04:53,680 --> 00:04:57,000 Speaker 3: lady from America called Tonya Sina, and it sort of 91 00:04:57,040 --> 00:04:59,000 Speaker 3: went from there, and that was twenty fifteen. 92 00:04:59,680 --> 00:05:02,000 Speaker 1: This this is the thing that blows my mind having 93 00:05:02,040 --> 00:05:04,120 Speaker 1: listened to a few podcasts with you now and watch 94 00:05:04,160 --> 00:05:05,240 Speaker 1: some interviews with you. 95 00:05:06,279 --> 00:05:08,640 Speaker 2: My mind is like, how did this not exist sooner? 96 00:05:08,920 --> 00:05:11,760 Speaker 1: Like it seems like it's such an integral part of 97 00:05:12,360 --> 00:05:14,960 Speaker 1: any creative process, whether it be stage or screen. 98 00:05:16,920 --> 00:05:19,360 Speaker 3: Yeah, it was. It was really interesting. I guess one 99 00:05:19,360 --> 00:05:22,159 Speaker 3: of the reasons is that because like lots of people 100 00:05:22,320 --> 00:05:26,240 Speaker 3: experience intimacy in their personal life, I think it gives 101 00:05:26,279 --> 00:05:31,080 Speaker 3: them like the concept that they can either perform or 102 00:05:31,160 --> 00:05:34,320 Speaker 3: direct or create it for an audience, and they're two 103 00:05:34,480 --> 00:05:38,200 Speaker 3: very different things. But people don't have the same mindset 104 00:05:38,240 --> 00:05:41,000 Speaker 3: when it comes to fight because you know, not everyone's 105 00:05:41,080 --> 00:05:46,200 Speaker 3: like in fight every Friday night, So so like you know, 106 00:05:46,240 --> 00:05:49,680 Speaker 3: like it's easy to have like that separation between them 107 00:05:49,720 --> 00:05:52,240 Speaker 3: at that point. Totally. 108 00:05:53,120 --> 00:05:58,320 Speaker 1: I'm so fascinated to hear about your personal journey as well, 109 00:05:58,360 --> 00:06:01,359 Speaker 1: because I heard I think I heard on a different 110 00:06:01,360 --> 00:06:04,040 Speaker 1: podcast that you were eighteen years old when you had 111 00:06:04,040 --> 00:06:07,960 Speaker 1: your own scene and it was involved your kissing had 112 00:06:07,960 --> 00:06:10,320 Speaker 1: been to kids boy in a corridor and there was 113 00:06:10,360 --> 00:06:11,680 Speaker 1: no real just kind of. 114 00:06:11,680 --> 00:06:15,200 Speaker 2: Like set free. Can you tell attit about that? 115 00:06:16,200 --> 00:06:19,480 Speaker 3: Yeah, So, like I said, I was quite I was 116 00:06:19,480 --> 00:06:23,320 Speaker 3: obviously quite young at the time. And we were doing 117 00:06:23,400 --> 00:06:26,080 Speaker 3: a show, and yeah, the director was just like, okay, 118 00:06:26,120 --> 00:06:28,240 Speaker 3: so now that's the kissing scene, but you know, like 119 00:06:28,360 --> 00:06:29,840 Speaker 3: we're going to move on something else. Can you just 120 00:06:29,880 --> 00:06:32,520 Speaker 3: go out into the corridor and you know, like just 121 00:06:32,600 --> 00:06:34,720 Speaker 3: do some kissing and then like just bring it back 122 00:06:34,760 --> 00:06:37,440 Speaker 3: and we'll see. And so I just remember standing in 123 00:06:37,480 --> 00:06:43,400 Speaker 3: this corridor with this guy and we just sort of 124 00:06:43,400 --> 00:06:47,040 Speaker 3: stood opposite each other like really awkwardly being like oh okay, 125 00:06:48,440 --> 00:06:52,520 Speaker 3: so and like we were just figuring it out ourselves, 126 00:06:52,520 --> 00:06:56,560 Speaker 3: and it was so horribly awkward. It wasn't like I 127 00:06:56,560 --> 00:07:01,159 Speaker 3: didn't It wasn't like dangerous, if that makes sense. Yeah, 128 00:07:01,240 --> 00:07:04,280 Speaker 3: you know, I knew him, he knew me, we were friends. 129 00:07:05,640 --> 00:07:08,520 Speaker 3: It was just more horribly awkward than anything. And you know, 130 00:07:08,600 --> 00:07:10,880 Speaker 3: I'm sure it didn't look good. I would put so 131 00:07:11,000 --> 00:07:13,240 Speaker 3: much money on the fact that, like that scene probably 132 00:07:13,240 --> 00:07:16,280 Speaker 3: looked horrendous. And it's just that sort of like lack 133 00:07:16,520 --> 00:07:21,880 Speaker 3: of direction because there's the assumption that we do it 134 00:07:21,920 --> 00:07:23,600 Speaker 3: in our private lives, so we should be able to 135 00:07:23,640 --> 00:07:27,160 Speaker 3: perform it with anyone that we are not physically intimate 136 00:07:27,240 --> 00:07:28,960 Speaker 3: with totally. 137 00:07:29,880 --> 00:07:33,240 Speaker 1: And I think as well, like because some people probably aren't, 138 00:07:33,440 --> 00:07:35,800 Speaker 1: I don't know, like I've heard you described that, like 139 00:07:36,680 --> 00:07:40,280 Speaker 1: some people kind of dart around words and conversation, and 140 00:07:40,960 --> 00:07:42,800 Speaker 1: you know, it's just like call it out, say what 141 00:07:42,840 --> 00:07:44,120 Speaker 1: you mean, let's get really clear. 142 00:07:44,160 --> 00:07:47,400 Speaker 2: And it seems like your role as well has a 143 00:07:47,400 --> 00:07:51,560 Speaker 2: lot to do with real clear communication with everybody. 144 00:07:52,720 --> 00:07:56,000 Speaker 3: Yeah, it certainly does. I mean I've been in the 145 00:07:56,080 --> 00:08:01,000 Speaker 3: rooms where either directors or actors or you know, whoever 146 00:08:01,040 --> 00:08:03,280 Speaker 3: it is, they just don't want to talk about it. 147 00:08:03,320 --> 00:08:06,200 Speaker 3: I've seen them, mind met I've seen them sort of 148 00:08:06,240 --> 00:08:09,440 Speaker 3: like you know, get really like stressed and then leave 149 00:08:09,480 --> 00:08:12,600 Speaker 3: the room when talking about it. And so it's really 150 00:08:12,600 --> 00:08:14,840 Speaker 3: that thing of like like you say, you know, call 151 00:08:14,880 --> 00:08:19,200 Speaker 3: it out, say what it is, and just have clarity, 152 00:08:19,240 --> 00:08:22,680 Speaker 3: because you know, clarity means that you're able to all 153 00:08:22,760 --> 00:08:25,040 Speaker 3: be on the same page. We've not got someone thinking 154 00:08:25,080 --> 00:08:26,760 Speaker 3: that it's one thing and another person thinking that it's 155 00:08:26,800 --> 00:08:28,720 Speaker 3: something else, and then they clash and then it's horribly 156 00:08:28,760 --> 00:08:31,200 Speaker 3: awkward for both parties. You know, you want to be 157 00:08:31,200 --> 00:08:36,839 Speaker 3: able to have that, you know, like a pathway towards 158 00:08:37,400 --> 00:08:43,079 Speaker 3: you know, the resulting scene that's really effective and dynamic 159 00:08:43,280 --> 00:08:46,720 Speaker 3: and it ultimately tells the story. 160 00:08:46,760 --> 00:08:51,240 Speaker 1: Can you speaking of this like clarity and this, yeah, 161 00:08:51,520 --> 00:08:55,040 Speaker 1: effective way of telling the story. Can you explain what 162 00:08:56,000 --> 00:08:58,760 Speaker 1: close set procedures means, because it sounds like that really 163 00:08:58,760 --> 00:09:02,400 Speaker 1: protects the actors and makes them feel quite safe. I 164 00:09:02,400 --> 00:09:04,400 Speaker 1: imagine doing intimate scenes. 165 00:09:06,200 --> 00:09:08,679 Speaker 3: Yeah, so when you're shooting like a scene that doesn't 166 00:09:08,679 --> 00:09:13,920 Speaker 3: involve intimacy, there are so many people around, and you've 167 00:09:13,960 --> 00:09:16,600 Speaker 3: got a lot of people who are like either walking 168 00:09:16,720 --> 00:09:20,640 Speaker 3: past or just sort of like in the vicinity. And 169 00:09:20,720 --> 00:09:23,120 Speaker 3: so one of the things that helps with close set 170 00:09:23,280 --> 00:09:25,880 Speaker 3: is making sure that you've got like just a skeleton crew, 171 00:09:25,960 --> 00:09:29,320 Speaker 3: So who is who are the people that are supposed 172 00:09:29,360 --> 00:09:30,960 Speaker 3: to be there? Who are the people that we cannot 173 00:09:30,960 --> 00:09:35,480 Speaker 3: do the scene without in terms of crew, making sure 174 00:09:35,480 --> 00:09:37,920 Speaker 3: that we've got like areas locked off so people aren't 175 00:09:37,960 --> 00:09:42,040 Speaker 3: walking through unexpectedly, and that the cast can really focus 176 00:09:42,080 --> 00:09:44,559 Speaker 3: on what they're doing without wondering like who else is 177 00:09:44,600 --> 00:09:48,120 Speaker 3: going to see them? Is anyone else like snapping photos? 178 00:09:48,480 --> 00:09:50,000 Speaker 3: You know, like that sort of thing. We want to 179 00:09:50,040 --> 00:09:54,079 Speaker 3: be really careful to create an atmosphere that's incredibly comfortable 180 00:09:54,120 --> 00:09:55,000 Speaker 3: and safe for people. 181 00:09:56,640 --> 00:09:58,760 Speaker 1: Like I said, I still can't believe that this is 182 00:09:58,840 --> 00:10:00,719 Speaker 1: you know what I mean? Here you talk about this 183 00:10:00,840 --> 00:10:03,360 Speaker 1: I'm like, this should just be the norm now, right, 184 00:10:03,559 --> 00:10:08,160 Speaker 1: Like it's so exciting to learn this from you, you know, 185 00:10:08,280 --> 00:10:09,960 Speaker 1: like I feel like this will be the norm if 186 00:10:10,000 --> 00:10:12,400 Speaker 1: it isn't already. I feel like this is now the 187 00:10:12,440 --> 00:10:13,240 Speaker 1: norm for sure. 188 00:10:13,440 --> 00:10:17,160 Speaker 3: Right, We're getting there. I will say that it is 189 00:10:17,240 --> 00:10:19,880 Speaker 3: absolutely not perfect yet. There are still a lot of 190 00:10:19,920 --> 00:10:24,560 Speaker 3: resistance in some areas, but we are certainly like on 191 00:10:24,600 --> 00:10:29,640 Speaker 3: the way to like making permanent change. I don't think 192 00:10:29,679 --> 00:10:32,640 Speaker 3: we're going away anytime soon, I'll say that, but yeah, 193 00:10:32,640 --> 00:10:37,920 Speaker 3: there's still enormous resistance to it in various levels. 194 00:10:38,600 --> 00:10:40,599 Speaker 2: Well, I Insteras. 195 00:10:40,240 --> 00:10:43,079 Speaker 1: Talked you all the way back to your first ever post, 196 00:10:43,200 --> 00:10:44,760 Speaker 1: and your dog is really really cute. 197 00:10:44,800 --> 00:10:45,280 Speaker 2: Ps. 198 00:10:46,800 --> 00:10:49,439 Speaker 1: But I noticed you shed an article, like one of 199 00:10:49,520 --> 00:10:52,120 Speaker 1: the first articles I saw that you shed, and it 200 00:10:52,160 --> 00:10:57,200 Speaker 1: was about how it was like a lack of intimacy 201 00:10:57,920 --> 00:11:00,680 Speaker 1: coordinators on sets that they shou have been on like 202 00:11:00,720 --> 00:11:03,360 Speaker 1: Game of Thrones or Wolf of wall Street. And this 203 00:11:03,640 --> 00:11:09,760 Speaker 1: podcast is called Fieldsley Failing, And I think, you know, like, yes, 204 00:11:09,800 --> 00:11:12,880 Speaker 1: the industry has probably failed a little bit at protecting artists, 205 00:11:12,920 --> 00:11:15,600 Speaker 1: but also the beauty that comes out of that is 206 00:11:15,640 --> 00:11:18,760 Speaker 1: like people like you who are making a change and 207 00:11:18,880 --> 00:11:22,360 Speaker 1: changing the way so that those instances don't occur anymore. 208 00:11:24,200 --> 00:11:26,960 Speaker 3: Yeah, I mean, and I think it's really important to 209 00:11:27,240 --> 00:11:31,840 Speaker 3: reference like a lot of the trauma that we have seen, Like, yes, 210 00:11:31,920 --> 00:11:34,160 Speaker 3: a lot of it was intentional, but a lot of 211 00:11:34,200 --> 00:11:36,319 Speaker 3: it wasn't. A lot of it just was just because 212 00:11:36,320 --> 00:11:38,800 Speaker 3: there were no protocols, and so people were sort of 213 00:11:38,840 --> 00:11:41,760 Speaker 3: like making do with the best that they could, you know, 214 00:11:41,840 --> 00:11:45,600 Speaker 3: like directors were like desperately interested in act A safety, 215 00:11:45,640 --> 00:11:48,440 Speaker 3: but they just didn't really have sort of like any 216 00:11:48,559 --> 00:11:52,320 Speaker 3: rules or like regulations to follow with this. Again, it 217 00:11:52,360 --> 00:11:55,839 Speaker 3: was just sort of like these are my best intentions, 218 00:11:56,480 --> 00:11:59,440 Speaker 3: you know, Like you've got that thing of intent versus impact, 219 00:12:00,480 --> 00:12:06,240 Speaker 3: they don't necessarily align. So it's been really cool to 220 00:12:06,280 --> 00:12:08,280 Speaker 3: sort of see that there has been acceptance in the 221 00:12:08,280 --> 00:12:10,760 Speaker 3: industry for this. And you know, part of it is 222 00:12:10,800 --> 00:12:14,240 Speaker 3: the revival of the meta movement, which helps sort of 223 00:12:14,240 --> 00:12:16,880 Speaker 3: propel us on the way, because without that, I think 224 00:12:16,920 --> 00:12:18,800 Speaker 3: that we would still be struggling massively. 225 00:12:19,480 --> 00:12:22,120 Speaker 2: Yeah. Yeah, and I can totally understand that. 226 00:12:22,200 --> 00:12:25,760 Speaker 1: I've heard you mention that before, and I'm like, it's 227 00:12:25,840 --> 00:12:27,719 Speaker 1: it's I don't know, this is why I'm just so 228 00:12:27,760 --> 00:12:28,160 Speaker 1: excited to. 229 00:12:28,160 --> 00:12:32,160 Speaker 2: Speak to you, because I just think, man, like you're paving. 230 00:12:31,800 --> 00:12:34,679 Speaker 1: The way and I can see you know on your 231 00:12:34,679 --> 00:12:37,720 Speaker 1: website that you've got courses and whatnot. I'm like, there's 232 00:12:37,720 --> 00:12:40,840 Speaker 1: going to be drama schools named after Lizzie. 233 00:12:40,440 --> 00:12:43,079 Speaker 2: You know, Like I really feel like you're making a change. 234 00:12:43,240 --> 00:12:45,600 Speaker 1: No, you're making a change that is going to be 235 00:12:45,679 --> 00:12:49,319 Speaker 1: there for the future of for all actors. Because you 236 00:12:49,679 --> 00:12:53,640 Speaker 1: mentioned the word trauma, like, I mean if anybody actor 237 00:12:53,800 --> 00:12:56,560 Speaker 1: or not, Like, imagine being put in a scene when 238 00:12:56,640 --> 00:12:58,960 Speaker 1: if you're completely compromised, but you don't want to say 239 00:12:59,000 --> 00:13:00,880 Speaker 1: no because you don't want to lose the job, Like 240 00:13:01,440 --> 00:13:05,120 Speaker 1: it's a really and that trauma might not hit straight away, 241 00:13:05,160 --> 00:13:09,520 Speaker 1: you might feel bad in six months, even a year's time, 242 00:13:09,600 --> 00:13:13,280 Speaker 1: you know. And I think, Yeah, I'm just really excited 243 00:13:13,320 --> 00:13:15,240 Speaker 1: about what you do, and I'm really into mental health. 244 00:13:15,240 --> 00:13:17,880 Speaker 1: And that's why I think, Ah, you're just really looking 245 00:13:17,920 --> 00:13:22,480 Speaker 1: after and honoring, yes, the story, but also the artists 246 00:13:22,480 --> 00:13:25,400 Speaker 1: so they have a beautiful career and experience as well. 247 00:13:27,200 --> 00:13:31,600 Speaker 3: Yeah, I mean, we're certainly making a lot more headway 248 00:13:31,679 --> 00:13:35,199 Speaker 3: into drama schools than we were before. I think again, 249 00:13:35,280 --> 00:13:38,440 Speaker 3: with the interest that this is picked up, with the 250 00:13:38,440 --> 00:13:42,800 Speaker 3: fact that it's now commonplace on sort of like you know, 251 00:13:44,200 --> 00:13:47,000 Speaker 3: TV studios are now using us and then bringing us in, 252 00:13:48,160 --> 00:13:50,360 Speaker 3: and I think that that's sort of It's interesting because 253 00:13:50,400 --> 00:13:52,200 Speaker 3: I feel like there's been a little bit of top 254 00:13:52,240 --> 00:13:57,800 Speaker 3: down pressure on sort of like educational institutions to start 255 00:13:57,920 --> 00:14:00,840 Speaker 3: talking to students about the work that's going on. 256 00:14:00,800 --> 00:14:05,280 Speaker 4: With Intimacy, which has been really interesting because I've said 257 00:14:05,320 --> 00:14:09,400 Speaker 4: this a couple of times that there's repeating that like 258 00:14:09,440 --> 00:14:12,760 Speaker 4: the theater industry at the grassroots level was really where 259 00:14:12,760 --> 00:14:13,440 Speaker 4: this started. 260 00:14:13,960 --> 00:14:17,640 Speaker 3: Like those were the people that were really accepting of 261 00:14:17,720 --> 00:14:20,640 Speaker 3: this work and interested and fired up about it. It 262 00:14:20,680 --> 00:14:23,000 Speaker 3: was like the amateur Dramatics group, it was like the 263 00:14:23,080 --> 00:14:26,320 Speaker 3: student productions, you know, like those were the people that 264 00:14:26,360 --> 00:14:29,240 Speaker 3: were turning up to like the workshops in like twenty sixteen, 265 00:14:29,520 --> 00:14:33,680 Speaker 3: Like those were the people. And it's it is really 266 00:14:33,720 --> 00:14:38,480 Speaker 3: interesting that there's sort of like a little bit of 267 00:14:39,200 --> 00:14:45,560 Speaker 3: like a slower sort of like growth up the chain 268 00:14:46,000 --> 00:14:49,160 Speaker 3: in theater and this, you know, obviously with the pandemic, 269 00:14:49,240 --> 00:14:50,880 Speaker 3: I think it would be a different story without the 270 00:14:50,880 --> 00:14:53,000 Speaker 3: pandemic right now, I think that there would be a 271 00:14:53,040 --> 00:14:55,560 Speaker 3: lot more sort of high level acceptance of this work 272 00:14:55,600 --> 00:14:59,120 Speaker 3: in theater but it certainly has been slower at the 273 00:14:59,160 --> 00:15:02,200 Speaker 3: higher end of theater, whereas it would sort of tiep 274 00:15:02,240 --> 00:15:05,120 Speaker 3: in film. It's been the opposite. There's been a lot 275 00:15:05,200 --> 00:15:06,960 Speaker 3: more interest from like high level. 276 00:15:08,280 --> 00:15:10,360 Speaker 2: Well, I think you're going to love hearing this. 277 00:15:11,120 --> 00:15:15,000 Speaker 1: I study drama school and my theater teacher was the 278 00:15:15,000 --> 00:15:19,800 Speaker 1: first person to tell me about intimacy coordinators one HUNDREDMA 279 00:15:19,880 --> 00:15:24,240 Speaker 1: school and he British trained as well, so you're you're 280 00:15:24,360 --> 00:15:25,360 Speaker 1: it's getting out then. 281 00:15:25,400 --> 00:15:26,440 Speaker 2: I had no idea, and it was. 282 00:15:26,440 --> 00:15:29,840 Speaker 1: Because I was doing a Tennis Williams play and I 283 00:15:30,000 --> 00:15:32,200 Speaker 1: it was a domestic violent scene and he was like, 284 00:15:32,280 --> 00:15:35,160 Speaker 1: just so you know, if you were not in school 285 00:15:35,200 --> 00:15:37,120 Speaker 1: right now and you were in real life, you would 286 00:15:37,160 --> 00:15:42,560 Speaker 1: probably have an intimacy coordinator literally breaking this down into 287 00:15:42,680 --> 00:15:48,360 Speaker 1: every touch, every breath, every moment. And I've heard you 288 00:15:48,400 --> 00:15:51,400 Speaker 1: talk about breath as well. Can you speak to how 289 00:15:51,560 --> 00:15:55,080 Speaker 1: breath plays a role and speaking to an actor's breath 290 00:15:55,640 --> 00:15:59,040 Speaker 1: in say, an intimate scene. 291 00:15:59,320 --> 00:16:03,760 Speaker 3: Yeah, So when we work with breathwork, it's so intrinsically 292 00:16:03,760 --> 00:16:07,280 Speaker 3: connected to our core, to the movement that sort of 293 00:16:07,680 --> 00:16:11,120 Speaker 3: proceeds from it. So when we're talking about I mean 294 00:16:11,240 --> 00:16:14,200 Speaker 3: breath work, there is so much. So. For example, you know, 295 00:16:15,000 --> 00:16:16,880 Speaker 3: one of the first signs of trauma is that people 296 00:16:16,960 --> 00:16:20,840 Speaker 3: holding their breath, you know, like they start breathing, and 297 00:16:20,920 --> 00:16:24,240 Speaker 3: so like, even in sort of the practical side, that's 298 00:16:24,280 --> 00:16:30,280 Speaker 3: a really interesting piece of information that breathwork controls our 299 00:16:30,320 --> 00:16:33,480 Speaker 3: body so much that when we are in trauma or 300 00:16:33,480 --> 00:16:38,600 Speaker 3: we start breathing, or we breathe incredibly quickly, like it's 301 00:16:38,640 --> 00:16:42,400 Speaker 3: that hype or like deeply, like the hyperventilating, and so 302 00:16:42,520 --> 00:16:47,480 Speaker 3: it has such an impact on how we do intimacy 303 00:16:47,560 --> 00:16:51,880 Speaker 3: scenes and sort of like the practical terms in that way, 304 00:16:51,960 --> 00:16:55,280 Speaker 3: but then also in terms of storytelling, you know, like 305 00:16:55,480 --> 00:16:58,200 Speaker 3: a catching of the breath really quickly, like a you know, 306 00:16:59,680 --> 00:17:02,160 Speaker 3: does just so much you know, for our body because 307 00:17:02,200 --> 00:17:05,560 Speaker 3: it's actually starting to move sort of like like core 308 00:17:05,600 --> 00:17:08,600 Speaker 3: parts of our body that's being impacted by our breath work. 309 00:17:09,080 --> 00:17:13,399 Speaker 3: And so when we're doing scenes of like you know, 310 00:17:14,040 --> 00:17:19,080 Speaker 3: extreme heavy intimacy, like working with breath is absolutely intrinsic 311 00:17:19,119 --> 00:17:21,560 Speaker 3: to the storytelling. You can't really do it without it. 312 00:17:21,960 --> 00:17:24,200 Speaker 3: You have to include that in the narrative. 313 00:17:24,560 --> 00:17:27,200 Speaker 1: To well, right before this, I was like I've got 314 00:17:27,200 --> 00:17:30,960 Speaker 1: to watch the Taylor Swift Wilder streams montage scene again. 315 00:17:32,359 --> 00:17:35,520 Speaker 2: From Bridgeton and the breath. 316 00:17:35,880 --> 00:17:40,320 Speaker 1: The breath like carried that whole scene, it felt, or 317 00:17:40,359 --> 00:17:43,879 Speaker 1: that whole montage because especially when there's those beautiful close 318 00:17:43,960 --> 00:17:48,480 Speaker 1: ups on Phoebe's carried to Daphne and the use of breath. 319 00:17:48,480 --> 00:17:52,399 Speaker 1: And I've heard you mentioned in other podcasts like sometimes 320 00:17:52,440 --> 00:17:54,399 Speaker 1: it be a shot of a neck or something like 321 00:17:54,440 --> 00:17:57,320 Speaker 1: and like this little moment where like her shoe falls 322 00:17:57,359 --> 00:18:03,639 Speaker 1: off and it's extremely sexy without seeing too much or 323 00:18:03,680 --> 00:18:06,240 Speaker 1: not too much, but like where you're like, oh my goodness, 324 00:18:06,240 --> 00:18:10,280 Speaker 1: what my you know, it's you end up like craving it, 325 00:18:10,440 --> 00:18:14,880 Speaker 1: almost like craving this love. And I've seen it's really 326 00:18:14,880 --> 00:18:22,880 Speaker 1: interesting seeing you and the cast do interviews with British 327 00:18:22,920 --> 00:18:26,600 Speaker 1: TV shows versus American TV show and just seeing how 328 00:18:26,640 --> 00:18:32,320 Speaker 1: the different audiences react, and talking to my Australian friends, 329 00:18:32,359 --> 00:18:34,959 Speaker 1: like Aussies are very open about how much they like 330 00:18:35,200 --> 00:18:38,080 Speaker 1: love it, whereas I noticed Americans kind of dart around 331 00:18:38,600 --> 00:18:41,959 Speaker 1: certain words and certain moments. But yeah, I was blown 332 00:18:42,040 --> 00:18:45,600 Speaker 1: away by breath. And I imagine in because you work 333 00:18:45,680 --> 00:18:47,600 Speaker 1: so closely on British in which I really want to 334 00:18:47,640 --> 00:18:51,320 Speaker 1: get to in a sec breath would have been magic, 335 00:18:51,359 --> 00:18:53,360 Speaker 1: and like you said, the way that it has such 336 00:18:53,400 --> 00:18:55,400 Speaker 1: an impact. I teach yoga too, so I'm really into 337 00:18:55,400 --> 00:18:58,800 Speaker 1: breath and you know just the way that like either 338 00:18:59,200 --> 00:19:03,200 Speaker 1: holding in, hailing exhaling can do different things to your 339 00:19:03,200 --> 00:19:04,520 Speaker 1: body in any given moment. 340 00:19:04,600 --> 00:19:08,439 Speaker 2: It's incredible. Yeah, it's interesting. 341 00:19:09,600 --> 00:19:11,919 Speaker 3: You know, it is really interesting looking at the moments 342 00:19:11,920 --> 00:19:14,640 Speaker 3: in between, because like that's where the real intimacy is, 343 00:19:15,080 --> 00:19:18,960 Speaker 3: you know, the actual act of like penetration, moving and 344 00:19:18,960 --> 00:19:23,240 Speaker 3: moving out like that can that's an intimate act, but 345 00:19:23,359 --> 00:19:26,879 Speaker 3: can also be very disconnected. Whereas when we're talking about 346 00:19:27,800 --> 00:19:30,040 Speaker 3: sort of like like I said, the moments in between 347 00:19:31,359 --> 00:19:33,280 Speaker 3: the shot of the neck or the shoe falling off, 348 00:19:33,480 --> 00:19:37,040 Speaker 3: or like you know, a glance of the hands like 349 00:19:37,359 --> 00:19:42,080 Speaker 3: very like like barely touching, it's almost like that. It's 350 00:19:42,119 --> 00:19:47,520 Speaker 3: that space in between the physical like the physical entities 351 00:19:47,560 --> 00:19:50,920 Speaker 3: at that point, Like that's the interesting bit. We are 352 00:19:51,200 --> 00:19:54,600 Speaker 3: waiting for those hands to touch. We are like looking 353 00:19:55,000 --> 00:19:59,800 Speaker 3: for the sort of like dancing hand across the back 354 00:20:00,040 --> 00:20:02,840 Speaker 3: really slowly, sort of like tracing down. Like that's the 355 00:20:02,960 --> 00:20:05,240 Speaker 3: interesting stuff for me anyway. 356 00:20:06,440 --> 00:20:11,880 Speaker 1: Top, I completely agree with you one thousand percent. Can 357 00:20:11,920 --> 00:20:15,679 Speaker 1: I ask in an ideal world when do you jump on, 358 00:20:16,200 --> 00:20:21,280 Speaker 1: Like when do you get involved with the rehearsal process. 359 00:20:22,200 --> 00:20:27,879 Speaker 3: We prefer like as early as possible. Really, time is 360 00:20:28,040 --> 00:20:31,040 Speaker 3: everything on this. We want to be in as early 361 00:20:31,080 --> 00:20:33,639 Speaker 3: as possible so that we can map out everything that 362 00:20:33,680 --> 00:20:36,760 Speaker 3: we need to. I never want to turn up on 363 00:20:36,800 --> 00:20:38,880 Speaker 3: the day and being like, Okay, we'll just figure it out, 364 00:20:38,920 --> 00:20:43,159 Speaker 3: Like that's not an option for me. I want ahead 365 00:20:43,160 --> 00:20:45,880 Speaker 3: of time to know exactly what's going on and what 366 00:20:45,920 --> 00:20:47,600 Speaker 3: we need quite frankly. 367 00:20:47,280 --> 00:20:50,960 Speaker 5: Because you know, if we're dealing with an intimacy scene 368 00:20:50,960 --> 00:20:53,520 Speaker 5: in water, that's going to be very different from if 369 00:20:53,560 --> 00:20:58,040 Speaker 5: we're dealing with like, you know, a simulated manual stimulation 370 00:20:59,200 --> 00:20:59,840 Speaker 5: on the stairs. 371 00:21:00,000 --> 00:21:02,800 Speaker 3: You know, like it's completely different. And so I need 372 00:21:02,840 --> 00:21:06,880 Speaker 3: to have like preparation time to make sure that everyone 373 00:21:06,960 --> 00:21:09,040 Speaker 3: is safe protected and that we've got time to tell 374 00:21:09,080 --> 00:21:11,400 Speaker 3: the story. So we've got time for rehearsals. 375 00:21:12,080 --> 00:21:15,320 Speaker 1: And I imagine your research is crazy, especially with like 376 00:21:15,600 --> 00:21:18,399 Speaker 1: period pieces, things that are set in different times, like 377 00:21:18,760 --> 00:21:21,479 Speaker 1: underwear wise and you know what you'd be wearing, Like 378 00:21:21,600 --> 00:21:24,920 Speaker 1: there's a lot of corsets in there's something that's said 379 00:21:24,960 --> 00:21:29,640 Speaker 1: in you know, the time of Bridgeston, But like does 380 00:21:29,680 --> 00:21:31,240 Speaker 1: that all come into play as well when you do 381 00:21:31,280 --> 00:21:31,920 Speaker 1: your research. 382 00:21:33,320 --> 00:21:36,359 Speaker 3: Yeah, for sure. We were super lucky on Bridgeton to 383 00:21:36,359 --> 00:21:39,920 Speaker 3: have Hannah greg who's a historian at the University of York, 384 00:21:40,600 --> 00:21:44,360 Speaker 3: and we had like lots of great conversations about what 385 00:21:44,400 --> 00:21:48,280 Speaker 3: regency intimacy would look like. And one of the things 386 00:21:48,280 --> 00:21:52,280 Speaker 3: that you, like you might not consider is that they 387 00:21:52,280 --> 00:21:54,479 Speaker 3: didn't really wear underwear and the same way that we 388 00:21:54,560 --> 00:21:56,840 Speaker 3: do a lot of it was like crutchless. And of 389 00:21:56,840 --> 00:21:59,800 Speaker 3: course the problem is is that that doesn't translate on screen, 390 00:22:00,440 --> 00:22:02,399 Speaker 3: Like if you see two people and they appear to 391 00:22:02,440 --> 00:22:04,920 Speaker 3: be wearing underwear, everyone's just going to assume that there's 392 00:22:04,960 --> 00:22:07,800 Speaker 3: some you know, like essentially dry humping going on as 393 00:22:07,840 --> 00:22:12,000 Speaker 3: opposed to actual intercourse. So that was another complicated thing 394 00:22:12,040 --> 00:22:14,080 Speaker 3: that we had to work around, was that, you know, 395 00:22:14,600 --> 00:22:20,560 Speaker 3: reality versus you know, the theatricality of it, really of 396 00:22:20,600 --> 00:22:24,560 Speaker 3: making sure that we were clear about when intercourse was happening. 397 00:22:24,760 --> 00:22:27,480 Speaker 1: So let's talk Bridgeton then, Because like I said, the 398 00:22:27,520 --> 00:22:32,040 Speaker 1: start Binge watched it was blown away by a few 399 00:22:32,040 --> 00:22:39,520 Speaker 1: things like incredible location, costume. The intimacy scenes felt so real, 400 00:22:39,880 --> 00:22:43,800 Speaker 1: like they felt so an, and you. 401 00:22:43,880 --> 00:22:44,920 Speaker 2: Really felt like. 402 00:22:46,400 --> 00:22:49,000 Speaker 1: You were with I felt like I was with Daphne 403 00:22:49,119 --> 00:22:52,280 Speaker 1: just because I just felt like she was really discovering 404 00:22:52,280 --> 00:22:57,240 Speaker 1: who she was throughout the whole story, but also the 405 00:22:57,400 --> 00:23:03,040 Speaker 1: soundtrack and the soundtrack during a lot of the intimate scenes. 406 00:23:03,680 --> 00:23:06,280 Speaker 1: Did you did you know that that was going to 407 00:23:06,280 --> 00:23:07,679 Speaker 1: be the soundtrack. 408 00:23:07,320 --> 00:23:10,080 Speaker 2: Or not at the stage of when you were working 409 00:23:10,119 --> 00:23:10,400 Speaker 2: on it. 410 00:23:11,640 --> 00:23:15,520 Speaker 3: Had absolutely no idea what they were going to do 411 00:23:15,600 --> 00:23:19,080 Speaker 3: with it, and so it was just so interesting because, 412 00:23:20,320 --> 00:23:22,159 Speaker 3: you know, when we were filming it, you know, I 413 00:23:22,160 --> 00:23:25,200 Speaker 3: didn't really think too much of it. It was sort 414 00:23:25,200 --> 00:23:27,240 Speaker 3: of like, you know, oh, I hope this goes really well. 415 00:23:27,359 --> 00:23:29,520 Speaker 3: I'm like, we didn't know whether it was going to 416 00:23:29,560 --> 00:23:31,080 Speaker 3: be classical. We didn't know whether it was going to 417 00:23:31,080 --> 00:23:33,959 Speaker 3: be modern. For example, in the balls, like they were 418 00:23:33,960 --> 00:23:36,280 Speaker 3: playing modern music again it's just to get the beat. 419 00:23:36,320 --> 00:23:38,480 Speaker 3: They're all wearing headpiece, they're all wearing sort of like 420 00:23:38,560 --> 00:23:43,600 Speaker 3: airphones so that they can, you know, like dance. They 421 00:23:43,600 --> 00:23:45,600 Speaker 3: can film it and there's not music in the background, 422 00:23:45,680 --> 00:23:49,760 Speaker 3: but they're all listening in their earpieces to like different 423 00:23:49,760 --> 00:23:53,919 Speaker 3: pieces of music. And so we were all discussing, like 424 00:23:53,960 --> 00:23:57,439 Speaker 3: we really had no idea what it was going to be. 425 00:23:57,600 --> 00:24:00,080 Speaker 3: And so the first time I knew anything about it 426 00:24:00,119 --> 00:24:03,119 Speaker 3: was when I watched the screeners, like in the November, 427 00:24:03,160 --> 00:24:06,480 Speaker 3: I want to say, I think maybe November, very early December, 428 00:24:07,320 --> 00:24:10,439 Speaker 3: and I got to like episode six, and I was like, 429 00:24:10,560 --> 00:24:12,119 Speaker 3: what are they going to do with it? Because obviously, 430 00:24:12,200 --> 00:24:15,879 Speaker 3: you know, like i'd heard that there were sort of 431 00:24:15,920 --> 00:24:18,560 Speaker 3: covers in the previous episodes, and I got to episode 432 00:24:18,600 --> 00:24:23,479 Speaker 3: six and I was like, is that No, they haven't 433 00:24:24,840 --> 00:24:28,520 Speaker 3: is the Wildest Tree? And it was just it was 434 00:24:28,600 --> 00:24:34,960 Speaker 3: just like what choreographing simulated sex the wildest dreams? Like 435 00:24:35,119 --> 00:24:38,640 Speaker 3: Taylor Swift? What is that? 436 00:24:38,640 --> 00:24:39,440 Speaker 2: That's amazing? 437 00:24:40,840 --> 00:24:42,879 Speaker 3: Yeah, it was just it was really it was really 438 00:24:42,920 --> 00:24:45,359 Speaker 3: cool because of course it was just such a surprise, 439 00:24:45,920 --> 00:24:51,000 Speaker 3: and I messaged. I messaged Chris afterwards. He's the he 440 00:24:51,080 --> 00:24:54,840 Speaker 3: created the soundtrack, and I was like, what that was amazing, 441 00:24:55,320 --> 00:24:59,280 Speaker 3: Thank you so much for doing that, and he was 442 00:24:59,359 --> 00:25:03,399 Speaker 3: he was super about it and really excited, and yeah, 443 00:25:03,560 --> 00:25:05,880 Speaker 3: he's had a lot of really great recognition for his work, 444 00:25:05,920 --> 00:25:07,720 Speaker 3: which is so cool. 445 00:25:08,080 --> 00:25:09,960 Speaker 2: I'm just so glad that that it was like a 446 00:25:10,000 --> 00:25:12,440 Speaker 2: surprise for you. It was like a little treat. 447 00:25:12,240 --> 00:25:15,200 Speaker 1: You know, like because often I don't know if you've 448 00:25:15,200 --> 00:25:19,520 Speaker 1: seen the movie Joker, but the music score was written 449 00:25:19,760 --> 00:25:23,359 Speaker 1: before the scenes were that. There's a few dance sequences, 450 00:25:23,800 --> 00:25:27,560 Speaker 1: and the music score was written beforehand, and it's just 451 00:25:27,600 --> 00:25:29,960 Speaker 1: interesting to hear it the other way around and how 452 00:25:30,280 --> 00:25:33,000 Speaker 1: beautifully it works in both scenarios. 453 00:25:33,680 --> 00:25:34,439 Speaker 2: But I like it. 454 00:25:34,480 --> 00:25:36,000 Speaker 1: I feel like it was like a little surprise for 455 00:25:36,080 --> 00:25:38,080 Speaker 1: you when you got to see a screener and be like. 456 00:25:38,080 --> 00:25:39,480 Speaker 2: Oh my god, it works. It works. 457 00:25:39,520 --> 00:25:40,160 Speaker 3: It's amazing. 458 00:25:41,080 --> 00:25:42,280 Speaker 2: Yeah, and it's Taylor Swift. 459 00:25:43,560 --> 00:25:47,400 Speaker 3: No, I know, it's just it was. It was so cool. Yeah. 460 00:25:47,800 --> 00:25:50,919 Speaker 3: I can't really describe it, just because I had to 461 00:25:50,960 --> 00:25:54,760 Speaker 3: watch them all very quickly because I had an interview 462 00:25:54,880 --> 00:25:58,640 Speaker 3: I think in a couple of days about it, and 463 00:25:59,080 --> 00:26:01,040 Speaker 3: I was just like, I can talk about it, but 464 00:26:01,080 --> 00:26:02,960 Speaker 3: I haven't seen what you've cut and what you've kept. 465 00:26:03,000 --> 00:26:04,399 Speaker 3: And they were like, oh my gosh, you need to 466 00:26:04,400 --> 00:26:07,120 Speaker 3: get your screeners so you can see it. So they 467 00:26:07,160 --> 00:26:10,320 Speaker 3: got it, and of course there's like eight hours and 468 00:26:10,400 --> 00:26:13,000 Speaker 3: the the interview is the next day, so I was like, 469 00:26:13,040 --> 00:26:15,960 Speaker 3: you know what, maybe I should just watch episode six 470 00:26:16,000 --> 00:26:17,480 Speaker 3: because I know that that's what a lot of questions 471 00:26:17,480 --> 00:26:19,800 Speaker 3: are going to be about, so that I'm ready in 472 00:26:19,840 --> 00:26:22,280 Speaker 3: time for the interview. And I was like, no, no, no, no, 473 00:26:22,400 --> 00:26:24,920 Speaker 3: I'll watch episode one and then I'll go to episode 474 00:26:24,920 --> 00:26:28,040 Speaker 3: six and I've been just watched all eight hours in 475 00:26:28,080 --> 00:26:37,040 Speaker 3: one go. I couldn't. I like four am watching them 476 00:26:37,640 --> 00:26:40,440 Speaker 3: absolutely hooked. And then I had the interview the next day. 477 00:26:41,359 --> 00:26:41,800 Speaker 3: I love it. 478 00:26:42,800 --> 00:26:46,399 Speaker 2: I love that. I have to ask about the library scene. 479 00:26:47,320 --> 00:26:52,040 Speaker 2: Is it true that that was Phoebe's first scene of 480 00:26:52,080 --> 00:26:53,800 Speaker 2: the shoot? Potentially? 481 00:26:55,040 --> 00:26:57,359 Speaker 3: Yeah, it was her first day on set, and that 482 00:26:57,480 --> 00:27:01,160 Speaker 3: was the first scene that we did. I think Reggae 483 00:27:01,160 --> 00:27:04,400 Speaker 3: had done one a tiny bit earlier in the day, 484 00:27:04,480 --> 00:27:06,919 Speaker 3: maybe just the scene before. I think he shot something 485 00:27:07,000 --> 00:27:10,800 Speaker 3: with Jonathan downstairs in sort of like the boys Club, 486 00:27:12,160 --> 00:27:15,760 Speaker 3: and then we came upstairs to the library. Yeah, it 487 00:27:15,840 --> 00:27:17,760 Speaker 3: was on our first day, and you know, it was. 488 00:27:18,480 --> 00:27:20,960 Speaker 3: It was really great. We had a great first day. 489 00:27:22,240 --> 00:27:24,880 Speaker 3: They were all giggling about it and it was really fun, 490 00:27:24,880 --> 00:27:26,400 Speaker 3: went really smoothie. It's very cool. 491 00:27:26,720 --> 00:27:28,480 Speaker 1: And is it true that it was in a gentleman's 492 00:27:28,480 --> 00:27:31,919 Speaker 1: club and it wasn't until like nineteen eighty one that 493 00:27:31,960 --> 00:27:33,920 Speaker 1: women were actually allowed in. 494 00:27:35,600 --> 00:27:40,680 Speaker 3: Yeah, that felt really cheeky. Yeah, I really like that. 495 00:27:40,720 --> 00:27:42,800 Speaker 3: You know, we're doing a scene of sexual pleasure in 496 00:27:42,840 --> 00:27:47,160 Speaker 3: like the Reform Club in London that end like working 497 00:27:47,160 --> 00:27:50,320 Speaker 3: at Heights. So that was yeah, that was really fun, 498 00:27:51,040 --> 00:27:52,879 Speaker 3: and yeah, it set the tone for the rest of 499 00:27:52,920 --> 00:27:55,760 Speaker 3: the season. It was like, oh, this is really what 500 00:27:55,800 --> 00:27:58,399 Speaker 3: we're creating, Like, this is what schonder Land's going for. 501 00:27:58,800 --> 00:28:00,840 Speaker 3: That's really fun, that's really cool. 502 00:28:02,640 --> 00:28:06,480 Speaker 1: So on Bridgerton, did you get I think I've read 503 00:28:06,520 --> 00:28:09,840 Speaker 1: that you had full six weeks with the cast members, 504 00:28:09,880 --> 00:28:11,760 Speaker 1: so you could really like work with them while they're 505 00:28:11,760 --> 00:28:14,640 Speaker 1: working with dance choreographers and so they're kind of building 506 00:28:15,200 --> 00:28:18,639 Speaker 1: trust with you. They're building trust and friendship with the 507 00:28:18,680 --> 00:28:22,040 Speaker 1: other actors and so there's this real like camaraderie even 508 00:28:22,080 --> 00:28:26,879 Speaker 1: before you know action, you know, before cameras are rolling. 509 00:28:27,480 --> 00:28:29,159 Speaker 2: Is that true? You've got about six weeks with the 510 00:28:29,240 --> 00:28:31,280 Speaker 2: cast beforehand. 511 00:28:31,600 --> 00:28:36,040 Speaker 3: Yeah, we got quite a while and there was just 512 00:28:36,119 --> 00:28:37,960 Speaker 3: a lot going on at the time. We were working 513 00:28:37,960 --> 00:28:42,920 Speaker 3: at the Dance Aactics Studios in London and its like 514 00:28:43,120 --> 00:28:45,600 Speaker 3: it was it was summer, so it was actually quite 515 00:28:45,600 --> 00:28:48,600 Speaker 3: warm during the day and it's in a very like 516 00:28:49,160 --> 00:28:51,480 Speaker 3: the building that we were in. We weren't right at 517 00:28:51,520 --> 00:28:55,200 Speaker 3: the top floor and it's about five floors up and 518 00:28:55,320 --> 00:28:59,280 Speaker 3: so every like whenever we were rehearsing. We were going 519 00:28:59,480 --> 00:29:01,320 Speaker 3: troopsing all the way to the top of the building 520 00:29:01,320 --> 00:29:03,320 Speaker 3: and there's no air conditionings that it was very very 521 00:29:03,320 --> 00:29:08,360 Speaker 3: hot and the windows were very large, so we had 522 00:29:08,360 --> 00:29:10,520 Speaker 3: to do like, oh, I think we had to have 523 00:29:10,520 --> 00:29:12,840 Speaker 3: a lot of fans up there because it's it's hard work, 524 00:29:12,920 --> 00:29:16,840 Speaker 3: you know, It's it's exhausting, It's there's a lot of 525 00:29:17,200 --> 00:29:21,400 Speaker 3: like physical exertion that is going into these scenes. But 526 00:29:21,480 --> 00:29:23,560 Speaker 3: it was really good to sort of like get to 527 00:29:23,600 --> 00:29:26,440 Speaker 3: know them and you know, feel comfortable with them. A 528 00:29:26,560 --> 00:29:30,920 Speaker 3: map out nearly all of the scenes before we before 529 00:29:30,960 --> 00:29:34,240 Speaker 3: we got to set, you know, like we had gone 530 00:29:34,280 --> 00:29:39,040 Speaker 3: through every scene in like episode six was mapped out 531 00:29:39,280 --> 00:29:42,320 Speaker 3: for us beforehand. And getting time to spend with the 532 00:29:42,440 --> 00:29:44,960 Speaker 3: Jonathan and Sabrina was really great as well, because obviously 533 00:29:45,160 --> 00:29:49,600 Speaker 3: they've got an intense sexual journey too together, which it 534 00:29:49,640 --> 00:29:53,200 Speaker 3: was really interesting to work with, like to film that too. 535 00:29:53,400 --> 00:29:54,080 Speaker 2: And when you're. 536 00:29:53,960 --> 00:29:57,440 Speaker 1: Saying every every part was mapped out, we're talking like 537 00:29:57,520 --> 00:29:59,960 Speaker 1: each single touch, like down to that minute. 538 00:30:01,560 --> 00:30:06,200 Speaker 2: Extra not extreme, but like that level of choreography. 539 00:30:06,960 --> 00:30:12,800 Speaker 3: Yeah, it's sort of very depending on the scene, it's 540 00:30:12,840 --> 00:30:15,280 Speaker 3: really important that they still have sort of like room 541 00:30:15,320 --> 00:30:18,600 Speaker 3: to breathe. So I want to sort of get away 542 00:30:18,720 --> 00:30:23,560 Speaker 3: from like entirely sort of painting by numbers, because I 543 00:30:23,600 --> 00:30:26,480 Speaker 3: think that that can feel very restrictive to some actors. 544 00:30:26,480 --> 00:30:30,600 Speaker 3: Sometimes it's important to have like a mapping out of 545 00:30:30,640 --> 00:30:33,320 Speaker 3: the scene. People know what's going to happen and at 546 00:30:33,360 --> 00:30:37,240 Speaker 3: what point. And so, yeah, we had certainly mapped out 547 00:30:37,400 --> 00:30:41,040 Speaker 3: nearly all of the yeah, nearly all of the intimacy 548 00:30:41,080 --> 00:30:44,600 Speaker 3: scenes by that point, and of course, you know, they 549 00:30:44,600 --> 00:30:47,280 Speaker 3: were rewrites and edits, and you know, we mapped out 550 00:30:47,280 --> 00:30:50,360 Speaker 3: scenes that you didn't get to see. So there was 551 00:30:50,400 --> 00:30:56,520 Speaker 3: that because there were so many scenes that were like 552 00:30:56,680 --> 00:31:00,200 Speaker 3: either cut or we didn't have time for, or that 553 00:31:00,320 --> 00:31:06,120 Speaker 3: were a snapshot of a much longer sequence. So yeah, 554 00:31:06,480 --> 00:31:08,400 Speaker 3: it's always interesting to see what happens in the end. 555 00:31:09,360 --> 00:31:11,000 Speaker 1: And so you had the six weeks and the lead 556 00:31:11,080 --> 00:31:14,960 Speaker 1: up and then according to your my instance talk of you, 557 00:31:15,320 --> 00:31:16,840 Speaker 1: the shoot was about eight. 558 00:31:16,640 --> 00:31:17,480 Speaker 2: Months or so. 559 00:31:19,520 --> 00:31:24,320 Speaker 3: Yeah, So we started filming in July and we finished 560 00:31:25,000 --> 00:31:28,960 Speaker 3: like right at the end, right before COVID hit. We 561 00:31:28,960 --> 00:31:31,440 Speaker 3: were incredibly lucky to finish. 562 00:31:31,120 --> 00:31:32,160 Speaker 2: How fortuitous. 563 00:31:32,600 --> 00:31:36,200 Speaker 1: And so you're on set every pretty much every day 564 00:31:36,280 --> 00:31:40,240 Speaker 1: because there's obviously so much there's a lot of intimacy 565 00:31:40,240 --> 00:31:43,280 Speaker 1: in the show. So you're on set and you're that person. 566 00:31:43,320 --> 00:31:47,880 Speaker 1: When there's a closed set, it's probably you camera director 567 00:31:48,080 --> 00:31:50,840 Speaker 1: and it's quite small, but you're all hands on deck. 568 00:31:50,880 --> 00:31:53,960 Speaker 1: Like it would have been pretty grueling and huge long 569 00:31:54,000 --> 00:31:55,600 Speaker 1: hours for you as well, right. 570 00:31:57,040 --> 00:31:59,960 Speaker 3: Yeah, So I was on set every day because obviously, 571 00:32:00,120 --> 00:32:03,520 Speaker 3: like there is so much in Bridgington that isn't intimacy 572 00:32:03,560 --> 00:32:07,360 Speaker 3: as well, And of course if there's no intimacy, there's 573 00:32:07,400 --> 00:32:09,640 Speaker 3: really no need for me to be there, and I 574 00:32:09,760 --> 00:32:12,240 Speaker 3: work across like several other projects at the same time, 575 00:32:13,880 --> 00:32:16,360 Speaker 3: and so but when we were there, we were there. 576 00:32:16,440 --> 00:32:18,240 Speaker 3: There were long days, and there were a lot of 577 00:32:18,320 --> 00:32:21,040 Speaker 3: night shoots. I know that we only saw a few 578 00:32:21,080 --> 00:32:25,200 Speaker 3: scenes in the dark, but we did do like a 579 00:32:25,320 --> 00:32:30,640 Speaker 3: lot of work with Simon and his backstory of like 580 00:32:31,680 --> 00:32:39,120 Speaker 3: except like extensive sexual experience, shall we say, with with 581 00:32:39,480 --> 00:32:44,080 Speaker 3: like other women that we didn't get to see in 582 00:32:44,080 --> 00:32:49,480 Speaker 3: the show, but was certainly explored. And so there was 583 00:32:49,640 --> 00:32:52,240 Speaker 3: a lot of work down at night, and of course, 584 00:32:52,280 --> 00:32:59,040 Speaker 3: like that can be incredibly grueling. That's a tough one, yeah, 585 00:32:59,080 --> 00:33:01,360 Speaker 3: And the actors did so well to sort of like 586 00:33:01,520 --> 00:33:04,680 Speaker 3: maintain focus and flipping from like the day shoes to 587 00:33:04,880 --> 00:33:07,960 Speaker 3: nights is that's a tough one, especially in summer when 588 00:33:08,040 --> 00:33:11,000 Speaker 3: like the hours for like, oh, you know, a lot longer, 589 00:33:11,120 --> 00:33:14,080 Speaker 3: of course, and so when you're trying to sleep during 590 00:33:14,080 --> 00:33:16,600 Speaker 3: the day, like that's quite hard because you know, it's 591 00:33:16,640 --> 00:33:19,360 Speaker 3: such it's often really lovely weather outside. 592 00:33:20,320 --> 00:33:23,920 Speaker 1: Of course, you're not as here in Australia. We get 593 00:33:24,280 --> 00:33:28,320 Speaker 1: so much sunshine. And I've lived in the UK once 594 00:33:28,440 --> 00:33:31,200 Speaker 1: and I was like, oh my goodness, the sun doesn't 595 00:33:31,200 --> 00:33:33,200 Speaker 1: come out quite as well as much as we used 596 00:33:33,200 --> 00:33:36,360 Speaker 1: to in Australia. Do you have like a moment do 597 00:33:36,400 --> 00:33:38,320 Speaker 1: you remember like once a week moment. It might be 598 00:33:38,320 --> 00:33:40,680 Speaker 1: a little moment, but on set where you're like, oh, 599 00:33:40,720 --> 00:33:42,640 Speaker 1: you know when you get that feeling in your heart 600 00:33:42,680 --> 00:33:45,440 Speaker 1: like you're in total flow and time stops because you're 601 00:33:45,480 --> 00:33:47,280 Speaker 1: just in it. I'm sure you got it quite a bit. 602 00:33:47,440 --> 00:33:51,480 Speaker 1: Was but was there something that was like your favorite? 603 00:33:51,760 --> 00:33:53,600 Speaker 3: Yeah, there was, you know, like there was a couple 604 00:33:53,600 --> 00:33:59,440 Speaker 3: of moments that really stand out. In the first episode. 605 00:33:59,600 --> 00:34:02,200 Speaker 3: They're all going to the ball and there was fireworks 606 00:34:02,200 --> 00:34:06,320 Speaker 3: and they are like being rowed across the lake. So 607 00:34:06,400 --> 00:34:08,759 Speaker 3: I was actually there for that scene because we were 608 00:34:08,760 --> 00:34:13,360 Speaker 3: filming right next to it. We were filming at the 609 00:34:13,440 --> 00:34:16,799 Speaker 3: Dark Walk, which is like the Vauxhall Pleasure Gardens, which 610 00:34:16,880 --> 00:34:20,080 Speaker 3: were really really close to where they were shooting that, 611 00:34:20,600 --> 00:34:23,920 Speaker 3: And so in one of the breaks, like I got 612 00:34:23,920 --> 00:34:29,160 Speaker 3: to just stand out there and Jack Murphy, who's the 613 00:34:29,239 --> 00:34:35,680 Speaker 3: choreographer who's doing all the ball choreography, was standing on 614 00:34:35,719 --> 00:34:38,279 Speaker 3: that sort of like wooden platform stage and he had 615 00:34:38,320 --> 00:34:42,160 Speaker 3: all of his dances around and there was they all 616 00:34:42,200 --> 00:34:45,799 Speaker 3: had their in pieces in and they were just sort 617 00:34:45,800 --> 00:34:48,960 Speaker 3: of like starting to sort of warm up, and then 618 00:34:49,080 --> 00:34:51,560 Speaker 3: they were about to shoot it, and it was just 619 00:34:51,600 --> 00:34:55,400 Speaker 3: the most incredible thing watching in the dark with the 620 00:34:55,400 --> 00:35:00,279 Speaker 3: fireworks in total silence while these I mean then must 621 00:35:00,280 --> 00:35:03,160 Speaker 3: have been I don't know thirty maybe more than that, 622 00:35:03,800 --> 00:35:09,440 Speaker 3: dancers dancing in complete unison with no sound like in 623 00:35:09,480 --> 00:35:12,680 Speaker 3: the middle of the night. It was just gorgeous to watch. 624 00:35:12,920 --> 00:35:15,400 Speaker 3: It was just absolutely incredible. So that was just like 625 00:35:15,400 --> 00:35:18,040 Speaker 3: a really that was the moment when I was like, oh, 626 00:35:18,480 --> 00:35:21,719 Speaker 3: this this maight be a really big show. 627 00:35:22,000 --> 00:35:24,400 Speaker 2: Yeah. 628 00:35:24,480 --> 00:35:27,239 Speaker 3: And then another moment that I have in my head 629 00:35:27,320 --> 00:35:33,080 Speaker 3: was I was rehearsing with Johnny and Sabrina in Bright 630 00:35:33,160 --> 00:35:38,080 Speaker 3: and I think and we were actually doing the last scene. 631 00:35:38,120 --> 00:35:40,960 Speaker 3: So it's a scene for episode eight where they meet 632 00:35:41,040 --> 00:35:44,120 Speaker 3: under the rafters in the boxing for the boxing match, 633 00:35:44,800 --> 00:35:48,600 Speaker 3: and we were obviously at that point he's sort of 634 00:35:48,680 --> 00:35:51,040 Speaker 3: leaning back, he's got her picked up, and she's sort 635 00:35:51,040 --> 00:35:54,479 Speaker 3: of straddling him. And we did that in the hotel room. 636 00:35:55,440 --> 00:35:58,160 Speaker 3: We were rehearsing, and I think Sabrina slipped at one 637 00:35:58,160 --> 00:35:59,840 Speaker 3: point and she sort of like just slipped down like 638 00:35:59,840 --> 00:36:03,360 Speaker 3: her like a fireman's poll. And I mean, like we 639 00:36:03,560 --> 00:36:06,640 Speaker 3: just absolutely dissolved at that point. I mean, they're already 640 00:36:06,680 --> 00:36:10,239 Speaker 3: incredibly fun to work with. They are clearly like just 641 00:36:10,280 --> 00:36:13,960 Speaker 3: such great friends generally, and it was just one of 642 00:36:14,000 --> 00:36:16,560 Speaker 3: those moments, you know, when like we'd sort of like 643 00:36:16,600 --> 00:36:18,000 Speaker 3: you know, tried to get on top of it and 644 00:36:18,080 --> 00:36:20,239 Speaker 3: keep the scene moving forward, and you know, like there 645 00:36:20,239 --> 00:36:21,880 Speaker 3: had been a lot of fun, and at that point 646 00:36:21,880 --> 00:36:25,720 Speaker 3: it was just like, oh, we might not get anything 647 00:36:25,760 --> 00:36:27,799 Speaker 3: done for like ten minutes because we need to like 648 00:36:27,840 --> 00:36:30,440 Speaker 3: recover because it's just, you know, it's just that moment 649 00:36:30,480 --> 00:36:32,960 Speaker 3: when you just like can't stop laughing. And I filmed 650 00:36:32,960 --> 00:36:34,719 Speaker 3: it as well so that they could see it, and 651 00:36:35,320 --> 00:36:36,880 Speaker 3: there was a lot of replays of that. 652 00:36:37,440 --> 00:36:39,719 Speaker 1: Ah and that's one thing about because there's a few 653 00:36:39,760 --> 00:36:42,040 Speaker 1: behind the scenes videos on YouTube. 654 00:36:42,120 --> 00:36:44,719 Speaker 2: Everyone seems to be great mates. Like the energy on 655 00:36:44,880 --> 00:36:48,840 Speaker 2: set feels really light and joyful. 656 00:36:48,920 --> 00:36:51,920 Speaker 1: Obviously hard working, but there is a feeling like everyone 657 00:36:51,960 --> 00:36:53,960 Speaker 1: that's there really wants to be there, you. 658 00:36:53,920 --> 00:36:54,399 Speaker 2: Know what I mean. 659 00:36:55,920 --> 00:36:58,520 Speaker 3: Yeah, we I think it was a lot of fun. 660 00:36:58,640 --> 00:37:01,120 Speaker 3: You know, there's a past that they're all sort of 661 00:37:01,160 --> 00:37:06,160 Speaker 3: like of a similar age, and it's it's really easy 662 00:37:06,200 --> 00:37:08,640 Speaker 3: to sort of like make those those bonds and those connections, 663 00:37:08,760 --> 00:37:11,800 Speaker 3: and yeah, it was just it was just always just 664 00:37:11,840 --> 00:37:14,440 Speaker 3: a lot of fun. Like you know, on every scene 665 00:37:14,480 --> 00:37:17,560 Speaker 3: that we were going into, like there would be lightness, 666 00:37:17,680 --> 00:37:21,000 Speaker 3: there would be someone who's like cracking a joke. I mean, 667 00:37:21,040 --> 00:37:24,320 Speaker 3: like because also you know, we're working with like feathers 668 00:37:24,440 --> 00:37:29,279 Speaker 3: and wigs and you know, extensive costume, and like there'll 669 00:37:29,320 --> 00:37:32,279 Speaker 3: be horses in the background, or you know, like we'd 670 00:37:32,280 --> 00:37:34,440 Speaker 3: be working in a castle, and so there was a 671 00:37:34,480 --> 00:37:36,040 Speaker 3: lot of times where we were just sort of like 672 00:37:36,120 --> 00:37:39,040 Speaker 3: standing and just like share a moment of like, Wow, 673 00:37:40,719 --> 00:37:41,680 Speaker 3: this is so fun. 674 00:37:43,040 --> 00:37:45,839 Speaker 1: I'm sure this this is my last. I can't believe 675 00:37:45,920 --> 00:37:47,680 Speaker 1: how fast this has gone, all the way I could 676 00:37:47,760 --> 00:37:55,120 Speaker 1: talk to how has this show particularly changed your world 677 00:37:55,160 --> 00:37:58,920 Speaker 1: because I feel like, I mean, it's how I discovered 678 00:37:58,960 --> 00:38:03,719 Speaker 1: you and then stalked you on Instagram. But how has 679 00:38:03,719 --> 00:38:06,760 Speaker 1: it changed? Because I think it's wonderful because it's making 680 00:38:07,760 --> 00:38:14,719 Speaker 1: intimacy coordinators. So it feels like there's a really there's 681 00:38:14,719 --> 00:38:17,479 Speaker 1: a huge spotlight on you right now, and I just think, 682 00:38:17,560 --> 00:38:20,960 Speaker 1: what a great opportunity to just educate people because I'm 683 00:38:21,040 --> 00:38:23,680 Speaker 1: learning off you, and the listeners of this podcast and 684 00:38:23,719 --> 00:38:26,040 Speaker 1: every show that you get interviewed on they're going to be. 685 00:38:26,000 --> 00:38:29,320 Speaker 2: Learning from you. How has it kind of changed your world? 686 00:38:31,520 --> 00:38:37,800 Speaker 3: I mean, it's certainly just miles away from where I was. 687 00:38:37,840 --> 00:38:40,560 Speaker 3: I mean, when I think about it, I did a 688 00:38:40,600 --> 00:38:43,680 Speaker 3: workshop in twenty sixteen and like one person turned up, 689 00:38:44,719 --> 00:38:49,120 Speaker 3: and like that's where this world was. And at at 690 00:38:49,120 --> 00:38:53,400 Speaker 3: that point, I never ever considered that it would be 691 00:38:54,719 --> 00:38:59,040 Speaker 3: one a job to a job that like people would 692 00:38:59,040 --> 00:39:03,760 Speaker 3: take seriously, and three that sort of like anyone would 693 00:39:03,760 --> 00:39:08,000 Speaker 3: be interested in learning like more about it. In terms 694 00:39:08,000 --> 00:39:10,440 Speaker 3: of like the wider world, I was like, oh, you know, 695 00:39:10,480 --> 00:39:12,600 Speaker 3: I might be able to get actors, you know, on board, 696 00:39:13,280 --> 00:39:18,880 Speaker 3: maybe being the art director, But in terms of like numbers, 697 00:39:19,400 --> 00:39:22,160 Speaker 3: I never ever thought that this would be something that 698 00:39:22,719 --> 00:39:24,879 Speaker 3: as many people are talking about as as now, and 699 00:39:24,920 --> 00:39:29,239 Speaker 3: like I certainly wouldn't have I done this or got 700 00:39:29,239 --> 00:39:32,120 Speaker 3: where I was without like a really good support within 701 00:39:32,200 --> 00:39:39,160 Speaker 3: the community of intimacy coordinators. It's been like a real 702 00:39:39,680 --> 00:39:41,919 Speaker 3: like pleasure to have met like lots of other people 703 00:39:41,920 --> 00:39:44,759 Speaker 3: who are doing this work and who have you know, 704 00:39:44,840 --> 00:39:47,360 Speaker 3: supported me on days that I'm just like, well, you know, 705 00:39:47,640 --> 00:39:50,160 Speaker 3: I've got a scene coming up, and you know, we're 706 00:39:50,200 --> 00:39:52,000 Speaker 3: not sure how to do this. I know I've got 707 00:39:52,000 --> 00:39:54,640 Speaker 3: something going on here, and you know, if you had 708 00:39:54,640 --> 00:39:56,440 Speaker 3: any experience on this, and like we'll do that for 709 00:39:56,520 --> 00:39:59,600 Speaker 3: each other, which is really really cool and really helpful 710 00:40:01,120 --> 00:40:04,360 Speaker 3: and I think it's it's really interesting for me that 711 00:40:04,480 --> 00:40:06,920 Speaker 3: like Bridges is taken up because there have been like, 712 00:40:07,000 --> 00:40:10,279 Speaker 3: you know, shows with other intimacy coordinators on before. But 713 00:40:10,680 --> 00:40:12,920 Speaker 3: I wonder if it's just the scope of Netflix and 714 00:40:12,960 --> 00:40:15,719 Speaker 3: the fact that you know, it's quite available all over 715 00:40:15,760 --> 00:40:18,480 Speaker 3: the world, whereas sort of like you know, individual channels 716 00:40:18,480 --> 00:40:20,759 Speaker 3: like British channels might not make it to you know, 717 00:40:20,800 --> 00:40:24,880 Speaker 3: Australia or you know, American channels might not see like 718 00:40:25,080 --> 00:40:28,880 Speaker 3: such popularity in the UK. But the differences with Netflix 719 00:40:29,040 --> 00:40:31,800 Speaker 3: is just everything's going out and exactly the same time 720 00:40:31,960 --> 00:40:35,480 Speaker 3: to everyone in the world, so it's got such a 721 00:40:35,520 --> 00:40:41,640 Speaker 3: global reach. So yeah, it's incredibly interesting. 722 00:40:41,920 --> 00:40:45,239 Speaker 2: I'm so excited for you. On your website, I saw 723 00:40:45,280 --> 00:40:48,919 Speaker 2: that there's courses. How if people are like, Okay. 724 00:40:48,680 --> 00:40:50,320 Speaker 1: This is my jam, this is what I want to 725 00:40:50,360 --> 00:40:53,680 Speaker 1: I want to get into doing that, Like all want 726 00:40:53,680 --> 00:40:56,800 Speaker 1: to learn more about you. What's the best way people 727 00:40:56,840 --> 00:40:58,879 Speaker 1: can kind of soak up more of what you do? 728 00:41:00,120 --> 00:41:03,000 Speaker 3: Yeah, I would say certainly, like do research on it, 729 00:41:03,080 --> 00:41:06,760 Speaker 3: have a look at it. I would recommend the courses 730 00:41:06,880 --> 00:41:10,400 Speaker 3: because I think they're a really good way of like 731 00:41:10,480 --> 00:41:13,560 Speaker 3: working out is this for me? Because one of the 732 00:41:13,600 --> 00:41:15,440 Speaker 3: things is that not a lot of people get to 733 00:41:15,480 --> 00:41:18,480 Speaker 3: see what we do because obviously we work in closed sets, 734 00:41:18,760 --> 00:41:22,160 Speaker 3: so there's a lot of like perception about what we do. 735 00:41:22,560 --> 00:41:26,600 Speaker 3: And I think that CNN actually did a really good 736 00:41:26,680 --> 00:41:28,520 Speaker 3: article in one of the titles was you know, it's 737 00:41:28,520 --> 00:41:30,920 Speaker 3: not as sexy as you think, And that is absolutely true. 738 00:41:31,360 --> 00:41:34,319 Speaker 3: I think that there is like the perception, Yeah, there's 739 00:41:34,320 --> 00:41:36,920 Speaker 3: certainly the perception out there that what we do is 740 00:41:36,960 --> 00:41:40,840 Speaker 3: like incredibly glamorous and incredibly sexy. And I can absolutely 741 00:41:40,840 --> 00:41:43,920 Speaker 3: guarantee you that like neither of those things are true. 742 00:41:44,320 --> 00:41:47,680 Speaker 3: And so if you really love paperwork, if you love spreadsheets, 743 00:41:48,560 --> 00:41:51,359 Speaker 3: like this is also something for you, because like there 744 00:41:51,400 --> 00:41:54,520 Speaker 3: is a huge amount of paperwork involved. We have to 745 00:41:54,560 --> 00:41:58,280 Speaker 3: work really closely with like any lawyers that we're working 746 00:41:58,280 --> 00:42:02,040 Speaker 3: on with the production because of nunity. So it's not 747 00:42:02,239 --> 00:42:04,799 Speaker 3: just like get in a Roman choreograph. There's so much 748 00:42:04,840 --> 00:42:07,120 Speaker 3: more that comes with it. And I think that like 749 00:42:07,200 --> 00:42:09,000 Speaker 3: a course is a really good way to have a 750 00:42:09,160 --> 00:42:15,080 Speaker 3: very honest and comprehensive understanding of like literally like day 751 00:42:15,120 --> 00:42:17,960 Speaker 3: to day stuff that we do and to see if 752 00:42:18,000 --> 00:42:20,799 Speaker 3: that like that's still interesting for you, you know what I mean, 753 00:42:20,800 --> 00:42:23,240 Speaker 3: because they think sometimes you hear of a job title 754 00:42:23,400 --> 00:42:25,160 Speaker 3: and it's just like, oh, that sounds great, and then 755 00:42:25,200 --> 00:42:26,880 Speaker 3: you'd like delve into it and you're like hang on. 756 00:42:27,520 --> 00:42:31,359 Speaker 3: So I think courses are such a good way because 757 00:42:31,400 --> 00:42:34,360 Speaker 3: then you get to often speak one on one with 758 00:42:34,400 --> 00:42:36,400 Speaker 3: people who are doing the work. And just like you know, 759 00:42:36,680 --> 00:42:39,919 Speaker 3: jumping into any new career, you know, it's really good 760 00:42:39,960 --> 00:42:42,400 Speaker 3: to like do all of the research beforehand. You know, 761 00:42:42,400 --> 00:42:44,319 Speaker 3: if you're going to go off and be a stunt coordinator, 762 00:42:44,719 --> 00:42:46,919 Speaker 3: there's a huge amount that comes with that, and it's 763 00:42:46,920 --> 00:42:52,560 Speaker 3: the same with intimacy. Yeah. So so definitely like doing 764 00:42:52,560 --> 00:42:56,640 Speaker 3: the courses, doing the research, checking out what actors are 765 00:42:56,680 --> 00:42:59,320 Speaker 3: saying about it, and checking out what directors are saying 766 00:42:59,320 --> 00:43:05,160 Speaker 3: about it, you know. Yeah, I think that that's probably 767 00:43:05,160 --> 00:43:07,160 Speaker 3: like the best way of going about it. 768 00:43:07,320 --> 00:43:09,520 Speaker 1: Yeah, and I'll put all your details in my show 769 00:43:09,560 --> 00:43:12,360 Speaker 1: notes as well. So your website's got some great information. 770 00:43:12,719 --> 00:43:15,600 Speaker 1: I've seen this and it looks like this some course 771 00:43:15,719 --> 00:43:18,960 Speaker 1: is coming up in February, so I'll put all of 772 00:43:18,960 --> 00:43:21,400 Speaker 1: that in the show notes so people can find it, 773 00:43:21,400 --> 00:43:24,680 Speaker 1: and I'll pull your Insta handle as well. So because 774 00:43:24,719 --> 00:43:27,640 Speaker 1: I learned so much just by having a radio website 775 00:43:27,719 --> 00:43:31,520 Speaker 1: and doing a little bit of digging. So Lizzie, I 776 00:43:31,520 --> 00:43:33,840 Speaker 1: cannot thank you enough for jumping on this podcast. And 777 00:43:33,920 --> 00:43:36,760 Speaker 1: to you, you're probably like, who is this weird aussy 778 00:43:36,880 --> 00:43:39,319 Speaker 1: girl ask me to come on a podcast. So I 779 00:43:39,360 --> 00:43:42,319 Speaker 1: cannot thank you enough. You've really made my day. And 780 00:43:42,680 --> 00:43:46,239 Speaker 1: we're so excited that we're actually speeding this podcast to 781 00:43:46,560 --> 00:43:49,640 Speaker 1: come up so that it'll come out first thing Monday morning, 782 00:43:49,840 --> 00:43:51,400 Speaker 1: so wild. 783 00:43:51,440 --> 00:43:55,360 Speaker 2: Just my friends, we're so excited. 784 00:43:56,400 --> 00:44:00,000 Speaker 3: Yeah, the support has just been just like really overwhelmed, 785 00:44:01,200 --> 00:44:04,080 Speaker 3: especially down Under. I did an interview for The Edge 786 00:44:04,400 --> 00:44:07,400 Speaker 3: a couple of days ago in New Zealand, and you know, 787 00:44:07,440 --> 00:44:11,320 Speaker 3: it has just been so cool to see like the support. 788 00:44:11,440 --> 00:44:14,960 Speaker 3: You know, there's intimacy coordinators in Australia working right now, 789 00:44:15,000 --> 00:44:18,719 Speaker 3: and there's intimacy coordinators in New Zealand and so it's 790 00:44:18,880 --> 00:44:21,239 Speaker 3: really cool, like there is such a global reach and 791 00:44:21,520 --> 00:44:22,839 Speaker 3: I'm really excited for them. 792 00:44:23,480 --> 00:44:26,839 Speaker 1: Well, thank you so much for spreading this word, because yeah, 793 00:44:26,880 --> 00:44:29,600 Speaker 1: you've really inspired me and I've learned loads. 794 00:44:29,200 --> 00:44:30,239 Speaker 2: From listening to you. 795 00:44:30,440 --> 00:44:32,480 Speaker 3: So Lizzie, tell what. 796 00:44:32,600 --> 00:44:34,719 Speaker 1: I cannot wait to see what comes next for you, 797 00:44:34,800 --> 00:44:37,560 Speaker 1: my friend, and I'm absolutely honored to have you on 798 00:44:37,600 --> 00:44:38,560 Speaker 1: the podcast today. 799 00:44:39,520 --> 00:44:41,680 Speaker 3: Thank you so much for having me. I really appreciate 800 00:44:41,760 --> 00:44:42,719 Speaker 3: your time that you've given me. 801 00:44:42,800 --> 00:44:47,200 Speaker 2: Thank you, Holy mackerel. 802 00:44:47,880 --> 00:44:53,160 Speaker 1: I've just got off a zoom with Lizzie Talbot. She's incredible, 803 00:44:53,640 --> 00:44:56,719 Speaker 1: Matt and I like, how epic was that? So just 804 00:44:56,920 --> 00:45:01,040 Speaker 1: for context, when Bridgeton came out, Boss and I binge 805 00:45:01,080 --> 00:45:03,359 Speaker 1: watched it all on Boxing Day. I think it took 806 00:45:03,440 --> 00:45:05,719 Speaker 1: us a couple of days and we were just like 807 00:45:06,000 --> 00:45:11,480 Speaker 1: the soundtrack, the set, the costumes, the sex, everything was 808 00:45:11,680 --> 00:45:15,440 Speaker 1: unreal and to get the intimacy coordinator on the pod 809 00:45:15,840 --> 00:45:20,760 Speaker 1: is a pintry moment, so exciting to hear and celebrate creative. 810 00:45:20,880 --> 00:45:23,880 Speaker 1: So big thank you Lizzy for jumping on the show. 811 00:45:24,040 --> 00:45:26,480 Speaker 1: And yeah, I just had to do a little outro 812 00:45:26,560 --> 00:45:28,560 Speaker 1: because it was so exciting. And it's like ten pm 813 00:45:28,600 --> 00:45:31,480 Speaker 1: at night here on Friday, where bringing this out first 814 00:45:31,480 --> 00:45:33,920 Speaker 1: thing Monday, because we're. 815 00:45:33,760 --> 00:45:36,080 Speaker 2: Just so pumped to have this podcast. 816 00:45:36,120 --> 00:45:40,400 Speaker 1: We're both Matt and I are real Bridges and fans, so yeah, 817 00:45:40,600 --> 00:45:41,920 Speaker 1: super pumped, super. 818 00:45:41,680 --> 00:45:42,680 Speaker 2: Geeking out over here. 819 00:45:42,840 --> 00:45:46,200 Speaker 1: And big, big thank you to Lizzie Talbot, your legend