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The Importance of Intimacy Coordinators · Stuff Mom Never Told You

0:05
Speaker 1: Hey, this is Annie and Samantha and welcome to Stephane.
0:07
Speaker 1: Never told you a protection of I Heart Radio and today, Uh, unfortunately,
0:21
Speaker 1: I guess once again we have to talk about something
0:25
Speaker 1: after a man made a comment. Um, so we're talking
0:28
Speaker 1: about intimacy coordinators, what they do while they're important, and
0:32
Speaker 1: this is something we've wanted to do for a while.
0:35
Speaker 1: So you know, the circumstances might not be great, but
0:38
Speaker 1: we have wanted to talk about this for a while.
0:40
Speaker 1: We tried to get an intimacy coordinator on the show.
0:42
Speaker 1: It hasn't worked out yet, but if anyone is in
0:46
Speaker 1: the business or has any connections, you know where to
0:50
Speaker 1: find us, because we would love to do a revisit
0:55
Speaker 1: with an interview. I'd be fantastic. But in early August
1:00
Speaker 1: of two, I guess, because who knows. When you're listening
1:03
Speaker 1: to this, actor Sean Bean made the comment that intimacy
1:08
Speaker 1: coordinators quote spoiled the spontaneity and that sex scenes had
1:12
Speaker 1: so much better quote flow before intimacy coordinators got involved,
1:16
Speaker 1: and so many women and and everyone else also, but
1:20
Speaker 1: a lot of women raise their hands and we're like, hi,
1:23
Speaker 1: actually they're really important, and here's why. Uh, and we
1:27
Speaker 1: have a lot of quotes from them that we're going
1:29
Speaker 1: to include towards the end. Before we do that, we're
1:32
Speaker 1: going to get into some basics. But also before we
1:35
Speaker 1: do that, you can see our episode we did with
1:38
Speaker 1: bridget On, Evan Rachel Wood and Brian Warner also known
1:41
Speaker 1: as Marilyn Manson and her allegation that he sexually assaulted
1:44
Speaker 1: her in a music video, which is related to what
1:46
Speaker 1: we're gonna be talking about um and also content warning,
1:50
Speaker 1: brief discussion of sexual assault and rape. We're not going
1:52
Speaker 1: to get into any details, but brief discussion in ryans,
1:58
Speaker 1: so let's get it into some of the basics. Intimacy coordinators,
2:03
Speaker 1: also known as intimacy directors, are, from my understanding, a
2:08
Speaker 1: relatively new thing. Essentially, they are professionals who choreograph and
2:11
Speaker 1: guide intimate scenes in our entertainment. They make sure these
2:17
Speaker 1: vulnerable scenes are safe and that those involved know what
2:20
Speaker 1: to expect and that they feel supported. The demand for
2:24
Speaker 1: intimacy coordinators or I sees um rose post me too
2:28
Speaker 1: in order to make sure sets were safe. The first
2:31
Speaker 1: film or TV production to announce the use of an
2:34
Speaker 1: intimacy coordinator was The Deuce during their second season, though
2:39
Speaker 1: um of no, they have been used in live theater
2:41
Speaker 1: for decades. I didn't know that. So in sech after
2:47
Speaker 1: I release the first standard and protocols for intimacy coordinators,
2:50
Speaker 1: and soon after they released in an accreditation system for
2:53
Speaker 1: intimacy coordinators and a registry for qualified I sees um
2:58
Speaker 1: and here are some quotes from those stays and practices. Quote.
3:01
Speaker 1: Nudity and stimulating sex often have an important role in
3:05
Speaker 1: telling of a story, whether in the film, television, or
3:08
Speaker 1: interactive world. Although performances in these scenes convey strong feelings
3:13
Speaker 1: and powerful emotions to an audience, which can be integral
3:16
Speaker 1: to a storyline, sag AFTRA also recognizes the unique vulnerability
3:21
Speaker 1: that arises from performers when performing hyper exposed work. Yes,
3:26
Speaker 1: and they define intimacy coordinators as quote an advocate, a
3:30
Speaker 1: liaison between actors and production and a movement coach and
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Speaker 1: our choreographer in regards to nudity and simulated sex another
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Speaker 1: intimate and hyper exposed scenes and that they quote ensure
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Speaker 1: that performers and other production personnel adhered to proper safety protocols.
3:44
Speaker 1: Serves as a resource in realizing a director's vision. Assumes
3:48
Speaker 1: the role of movement choreographer if requested by the director
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Speaker 1: to enhance believability, strives to build an environment in which
3:55
Speaker 1: actors understand what is expected of them and hyper exposed scenes,
3:58
Speaker 1: and to give their informed and continued consent. And further,
4:02
Speaker 1: sag After also suggests that intimacy coordinators should be used
4:06
Speaker 1: for any scene involving simulated sex or other intimate are
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Speaker 1: hyper exposed scenes. Um and here are the key qualities
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Speaker 1: they outline for qualified intimacy coordinators. Consent training, anti harassment,
4:17
Speaker 1: anti sexual harassment training, movement coaching and masking techniques, proper
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Speaker 1: use of modesty, garments and barriers, meditation are, conflict resolution training,
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Speaker 1: gender identity and sexual orientation training, anti racist e d
4:30
Speaker 1: I training bystander intervention, mental health, first aid, trauma, stewardship
4:35
Speaker 1: or related training. Must have a state and federal background check,
4:38
Speaker 1: experience and an ability to adapt and implement the rules, responsibilities, functions,
4:42
Speaker 1: and protocols on a variety of sets. So, according to
4:47
Speaker 1: sag Aftra, here's how an I sees responsibilities might break down.
4:50
Speaker 1: So ideally they are included in meetings with the writer, director,
4:55
Speaker 1: producer all of the above. Sometimes it's just one of
4:58
Speaker 1: the above to go over the intimate scenes and key
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Speaker 1: things like the degree of nudity, specifics of the simulated
5:05
Speaker 1: sex of the nudity, and anything else that might be important.
5:09
Speaker 1: The i C then communicates those to the actors and
5:13
Speaker 1: then relays any concerns that they might have back to production.
5:17
Speaker 1: They meet one on one with performers involved to discuss
5:20
Speaker 1: the language used sex writers that being something in your
5:23
Speaker 1: contract like I won't do this, uh, something like that.
5:27
Speaker 1: I sees are also in charge of continually checking in
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Speaker 1: on consent during the production. They deal with any disagreements
5:33
Speaker 1: or misunderstandings about how the scenes should go. They also
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Speaker 1: make sure that proper nudity garments, barriers and prosthetics are
5:40
Speaker 1: provided so that's pre production on set. The guidelines laid
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Speaker 1: out by sag After are as follows quote reviews, nudity writers,
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Speaker 1: seeing content, modesty, garments and barriers with performers, directors and
5:53
Speaker 1: assistant directors ensures the proper implementation of close set protocols
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Speaker 1: and a sag After Guidelines serves as a resource for
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Speaker 1: directors and assistant directors as needed with any specialized movement
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Speaker 1: or choreography to ensure consent and safety while enhancing believability
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Speaker 1: and director vision ensures continued consent throughout the filming of Seen,
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Speaker 1: both consent to what their likeness is seen performing and
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Speaker 1: how the action is achieved, while minimizing interference in production
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Speaker 1: flow protects minors. Consistent with sag after guidelines, Yes and
6:29
Speaker 1: then in post production, I sees make themselves available for
6:32
Speaker 1: questions and to make sure that contractual obligations around these
6:36
Speaker 1: scenes are met UM and Yes. As mentioned, sag after
6:40
Speaker 1: does offer multiple accreditation programs for I sees. On top
6:44
Speaker 1: of that, UM, I looked through the registry list and
6:48
Speaker 1: almost everyone on there is a woman. But the list
6:52
Speaker 1: is also very very short. Right now, I'm sure, I'm
6:55
Speaker 1: very sure. Um. And from the words of someone in
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Speaker 1: the business, UM and as really leading the way. Ada
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Speaker 1: O'Brien described an intimacy coordinator as quote a practitioner who
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Speaker 1: brings a professional structure and skill to creating intimate content,
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Speaker 1: just like a choreographer would bring their skill to a
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Speaker 1: dance or a stunt coordinator would bring their skill to
7:16
Speaker 1: creating a fight. And she went on to say, I say,
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Speaker 1: your no is a gift. We invite your no. It's
7:23
Speaker 1: really important that we know your know that we know
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Speaker 1: your boundaries, so that your yes can be trusted. Any
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Speaker 1: clear structure gives freedom. Actually having a clear boundary allows
7:32
Speaker 1: you to be free within that. I always say the
7:34
Speaker 1: work is like an iceberg, where the body of the
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Speaker 1: work is actually in all of that preparation, all of
7:39
Speaker 1: those conversations to the producer, director and the actors, all
7:43
Speaker 1: of that connecting, in all of that sharing of the process, rehearsing,
7:46
Speaker 1: so that everybody knows the choreography. It means that the
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Speaker 1: day on set, everyone's relaxed, comfortable, they feel autonomous, empowered, respected,
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Speaker 1: And then it means that everybody can bring their skill,
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Speaker 1: the directors bringing their skill, the act is bringing the
8:00
Speaker 1: best of their skill to the intimate content. And O'Brien,
8:04
Speaker 1: you can find a lot of really great interviews with
8:06
Speaker 1: her and her work. She worked on I Will Destroy You,
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Speaker 1: among many other critically acclaimed projects, and when that show
8:14
Speaker 1: won Best Series at the BAFTA's actor and director of
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Speaker 1: the series, MICHAELA. Cole, paid tribute to O'Brien's work on
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Speaker 1: the show and um, I do think I want to
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Speaker 1: include this uh summary from Esquire about the show because
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Speaker 1: I think it will show why it's very important that
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Speaker 1: they had an intimacy coordinator on it. So quote. The
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Speaker 1: show centers on Arabella, a gregarious YO writer in London
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Speaker 1: who must question her reality and rebuild her life after
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Speaker 1: she has drugged and sexually assaulted. Inspired by Cole's own
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Speaker 1: experience by suffering a sexual assault after her drink was spiked,
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Speaker 1: I May Destroy You, threats a breathtaking needle, and depicting
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Speaker 1: the messy, non binary nature of consent, as well in
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Speaker 1: showcasing sexual encounters not often seen on television, and assault
8:56
Speaker 1: involving two men, an assault involving the removal of a
8:58
Speaker 1: condom mid intercourse, and period sex, just to name a few.
9:02
Speaker 1: O'Brien was instrumental in bringing these scenes to life, working
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Speaker 1: closely with Cole and other performers to fully and safely
9:09
Speaker 1: realize what existed on the page. Right, And yeah, I
9:12
Speaker 1: got to remind you this was her personal experience, so
9:15
Speaker 1: it's re traumatizing. I could not imagine doing this performance
9:19
Speaker 1: in being like just just wing it right, Yeah, absolutely,
9:24
Speaker 1: just go with the float um. So O'Brien has said,
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Speaker 1: it is also important to prioritize self care. It's important
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Speaker 1: for me to book in the day of work by
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Speaker 1: speaking with the actors about what they need to do
9:37
Speaker 1: to let go where they've gone and come back to themselves.
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Speaker 1: I don't want them keeping a residue of where they've been.
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Speaker 1: I also checken with them a day or so later,
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Speaker 1: just to make sure that they're happy with the work
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Speaker 1: and that we can address any concerns they may have. Yeah,
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Speaker 1: and some intimacy coordinators have really sung the praises of
9:53
Speaker 1: the b D s M kink community. I have taken
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Speaker 1: classes within that community to learn how this could work,
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Speaker 1: especially in terms of consent to negotiation as we have
10:01
Speaker 1: talked about, right, I mean, they are on point, like
10:04
Speaker 1: they are an example to follow for sure, at least
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Speaker 1: the ones we've talked to. So Intimacy coordinators have gotten
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Speaker 1: a lot of coverage with the popularity of Britain. Coordinated
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Speaker 1: by Elizabeth Talbot, and she widely discussed the intimacy writer
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Speaker 1: that details what an actor is willing to do in
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Speaker 1: in an intimate scene. We've briefly discussed this with Sex
10:26
Speaker 1: in the City. Uh and yeah, I think it's really interesting,
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Speaker 1: Talbot said, quote with the concept of consent that we
10:31
Speaker 1: work with. Of course, if there's anything where at any
10:34
Speaker 1: point anyone's like, oh, you know, I don't want to
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Speaker 1: do this, they never will. And it's also my job
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Speaker 1: to step in front of any director or producer and
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Speaker 1: be like, hey, you know, like they're not comfortable with this.
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Speaker 1: And I've been really lucky to work with great directors
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Speaker 1: and producers, so that's never happened. And I would think
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Speaker 1: that especially if bringing one on probably already go ahead
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Speaker 1: and make you realize they're more willing to listen and
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Speaker 1: are aware of keeping actors safe, which is the point
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Speaker 1: so Bridgerton. Actor A Phoebe Dinniverse said she felt quote
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Speaker 1: safe having an intimacy coordinator on set. She says, it
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Speaker 1: was so great because it felt safe, because it felt
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Speaker 1: safe and fun. You choreograph it like a stunt or
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Speaker 1: a dance, and it's crazy to me that an intimacy
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Speaker 1: coordinator hasn't been there in the past. I've done sex
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Speaker 1: scenes before that I can't believe I did. It was
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Speaker 1: only five or six years ago, but it would not
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Speaker 1: be allowed now. And her saying that really bothers him
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Speaker 1: because she's a young in Yeah, yeah, we're going to
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Speaker 1: talk about that a bit more, but especially young people,
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Speaker 1: I think this is really really important. Who don't maybe
11:39
Speaker 1: don't know how to say no, I don't want to
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Speaker 1: do this to a director production. But it's also, like
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Speaker 1: you said, a problem of not everyone has intimacy coordinators. Um,
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Speaker 1: and it already is a step to be taken. Did
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Speaker 1: you see the snl uh skit in which they have there.
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Speaker 1: I guess I don't know if they're meaning to make
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Speaker 1: fun of the fact that there was an intimacy coordinator,
12:01
Speaker 1: but um, it was quite interesting. They have an intimacy
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Speaker 1: coordinator on set and then they replaced her with the
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Speaker 1: two dues being obviously not from there, like not knowing
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Speaker 1: what they're doing and just throwing out ridiculous things. But
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Speaker 1: it's very interesting that they immediately they picked up with
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Speaker 1: Bridgetain has been widely talked about because of the use
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Speaker 1: of intimacy coordinators for such a sexy show show yes
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Speaker 1: very spicy indeed, Interestingly, Talbot got her start coordinating fight
12:34
Speaker 1: scenes and started looking into intimacy coordination because she realized
12:39
Speaker 1: that while there were plenty of rules around choreographing fight scenes,
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Speaker 1: there were no such rules that existed when it came
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Speaker 1: to intimate scenes. A man to Bluementhal who worked on
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Speaker 1: Euphoria and is the founder of Intimacy Professionals Association, has
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Speaker 1: said quote, people often confused my role with HR. That's
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Speaker 1: not my job. I'm not here to tell you what
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Speaker 1: you can and can't say. In coordinator L. McAlpine of
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Speaker 1: Brave New World says quote, when we go on set,
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Speaker 1: we're sometimes called the fun police. It's not about that,
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Speaker 1: it's about educating people about this work. It's really disturbing
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Speaker 1: when you see the level of people calling this just fun.
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Speaker 1: And don't get me wrong, if it's an a mutually
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Speaker 1: agreed upon sex scene where it's supposed to be. But
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Speaker 1: thinking about how often you hear interviews at the first
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Speaker 1: time they meet someone they do a sex scene. I don't.
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Speaker 1: I don't. Maybe it's just too traumatized by our own
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Speaker 1: past that this is alarming. Oh yes, fun police for
13:40
Speaker 1: whom right exactly? And I also think that that quote
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Speaker 1: about HR, I want to include that because I'm going
13:47
Speaker 1: to talk about this a little bout the end. A
13:48
Speaker 1: lot of you'd be surprised how many film sets don't
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Speaker 1: have HR, so there's no way you can go report
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Speaker 1: it too. So it feels to me like when people
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Speaker 1: are confusing an intimacy coordinator for h R that says
14:04
Speaker 1: something right right. Also, you're trying to get out of
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Speaker 1: getting hrs. Uh. The EP of Normal People executive producer
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Speaker 1: Ed Guiney was originally concerned about hiring an intimacy coordinator,
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Speaker 1: but later praised the experience, saying, quote, it takes a
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Speaker 1: lot of the awkwardness out of shooting these seeds and
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Speaker 1: really free the actors up to properly be in the moment.
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Speaker 1: And on top of this, there are programs that focus
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Speaker 1: on people of color and lgbt Q plus folks. When
14:32
Speaker 1: it comes to intimacy coordinators, though they seem to be
14:34
Speaker 1: currently quite small, like it's already protty small, is this
14:38
Speaker 1: smaller um? But they're powerful and not to be dismissed nonetheless,
14:43
Speaker 1: and I saw this, I thought this was interesting. Um
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Speaker 1: Mi a Shackter who's co founder of Century Co training program,
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Speaker 1: recalls working on the set of Insecure as an intimacy
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Speaker 1: coordinator with a white woman who is the director and
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Speaker 1: two black actors, and the in director asked the man
14:58
Speaker 1: to run his hand through the woman hair, but shractor
15:01
Speaker 1: and revened after discussing with the black colleague on the
15:03
Speaker 1: grounds that this was not how black people typically showed
15:06
Speaker 1: care and intimacy and love. So that's why that's pretty
15:10
Speaker 1: importantly important. Yeah, and this is related to another field
15:14
Speaker 1: that we're not really talking about today, but you've probably
15:16
Speaker 1: heard of sensitivity readers, which is also growing. UM and
15:20
Speaker 1: we have used sensitivity readers around here before. But basically
15:25
Speaker 1: they go through and make sure you're not missing something
15:27
Speaker 1: or saying something in a way that it's clear that
15:30
Speaker 1: you don't really understand the issue that you're talking about. UM.
15:33
Speaker 1: Big fan of sensitivity readers. Uh. Yeah, And honestly, the
15:40
Speaker 1: i c s are clearly needed. Before intimacy coordinators, these
15:44
Speaker 1: things were largely handled by the director, who may or
15:46
Speaker 1: may not have the expertise or even the humanity to
15:50
Speaker 1: direct them. UM entertainment as an industry that has allowed
15:54
Speaker 1: people like Harvey Weinstein and Bill Cosby prey on women
15:58
Speaker 1: for years and James Franco for a long time with
16:01
Speaker 1: zero consequences while making bank UM. As discussed in that
16:07
Speaker 1: episode with bridget about Evan rachel Wood, there are examples
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Speaker 1: filmed examples of someone, usually a woman, being taken advantage
16:15
Speaker 1: of or pushed past their comfort zone assaulted and even raped. Um,
16:19
Speaker 1: perhaps especially younger women breaking into the industry. And you know,
16:22
Speaker 1: we're not even talking about the old school industry with
16:25
Speaker 1: the literal casting couch, with everybody knowing what that was
16:29
Speaker 1: and what that meant, especially for young women. Um. But
16:32
Speaker 1: then we've all not talked about the old directors who
16:35
Speaker 1: am like, we can't watch any of them anymore because
16:37
Speaker 1: they were all disgusting and push those boundaries and would
16:39
Speaker 1: do things in order to shock women and or traumatized
16:43
Speaker 1: women to get a great scene quote unquote yes, yes,
16:47
Speaker 1: And there are horror stories about uh, certain directors that
16:51
Speaker 1: you would go audition for them and they would be like,
16:53
Speaker 1: you know, you're gonna take off your clothes and now
16:55
Speaker 1: you're going to do this, and now you're gonna do this,
16:57
Speaker 1: and that was just like understood good. And that's for
17:01
Speaker 1: an audition that they would often film and then you
17:04
Speaker 1: probably wouldn't get the role, but they have that tape
17:07
Speaker 1: for uh yeah, I have some I'm going to talk
17:11
Speaker 1: some more about that later. So Sean Bean is by
17:27
Speaker 1: far not the only person to complain about intimacy Coordinators.
17:32
Speaker 1: Director Adrian Lynz said it implies a lack of trust,
17:35
Speaker 1: and that's all I have. If the actors don't trust me,
17:37
Speaker 1: I might as well go home. I've got to make
17:39
Speaker 1: myself vulnerable for them, for them to know I would
17:42
Speaker 1: spill my guts do anything for them. Then with any luck,
17:45
Speaker 1: I get the same back. He said of his film
17:47
Speaker 1: Fatal Attraction that Glenn Close and Michael Douglas drank before
17:52
Speaker 1: more intimate scenes and then lamented, you can't do that. Now,
17:56
Speaker 1: Why is everything so serious? God, it's not like they're
17:59
Speaker 1: gonna get pair realized or something. Well direct a Fatal Attraction.
18:04
Speaker 1: So that tells me enough, because we all know what
18:07
Speaker 1: their views on women probably are in this movie in itself.
18:11
Speaker 1: But secondly, that's not a good sign that they have
18:14
Speaker 1: to be drunk to do their job. Yeah, and I think,
18:18
Speaker 1: as like a boss, I think the excuse they took
18:22
Speaker 1: I believe it was tequila shots. They drink tequila to
18:26
Speaker 1: do it and get comfortable, Like, I don't think you
18:29
Speaker 1: should be just proud to say that everywhere, right. I
18:32
Speaker 1: don't know if they realize how close to someone you
18:36
Speaker 1: have to get someone drunk to make them sleep with you,
18:39
Speaker 1: and we all know what that is. And that's frowned
18:42
Speaker 1: upon at this point in time, it should be it
18:44
Speaker 1: is by us anyway, Oh gosh. And I also think
18:48
Speaker 1: like that whole it implies a lack of trust. I
18:50
Speaker 1: don't think that's necessarily true. I mean it might, especially
18:53
Speaker 1: for someone like you, But I think it means that
18:56
Speaker 1: you're showing you want to care for the people that
18:58
Speaker 1: work with you, and that you understand this is a
19:02
Speaker 1: vulnerable thing and they're doing and you're taking the steps
19:06
Speaker 1: to make it comfortable. Also, again, it should be the
19:11
Speaker 1: other way around. You're supposed to be earning trust, not
19:13
Speaker 1: justly given it because you're the boss or whatever. What right.
19:17
Speaker 1: That is an absurd, narcissistic type of idea, and that
19:21
Speaker 1: again says a lot to who he was and who
19:23
Speaker 1: we thought he should be seen as. There's a lot
19:27
Speaker 1: to pick a part in that quote, but we'll move
19:30
Speaker 1: on um as promised. We do have a lot of
19:33
Speaker 1: quotes from people who after this uh Sean Bean quote
19:38
Speaker 1: came out raised her hand. A lot of factors spoke
19:41
Speaker 1: up in disagreement, and yeah, we want to include some
19:44
Speaker 1: of the quotes from them. So from Rachel Zeigler, who
19:47
Speaker 1: filmed a sex scene at the age of eighteen for
19:49
Speaker 1: West side story, she wrote, spontaneity and intimate scenes can
19:54
Speaker 1: be unsafe. Wake up. Yeah, and Emma Thompson said in
19:59
Speaker 1: another convert station, you might find that people go. It
20:01
Speaker 1: made me comfortable, It made me feel safe, It made
20:04
Speaker 1: me feel as though I was able to do this work. No,
20:07
Speaker 1: you can't just let it flow. There's a camera there
20:09
Speaker 1: and a crew. It's not on your own in a
20:11
Speaker 1: hotel room. You're surrounded by a bunch of blows carrying things.
20:16
Speaker 1: Um and, according to Thompson, in most cases filming intimate
20:18
Speaker 1: scenes is not seen is a not comfortable situation full stop.
20:24
Speaker 1: Which again I feel like that's the constant rhetoric we
20:27
Speaker 1: hear when it comes to people, because that's the first question,
20:30
Speaker 1: especially if it's a sexy movie. Oh how did you
20:32
Speaker 1: feel about this? How did you? How did you get
20:34
Speaker 1: into these scenes? And immediately it was like, it's not sexy,
20:37
Speaker 1: it's work, it's awkward, it's cold. I don't like it. Yes, yes,
20:42
Speaker 1: I I hard agree. Like there's nothing comfortable and spontaneous
20:45
Speaker 1: about a lot of filming, Like most of filming as
20:48
Speaker 1: an actor, all of it is like uncomfortable and strange.
20:52
Speaker 1: I don't see why. I mean especially it should be
20:56
Speaker 1: in my opinion, like intimacy, like intimate scenes, because like
21:01
Speaker 1: they're all these things. You have to hit your mark,
21:03
Speaker 1: maybe there's a green discreet and you have to be
21:05
Speaker 1: uncomfortably close to each other to appear natural, like the
21:08
Speaker 1: amount of distance to have like a natural amount of
21:12
Speaker 1: space between somebody you're like right up in their face.
21:15
Speaker 1: It's not comfortable. Um, you have to have your eyeline
21:18
Speaker 1: in a certain place. All of this you're supposed to
21:20
Speaker 1: do as if there aren't eyelines and marks and all
21:24
Speaker 1: of these things that you're trying to keep in your
21:25
Speaker 1: head while you're also saying lines and trying to look natural.
21:28
Speaker 1: And I think like a lot of practice and rehearsing
21:36
Speaker 1: that doesn't necessarily remove the spontaneity. I think though, what
21:40
Speaker 1: you're doing is you're you're marking out in a way
21:43
Speaker 1: that feels safe and comfortable. You know what's going to happen.
21:45
Speaker 1: You can still have little spontaneous moments within that as
21:49
Speaker 1: long as it's agreed upon as right, oh, like a
21:52
Speaker 1: little giggle or I don't know, Like there's there are
21:54
Speaker 1: ways we rehearse everything. Why is it like this one
21:59
Speaker 1: thing all that removes the spontaneity, right, it's what right.
22:06
Speaker 1: People will get mad when a line is improved at
22:10
Speaker 1: times and it ruins the scene, as in like it
22:12
Speaker 1: gets people cracking up, and they talked about how much
22:15
Speaker 1: money is wasted because of that, and so oftentimes you
22:19
Speaker 1: will have directors who are absolutely livid. I know there's
22:22
Speaker 1: there's directors who love it if you can go with it,
22:24
Speaker 1: but there's a you know, like the level of what
22:27
Speaker 1: is being said and who's wasting money and what's doing what?
22:30
Speaker 1: Why is this which can harm a person? Not as
22:32
Speaker 1: us respond when you think of it as it does
22:36
Speaker 1: have to be choreographed because you want to get the
22:38
Speaker 1: right camera angles, like I don't get it like, and
22:42
Speaker 1: it is a job. It is a job, and just
22:45
Speaker 1: like all jobs, we should be protecting the workers. And
22:49
Speaker 1: many people have pointed out Emma Thompson is Sean Bean's
22:53
Speaker 1: age and she is recounting a very different experience than
22:57
Speaker 1: he is. Right are to do U. Lena Hall, who
23:03
Speaker 1: filmed the sex scene in Snow Piercer with Being, said
23:06
Speaker 1: that while he made her feel comfortable and was a
23:09
Speaker 1: good scene partner, quote, if there's any part of me
23:11
Speaker 1: that is feeling weird, it grows overexposed, et cetera. I'll
23:14
Speaker 1: either challenge the necessity of the scene or I'll want
23:18
Speaker 1: an icee. I do feel that intimacy coordinators are a
23:21
Speaker 1: welcome addition to the set and think they could you
23:24
Speaker 1: also help with the trauma experience in other scenes. Sometimes
23:28
Speaker 1: you need them, sometimes you don't. But every single person
23:31
Speaker 1: in scene and experience is different, which I think is huge.
23:35
Speaker 1: So the scene in question was cut um and it's
23:38
Speaker 1: kind of at the heart of this being said of Hall.
23:42
Speaker 1: I suppose it depends on the actress. This one had
23:45
Speaker 1: a musical cabaret background, so she was up for anything. Wow,
23:50
Speaker 1: how condescending and and uh yeah, dismissive. Haul responded, Just
23:56
Speaker 1: because I'm in theater, not cabaret, but I do perform
24:00
Speaker 1: every once in a while, does not mean that I
24:02
Speaker 1: am up for anything. I don't even understand what that means.
24:05
Speaker 1: Was it like she got her big break of the movies,
24:07
Speaker 1: so she was up for anything? Honestly, I could be wrong,
24:11
Speaker 1: but I feel like it was from slut shaving. Okay, Like,
24:15
Speaker 1: is there like is there an idea that theater people
24:19
Speaker 1: are are slutty I or cabaret people are care I
24:28
Speaker 1: but that's just the vibe I got from that statement.
24:32
Speaker 1: He said, it took out the spontaneity. His partners are like, no, no, no, no,
24:36
Speaker 1: I really wish we had them. I don't. I don't
24:38
Speaker 1: understand what you're doing. So it's very gender but also toxic.
24:42
Speaker 1: Masculinity is a part of this when we have a
24:44
Speaker 1: conversation about the fact that people who are so upset
24:47
Speaker 1: again are most likely going to be domineering male uh
24:53
Speaker 1: types who don't really think they look good having sex
24:57
Speaker 1: because in reality, sexless goofy as hell. I agree honestly,
25:03
Speaker 1: Like sometimes I get that it termed some people on,
25:05
Speaker 1: but for me, I'm usually like, oh no, not this angle, please,
25:11
Speaker 1: it is Jamilla Jamille tweated it should only be technical.
25:20
Speaker 1: It's like a stunt our. Job as actors is to
25:23
Speaker 1: make it not look technical. Nobody wants an impromptu group
25:27
Speaker 1: and I love that because I think that's why. I
25:28
Speaker 1: don't know if I said it as scinctly as she did,
25:31
Speaker 1: but like it's a yeah, you should coordinate it, and
25:36
Speaker 1: then the actor, if they're a good actor, can make
25:38
Speaker 1: it look like it's not coordinated. It's not technical, right,
25:42
Speaker 1: That's the job of the actor, but you still want
25:44
Speaker 1: to have that in place, right, how are you going
25:47
Speaker 1: to do your job? Well? If like you're half concerned
25:50
Speaker 1: about what they're going to do and where they're touch
25:52
Speaker 1: without permission, that you're going to be so in your
25:55
Speaker 1: head about it. And I see that you're probably already
25:57
Speaker 1: going to be in your head about right. I mean
26:00
Speaker 1: and to say, Fred said she wished she'd had an
26:02
Speaker 1: intimacy coordinator on set as a younger actor and quote
26:06
Speaker 1: being nineteen walking around without my underwear on, Like, are
26:09
Speaker 1: you kidding me? How did I let that happen? Oh?
26:12
Speaker 1: I know why. I was nineteen and I didn't want
26:14
Speaker 1: to upset anybody, and I wanted to keep my job.
26:17
Speaker 1: That's why. Mm hmm yep. Um. And then not a
26:23
Speaker 1: person or a woman, but the Broadcasting, Entertainment, Communications and
26:26
Speaker 1: Theater Union issued this statement. Disappointing to hear these comments
26:30
Speaker 1: from such a screen favorite and established actor without acknowledging
26:33
Speaker 1: his position of privilege and the vulnerabilities and challenges many
26:36
Speaker 1: in the industry, particularly young and less experienced actors, may
26:40
Speaker 1: face as they engage in shooting intimate scenes. Um, and
26:45
Speaker 1: this is like as we record this ongoing people are
26:49
Speaker 1: coming out of the woodwork to say, actually, yes, I
26:51
Speaker 1: really would have wished we had had an intimacy coordinator.
26:54
Speaker 1: So I saw just this morning, I think some of
26:57
Speaker 1: the cast of Boy Meets World said that they had
27:00
Speaker 1: wished they had had intimacy coordinators on set for Boyme's World.
27:05
Speaker 1: I do. I do think about stuff like that with
27:08
Speaker 1: young kids having their first kiss on screen and how
27:12
Speaker 1: awkward that was. I will say I just watched recently
27:16
Speaker 1: The Wes Anderson and it's an older, one old movie
27:18
Speaker 1: with kids half naked touching on each other, and they
27:21
Speaker 1: were young kids, and I'm sitting here really horrified, like
27:23
Speaker 1: everything about this, and I'm like, I really hope they
27:26
Speaker 1: had supervision because this in itself is uncomfortable, awkward, and
27:32
Speaker 1: I hope those kids are Okay. Yeah, I mean it's
27:37
Speaker 1: gonna sound straight, But that's actually a great point in
27:40
Speaker 1: terms of the audience, Like you would have enjoyed it
27:43
Speaker 1: matter if you had known. I think I would. I
27:47
Speaker 1: should have really like I was so I wanted to
27:49
Speaker 1: fast forward it. I mean not to say, like some
27:52
Speaker 1: things just make you uncomfortable, but I think a lot
27:55
Speaker 1: of times for me, I would enjoy something better if
27:57
Speaker 1: I knew, Okay, they've took the safety precautions. The people
28:02
Speaker 1: on set, we're taking care of like for me as
28:05
Speaker 1: a viewer, right well, I mean and it should be
28:09
Speaker 1: whereas a professoral le like person who's a ligison in
28:12
Speaker 1: between those people, because you don't always have this good relationship.
28:15
Speaker 1: And I feel like Lena Hall was being nice, especially
28:19
Speaker 1: after reading Sean Bean's comment, wondering did he really was
28:23
Speaker 1: he really good partner or was she just saying that
28:25
Speaker 1: so not to piss off a legendary film actor or
28:28
Speaker 1: whatever whatnot? Um because you know, we know in Game
28:31
Speaker 1: of Thrones, Amelia Clark talked about how she would not
28:35
Speaker 1: have been able to get through those scenes had she
28:37
Speaker 1: not had such a great actor who protected her, literally
28:41
Speaker 1: being like, are you okay with this? Can we like
28:43
Speaker 1: had to do some coordinating on their own in orders
28:46
Speaker 1: for protection, but it was him going, you know, making
28:50
Speaker 1: the initiative. And I don't know if they were intimency coordinators,
28:52
Speaker 1: but it didn't sound like it' not from what Clark
28:55
Speaker 1: was saying that it was all pretty much him protecting
28:59
Speaker 1: her wrong this and mean he's like, if you're not comfortable,
29:01
Speaker 1: tell me, I'll fight them like that that level, and
29:04
Speaker 1: she talked about that, the fact that it took her
29:06
Speaker 1: after season one of being a big enough name to
29:10
Speaker 1: be like, I don't want to do this anymore. Yeah. Yeah,
29:13
Speaker 1: And I think, as we've mentioned throughout, that is a
29:15
Speaker 1: big part of the problem is there's just this pervasive
29:22
Speaker 1: messaging to especially young women entering trying to enter the business,
29:26
Speaker 1: like there are thousands like you that want to be here.
29:29
Speaker 1: If you can't suck it up and do what we
29:30
Speaker 1: tell you to do, we can get rid of you
29:32
Speaker 1: and replace you. And they will do this easily. Yeah.
29:36
Speaker 1: And I think it's also just like the blase attitude
29:39
Speaker 1: that some of these men have shown, and we're saying
29:43
Speaker 1: it's not a big deal, it's hilarious, it's funny, or
29:45
Speaker 1: you know, it feels nice. Who doesn't want to make
29:47
Speaker 1: out with these young girls. I'm sure that's some people's attitudes,
29:51
Speaker 1: But the fact of the matters. There's a lot of trauma.
29:53
Speaker 1: There was a scene and I think about this all
29:56
Speaker 1: the time. It pisces me off and also puts me
29:58
Speaker 1: at like, yeah, Chris Pratt's the word Chris. Sorry, that's
30:01
Speaker 1: just a personal opinion. Um, But one of the outtakes
30:05
Speaker 1: he thought was hysterical. Um and shared was the fact
30:08
Speaker 1: that he got completely naked, took off his Like the
30:11
Speaker 1: scene was that he was supposed to be naked, but
30:12
Speaker 1: of course he had the underwear or whatever. Yeah, but
30:16
Speaker 1: he took it off, flashing Amy Poehler and Rashida Jones.
30:20
Speaker 1: And he came back when he was telling the story
30:22
Speaker 1: about how they were really upset about it and like
30:25
Speaker 1: he tried to play it off as a joke and
30:26
Speaker 1: they even put it as a bee clip blooper and
30:29
Speaker 1: he's like, they were actually upset but thought it was
30:31
Speaker 1: hilarious to tell it. And I'm like, that is sexual assault.
30:34
Speaker 1: I'm sorry, that is sexual assault and harassment. And honestly,
30:37
Speaker 1: as a traumatized victim, that would have had me on
30:39
Speaker 1: the floor, right right. I think that gosh I did
30:47
Speaker 1: such a figure conversation. But yeah, I do think because
30:50
Speaker 1: women just statistically experienced sexual assault and related things at
30:55
Speaker 1: such higher rates that we have to think about that.
30:59
Speaker 1: Um be where. But like I feel like an art
31:02
Speaker 1: scenes and artistic endeavors, it's sort of thrown out the window, like,
31:05
Speaker 1: oh but this will be good art initially be thrown
31:08
Speaker 1: out the window and I think men just don't think
31:11
Speaker 1: about it because it's not something they have to worry
31:13
Speaker 1: about every minute of all day. And yes, men could
31:18
Speaker 1: be assaulted too, but I just it's statistic to wright,
31:22
Speaker 1: so for him to do that, like it probably never
31:24
Speaker 1: occurred to him, right, Maybe they have a horrible experience
31:28
Speaker 1: that this is kind of write off, and being a
31:31
Speaker 1: part of the industry, they probably really have. Probably, But
31:34
Speaker 1: the thing about the matter is like they's so flippant
31:36
Speaker 1: that this even bypassed people on the set watching him
31:40
Speaker 1: do it, not thinking anything about it and just letting
31:43
Speaker 1: it go and saying this is a huge joke. Him
31:45
Speaker 1: being told don't tell people this because this is gonna
31:47
Speaker 1: get you in trouble. But he told it on a
31:49
Speaker 1: national team because he just thought it was hilarious. Has
31:52
Speaker 1: he ever apologized to it. No, And no one's really
31:54
Speaker 1: kept them, hold them accountable to everybody treated it as
31:57
Speaker 1: a joke. And you know what, I get that, I
31:59
Speaker 1: get that to a certain degree of like he really
32:01
Speaker 1: thought this would be hilarious, which stop. Just if anybody
32:05
Speaker 1: wants to know, that's not funny to me, So don't
32:07
Speaker 1: do that to me. Thanks. But all of that matter
32:10
Speaker 1: in this conversation, it's like, this is the level of
32:12
Speaker 1: what uh they think is acceptable. They just part of
32:16
Speaker 1: the job and that this is okay and realizing now
32:20
Speaker 1: this is why it needs a breakdown. And I'm sorry
32:22
Speaker 1: that the quote unquote fun police have come through, but
32:25
Speaker 1: for a lot of us, this is not fun exactly.
32:28
Speaker 1: And just because this is artistic, it's still a job.
32:34
Speaker 1: If you did that at any other job, I would
32:37
Speaker 1: hope you would be fired. Unfortunately we have instances where
32:40
Speaker 1: that's not been the case, but generally you should be fired.
32:44
Speaker 1: And if you have coordinated something out like that and
32:49
Speaker 1: everyone's prepared, that's different than you just do it as
32:53
Speaker 1: a joke. Yeah, and there's some things like the conversation
32:57
Speaker 1: is it's not about stopping it, stopping sexy, stopping the
33:01
Speaker 1: spicy scenes. Don't get me wrong, they're like okay, cool.
33:04
Speaker 1: But at the same it doesn't also mean that there's
33:08
Speaker 1: doesn't need to be regulation. There's a reason there's a
33:10
Speaker 1: rating system to begin with for the viewers. There should
33:13
Speaker 1: be a system to set up to protect the actors. Yes,
33:18
Speaker 1: and I also think that we should come back and
33:21
Speaker 1: talk about this. I know we've talked about a little
33:22
Speaker 1: bit more but you know, depending on who's writing it,
33:25
Speaker 1: who's directing it. I think, as some of these actors
33:29
Speaker 1: have said, you know, there are certain scenes I don't
33:31
Speaker 1: want to do, and a lot of it's coming from
33:33
Speaker 1: a male gaze of treating a woman as an object
33:37
Speaker 1: in a scene. So it's okay to traumatize her or
33:40
Speaker 1: depict a sexual assault, maybe it's not necessary, and maybe
33:44
Speaker 1: intimacy coordinators can be the person who's like, well, why
33:48
Speaker 1: are we whatever? What are we trying to communicate here? Um?
33:51
Speaker 1: Because if it can be cut, the actor is not comfortable, Like,
33:54
Speaker 1: that's also a part of this. And then I did
33:58
Speaker 1: want to run through some really quick personal experiences I've
34:02
Speaker 1: had because I have worked in some acting before UM,
34:08
Speaker 1: And I think like we've mentioned a lot of this throughout,
34:11
Speaker 1: and I bet a lot of professions can connect to this.
34:13
Speaker 1: But I've certainly been pressured into uncomfortable situations. UM. There
34:18
Speaker 1: generally has not been hr or if there happen, I
34:21
Speaker 1: have not been told where they are. I don't know
34:24
Speaker 1: who to contact. I don't think ever have I been
34:27
Speaker 1: on a set. And then a lot of times, if
34:29
Speaker 1: you do an intimate scene, it's supposed to be only
34:32
Speaker 1: necessary personnel are in there, and they're not supposed to
34:35
Speaker 1: bring their cell phones. And I have been at least
34:39
Speaker 1: one time where I saw cell phones and I didn't
34:42
Speaker 1: know what to like, Like I thought we said there
34:44
Speaker 1: was no cell phones, I couldn't have my cell phone. Um,
34:49
Speaker 1: and then yeah, the whole idea like oh if you
34:51
Speaker 1: don't do it, thousands behind you. And another thing people
34:55
Speaker 1: brought up a lot I thought was a great point, um,
34:58
Speaker 1: is that scripts can be really egg they are so
35:02
Speaker 1: like one example a lot of people gave is make
35:04
Speaker 1: passionate love, Like don't you want to choreograph that? What
35:08
Speaker 1: does that mean? What does that mean? We're just gonna
35:10
Speaker 1: roll around and push each other and right like, and
35:15
Speaker 1: people can have different ideas of what that means for
35:18
Speaker 1: one thing, and you don't want it to like get
35:19
Speaker 1: a black eye or whatever whatever you're accidentally throwing elbows
35:24
Speaker 1: and um, so that's another area where I just I'm sorry,
35:29
Speaker 1: I just had a moment of like, make passionate love,
35:32
Speaker 1: elbow in the face, you know what you're rolling about?
35:35
Speaker 1: An elbow? Pro yes? Well, but yeah, I mean I
35:40
Speaker 1: think that's that's a great point. How are you supposed
35:42
Speaker 1: to interpret that? As an actor. And then if you're lucky,
35:48
Speaker 1: if you work on a big enough production, you get
35:50
Speaker 1: to work with said actor before that and talk about it,
35:52
Speaker 1: discussed it. But that's it's always true either. Sometimes you
35:55
Speaker 1: just walk in and they're like, go, I've heard of
35:57
Speaker 1: like things like this is planned for next Thursday. Oh no,
35:59
Speaker 1: we're doing today because this is the best time, or
36:01
Speaker 1: something's gone wrong with the other things. Yes, yes, that
36:04
Speaker 1: has happened to me, not with an intimate scene, but
36:06
Speaker 1: with an emotionally intense scene where they're like, actually, we're
36:09
Speaker 1: doing that today, right, alright, I have five minutes of
36:14
Speaker 1: really good in the state. Um. So yeah, that's something
36:16
Speaker 1: that happens. Um. And then, as I mentioned, auditions themselves,
36:23
Speaker 1: which are essentially job interviews, can get really gross and
36:27
Speaker 1: they'll just give you no warning, tell you to come
36:30
Speaker 1: in and be like, actually you need to see what
36:32
Speaker 1: you would look like in a bikini, so can you
36:34
Speaker 1: take off your clothes? Um, And there's no like, there's
36:38
Speaker 1: no warning. You come again, you're kind of like, um, no,
36:43
Speaker 1: watch do you have that moment of like does that
36:45
Speaker 1: mean I won't get the job if I don't do it?
36:47
Speaker 1: But I don't want to do it. So that's all gross.
36:49
Speaker 1: And I've heard horror stories, as I said, about big
36:51
Speaker 1: directors doing way worse than that. Um which is related
36:56
Speaker 1: to the idea of the male genius, which we've talked before,
36:59
Speaker 1: who gets away with everything in the name of art,
37:03
Speaker 1: even if it means hurting women. Sometimes especially if it
37:06
Speaker 1: means hurting women. UM So I think that is at
37:10
Speaker 1: play throughout all of this. And yeah, you can get
37:14
Speaker 1: really wrapped up in the moment and not know how
37:16
Speaker 1: to speak up and say you're uncomfortable, especially if you
37:19
Speaker 1: don't have an advocate, especially if expontaneity is involved, and
37:24
Speaker 1: all of a sudden someone's kissing you or whatever, and
37:28
Speaker 1: you don't know, you don't want to break the scene,
37:30
Speaker 1: you don't know what's happening, Like it's not good. We've
37:47
Speaker 1: just heard so many, over and over again stories of
37:50
Speaker 1: young actresses being taken advantage of by older men, and
37:57
Speaker 1: these scenes can be just a life space for that.
38:03
Speaker 1: And yeah, I mean enthusiastic consent and sexy this idea
38:08
Speaker 1: that a lot of it, a lot of it embodies
38:11
Speaker 1: that men who don't like it. It seems to be like, wait, what,
38:13
Speaker 1: I can't do anything, I n well, I mean and
38:21
Speaker 1: also like I just remember the Nicole Kidman movie dog
38:24
Speaker 1: Bill had no idea what the promos of the movie
38:26
Speaker 1: as it was getting a lot of accolades, um, and
38:31
Speaker 1: there was a woman. There was a moment when in
38:34
Speaker 1: the movie there are rape scenes, but it's pretty much
38:37
Speaker 1: like laid out like it's a play, so it's just cut,
38:40
Speaker 1: just taped off. You're supposed to know what this is.
38:43
Speaker 1: But it was absolutely a movie, a play within a movie.
38:46
Speaker 1: And uh still in Scars, Guard has a really intense
38:50
Speaker 1: rape scene with Nicole Kidman. He talks about it and
38:54
Speaker 1: he couldn't even speak it in English, like he was
38:56
Speaker 1: so distraught from the scene. It was so dis by it,
39:00
Speaker 1: Like as they were interviewing him about the scene, because
39:04
Speaker 1: I had to go I had to like detalk about
39:06
Speaker 1: it and I need to know, they were okay, like
39:08
Speaker 1: that's what how far I had to go for it?
39:11
Speaker 1: Of course, it's a large von Trier, who is one
39:13
Speaker 1: of those that really pushes quote unquote the envelope or whatever, um,
39:19
Speaker 1: and he was disturbed by it. He was so perturbed
39:22
Speaker 1: by that he literally could not explain what he was
39:26
Speaker 1: what had happened in English? Was I thought. I was like,
39:29
Speaker 1: this is before I knew who he was as the
39:31
Speaker 1: big actor that he was, and I was like, oh
39:33
Speaker 1: my god, what's happening. He has a really good English
39:37
Speaker 1: ractor accident in the movie, but then he's just like
39:40
Speaker 1: breaking down crying, Like this is about the fact that
39:44
Speaker 1: in those things, I hope as a human that these
39:48
Speaker 1: male actors who have to portray this feel just as
39:51
Speaker 1: bad and disgusting and grows about this, right, I mean, yeah,
39:55
Speaker 1: we've been talking a lot about women, but anybody involved
39:57
Speaker 1: is right. Those are emotionally intense and traumatic scenes, right,
40:02
Speaker 1: and of course we are going like a different round
40:05
Speaker 1: with that conversation and like, oh, it's just not fun
40:07
Speaker 1: and it takes out a spontaneity. Again, though we know
40:09
Speaker 1: most of the times a lot of these movies take
40:12
Speaker 1: unnecessary leaps into making it traumatic and violation for women
40:17
Speaker 1: for the characters, which sometimes it's like this is not necessary,
40:21
Speaker 1: I don't understand what this is and like the fact that, yeah,
40:24
Speaker 1: it's traumatizing to everyone. In a round, I would hope, um,
40:28
Speaker 1: there should be a conversation and a breakdown of the
40:30
Speaker 1: scenes and you know what's happening without truly violating either
40:33
Speaker 1: one of the actors in these moments, and this asks
40:36
Speaker 1: to consider, of course we're not really in the movie.
40:39
Speaker 1: You know, that's not supposed to be played, but you
40:40
Speaker 1: should be able to do so behind the scenes, to
40:42
Speaker 1: do it correctly and safely for both actors. Like, yeah,
40:50
Speaker 1: I would even hope like they have like a speech
40:52
Speaker 1: they give to the crew. And there are some instances
40:59
Speaker 1: of a qualified I c s that have gotten through
41:03
Speaker 1: and have provided bad experiences. Um, and that is something
41:09
Speaker 1: that those in the in the small industry are working
41:11
Speaker 1: to change. But overall, it seems that they make everything.
41:16
Speaker 1: They make things better for everybody, and they make the
41:19
Speaker 1: set more safe and they make you know, the energy
41:24
Speaker 1: image better. Uh so yeah, yeah, if you're interested, there
41:29
Speaker 1: are resources available online which I definitely checked out. I
41:31
Speaker 1: was just kind of curious. I was like, oh, what
41:33
Speaker 1: am I going to have to do if I wanted
41:35
Speaker 1: to do this? They do say it takes like years,
41:40
Speaker 1: like they aren't young intimacy coordinators really like you really
41:43
Speaker 1: have to put in the time and work. But yes,
41:46
Speaker 1: you should go check that out if you're at all interested.
41:49
Speaker 1: And yeah, my t LDR for this one is intimacy scenes.
41:52
Speaker 1: Intimate scenes are stunts. They're vulnerable stunts and this whole thing,
41:56
Speaker 1: it's a job. So intimacy coordinators are important for ensuring
42:01
Speaker 1: everyone's safety, comfort, and the best performances in the merom Wood.
42:06
Speaker 1: Yes so uh. If you would like to contact us
42:11
Speaker 1: you can. Our email is a stuff in Your mom
42:13
Speaker 1: Stuff at I hurt me dot com. You can find
42:14
Speaker 1: us on Twitter at mom Stuff podcast on Instagram at
42:16
Speaker 1: stuff whatever told You. Thanks it's always to our super
42:19
Speaker 1: producer Christie. Thank you, Christina, and thanks to you for
42:22
Speaker 1: listening Stuff and Never tolduced Pection from iHeart Radio. For
42:25
Speaker 1: more podcast from iHeart Radio, you can check out the
42:27
Speaker 1: radio app Apple Podcast wherever you listen to your favorite shows,