1 00:00:00,520 --> 00:00:04,040 Speaker 1: Already, and this is the daily This is the daily 2 00:00:04,120 --> 00:00:06,840 Speaker 1: ohs oh, now it makes sense. 3 00:00:14,680 --> 00:00:17,400 Speaker 2: Good morning, and welcome to the Daily Ours. It's Friday, 4 00:00:17,400 --> 00:00:20,000 Speaker 2: the twenty seventh of February. I'm Emma Gillespie. 5 00:00:20,079 --> 00:00:21,320 Speaker 3: I'm Billy Fitzsimon's. 6 00:00:21,600 --> 00:00:24,680 Speaker 2: There's been a huge shift in the way sex and 7 00:00:24,760 --> 00:00:28,440 Speaker 2: sexual identity are represented on screen over the past decade. 8 00:00:28,600 --> 00:00:31,840 Speaker 2: Think about your favorite films, your favorite TV shows. 9 00:00:31,920 --> 00:00:33,560 Speaker 3: I'm sure you know what I'm talking about. 10 00:00:33,720 --> 00:00:37,280 Speaker 2: In the wake of Hollywood's Me Too Reckoning, intimacy coordinators 11 00:00:37,320 --> 00:00:41,240 Speaker 2: have become an increasing presence on film and television sets. 12 00:00:41,400 --> 00:00:44,479 Speaker 2: But what does an intimacy coordinator actually do? 13 00:00:48,680 --> 00:00:52,560 Speaker 1: I am so fascinated by this topic because watching people 14 00:00:52,600 --> 00:00:54,520 Speaker 1: have sex on the screen is kind of something that 15 00:00:54,560 --> 00:00:57,640 Speaker 1: happens all the time in TV and in movies, and 16 00:00:57,680 --> 00:01:01,240 Speaker 1: you don't often think about what went into making that 17 00:01:01,320 --> 00:01:04,160 Speaker 1: scene work exactly. And so when you pitch this idea 18 00:01:04,360 --> 00:01:08,200 Speaker 1: of interviewing an intimacy coordinator, I was like, yes, of course, 19 00:01:08,360 --> 00:01:10,440 Speaker 1: because I'm sure once you think about it, there would 20 00:01:10,480 --> 00:01:11,600 Speaker 1: be so many questions. 21 00:01:11,720 --> 00:01:14,240 Speaker 2: Yeah, and the work that they do, whether or not 22 00:01:14,319 --> 00:01:17,440 Speaker 2: we realize it at the time, really does influence so 23 00:01:17,640 --> 00:01:20,400 Speaker 2: much of the media that we consume every single day. 24 00:01:20,480 --> 00:01:22,520 Speaker 2: So I wanted to get to the bottom of this 25 00:01:22,640 --> 00:01:24,400 Speaker 2: and answer all our questions. 26 00:01:24,760 --> 00:01:27,080 Speaker 3: So I'm speaking to Alex Treculia. 27 00:01:27,240 --> 00:01:30,760 Speaker 2: She is a certified sex and relationship therapist, founder of 28 00:01:30,760 --> 00:01:35,360 Speaker 2: the Pleasure Center, and she works as an intimacy coordinator herself. 29 00:01:35,760 --> 00:01:39,440 Speaker 2: Alex Treculia joins us now, Alex, welcome to the podcast. 30 00:01:39,800 --> 00:01:42,160 Speaker 4: Thank you for having me. It's so wonderful to be here. 31 00:01:42,720 --> 00:01:47,040 Speaker 2: We have seen such a huge shift in how sexuality 32 00:01:47,080 --> 00:01:50,640 Speaker 2: is showcased on screen in film and television over the 33 00:01:50,720 --> 00:01:53,960 Speaker 2: last few years. But before we get into why that is, 34 00:01:54,320 --> 00:01:57,200 Speaker 2: can you explain a little bit about the world of 35 00:01:57,400 --> 00:02:01,840 Speaker 2: intimacy coordination and how it actually works and how you've 36 00:02:02,000 --> 00:02:03,200 Speaker 2: experienced it yourself. 37 00:02:03,560 --> 00:02:04,560 Speaker 4: Absolutely, so. 38 00:02:05,440 --> 00:02:11,440 Speaker 5: Intimacy coordination is essentially choreographing consent around intimate scenes in 39 00:02:11,520 --> 00:02:15,040 Speaker 5: TV and film. It's kind of like a stunts coordinator 40 00:02:15,120 --> 00:02:18,320 Speaker 5: or a fight coordinator on set, so you're there to 41 00:02:18,440 --> 00:02:21,440 Speaker 5: essentially make sure that the performers, the cast of the 42 00:02:21,480 --> 00:02:25,960 Speaker 5: crew all feel safe as you go to choreograph certain scenes. 43 00:02:26,600 --> 00:02:30,200 Speaker 2: And how do you make actors feel safe on set? 44 00:02:30,240 --> 00:02:32,400 Speaker 2: What does that actually look like in practice? 45 00:02:32,600 --> 00:02:36,920 Speaker 5: So quite simply before you are on set and filming 46 00:02:36,919 --> 00:02:40,520 Speaker 5: a scene, you're having conversations ahead of time to discuss 47 00:02:40,560 --> 00:02:44,560 Speaker 5: certain boundaries, certain like what's a yes, what's maybe, what's 48 00:02:44,600 --> 00:02:47,280 Speaker 5: like a hard no? In terms of I guess what 49 00:02:47,320 --> 00:02:50,880 Speaker 5: the scene might require of performers, and I think as well, 50 00:02:51,000 --> 00:02:54,080 Speaker 5: you're discussing with the rest of the team, what is 51 00:02:54,120 --> 00:02:57,000 Speaker 5: it that we're trying to portray with this scene in 52 00:02:57,080 --> 00:03:01,440 Speaker 5: terms of how it complements storytelling around sex intimacy, are 53 00:03:01,520 --> 00:03:05,960 Speaker 5: characters journey or growth and kind of blocking the scene. 54 00:03:06,040 --> 00:03:08,600 Speaker 5: So you'll get together with performers if you have the 55 00:03:08,680 --> 00:03:11,400 Speaker 5: luxury of time to kind of go through what is 56 00:03:11,400 --> 00:03:14,040 Speaker 5: it that we'd like to sort of do in this scene. 57 00:03:14,240 --> 00:03:17,080 Speaker 5: Depending on what kind of production you're on and the 58 00:03:17,120 --> 00:03:21,720 Speaker 5: time limits. Sometimes as the intimacy coordinator, you're given creative 59 00:03:21,720 --> 00:03:25,080 Speaker 5: direction of like, okay, help us choreograph this to like 60 00:03:25,200 --> 00:03:28,840 Speaker 5: specific details. Other times you are working with performers to 61 00:03:28,919 --> 00:03:31,560 Speaker 5: just kind of be in the background and go, you guys, 62 00:03:31,560 --> 00:03:33,680 Speaker 5: do your thing. I'm here if you need me. So 63 00:03:33,840 --> 00:03:36,680 Speaker 5: really you are just setting it up beforehand, and so 64 00:03:36,840 --> 00:03:39,760 Speaker 5: when you're on set on the day, things can kind. 65 00:03:39,560 --> 00:03:40,920 Speaker 4: Of just move really smoothly. 66 00:03:40,960 --> 00:03:43,760 Speaker 5: And everybody feels safe and comfortable, and I guess with 67 00:03:43,880 --> 00:03:49,560 Speaker 5: that consent and communication, it creates space for performers to 68 00:03:49,640 --> 00:03:52,240 Speaker 5: feel really safe and then be able to just move 69 00:03:52,280 --> 00:03:53,600 Speaker 5: creatively through their work. 70 00:03:54,040 --> 00:03:58,680 Speaker 2: As portrayals of sex and sexuality on screen have kind 71 00:03:58,720 --> 00:04:04,040 Speaker 2: of become more or transparent or more realistic in recent years, 72 00:04:04,560 --> 00:04:09,440 Speaker 2: has that made the role of intimacy coordination harder or 73 00:04:09,800 --> 00:04:10,960 Speaker 2: even more important? 74 00:04:11,400 --> 00:04:14,600 Speaker 5: I would say even more important, because I guess as 75 00:04:14,640 --> 00:04:17,560 Speaker 5: a sex therapist as well in private practice, I talk 76 00:04:17,600 --> 00:04:21,760 Speaker 5: a lot with clients around how much media not only 77 00:04:21,800 --> 00:04:26,880 Speaker 5: reflects culture but actually teaches us about intimacy. 78 00:04:27,279 --> 00:04:28,880 Speaker 4: So many people come into. 79 00:04:28,680 --> 00:04:33,160 Speaker 5: Private practice learning about sex as like this passionate thing 80 00:04:33,240 --> 00:04:36,080 Speaker 5: through the TV shows or the movies that they've seen. 81 00:04:36,480 --> 00:04:39,640 Speaker 5: So as an intimacy coordinator, it's really fascinating to be 82 00:04:39,680 --> 00:04:42,320 Speaker 5: on the other end of that spectrum, to be informing 83 00:04:42,360 --> 00:04:46,839 Speaker 5: the kinds of narratives around sex and intimacy that ultimately 84 00:04:46,960 --> 00:04:50,760 Speaker 5: do impress upon people. So yeah, I think it's kind 85 00:04:50,760 --> 00:04:54,640 Speaker 5: of this fascinating influence on us that the more realistic 86 00:04:55,200 --> 00:04:58,400 Speaker 5: sex and intimacy portrayed on screen becomes, the more I 87 00:04:58,400 --> 00:05:01,440 Speaker 5: guess important the role of an intimate coordinate it can be. 88 00:05:01,920 --> 00:05:04,960 Speaker 2: I want to talk about shows like Hated Rivalry and 89 00:05:05,080 --> 00:05:08,760 Speaker 2: Bridgitton of course topical at the moment, there is this 90 00:05:08,880 --> 00:05:14,919 Speaker 2: discourse around inclusion and accessibility and representation. With shows like that, 91 00:05:15,960 --> 00:05:22,560 Speaker 2: how have they changed conversations around sex and sexuality on screen? 92 00:05:23,040 --> 00:05:27,640 Speaker 5: I guess shows like Brititon and Heated Rivalry are really 93 00:05:27,800 --> 00:05:30,559 Speaker 5: important in portraying to us. 94 00:05:30,920 --> 00:05:31,920 Speaker 4: I guess more like. 95 00:05:32,040 --> 00:05:36,240 Speaker 5: Visibility or representation in like what queer intimacy can look like. 96 00:05:36,640 --> 00:05:40,200 Speaker 5: But also I would say what intimacy looks like through 97 00:05:40,279 --> 00:05:43,880 Speaker 5: more of a female gaze. So traditionally a lot of 98 00:05:43,920 --> 00:05:48,120 Speaker 5: the sex and intimacy on screen has kind of represented 99 00:05:49,000 --> 00:05:52,640 Speaker 5: more of like this is a massive generalization, but men's 100 00:05:52,760 --> 00:05:56,560 Speaker 5: experience of desire, which is that it is quite spontaneous, 101 00:05:56,640 --> 00:06:00,360 Speaker 5: it's passionate. The research shows that things like the duel 102 00:06:00,360 --> 00:06:03,840 Speaker 5: control model of desire, it really demonstrates to us that 103 00:06:03,880 --> 00:06:09,000 Speaker 5: that's not true of most women. Most women will experience 104 00:06:09,040 --> 00:06:12,400 Speaker 5: desire as more responsive. It takes time, there's a build up, 105 00:06:12,680 --> 00:06:16,960 Speaker 5: there's context, there's eroticism that's fundamental to desire being present. 106 00:06:17,279 --> 00:06:21,120 Speaker 5: And so shows like Bridgeton and Heated Rivalry where we're 107 00:06:21,120 --> 00:06:24,240 Speaker 5: seeing that like yearning and slow burn. 108 00:06:24,200 --> 00:06:26,560 Speaker 4: I think is really landing. 109 00:06:26,080 --> 00:06:29,920 Speaker 5: For a lot of people who resonate with elements of 110 00:06:29,960 --> 00:06:31,640 Speaker 5: that experience of romance. 111 00:06:32,240 --> 00:06:34,920 Speaker 1: We'll be right back with some more of today's chat 112 00:06:34,960 --> 00:06:37,560 Speaker 1: with Alex, but first here is a quick word from 113 00:06:37,560 --> 00:06:38,400 Speaker 1: today's sponsor. 114 00:06:41,600 --> 00:06:45,640 Speaker 2: Yeah, so there's more of a female gaze being represented 115 00:06:45,760 --> 00:06:48,919 Speaker 2: in how these scenes play out. But the role of 116 00:06:48,960 --> 00:06:53,240 Speaker 2: women insects on screen has also changed significantly over the 117 00:06:53,279 --> 00:06:56,880 Speaker 2: past decade, even the past few years. Can you walk 118 00:06:56,960 --> 00:06:59,320 Speaker 2: us through a little bit about that changing role. 119 00:06:59,760 --> 00:07:02,680 Speaker 5: Yeah, I guess it's changed in a variety of different ways, 120 00:07:02,720 --> 00:07:06,560 Speaker 5: but I think, you know, even having something as simple 121 00:07:06,720 --> 00:07:11,840 Speaker 5: as more female writers or directors helping to shape the 122 00:07:11,880 --> 00:07:18,600 Speaker 5: storytelling of female desire and sex on screen is moving 123 00:07:18,680 --> 00:07:23,320 Speaker 5: us away from men's perceptions of female desire and sex, 124 00:07:23,360 --> 00:07:26,880 Speaker 5: which is, you know, perceived through the male lens. So 125 00:07:27,320 --> 00:07:30,600 Speaker 5: even just like looking at Wuthering Heights, like that's going 126 00:07:30,680 --> 00:07:33,760 Speaker 5: to be the hottest, you know movie that we'll be 127 00:07:33,800 --> 00:07:37,160 Speaker 5: talking about for the coming months, there's just this portrayal 128 00:07:37,640 --> 00:07:41,520 Speaker 5: I guess, of women and sex on screen that is 129 00:07:41,800 --> 00:07:46,480 Speaker 5: becoming I guess, more realistic of how women are experiencing 130 00:07:46,520 --> 00:07:49,880 Speaker 5: their own sexuality and desire, and not just in like 131 00:07:49,920 --> 00:07:53,960 Speaker 5: a liberated way, but also the challenges surrounding that, whether 132 00:07:54,000 --> 00:07:57,480 Speaker 5: it is around being able to speak up confidently or 133 00:07:58,080 --> 00:08:01,480 Speaker 5: prioritizing your own pleasure. Hopefully they can kind of watch 134 00:08:01,520 --> 00:08:04,080 Speaker 5: it and be like, that's me. I see myself in that. 135 00:08:04,440 --> 00:08:07,720 Speaker 5: Sometimes a lot of my female clients will struggle to 136 00:08:08,480 --> 00:08:11,120 Speaker 5: articulate what is it that they want or need, and 137 00:08:11,160 --> 00:08:14,960 Speaker 5: they almost use these movies or TV shows kind of 138 00:08:15,040 --> 00:08:17,360 Speaker 5: like a diving board to be like, Okay, you know 139 00:08:17,440 --> 00:08:20,240 Speaker 5: that scene in Bridgeton when he does that thing, Like, 140 00:08:20,400 --> 00:08:23,080 Speaker 5: that's what I'm looking for. That's how I want to 141 00:08:23,080 --> 00:08:26,120 Speaker 5: feel with someone, And so it can be really powerful 142 00:08:26,120 --> 00:08:26,680 Speaker 5: in that way. 143 00:08:27,120 --> 00:08:29,320 Speaker 2: Yeah, there's a lot more conversation that you can have 144 00:08:29,400 --> 00:08:32,120 Speaker 2: about a scene like that compared to you know, those 145 00:08:32,160 --> 00:08:34,400 Speaker 2: of us who grew up watching rom coms where maybe 146 00:08:34,800 --> 00:08:36,320 Speaker 2: a guy and a girl look at each other, they 147 00:08:36,400 --> 00:08:39,600 Speaker 2: roll off a couch, they roll into a bed, everything's perfect, 148 00:08:39,720 --> 00:08:40,960 Speaker 2: they finish at the same time. 149 00:08:41,200 --> 00:08:43,240 Speaker 3: It's done and dusted, they live happily ever after. 150 00:08:43,640 --> 00:08:45,000 Speaker 4: If only it works that way. 151 00:08:46,720 --> 00:08:49,720 Speaker 2: I want to talk a little bit about consent as well, 152 00:08:49,760 --> 00:08:54,240 Speaker 2: which you've mentioned, and how to represent consent on screen. 153 00:08:54,920 --> 00:08:57,080 Speaker 2: I think the first show that comes to mind for 154 00:08:57,200 --> 00:09:00,880 Speaker 2: me here is Normal People from a few years ago now, 155 00:09:00,920 --> 00:09:02,800 Speaker 2: But that for me was one of the first shows 156 00:09:02,800 --> 00:09:06,959 Speaker 2: that I remember seeing a kind of active conversation about 157 00:09:07,120 --> 00:09:09,800 Speaker 2: consent in the moment that was. 158 00:09:09,760 --> 00:09:11,439 Speaker 3: Actually really beautiful. 159 00:09:11,800 --> 00:09:13,839 Speaker 2: If I can say that that maybe we have these 160 00:09:13,880 --> 00:09:17,480 Speaker 2: preconceptions that a consent conversation in the middle of a 161 00:09:17,679 --> 00:09:21,120 Speaker 2: romantic show or film will ruin the moment, but that 162 00:09:21,240 --> 00:09:24,880 Speaker 2: really sort of proved you can have those conversations. What 163 00:09:24,920 --> 00:09:26,600 Speaker 2: are your thoughts about consent on screen? 164 00:09:26,920 --> 00:09:28,600 Speaker 4: Oh, I think it's fundamental. 165 00:09:28,720 --> 00:09:32,200 Speaker 5: Like I've mentioned, I think media is not only informed 166 00:09:32,200 --> 00:09:36,320 Speaker 5: by culture, but teaches us about consent and sex culture, 167 00:09:36,440 --> 00:09:40,640 Speaker 5: and so it is fundamental. I think in storytelling to 168 00:09:40,679 --> 00:09:45,199 Speaker 5: portray the reality that consent isn't something that ruins the mood. 169 00:09:45,400 --> 00:09:49,520 Speaker 5: It is not something that will lead to rejection or 170 00:09:49,960 --> 00:09:52,079 Speaker 5: I guess whatever it is that people worry it might 171 00:09:52,200 --> 00:09:56,920 Speaker 5: lead to. Seeing consent on screen is the really important 172 00:09:56,960 --> 00:10:01,720 Speaker 5: sex education representation. I think our society needs, especially for 173 00:10:01,840 --> 00:10:05,680 Speaker 5: younger people, to have it normalized. Even though yes, it 174 00:10:05,760 --> 00:10:09,960 Speaker 5: is storytelling, it is not necessarily reality. It is giving 175 00:10:10,000 --> 00:10:13,920 Speaker 5: people language, it is giving people examples of hold on 176 00:10:14,080 --> 00:10:17,680 Speaker 5: this is within the realm of possibility. We're really starting 177 00:10:17,720 --> 00:10:22,439 Speaker 5: to like build on exploring consent in different ways. So 178 00:10:22,720 --> 00:10:26,840 Speaker 5: I think it's fundamental to informing us and having it 179 00:10:26,920 --> 00:10:31,880 Speaker 5: represented openly as just a normal part of sex and relationships. 180 00:10:32,320 --> 00:10:36,160 Speaker 2: Do you think those conversations have become a normal part 181 00:10:36,320 --> 00:10:40,560 Speaker 2: of production for you know, people bringing together new stories 182 00:10:40,600 --> 00:10:43,520 Speaker 2: to tell on screen. Is there more work to do 183 00:10:43,800 --> 00:10:47,960 Speaker 2: or is intimacy coordination now ingrained in those processes. 184 00:10:48,520 --> 00:10:51,760 Speaker 5: Intimacy coordination is not ingrained in the processes, so it's 185 00:10:51,800 --> 00:10:56,959 Speaker 5: still not a compulsory position on set, which my imagination 186 00:10:57,080 --> 00:10:59,079 Speaker 5: is that it will become one you can kind of 187 00:10:59,080 --> 00:11:03,040 Speaker 5: look at like the Blake Life Jason Baldoni cour case situation, 188 00:11:03,200 --> 00:11:05,200 Speaker 5: where you can see that it's not even just for 189 00:11:05,240 --> 00:11:08,400 Speaker 5: the sake of the performers and their comfortability or just 190 00:11:08,480 --> 00:11:13,000 Speaker 5: the storytelling choreography element. There's also liability issues. So in 191 00:11:13,120 --> 00:11:16,680 Speaker 5: terms of my role as an intimacy coordinator, there's this 192 00:11:16,840 --> 00:11:19,920 Speaker 5: element of being able to be a middle person to 193 00:11:20,160 --> 00:11:23,840 Speaker 5: production and performers and cast that like I'm kind of 194 00:11:23,840 --> 00:11:26,520 Speaker 5: reporting and being like, okay, this is like someone reported 195 00:11:26,520 --> 00:11:29,240 Speaker 5: this issue on set, or someone reported this dynamic or 196 00:11:29,320 --> 00:11:32,960 Speaker 5: someone reported like I'm almost there as a witness to 197 00:11:33,320 --> 00:11:37,160 Speaker 5: any further complications. Hopefully that doesn't happen, and I've not 198 00:11:37,240 --> 00:11:40,040 Speaker 5: had to be in that situation before, but I do 199 00:11:40,120 --> 00:11:44,120 Speaker 5: think that we will probably see intimacy coordinators become more 200 00:11:44,160 --> 00:11:46,720 Speaker 5: compulsory on set, in the same way that it's compulsory 201 00:11:46,760 --> 00:11:49,560 Speaker 5: if you're having like you know, a Tom Cruise or 202 00:11:49,720 --> 00:11:53,960 Speaker 5: like Keanu Reeves John Wick like fight action movie with 203 00:11:54,080 --> 00:11:56,319 Speaker 5: guns and weapons and stunts. 204 00:11:56,880 --> 00:11:57,520 Speaker 4: It's going to be. 205 00:11:57,480 --> 00:12:00,560 Speaker 5: Compulsory to have coordinators on there to help make sure 206 00:12:00,600 --> 00:12:02,080 Speaker 5: everything is safe and smooth. 207 00:12:02,840 --> 00:12:06,000 Speaker 2: One of the big questions I think people might have 208 00:12:06,320 --> 00:12:10,520 Speaker 2: about the intimacy coordination work you do that maybe they. 209 00:12:10,440 --> 00:12:11,920 Speaker 3: Feel embarrassed to ask. 210 00:12:12,000 --> 00:12:15,600 Speaker 2: It is around the kind of inherent awkwardness I suppose 211 00:12:15,760 --> 00:12:19,079 Speaker 2: that would maybe play out on set. While we might 212 00:12:19,120 --> 00:12:22,600 Speaker 2: see something that feels really fluid as an edited product 213 00:12:22,720 --> 00:12:26,400 Speaker 2: in an episode or a movie, how do you overcome 214 00:12:26,960 --> 00:12:31,000 Speaker 2: that maybe awkwardness or timidness on set? How do actors 215 00:12:31,200 --> 00:12:32,080 Speaker 2: overcome that too? 216 00:12:32,840 --> 00:12:36,439 Speaker 5: I think actors are really incredible at putting their bodies 217 00:12:36,480 --> 00:12:40,600 Speaker 5: in situations that I guess like don't feel natural. 218 00:12:41,000 --> 00:12:42,720 Speaker 4: It is performative by nature. 219 00:12:43,240 --> 00:12:46,360 Speaker 5: We often do like little warm up exercises, especially if 220 00:12:46,520 --> 00:12:49,120 Speaker 5: the performers haven't been working together for very long and 221 00:12:49,160 --> 00:12:51,480 Speaker 5: then they have to jump into an intimate scene. You 222 00:12:51,559 --> 00:12:55,520 Speaker 5: can do some kind of like warm up exercises. Blocking 223 00:12:55,559 --> 00:12:59,200 Speaker 5: the scenes so there's no like kissing straight away, but 224 00:12:59,320 --> 00:13:02,680 Speaker 5: rather just moving through the motions of what the scene 225 00:13:02,679 --> 00:13:05,080 Speaker 5: will look like can really help. But I guess on 226 00:13:05,120 --> 00:13:07,640 Speaker 5: top of that the awkwardness of filming a sex scene. 227 00:13:07,840 --> 00:13:10,880 Speaker 5: A lot of people think, oh, it must be so awkward, 228 00:13:10,920 --> 00:13:12,840 Speaker 5: like if it's you know, what if you get turned 229 00:13:12,880 --> 00:13:15,680 Speaker 5: on or what if someone's body reacts in certain ways. 230 00:13:16,440 --> 00:13:19,280 Speaker 5: But the reality is that I think it's kind of 231 00:13:19,320 --> 00:13:21,480 Speaker 5: like way less sexy than you think it's going to 232 00:13:21,480 --> 00:13:22,120 Speaker 5: be a lot of the. 233 00:13:22,040 --> 00:13:24,280 Speaker 4: Times, because it's still. 234 00:13:24,040 --> 00:13:27,640 Speaker 5: Like a choreography, so your job is to also be 235 00:13:28,040 --> 00:13:30,400 Speaker 5: looking at like where is your body part going to 236 00:13:30,440 --> 00:13:32,960 Speaker 5: be for how long? And what's the camera angle? So 237 00:13:33,559 --> 00:13:36,480 Speaker 5: actors are not only kissing, but they're also thinking the 238 00:13:36,520 --> 00:13:38,800 Speaker 5: camera's moving here, and I've got to move my body 239 00:13:38,960 --> 00:13:41,120 Speaker 5: on this beat and then you know, like then we 240 00:13:41,200 --> 00:13:44,600 Speaker 5: pull away, and so it's a lot of thinking. I 241 00:13:44,640 --> 00:13:46,760 Speaker 5: think as well, we do kind of just name any 242 00:13:46,800 --> 00:13:49,640 Speaker 5: awkwardness that might come up of like, yep, this is vulnerable. 243 00:13:50,000 --> 00:13:52,800 Speaker 5: What do we need in those situations? So that's where 244 00:13:52,840 --> 00:13:55,240 Speaker 5: an intimacy coordinator can be helpful because if someone is 245 00:13:55,320 --> 00:13:58,280 Speaker 5: kind of like, hey, like I'm feeling this or this 246 00:13:58,360 --> 00:14:01,280 Speaker 5: is my body's reacting, I'm uncomfort I can kind of 247 00:14:01,280 --> 00:14:03,080 Speaker 5: be there to be like, hey, let's call a quick break, 248 00:14:03,160 --> 00:14:05,160 Speaker 5: like we just need to reset for a second. So 249 00:14:05,600 --> 00:14:07,600 Speaker 5: that's kind of how we manage the awkward moments. 250 00:14:08,160 --> 00:14:11,640 Speaker 2: What's something about your job that you think might surprise 251 00:14:11,760 --> 00:14:14,240 Speaker 2: people or maybe a misconception around. 252 00:14:13,920 --> 00:14:16,679 Speaker 5: What you do. I guess a misconception about my job 253 00:14:16,720 --> 00:14:21,120 Speaker 5: as an intimacy coordinator is that it's like a very 254 00:14:21,640 --> 00:14:26,520 Speaker 5: maybe horny job, Like that sounds so weird, but like 255 00:14:26,560 --> 00:14:29,920 Speaker 5: I know, we're talking about sex a lot, or we're 256 00:14:29,920 --> 00:14:34,120 Speaker 5: blocking sex, but really it's like a very creative process 257 00:14:34,240 --> 00:14:38,080 Speaker 5: and I would say it's about safety and consent over 258 00:14:38,280 --> 00:14:43,640 Speaker 5: anything else. And the storytelling around sex is kind of 259 00:14:43,640 --> 00:14:47,000 Speaker 5: something that you're working as a team together to do 260 00:14:47,320 --> 00:14:50,400 Speaker 5: and you know, like the performers really carry all of that. 261 00:14:51,000 --> 00:14:54,360 Speaker 2: Alex Traculier, it's been fascinating to chat to you. Thank 262 00:14:54,400 --> 00:14:56,720 Speaker 2: you so much for sharing a bit of your world 263 00:14:56,760 --> 00:14:57,960 Speaker 2: with us here at The Daily Ours. 264 00:14:58,160 --> 00:14:59,760 Speaker 4: Thank you so much for having me. 265 00:15:00,640 --> 00:15:02,480 Speaker 2: That is all we've got time for today, but I 266 00:15:02,480 --> 00:15:04,480 Speaker 2: did want to say a huge thank you to Alex 267 00:15:04,560 --> 00:15:06,960 Speaker 2: Dracolier for joining us on the podcast. And if you 268 00:15:06,960 --> 00:15:09,440 Speaker 2: want to hear more stories like this, more interviews and 269 00:15:09,480 --> 00:15:12,520 Speaker 2: conversations like this, we actually have a culture newsletter. 270 00:15:12,560 --> 00:15:14,760 Speaker 3: It drops every Thursday afternoon. 271 00:15:15,080 --> 00:15:17,040 Speaker 2: You can sign up for free at the link in 272 00:15:17,080 --> 00:15:19,880 Speaker 2: the episode description. We'll be back later on today with 273 00:15:20,000 --> 00:15:22,760 Speaker 2: the latest news headlines, but until then, have a great day. 274 00:15:27,120 --> 00:15:29,400 Speaker 5: My name is Lily Maddon and I'm a proud Arunda 275 00:15:29,640 --> 00:15:34,440 Speaker 5: Bunjelung Kalkotin woman from Gadighl Country. The Daily oz acknowledges 276 00:15:34,520 --> 00:15:36,680 Speaker 5: that this podcast is recorded on the lands of the 277 00:15:36,720 --> 00:15:40,240 Speaker 5: Gadighl people and pays respect to all Aboriginal and Torres 278 00:15:40,280 --> 00:15:41,440 Speaker 5: Strait Island and nations. 279 00:15:41,760 --> 00:15:44,680 Speaker 1: We pay our respects to the first peoples of these countries, 280 00:15:44,800 --> 00:15:46,000 Speaker 1: both past and present.