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Making Love: Hollywood's Intimacy Coordinators (w/ Peter Banifaz) · Artists on Artists on Artists on Artists

• 0:00
  Speaker 1: Welcome back to artists on artists on artists on artists. Boy,
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  Speaker 1: do we have a panel for you.
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  Speaker 2: Today, Mystry's Screenwriting Expert panel of new voices in Hollywood.
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  Speaker 3: Castives are character Buck Mary Kill wide shot, two shot,
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  Speaker 3: close up.
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  Speaker 1: This is artist on artists on.
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  Speaker 3: Artists on artists.
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  Speaker 1: Do you know why they call it show business? I
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  Speaker 1: always wondered that. Welcome back to artists on artists on
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  Speaker 1: artists on artists. This week we're talking on screen love
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  Speaker 1: and who's making it. That's right. Intimacy coordinators play a
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  Speaker 1: vital role in the modern filmmaking landscape, choreographing romantic scenes
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  Speaker 1: as well as looking out for the comfort and safety
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  Speaker 1: of actors as well as entire productions. But though they're
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  Speaker 1: pros on set, these five top intimacy coordinators spoke to
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  Speaker 1: us extremely candidly and explicitly about the job. So, in
• 0:53
  Speaker 1: the words of every great Oscar speech, kids go to bed,
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  Speaker 1: let's listen in.
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  Speaker 3: Is it okay if I take this bay and start
• 1:01
  Speaker 3: Is that okay with everyone? If I start with my introduction.
• 1:04
  Speaker 1: I'm okay with that. Please go ahead?
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  Speaker 3: Awesome, thank you. I didn't get enthusiastic consent from everyone
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  Speaker 3: if I can get two more? Yes, yes, thank you, yes, awesome,
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  Speaker 3: thank you so much. Hi everyone, my name is Cedric Chabosi.
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  Speaker 3: I am the intivisy coordinator for Michael Bay. I've worked
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  Speaker 3: on the last four Transformers. It's just a pleasure to
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  Speaker 3: be here with you guys, to talk about the trade.
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  Speaker 4: Is it okay with everybody? If I perhaps?
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  Speaker 3: Yes?
• 1:40
  Speaker 4: Yes? Please? Well, okay, we can get a couple in
• 1:44
  Speaker 4: English too, yes, thank you so much. Great so we
• 1:50
  Speaker 4: got French and English. Hi. My name is Albert Hbib
• 1:55
  Speaker 4: and I am an intimacy coordinator. I know it's ironic
• 1:58
  Speaker 4: that my last name is Habib, which is Arabic bulove.
• 2:02
  Speaker 4: I have been a coordinator now for eight years. I've
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  Speaker 4: worked on Netflix projects. The one I just got off
• 2:10
  Speaker 4: of was Bridgerton Boy on my arms, tired, just kidding.
• 2:18
  Speaker 4: I never did anything. I didn't do anything in my arms.
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  Speaker 4: But it's a pleasure to be here and I'm excited
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  Speaker 4: to really really talk about this thing that we love.
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  Speaker 2: A go.
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  Speaker 5: I am a Louise Lumier. I am an intimacy coach
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  Speaker 5: from France. What we do in France is lots of
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  Speaker 5: intimacy movies, lots of and I also effect on the
• 2:43
  Speaker 5: blind Side and the show How to Get Away with
• 2:50
  Speaker 5: Murder than You Do.
• 2:52
  Speaker 1: I have everyone's permission to go.
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  Speaker 5: Yes, yes, so Sadi, I forgot to ask permission? Will
• 3:05
  Speaker 5: you forgive me?
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  Speaker 3: I think this is a good learning opportunity to let
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  Speaker 3: you know that in America we do ask for permission
• 3:11
  Speaker 3: and consent. So as long as you've learned that lesson,
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  Speaker 3: I'm gonna be okay with moving forward. Is everyone else okay?
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  Speaker 4: Yes?
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  Speaker 1: Yeah? I am all right. I'm Debbie Patrick. I am
• 3:21
  Speaker 1: an intimacy coordinator for dogs and I manage any sort
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  Speaker 1: of animal on set interaction. Beverly Hills Chihuahua was a
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  Speaker 1: big one for me. I did the unrated cut. They
• 3:32
  Speaker 1: didn't air it, but I'm really excited to get into it,
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  Speaker 1: get into the weeds with some real professionals here.
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  Speaker 4: Yo.
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  Speaker 2: Can I have the floor?
• 3:40
  Speaker 3: Yes?
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  Speaker 2: Hey, what's up? My name is Gavin Mueller and I
• 3:46
  Speaker 2: am the INTBAC coordinator for a lot of music videos.
• 3:49
  Speaker 2: That's kind of my my thing. I'm big in the
• 3:52
  Speaker 2: rap game, I'm big in the rock scene. That's where
• 3:55
  Speaker 2: I thrive. That's where I thrive, thrive, thrive, So yeah,
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  Speaker 2: that's that's me.
• 4:00
  Speaker 1: Yeah, okay, let's just dig into the fish bowl with
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  Speaker 1: a first question here. What was the first thing that
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  Speaker 1: made you realize you wanted to be an intimacy coordinator.
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  Speaker 3: That's a wonderful question. I can go ahead and start that.
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  Speaker 3: The first time I realized I wanted to be an
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  Speaker 3: intimacy coordinator was when I was having an intimate moment
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  Speaker 3: with my girlfriend and I realized I had a lot
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  Speaker 3: of notes for her, and I didn't think it was
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  Speaker 3: an appropriate place to give those notes because I was
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  Speaker 3: in the situation. I thought, man, I know a lot
• 4:37
  Speaker 3: of ways that this could be better. It It just
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  Speaker 3: I just felt like we could have we could have.
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  Speaker 2: Made It.
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  Speaker 3: Was the angles. A lot of it was the angles.
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  Speaker 3: A lot of it was the you know, the aesthetics
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  Speaker 3: and and and the speed. The speed was difficult for me.
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  Speaker 3: It just I just knew it didn't look good the
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  Speaker 3: way the speed. You guys know how that is the
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  Speaker 3: speed of the grind. You know what they say, the
• 5:03
  Speaker 3: speed of a grind is a step in time. I mean,
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  Speaker 3: that's the thing that's an intimacy coordinator quote.
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  Speaker 2: That's how And it's.
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  Speaker 1: Such a the great gen Paul did you.
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  Speaker 3: Know Jean Paul? Oh, Jaul.
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  Speaker 5: I studied under Gen Paul.
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  Speaker 3: No way, when I was in I was.
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  Speaker 5: An intern, a pre abduction intern in France.
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  Speaker 3: Yes, no way, you studied under the gen. I mean,
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  Speaker 3: I think I can speak for all of us when
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  Speaker 3: we say Jean Paul is one of the greatest intimacy
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  Speaker 3: coordinators we've ever known.
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  Speaker 4: They got top five.
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  Speaker 3: Of course, is working in It's a wonderful life, all
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  Speaker 3: those deleted scenes.
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  Speaker 2: Mm hmm.
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  Speaker 1: I hope you don't mind me asking what was it
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  Speaker 1: like to work under such a legend who knows so much?
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  Speaker 5: For sure? I'll say, I mean, it was a long
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  Speaker 5: time ago when we didn't have many intimacy coaches around,
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  Speaker 5: you know, And I was on set, working at the
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  Speaker 5: set Pierre. I was sixteen at the time, just trying
• 6:02
  Speaker 5: to make money, and so I I was what.
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  Speaker 1: He hall said.
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  Speaker 5: And I remember seeing this man who says, hold everything,
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  Speaker 5: hold on, and you would take the actors to this
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  Speaker 5: a hide And Jean Paul always made his actors comfortable, always, always,
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  Speaker 5: And I think that's where I said that intimacy is
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  Speaker 5: about comfort.
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  Speaker 3: That's awesome, that's great, Albert. When did you get started?
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  Speaker 4: Yeah, you know, I used to just to be you know,
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  Speaker 4: just to be full of transparent. I used to record
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  Speaker 4: myself masturbating all the time. One time, Oh yeah, of course,
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  Speaker 4: Oh yeah, of course. One time I had myself where
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  Speaker 4: the camera was under me, and it was what I
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  Speaker 4: call a taint shot. Right there. I said, wait, I
• 6:52
  Speaker 4: am choreographing a sexual activity. I'm a choreographer for sex. Now,
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  Speaker 4: why don't I try and choreograph sex in film, TV
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  Speaker 4: shows and whatnot? And that's really what got me going.
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  Speaker 4: It was a taint shot, which I've still been known
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  Speaker 4: for till this day. I guess in the industry I
• 7:11
  Speaker 4: have a little bit of a reputation that I'm the
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  Speaker 4: one to call when they wanted dirty.
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  Speaker 3: Uh.
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  Speaker 4: In fact, one of the last directors I spoke to
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  Speaker 4: the first thing he said, he was like, let me
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  Speaker 4: tell you how daddy wants it.
• 7:23
  Speaker 1: With its bridgeton. It was compliments to the chef because
• 7:30
  Speaker 1: Bridgerton was absolutely disgusting.
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  Speaker 4: Just thank you so much.
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  Speaker 1: Dirty, dirty as all hell for you?
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  Speaker 2: What's it like working that dirty? What is that like
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  Speaker 2: for you? I mean, is that a.
• 7:45
  Speaker 4: You don't believe it or not? The dirtier on screen,
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  Speaker 4: the cleaner how we say, yeah, exactly. So a lot
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  Speaker 4: of times those actors were actually several feet away from
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  Speaker 4: each other. There's a famous doggie style scene where our
• 8:03
  Speaker 4: two leads were actually not even that close to each other.
• 8:06
  Speaker 4: We're able to get it with some of the with
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  Speaker 4: some of the higher level, higher shut of speed cameras
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  Speaker 4: that are around these days.
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  Speaker 2: We actually got a clip of that. Do you wanna
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  Speaker 2: is it all right if we play it show?
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  Speaker 4: Okay? So of course, okay, all right, So this is
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  Speaker 4: the scene where our main lead and obviously I don't
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  Speaker 4: use their names for purposes of comfort, so our main lead,
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  Speaker 4: as you can see, you know, it's.
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  Speaker 3: Much more comfortable to the main lead, you.
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  Speaker 2: Know, said lead.
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  Speaker 4: That we see sex part part sex part pure sex part.
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  Speaker 4: This is as you can see and see right now,
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  Speaker 4: right now, we're on a camera two camera two medium shot. Okay,
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  Speaker 4: we can't tell what's happening. We're pulling out and so
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  Speaker 4: is he, and we're pulling back in and then one
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  Speaker 4: two three and there comes the giz and that's it.
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  Speaker 2: I love that you pull out as he pulled out
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  Speaker 2: and one two three here comes to this. It's it's
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  Speaker 2: like lyrical, you know, it's melodic, you know in a way.
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  Speaker 4: Well, I think Sean Jean Paul is really the first
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  Speaker 4: intestity corderator that that made you feel like, you know what,
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  Speaker 4: this could be an art form too. It doesn't just
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  Speaker 4: have to be We're not just coordinating people having sex
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  Speaker 4: on camera, we're creating on Yeah.
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  Speaker 2: That's you know, I will say, that's exactly how I
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  Speaker 2: feel on music videos because you've got the rhythm right there.
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  Speaker 2: You know, you'll get a banging song and you'll want
• 9:36
  Speaker 2: to watch him bang. You'll want to watch him bang,
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  Speaker 2: and that's what you know what Like this might be
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  Speaker 2: a little bit taboo, but I'll approach the director sometimes
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  Speaker 2: and be you know, maybe these people could fuck right now,
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  Speaker 2: Maybe these people could could do something right now to
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  Speaker 2: spice it up.
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  Speaker 3: You approach that without them asking you.
• 9:53
  Speaker 2: No, without them asking yeah.
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  Speaker 1: I go up and ask hey, sort of door to door,
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  Speaker 1: two different music video.
• 10:00
  Speaker 2: I was asking if yeah, I'll get I'll get Well,
• 10:03
  Speaker 2: there's a there's a basically a white sheet of all
• 10:05
  Speaker 2: the music videos shooting in town. I don't know if
• 10:07
  Speaker 2: you guys have seen this Google doc. Oh no, yeah,
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  Speaker 2: they they kind of like, uh so I'll go door
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  Speaker 2: to door. I'll just go to the director's house be like, hey,
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  Speaker 2: you shooting a music video. You want to people to
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  Speaker 2: have sexy, let me know. So, yeah, that's kind of me.
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  Speaker 1: It sounds like from.
• 10:23
  Speaker 2: Is that what they're doing, Maybe I should move there
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  Speaker 2: or something. Maybe maybe don't dare.
• 10:29
  Speaker 5: Me now, Debbie talk about their dogs.
• 10:33
  Speaker 1: Oh yeah, Well, you know, it kind of relates to
• 10:36
  Speaker 1: the fishbowl question a little bit, because you know, I
• 10:38
  Speaker 1: saw so I was you know, I was twenty three.
• 10:42
  Speaker 1: I was living back in I was in Wisconsin then,
• 10:46
  Speaker 1: and I had these you know, these big screen doors,
• 10:49
  Speaker 1: and uh, they'd slam open in the night. They'd slam open,
• 10:53
  Speaker 1: slam shut whenever we got weather, and sometimes a couple
• 10:56
  Speaker 1: of rowdy dogs would come in. They'd run in and
• 11:00
  Speaker 1: they'd be humping up a store, like just curiously going
• 11:06
  Speaker 1: at it. And I used to come out with a
• 11:08
  Speaker 1: broom and I'd say, hey, get on out, get on out.
• 11:12
  Speaker 1: And then one day I realized that's pretty cool. What
• 11:17
  Speaker 1: they're doing is pretty cool, and I shouldn't stop it.
• 11:21
  Speaker 1: In fact, I think I can help them make it better.
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  Speaker 1: So the next time a storm came in, those windows
• 11:27
  Speaker 1: fly open, slam slam, slam dogs run in. They're humping
• 11:31
  Speaker 1: and I say, move a little to the right, and
• 11:34
  Speaker 1: I move the big one slas. Oh they listen. And
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  Speaker 1: that's when I knew I had a gift. And people said, oh,
• 11:42
  Speaker 1: you should get into dog training, and I I said,
• 11:44
  Speaker 1: I want, I want one better. I want to train
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  Speaker 1: them to have sex.
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  Speaker 2: With each other before we go.
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  Speaker 3: Yeah, I would.
• 11:52
  Speaker 2: I just wanted to add, you know, I'm really excited.
• 11:55
  Speaker 2: I heard you got your hands on Clifford, the big
• 11:57
  Speaker 2: red dog, and.
• 11:58
  Speaker 1: Oh my god, and his stuff, well cats on the bag, I.
• 12:02
  Speaker 2: Guess, or any sort of spoilers or anything like that
• 12:05
  Speaker 2: from well, you know.
• 12:08
  Speaker 1: There's been a lot of uh, you know, there's been
• 12:10
  Speaker 1: a lot of speculation about the size. Pretty large, pretty large.
• 12:16
  Speaker 1: Clifford's a big dog. He's got a big hog. That's
• 12:19
  Speaker 1: who we say in my sector.
• 12:22
  Speaker 3: Really very nice.
• 12:24
  Speaker 1: Ye, thank you guys. I was when I got the
• 12:27
  Speaker 1: phone call. I was shaking when you know, when Michael
• 12:30
  Speaker 1: Bay called me and said, you got Clifford.
• 12:33
  Speaker 3: Michael Michael Bay called you, Michael Bay himself, Michael Bay.
• 12:38
  Speaker 3: Because I've I've done a lot of work with Michael,
• 12:40
  Speaker 3: I was his go to. I didn't know that he
• 12:44
  Speaker 3: booked Clifford. I thought that I thought Paul Thomas Anderson
• 12:46
  Speaker 3: was still doing Clifford. He he dropped.
• 12:49
  Speaker 2: Oh I heard he dropped. I heard that they went
• 12:52
  Speaker 2: in a completely different No.
• 12:53
  Speaker 1: No, no, no, can we edit that out?
• 12:56
  Speaker 4: No?
• 12:56
  Speaker 3: No, I actually would keep I would love to keep
• 12:58
  Speaker 3: it in because my my big thing about of my
• 13:01
  Speaker 3: signature as an intimacy coordinator and a person is I
• 13:03
  Speaker 3: like to keep mistakes in because I think mistakes are
• 13:06
  Speaker 3: part of sex, or at least what I've seen from sex.
• 13:08
  Speaker 3: But I I think that's great for you, and that's exciting.
• 13:13
  Speaker 3: And if you need tips on working with Michael, I'm
• 13:16
  Speaker 3: happy to discuss with you and give you any any
• 13:19
  Speaker 3: sort of information. That's awesome. That's all that's.
• 13:22
  Speaker 1: Really I'd love to reach out. And again, mom's the word.
• 13:26
  Speaker 4: We don't know.
• 13:27
  Speaker 1: I don't want this getting out anywhere.
• 13:29
  Speaker 3: We Yeah, and we can keep this in and we
• 13:30
  Speaker 3: can we can edit out. I'd love to keep it in,
• 13:33
  Speaker 3: you know, just for transparencies. Negotiate this yeahsation with you. Yeah,
• 13:39
  Speaker 3: that would be great. I mean maybe he just you know,
• 13:41
  Speaker 3: I mean, I perfected robot sex, so it's like hard
• 13:46
  Speaker 3: to go away from that.
• 13:48
  Speaker 2: So you did Transformers for that, was you?
• 13:50
  Speaker 3: Yeah? Yeah, yeah, yeah, I did Transformers for you did Bumblebee. Yeah,
• 13:55
  Speaker 3: there's that big scene where Bumblebee and Star Scream have
• 13:58
  Speaker 3: sex in the sky. Yeah, it's the spinning. It's the
• 14:02
  Speaker 3: fireworks where they yeah, they shoot you know, they they're
• 14:06
  Speaker 3: they're they're both male robots, so they shoot com and
• 14:09
  Speaker 3: there come with fireworks and then it was the ending.
• 14:13
  Speaker 3: It was kind of and that's how fireworks were created.
• 14:15
  Speaker 3: They kind of did an Edward scisserhand style thing where
• 14:18
  Speaker 3: they it was like a modern just so story. It's
• 14:20
  Speaker 3: like a fable they tell at the end that like,
• 14:22
  Speaker 3: oh it turns out because it took place in the forties,
• 14:26
  Speaker 3: it was really exciting to envision that, you know, because
• 14:32
  Speaker 3: have you guys dealt with kind of sex scenes in
• 14:36
  Speaker 3: fantastical situations like when you have to approach kind of
• 14:39
  Speaker 3: what is sex underwater? What is fish sex? What is
• 14:43
  Speaker 3: robot sex? Have you guys had situations like that?
• 14:46
  Speaker 4: Well? I was actually not the first in command but
• 14:52
  Speaker 4: the second in command intimacy coordinator for Avatar, so I
• 14:57
  Speaker 4: was I was able to see a lot of things,
• 14:59
  Speaker 4: but it do it. There was an issue now they
• 15:03
  Speaker 4: wanted the Abbot. These are scenes were unfortunately cut, But
• 15:06
  Speaker 4: they wanted the Abbatarians. They wanted them to have really
• 15:09
  Speaker 4: rough sex all over the trees. Well, guess what happens
• 15:13
  Speaker 4: when you have rough sex on a tree? You fall down,
• 15:16
  Speaker 4: you know, sometimes you fall down, You fall down head first.
• 15:19
  Speaker 4: What we did is we strapped them to the trees
• 15:24
  Speaker 4: and had them just so violently masturbate.
• 15:30
  Speaker 2: Themselves.
• 15:31
  Speaker 4: Yeah, the ten point the town themselves. That way, we
• 15:34
  Speaker 4: we significantly reduced the chances of any type of injuries.
• 15:39
  Speaker 4: And obviously it's part of our job to make sure
• 15:41
  Speaker 4: that there's no injuries that you know, there's there's no
• 15:44
  Speaker 4: lawsuits and whatnot. So we were able to do, but
• 15:46
  Speaker 4: they cut all the scenes out. Some of the Avatarians
• 15:50
  Speaker 4: were quote unquote too violently masturbating. I don't even know
• 15:55
  Speaker 4: if that's a thing. I don't even know if that's possible.
• 15:58
  Speaker 1: Now there's I was wondering, because they eventually settled on
• 16:02
  Speaker 1: something where the tails just sort of intertwined and that's
• 16:06
  Speaker 1: what causes the sex. How did you guys settle on that?
• 16:10
  Speaker 4: Well, it was I guess it was the studio said, listen,
• 16:13
  Speaker 4: this is what you guys did is unacceptable. We would
• 16:16
  Speaker 4: never release this if we did, would be a laughing
• 16:18
  Speaker 4: stock and probably never work again. So we went we
• 16:22
  Speaker 4: went in the room and we said, how do we
• 16:25
  Speaker 4: not you know, how do we not get fired? How
• 16:29
  Speaker 4: do we keep going forward in this project? We said, Okay,
• 16:32
  Speaker 4: they're wild, they're wild, interesting creatures. And how would they
• 16:36
  Speaker 4: have sex? Okay, probably an interesting way? They have tails?
• 16:40
  Speaker 4: Rub the tails. Basically the story is they rubbed the
• 16:44
  Speaker 4: tails until it produces a sort of like, what do
• 16:46
  Speaker 4: you call it, jiz butter, this jizz body jeez buddy. Yeah,
• 16:52
  Speaker 4: this is what the writers called it. They referred to
• 16:54
  Speaker 4: as a jiz butter. I didn't. Basically, they they rub
• 16:58
  Speaker 4: each other tails and just by the and then that's
• 17:01
  Speaker 4: how they that's how they.
• 17:02
  Speaker 2: It's crazy to me that is that you guys use
• 17:05
  Speaker 2: the exact same footage. I mean, they're sitting across from
• 17:07
  Speaker 2: each other, and I imagine just impost you guys edited
• 17:10
  Speaker 2: out them violently masturbating and just added the hairtails going
• 17:13
  Speaker 2: into each other.
• 17:15
  Speaker 4: Yeah, And it was a real pain in the book
• 17:17
  Speaker 4: because obviously, and you know, a lot of people don't
• 17:19
  Speaker 4: know this, and obviously we all know is that we
• 17:22
  Speaker 4: a lot of times are often in the editing room too,
• 17:25
  Speaker 4: Yes we are. And and so I was in the
• 17:28
  Speaker 4: editing room really trying to get those angles right.
• 17:31
  Speaker 1: I was.
• 17:32
  Speaker 4: It took a long time.
• 17:32
  Speaker 5: I was in the editing room for the notebook for
• 17:35
  Speaker 5: Notebook by Nicholas marks Book. I just flawed from France
• 17:41
  Speaker 5: and I was here and I was and they said
• 17:43
  Speaker 5: we need the Frantz Bear. It's a really romantic, romantic
• 17:46
  Speaker 5: movie and it's all about tempo temple of this temple
• 17:53
  Speaker 5: of the kids. Now, I'd love to talk to all
• 17:55
  Speaker 5: of the table here about the keyss and what is
• 17:59
  Speaker 5: the keys right? Because a kiss? I mean, we talk
• 18:03
  Speaker 5: about this sect. But the keyss to me, it is
• 18:07
  Speaker 5: the intimacy and the life. I sketch out my kisses.
• 18:11
  Speaker 5: Do you sketch anybody sketch?
• 18:13
  Speaker 1: No?
• 18:14
  Speaker 4: I do. I do call it.
• 18:15
  Speaker 3: I do a scrap book. It's like a scrapbook. I
• 18:18
  Speaker 3: cut pictures out of magazines and I glue them together.
• 18:21
  Speaker 1: M what about you, Gavin.
• 18:24
  Speaker 2: Oh, Usually I just try to push for no kissing.
• 18:27
  Speaker 2: I want to get straight to raw dogging it as
• 18:29
  Speaker 2: quickly as possible. You don't have time music videos. You
• 18:31
  Speaker 2: just don't have to.
• 18:32
  Speaker 3: You don't do any kissing in music videos.
• 18:34
  Speaker 2: No, And I refuse to work on set if they
• 18:36
  Speaker 2: have kissing. Really yeah, for me, intimacy is trying to
• 18:41
  Speaker 2: avoid any type of intimacy. I want it to be
• 18:44
  Speaker 2: like you're looking at strangers trying to figure it out
• 18:46
  Speaker 2: on a one night stand.
• 18:48
  Speaker 4: You know.
• 18:49
  Speaker 1: So how do you how do your actors or your
• 18:51
  Speaker 1: your musicians? I guess how do they respond to that?
• 18:53
  Speaker 1: Are they?
• 18:54
  Speaker 2: They're big fans of it. They're big fans of it.
• 18:57
  Speaker 2: Most of the time they're like, whoa, this is just
• 18:59
  Speaker 2: like when I did that concert and I say, Okay,
• 19:01
  Speaker 2: cut the chit chat, let's get to the fun part.
• 19:03
  Speaker 2: And yeah, they're big fans. Everybody on set is raving
• 19:08
  Speaker 2: about how fun we how much fun we have. You know,
• 19:11
  Speaker 2: how much fun we have.
• 19:12
  Speaker 3: That's really great.
• 19:13
  Speaker 4: You know.
• 19:14
  Speaker 3: For me, I always like to say the kiss can't miss.
• 19:16
  Speaker 3: You know, it's important that the kiss hits.
• 19:18
  Speaker 2: Is that another Gen paup quote? Is that another your we're.
• 19:22
  Speaker 1: All just ripping from John Paul.
• 19:25
  Speaker 3: We love him, he's so good. The kiss me. If
• 19:28
  Speaker 3: the kiss seems fake, then the fucking is going to
• 19:31
  Speaker 3: be fake. I'm sorry to say it. The kiss has
• 19:33
  Speaker 3: to look real. The kiss has to and as we
• 19:36
  Speaker 3: all know, there's a million different types of kisses, you know,
• 19:39
  Speaker 3: and I've counted them for real. There is, of course,
• 19:41
  Speaker 3: on the lips. There's on the cheek, there's on the head,
• 19:44
  Speaker 3: there's on the nose. There's the I don't want to
• 19:46
  Speaker 3: talk to you anymore, so I'm gonna kiss you kiss.
• 19:48
  Speaker 3: There's the I want to get to know you more
• 19:50
  Speaker 3: so I'm gonna kiss you. There's the I don't like
• 19:52
  Speaker 3: you kiss. You know, there's all kinds of kisses.
• 19:54
  Speaker 5: The mumblecourt kiss, Oh, that's a really great one's new,
• 19:58
  Speaker 5: kiss on the block, kiss on the box, yea, it is.
• 20:02
  Speaker 1: There's the accident kiss, where you fall on somebody on
• 20:05
  Speaker 1: the bus.
• 20:06
  Speaker 2: Mm hmmm.
• 20:07
  Speaker 4: I have.
• 20:09
  Speaker 1: Well that's something that happens to me personally, but I've
• 20:11
  Speaker 1: been trying to work it into my films.
• 20:13
  Speaker 3: You know, it's happened when it happens, sorry, happens like
• 20:18
  Speaker 3: it happens multiple times.
• 20:20
  Speaker 1: It does happen because you know, I'm I'm getting on
• 20:22
  Speaker 1: the I'm getting on the bus, I'm getting on the
• 20:24
  Speaker 1: one eighty one because I'm trying to go to the
• 20:25
  Speaker 1: Glendale galleria because I need to pick up a leash.
• 20:29
  Speaker 1: And I just simply, you know, I move fast. I
• 20:32
  Speaker 1: move fast, and I move hard, and so sometimes like
• 20:37
  Speaker 1: somebody's coming off and I'm coming on, and then I'll
• 20:41
  Speaker 1: hit him mouth to mouth and the.
• 20:43
  Speaker 4: One that he want's like that. There's constantly that stuff
• 20:46
  Speaker 4: going on. You gotta stay off the one.
• 20:49
  Speaker 2: Freeway.
• 20:50
  Speaker 1: No, it's the one eighty one bus.
• 20:51
  Speaker 4: All right. Yeah, I'm so sorry. I you know, I
• 20:55
  Speaker 4: my left ear has trouble hearing from actually the accident
• 20:58
  Speaker 4: on set one.
• 20:59
  Speaker 1: What happened?
• 21:00
  Speaker 4: And oh no intimacy, Yes, yes, this was on the
• 21:06
  Speaker 4: set of good Will Hunt.
• 21:08
  Speaker 2: A dangerous set, a very dangerous Yeah.
• 21:11
  Speaker 4: I wasn't. I actually didn't. I didn't work on that set.
• 21:14
  Speaker 4: I was just there on that set visiting a friend.
• 21:17
  Speaker 4: Ben Affleck lost his mind. His finger into my ear
• 21:23
  Speaker 4: and said he said like, hey, I'm fucking your ear
• 21:27
  Speaker 4: with my finger. How do you like that? Yeah? Yeah,
• 21:31
  Speaker 4: it was awful. He was drinking a lot of the time. Yeah, yeah, yeah,
• 21:35
  Speaker 4: So you lost.
• 21:35
  Speaker 5: Your here because Ben Affleck's finger in it.
• 21:40
  Speaker 4: Yeah. And there was a big lawsuit and I actually
• 21:43
  Speaker 4: want quite a bit of money.
• 21:45
  Speaker 1: Wow, So you got some of ben Affleck's money.
• 21:49
  Speaker 4: I got about forty five percent of ben affleck money.
• 21:52
  Speaker 2: Wow, yeah, that's the time. Or does it continue? Do
• 21:57
  Speaker 2: you get forty of his check?
• 21:58
  Speaker 4: It continues. I continuously get forty five percent of his
• 22:02
  Speaker 4: check at this point. Be honest. The only reason I'm
• 22:05
  Speaker 4: really just doing the intimacy coordinating is because I love it.
• 22:08
  Speaker 4: Oh no, yeah, I'm too young to record. I'm too
• 22:10
  Speaker 4: young to retire. I'm turning forty eight in about three weeks.
• 22:19
  Speaker 2: That's so interesting. What's everybody's age? I'm sixteen?
• 22:23
  Speaker 4: You should you.
• 22:25
  Speaker 1: Should be here? You shouldn't be here. Wait, so Hollywood
• 22:30
  Speaker 1: pays you?
• 22:32
  Speaker 2: I go door to door else, Yeah, I go door
• 22:34
  Speaker 2: to door, knocking on director's door saying, hey, I'll get
• 22:37
  Speaker 2: to the fucking he hired me in your music video?
• 22:40
  Speaker 2: And they go, yep, there's no background checks for that.
• 22:42
  Speaker 2: You know, it's mostly non union work.
• 22:44
  Speaker 1: So nobody ever tried to put you in boy scouts.
• 22:48
  Speaker 1: You gota you know I have some You should be
• 22:51
  Speaker 1: doing something.
• 22:52
  Speaker 2: Else, boy scouts? Why would I Because you're a child.
• 22:57
  Speaker 2: I'm not a child. I like fucking. I'm sixteen, and
• 23:01
  Speaker 2: I like fucking.
• 23:02
  Speaker 3: I'm seventy seven. Years old.
• 23:07
  Speaker 2: You say seventy seven, I'm seventy seven.
• 23:09
  Speaker 5: Yeah, well, no, wonder one. Michael Bay wants to work
• 23:13
  Speaker 5: with New Fresh Energy.
• 23:15
  Speaker 3: Excuse me, I'm sorry.
• 23:17
  Speaker 1: I'm a vosse. We say things.
• 23:20
  Speaker 3: We say things here too, but we say nice things.
• 23:22
  Speaker 3: Here's the thing you have been I didn't consent to
• 23:25
  Speaker 3: getting an insult, and that is so.
• 23:29
  Speaker 4: Rude.
• 23:30
  Speaker 3: And you have been blazing. You have been coming and
• 23:33
  Speaker 3: blazing this whole time. And I want to be honest.
• 23:35
  Speaker 3: If you did work with John Paul, I think he
• 23:39
  Speaker 3: made a mistake.
• 23:40
  Speaker 2: Whoa, whoa, whoa, whoa whoa?
• 23:45
  Speaker 4: Everyone?
• 23:45
  Speaker 1: Oh right, can we just take a pause here? Can
• 23:48
  Speaker 1: we just take a pause.
• 23:50
  Speaker 2: John Paul was my lover.
• 23:52
  Speaker 3: He told me, Jean Paul, I have known that John
• 23:59
  Speaker 3: Paul does not have real sex. He saves it for
• 24:02
  Speaker 3: the screen. He saves it for the screen.
• 24:06
  Speaker 4: You but he doesn't have the sex on screen?
• 24:08
  Speaker 3: Right, No, someone else you're telling me that, you know.
• 24:13
  Speaker 3: I can't believe it. I cannot believe that because he
• 24:16
  Speaker 3: told me he saves it for the screen. When I
• 24:18
  Speaker 3: tried to, No, I can't believe it.
• 24:20
  Speaker 2: You try to.
• 24:23
  Speaker 4: No, no, no, no, no, no no no no no
• 24:28
  Speaker 4: no no, no, no, no, no, come on, folks, enough
• 24:36
  Speaker 4: really enough enough enough?
• 24:38
  Speaker 3: Okay, can we just I'll just read a question from
• 24:41
  Speaker 3: the fishbowl and woll.
• 24:42
  Speaker 1: Yeah, let's let's reset.
• 24:44
  Speaker 4: Let's let's.
• 24:47
  Speaker 5: Read the question.
• 24:49
  Speaker 3: Okay, oh, this is a fun one. What do you
• 24:51
  Speaker 3: guys use for? Come?
• 24:54
  Speaker 4: You know, here's the thing. I've used pretty much everything
• 24:58
  Speaker 4: under the sun. And let me tell you. I've you
• 25:00
  Speaker 4: us lotion, I've used creamy, I've used it. I've used
• 25:06
  Speaker 4: basically like oatmeal with hot water with glue in it.
• 25:12
  Speaker 4: I've used my own semen with a little bit of
• 25:17
  Speaker 4: water and in it. Really, we had nothing else and
• 25:22
  Speaker 4: the scene had to be done. The scene had to
• 25:25
  Speaker 4: be done. Somebody dropped the ball, didn't didn't bring that day.
• 25:28
  Speaker 4: They were using cream cheese. They brought the cream cheese.
• 25:31
  Speaker 4: I said, this is not gonna work, ran into the
• 25:34
  Speaker 4: ran into the uh, you know, bathroom quickly?
• 25:40
  Speaker 3: Can I say this? Fuck props right the props department.
• 25:44
  Speaker 4: Yeah, I'm sorry.
• 25:45
  Speaker 3: I really show me a prop master who thinks that
• 25:48
  Speaker 3: they know what they're doing, and I'll show you an idiot,
• 25:51
  Speaker 3: a loser, an idiot, And someone.
• 25:53
  Speaker 2: Show me a props master who understands Come like an
• 25:56
  Speaker 2: antimacy coordinator would, and any sort of body fluid. They
• 25:59
  Speaker 2: just don't get it. They just don't get it.
• 26:01
  Speaker 1: They don't get it. And you know, it's extra tough
• 26:03
  Speaker 1: because there's no ethical way to make a dog come,
• 26:07
  Speaker 1: and so we can't use the dogs real come, you
• 26:10
  Speaker 1: know what I mean, So we have to I just
• 26:13
  Speaker 1: sub it out with It's an old industry trick I learned,
• 26:16
  Speaker 1: but I use a human man's come as a placeholder.
• 26:20
  Speaker 1: It's not perfect, much larger, but you know, we deal
• 26:25
  Speaker 1: with what we got to do to make movie magic.
• 26:29
  Speaker 4: That's the problem with the human come. It's so much
• 26:32
  Speaker 4: bigger than all the other animals come. It's really and
• 26:35
  Speaker 4: some audiences can tell. The audiences can sometimes tell, and
• 26:38
  Speaker 4: that's the problem. But I mean, I've seen some of
• 26:42
  Speaker 4: your work, and if that's really what you do, it's
• 26:44
  Speaker 4: incredible because I could never tell from the from the worker.
• 26:47
  Speaker 1: Oh well, thank you, thank you.
• 26:48
  Speaker 3: I know.
• 26:49
  Speaker 1: In uh, I have to say my one regret is
• 26:52
  Speaker 1: that in Airbud three you could tell it was not
• 26:57
  Speaker 1: dog come. You could tell, Oh it aches at me.
• 27:01
  Speaker 1: You know, when you watch your own work over you
• 27:04
  Speaker 1: and you point out all those mistakes and you nitpick
• 27:07
  Speaker 1: and you go, ah, I wish I'd done it differently,
• 27:10
  Speaker 1: But for the most part, you know, I think I
• 27:13
  Speaker 1: put in a good, good job.
• 27:16
  Speaker 4: Well, in all fairness for you, they should have stopped
• 27:18
  Speaker 4: after Airbud two, right, Yeah, the story.
• 27:21
  Speaker 1: Really, it really ran out. He tried to join the
• 27:23
  Speaker 1: golf team and then he just got horny and it
• 27:27
  Speaker 1: didn't make sense even from an intimacy perspective.
• 27:29
  Speaker 2: Which was the one that he joined the military and
• 27:32
  Speaker 2: did Desert Storm.
• 27:33
  Speaker 1: Oh that was Airbood four. They came back for more,
• 27:36
  Speaker 1: and the amount of fucking in that one off the charts.
• 27:43
  Speaker 1: I mean, I didn't sleep for weeks. They worked me
• 27:47
  Speaker 1: to the bone. I was just up all night sketching
• 27:50
  Speaker 1: out different ways that the dog could have sex with
• 27:53
  Speaker 1: the other dogs. And my god, did it take it
• 27:56
  Speaker 1: out of me. My husband he was so annoyed. He
• 27:59
  Speaker 1: was like, you gotta leave it at home, and I'm like,
• 28:01
  Speaker 1: I can't. I'm up in our marriage bed when we
• 28:03
  Speaker 1: should be having sex and I'm drawing out dogs that
• 28:07
  Speaker 1: happened to me on.
• 28:10
  Speaker 5: Fifty I did fifty shas and I said, wow, that's terrible.
• 28:15
  Speaker 5: I didn't sleep, But how I made the come I
• 28:20
  Speaker 5: I got a pool. Chlorine is a good trick if
• 28:24
  Speaker 5: anybody then I say chlorine and you drop half and
• 28:26
  Speaker 5: half in the pool.
• 28:27
  Speaker 2: And you and you get it.
• 28:29
  Speaker 3: You get a pa to start it.
• 28:33
  Speaker 5: And I used that pool water with.
• 28:36
  Speaker 2: Half and half. Don't that burn? Wouldn't that burn the
• 28:38
  Speaker 2: people that you're putting it on or anything that you're
• 28:41
  Speaker 2: putting it on. I never talked to my actors.
• 28:43
  Speaker 5: Never talk to my actors.
• 28:47
  Speaker 4: You never talked to So who do you talk to them? Like?
• 28:51
  Speaker 4: Who talks to them? The director?
• 28:53
  Speaker 5: So so yeah, what I mean is I don't talk
• 28:57
  Speaker 5: to them directly. I don't say how was it.
• 28:59
  Speaker 2: I just go straight.
• 29:00
  Speaker 4: It might be a fron thing.
• 29:01
  Speaker 5: I just go in there and I want you to
• 29:03
  Speaker 5: do this.
• 29:03
  Speaker 4: I want you to do this.
• 29:04
  Speaker 5: This this is is the chlorine dump dump one two
• 29:09
  Speaker 5: three dump.
• 29:10
  Speaker 2: So it's a it's a lot of cum.
• 29:14
  Speaker 3: I like to use saline solution and orange juice.
• 29:16
  Speaker 4: Pulp doesn't get a little orange for you.
• 29:21
  Speaker 3: No, it's the thing about it is or for orange
• 29:24
  Speaker 3: juice pulp. The pulp is white, but the oranges, of course,
• 29:29
  Speaker 3: the oranges orange, and so the juice. Once you get
• 29:32
  Speaker 3: rid of the juice, it's all what you kind of
• 29:34
  Speaker 3: dehydrated and dry it.
• 29:35
  Speaker 1: And I thought you did such a good good job
• 29:37
  Speaker 1: because in your last movie, Romance Flame. Yeah, the main
• 29:42
  Speaker 1: man he was so so sick, he was on his deathbed,
• 29:46
  Speaker 1: and so his coum looks very pulpy, and I thought
• 29:49
  Speaker 1: you just did a really good.
• 29:50
  Speaker 2: Job with that.
• 29:51
  Speaker 3: Yeah, that was a really difficult scene and I'm glad
• 29:53
  Speaker 3: you brought that up, because, yeah, it was famously that
• 29:58
  Speaker 3: movie was the actors that character Scotty. It was his
• 30:04
  Speaker 3: last com and it was a really emotional moment. And
• 30:08
  Speaker 3: so it was this thing where all in one moment
• 30:11
  Speaker 3: you see basically his life kind of before go before
• 30:15
  Speaker 3: his eyes, where as he ejaculates. You see those jump cuts,
• 30:19
  Speaker 3: those flashes of all these moments, and then every time
• 30:23
  Speaker 3: he's yeah, cut down, you know, and Paul Giamonti was
• 30:28
  Speaker 3: playing Scottie. You look down, and of course the coum
• 30:32
  Speaker 3: is nothing. You know, He's lived this life and all
• 30:36
  Speaker 3: of a sudden, this thing that he could rely on,
• 30:38
  Speaker 3: this com that he always had within him, isn't what
• 30:41
  Speaker 3: it used to be. And it was really important to
• 30:43
  Speaker 3: make that come dry, to make that come gross, and
• 30:46
  Speaker 3: to make that coum nothing basically like almost like almost
• 30:51
  Speaker 3: like Paul's penis, Scotty's penis, excuse me, almost like Scotty's
• 30:56
  Speaker 3: penis coughed. It's last cough. Oh God, I don't want
• 31:02
  Speaker 3: to make you guys cry, but that's kind of and
• 31:05
  Speaker 3: I feel as a seventy seven year old man who
• 31:08
  Speaker 3: hasn't actually had sex in fifty years, it was emotional
• 31:13
  Speaker 3: for me. It was emotional for me too.
• 31:17
  Speaker 1: Yeah, how do you connect to sex scenes when you've
• 31:21
  Speaker 1: been out of the game for so long?
• 31:22
  Speaker 4: Is there ever?
• 31:24
  Speaker 3: I will say there has been sometimes some generational differences.
• 31:28
  Speaker 3: I've just being been told about eating ass. That's pretty interesting,
• 31:34
  Speaker 3: big one interesting.
• 31:36
  Speaker 1: I'll tell you that I can't stop eat us all
• 31:40
  Speaker 1: the time, and I have to say, cut it out.
• 31:43
  Speaker 1: That's scene five, cut it out.
• 31:45
  Speaker 3: Yeah, And lots of things, lots of things sexually have
• 31:49
  Speaker 3: changed since the year nineteen seventy. So it's it's really
• 31:54
  Speaker 3: interesting sometimes, but I intuitively get it.
• 31:58
  Speaker 2: I've got a question pulling the audience. Most of our
• 32:01
  Speaker 2: intimacy coordinated scenes get cut from the movie, right, Yeah,
• 32:08
  Speaker 2: just asking him.
• 32:09
  Speaker 4: I would say about ninety six percent of the scenes
• 32:12
  Speaker 4: that I work on unfortunately get Yeah, me too. We
• 32:15
  Speaker 4: worked on Bridger Turn. We worked about there was about
• 32:18
  Speaker 4: two hundred hours more of that we had to Yeah
• 32:23
  Speaker 4: for time, Yeah for time. Yeah. There was one we
• 32:26
  Speaker 4: called that we nicknamed the Jiz Fountain. That one got caught.
• 32:31
  Speaker 4: There was, Yes, there was. There was a lot that
• 32:33
  Speaker 4: we won that we nicknamed like, oh she got stank?
• 32:36
  Speaker 4: Will you want it? And I and I think that, uh,
• 32:42
  Speaker 4: that's just what comes with the territory of the job,
• 32:45
  Speaker 4: and that's why you never want to get too attached
• 32:47
  Speaker 4: to any particular scene. True, true, because you don't know
• 32:50
  Speaker 4: what it might get card.
• 32:51
  Speaker 2: Yeah, you know, well what was your what was ever?
• 32:53
  Speaker 2: Just pulling the audience? What's your favorite scene that that
• 32:56
  Speaker 2: got cut? I mean, I'm so interested in you your
• 32:59
  Speaker 2: guys is you know, obviously been doing it a lot
• 33:01
  Speaker 2: longer than I have, So I'm just wondering what your
• 33:04
  Speaker 2: favorite scene is that.
• 33:06
  Speaker 4: My believe it or not, My favorite scene is actually
• 33:09
  Speaker 4: the second film I ever worked on. It was called
• 33:11
  Speaker 4: bung Hole Bandit and it was a film that was
• 33:14
  Speaker 4: a lot centered about like bung holes. Like like the
• 33:19
  Speaker 4: term bung hole.
• 33:22
  Speaker 3: What is that referring to.
• 33:25
  Speaker 4: The old man back?
• 33:27
  Speaker 5: But what tell the old man.
• 33:30
  Speaker 4: Meant yeah, but hole so bung hole but yeah, yeah,
• 33:34
  Speaker 4: it was a coin sort of. It was a term
• 33:36
  Speaker 4: coined by Beavis and butt he oh bung hole. And
• 33:41
  Speaker 4: this was a teen comedy. This was a teen comedy
• 33:44
  Speaker 4: in the late nineteen nineties, and it was really centered
• 33:48
  Speaker 4: a lot about you know, just ain'tal sex. There was
• 33:52
  Speaker 4: a lot of like jokes about dooky, like all here
• 33:54
  Speaker 4: comes dookie stuff like that. Man, I'm just rambling. I
• 33:59
  Speaker 4: literally lost track of what I was saying. Uh.
• 34:02
  Speaker 2: The scene, that scene that got cut, that was your favorite.
• 34:07
  Speaker 4: It was a scene where so are the bunghole bandit
• 34:13
  Speaker 4: becomes the bung hole man. So it's just sort of transition, yes,
• 34:19
  Speaker 4: coming of age. It was. It's hard to describe because
• 34:22
  Speaker 4: it was about somebody jumping out of it. Okay, so
• 34:26
  Speaker 4: it's first anal sex that turns into him jumping into
• 34:29
  Speaker 4: the ass and then jumping back out and saying, I'm
• 34:33
  Speaker 4: bung hole boy now. And they cut the whole thing
• 34:38
  Speaker 4: and we worked for weeks on it.
• 34:40
  Speaker 1: I didn't see you know, that's insane to me because
• 34:43
  Speaker 1: that scene where he steals the bunghole would have explained
• 34:48
  Speaker 1: the whole rest. That's the whole plot, and I just
• 34:53
  Speaker 1: had to infer that, and I luckily could. I could
• 34:55
  Speaker 1: piece it together because the rest of your work that
• 34:57
  Speaker 1: they didn't cut was so masterful. But I mean, oh
• 35:01
  Speaker 1: my god, so good to see it crystal clear. What
• 35:03
  Speaker 1: a shame.
• 35:05
  Speaker 4: I was very disappointed and it was a lesson I
• 35:08
  Speaker 4: had to learn earlier that again, don't get attached to
• 35:10
  Speaker 4: every since the end of the day, it's not your vision,
• 35:13
  Speaker 4: it's the director, and there's only so much we can do.
• 35:16
  Speaker 4: So that's sort of to anybody who's trying to come
• 35:19
  Speaker 4: into the industry. Now, that's what I would say, is
• 35:22
  Speaker 4: make sure it's sort of tough and that part of
• 35:24
  Speaker 4: you up a little bit. Don't take a personal when
• 35:26
  Speaker 4: he gets cut, you.
• 35:27
  Speaker 2: Know, yeah, what about you, Debbie? Was your favorite?
• 35:34
  Speaker 3: Men a cut?
• 35:36
  Speaker 1: Well, I mean the wound is still a little fresh
• 35:39
  Speaker 1: on this one because this was a little film I
• 35:43
  Speaker 1: did a few years ago. I don't know if you
• 35:44
  Speaker 1: guys have heard of it. It's called A Dog's Purpose.
• 35:47
  Speaker 4: Yes, it's about a dog.
• 35:51
  Speaker 2: It's about a dog animal.
• 35:53
  Speaker 1: Yeah, you know he yeah, he gets lost, series of adventures.
• 35:57
  Speaker 1: He comes home. Now when he comes home, the ghost
• 36:03
  Speaker 1: of the dog that lived there previously and him. They're
• 36:06
  Speaker 1: supposed to have this ravenous love scene. Just absolutely they
• 36:12
  Speaker 1: tear each other completely apart, and you see the dogs
• 36:16
  Speaker 1: just sort of out of breath, and there's they're sitting there.
• 36:20
  Speaker 1: You think they're you think they're gonna You are almost
• 36:22
  Speaker 1: worried for them. You're gonna go, oh no, is it
• 36:24
  Speaker 1: one of those movies where the dog's gonna die? But
• 36:26
  Speaker 1: they don't die. They go out at seven more rounds
• 36:28
  Speaker 1: and you know what, they cut every last bit of it.
• 36:32
  Speaker 3: Yeah, that reminds me of the movie that I'm thinking
• 36:34
  Speaker 3: of that I did what I would probably say is
• 36:36
  Speaker 3: my best work, and that is, of course, Lemony Snicket's
• 36:40
  Speaker 3: a series of unfortunate events. I choreographed an incredible mutual
• 36:49
  Speaker 3: masturbation scene between Count Oloff and all of his nasty hinchmen.
• 36:54
  Speaker 1: Oh yeah, and they were nasty, they were.
• 37:00
  Speaker 3: And you know, and as an intimacy coordinator, you know,
• 37:03
  Speaker 3: when a character is nasty, you get to have a
• 37:05
  Speaker 3: lot of fun. Right, That's where the the character, you know,
• 37:09
  Speaker 3: these degenerates as some people might call them. For us,
• 37:15
  Speaker 3: that's a mona Lisa of a person. Right, you get
• 37:18
  Speaker 3: to explore that in such a massive, wonderful way. So
• 37:24
  Speaker 3: we were they were just cranking on each other left
• 37:27
  Speaker 3: and right and going, you know, up and down on
• 37:29
  Speaker 3: the shaft and the and of course in the vaginal areas.
• 37:33
  Speaker 3: And then the kids come in and and and Jim Carrey,
• 37:36
  Speaker 3: I'll never forget his face because he has that classic
• 37:39
  Speaker 3: Jim Carrey thing. He goes, oh, we'll play, and he
• 37:45
  Speaker 3: did it in such a funny way. And then at
• 37:47
  Speaker 3: that point everyone explodes, both vaginally and penile, and it
• 37:56
  Speaker 3: was just a really beautiful symphony. And it actually picks
• 38:00
  Speaker 3: up poor Sonny. The kind of the flood of all
• 38:02
  Speaker 3: the fluids picked up the poor baby Sonny and threw
• 38:05
  Speaker 3: her out the window and she got into more mischief.
• 38:07
  Speaker 4: Wow.
• 38:09
  Speaker 3: I worked months on that scene and they cut it
• 38:12
  Speaker 3: and it was hard. Then I took a personal and
• 38:14
  Speaker 3: I did that good and and I got you know,
• 38:17
  Speaker 3: I did some screaming and I kind of, you know,
• 38:21
  Speaker 3: I lost it a little bit, but that's the work.
• 38:25
  Speaker 3: That's the work. You know, somebody saw it. I got
• 38:30
  Speaker 3: my greatest compliment that day when I did that scene.
• 38:33
  Speaker 3: As I was leaving, Jim Carrey looked at me and said,
• 38:36
  Speaker 3: you're a fucking freak.
• 38:38
  Speaker 4: It was.
• 38:39
  Speaker 1: That's high praise, that's great, especially I had a scene
• 38:44
  Speaker 1: cut from Black Swan one.
• 38:47
  Speaker 3: You have worked on the best movies.
• 38:49
  Speaker 4: Literally, sorry, I thought that was clear.
• 38:54
  Speaker 1: I was from France.
• 38:55
  Speaker 5: The big wig will come in here, work under the
• 38:58
  Speaker 5: big guy and a fly.
• 39:00
  Speaker 1: I don't know why it's not I'm I'm not Louise Lumire.
• 39:03
  Speaker 1: We know we're just Josh in your chain. We know
• 39:06
  Speaker 1: you're the best of the business.
• 39:10
  Speaker 5: You are Josh in my chain, you, Josh and Josh,
• 39:12
  Speaker 5: and I want to apologize for attacking all of you,
• 39:17
  Speaker 5: you today, especially you.
• 39:20
  Speaker 2: I I uh, I'm retiring this what whoa really?
• 39:29
  Speaker 5: Well, I'll tell you it happened on said a black Swan.
• 39:33
  Speaker 2: I realized.
• 39:34
  Speaker 4: I realized a decade ago. Yes, I'm done.
• 39:40
  Speaker 3: And you've been sitting on that one for a while,
• 39:45
  Speaker 3: you said, you said on Black Swan, he said, I'm
• 39:47
  Speaker 3: going to retire in ten years.
• 39:49
  Speaker 2: Yes, or has it been stewing for ten years?
• 39:51
  Speaker 5: And then I did, I did ten I did the
• 39:53
  Speaker 5: Fifty Shades. I had to do the whole.
• 39:58
  Speaker 2: Josh, do you think Fifty Shades is the sequel to
• 40:01
  Speaker 2: Black Swan?
• 40:03
  Speaker 4: No?
• 40:03
  Speaker 1: No, no, is your sixteen year old this?
• 40:07
  Speaker 2: Yeah, Pip squeak, I'm sorry, I'm sorry.
• 40:11
  Speaker 1: Anyway, I did this movie ten years ago.
• 40:14
  Speaker 5: I did a scene where all the ballet announcers are
• 40:20
  Speaker 5: doing ballet.
• 40:21
  Speaker 1: It's a fresh term where they do ballet.
• 40:26
  Speaker 5: In a circle and it looks like it looks I'm sorry,
• 40:33
  Speaker 5: I can't do without crime.
• 40:36
  Speaker 4: You're so yeah, no, no, no, Louiseuise, It's okay, okay.
• 40:44
  Speaker 1: Can we can we get Louise a glass of water.
• 40:48
  Speaker 3: A crotch pillow? Can we get her a crotch pillow?
• 40:50
  Speaker 2: Well, I guess I'll go. I was shooting All about
• 40:54
  Speaker 2: the Base by Megan Trainer, and she was supposed to
• 40:57
  Speaker 2: strap on Juni from Spike Kids as an adult now
• 41:00
  Speaker 2: for real life. Husband just didn't make the cut. That
• 41:05
  Speaker 2: was one of my first early ones. It was all
• 41:07
  Speaker 2: about the bass, because I'm all about the bass. Bass.
• 41:12
  Speaker 4: It's got to be rough when it gets cut from
• 41:13
  Speaker 4: music video because the music video is like only four minutes,
• 41:16
  Speaker 4: so it's like a lot of your work is getting cut.
• 41:19
  Speaker 1: Yeah, how long was the scene supposed to be?
• 41:21
  Speaker 2: That was supposed to be We're supposed to do? Is
• 41:23
  Speaker 2: you know how the music videos they have a moment
• 41:25
  Speaker 2: of silence usually to some people don't download them like
• 41:28
  Speaker 2: a cut out of the song. It was supposed to
• 41:31
  Speaker 2: be this two and a half hour scene where yeah,
• 41:34
  Speaker 2: just JUNI gets impaled from behind with a strap on
• 41:40
  Speaker 2: for Megan Trainer.
• 41:41
  Speaker 3: And if I'm not mistaken, all about the bass came
• 41:45
  Speaker 3: out in twenty fourteen, and since you are sixteen years old,
• 41:51
  Speaker 3: that was seven years ago, yeah, which I was nice.
• 41:55
  Speaker 1: So Gavin, I'd love to know something. When did you
• 41:58
  Speaker 1: learn what sex was? Oh?
• 42:01
  Speaker 2: I learned that sex was when I was about seven
• 42:04
  Speaker 2: or eight.
• 42:05
  Speaker 1: Yeah, so you took a year and you said, I
• 42:09
  Speaker 1: know how to teach other people.
• 42:11
  Speaker 2: I mean when you see it. Once you see sex,
• 42:13
  Speaker 2: you just want to get involved. But since I'm so young,
• 42:16
  Speaker 2: I can't, you know, be doing that stuff. So why
• 42:18
  Speaker 2: not watch other people do it and maybe choreograph it,
• 42:20
  Speaker 2: maybe design it what I would do to other people?
• 42:23
  Speaker 3: You know? Now?
• 42:23
  Speaker 1: Can I ask another question?
• 42:25
  Speaker 2: Please? Any follow up?
• 42:28
  Speaker 4: No?
• 42:28
  Speaker 2: Not yet, but I'm hoping soon.
• 42:30
  Speaker 3: Do you have a plan for I mean, knowing you,
• 42:34
  Speaker 3: it sounds like you've already planned out what you want
• 42:36
  Speaker 3: your first sexual encounter to be. That first sex, would
• 42:41
  Speaker 3: you mind sharing with us, I mean little shop talk.
• 42:43
  Speaker 1: If that's maybe we can workshop it.
• 42:47
  Speaker 2: I would love the advice. That'd be so helpful. Yeah, totally. Basically,
• 42:51
  Speaker 2: let's say she is beautiful and she is cool, and
• 42:57
  Speaker 2: I bring her back to my parents' house and I'm like,
• 43:00
  Speaker 2: they're actually gone for the weekend, and she lays me
• 43:04
  Speaker 2: down on the bed. We skip the kissing boring and
• 43:07
  Speaker 2: she and she rips off her shirt immediately and like
• 43:12
  Speaker 2: really tears it. And then I want a wide shot
• 43:15
  Speaker 2: of her falling on me, kind of like boom, there's
• 43:19
  Speaker 2: the end.
• 43:20
  Speaker 1: So your first sexual encounter is going to be filmed.
• 43:22
  Speaker 2: Well, I just picture it in all shots because that's
• 43:25
  Speaker 2: what I know.
• 43:27
  Speaker 3: I want to be clear too, your first sexual encounter,
• 43:29
  Speaker 3: so far, you have done nothing. Yeah, she has thrown
• 43:33
  Speaker 3: on the bed, she has ripped her shirt off, she's
• 43:35
  Speaker 3: fallen on you.
• 43:37
  Speaker 2: Well yeah, yeah, I want her to take the lead
• 43:39
  Speaker 2: for the beginning. But then I come in a big time.
• 43:42
  Speaker 2: So she falls on me and then what happens is
• 43:45
  Speaker 2: she'll take off my shirt, she'll take off my pants,
• 43:48
  Speaker 2: and I'll go, WHOA, what is this? And she'll go,
• 43:50
  Speaker 2: this is sex, baby, this is sex. Look, I know
• 43:53
  Speaker 2: I'm older than you, but let's get it on. Let's
• 43:56
  Speaker 2: do this, and I go, okay, I'm ready.
• 44:00
  Speaker 4: How much older would she?
• 44:01
  Speaker 2: I was thinking thirty thirty five.
• 44:03
  Speaker 4: I mean that's a violation of state and federal law.
• 44:07
  Speaker 1: Yeah, you should know this. If you're an intimacy coordinator.
• 44:10
  Speaker 1: She would go to jail.
• 44:11
  Speaker 2: Well yeah, but that's what makes it so fun is
• 44:14
  Speaker 2: that she so much older than me. And I go, okay,
• 44:19
  Speaker 2: let's do this. So I get undressed, and this is
• 44:23
  Speaker 2: where I start to shine because I want to put
• 44:25
  Speaker 2: on the right song. And I'm sure everybody knows the
• 44:28
  Speaker 2: right song to do sex to. Is Hey, y'a outcast?
• 44:31
  Speaker 2: The rhythm the music video itself was that rhythm.
• 44:35
  Speaker 3: Is so fast. So that rhythm is so fast, my baby,
• 44:39
  Speaker 3: don't mess around because you don't VoJo.
• 44:43
  Speaker 1: It's fast. You know that you're biting off a lot here.
• 44:47
  Speaker 1: I mean, God, I don't want to. I don't want
• 44:50
  Speaker 1: to interfere too much. But you're young. This is your
• 44:53
  Speaker 1: first time. I don't think you can get one hundred
• 44:55
  Speaker 1: beats a minute?
• 44:56
  Speaker 3: No, Look, can I suggest the song Summer Breeze Summer
• 45:00
  Speaker 3: Breeze boom makes me feel bad.
• 45:04
  Speaker 2: That feels too. Is it every boom that's so slow?
• 45:22
  Speaker 6: Where is the see that just feels a little slow,
• 45:31
  Speaker 6: a little boring, a little the same thing every single time.
• 45:35
  Speaker 1: You know, I'm being realistic. I'm being realistic with how
• 45:38
  Speaker 1: much you could thrust about.
• 45:41
  Speaker 4: I agree, I agree. I think when any trig any skill,
• 45:45
  Speaker 4: you have to start off slow. I think if you
• 45:47
  Speaker 4: start middle speed or fast, you're gonna set yourself for,
• 45:51
  Speaker 4: as we call it, a cruising for a bruise.
• 45:54
  Speaker 2: A Jean Paul quote, Jean Paul quote.
• 45:57
  Speaker 4: Absolutely hurry up and wake for cruising in a boot.
• 46:01
  Speaker 4: Yeah that was that was a full quote.
• 46:03
  Speaker 2: But it is hurry up to wait for a cruiser
• 46:06
  Speaker 2: with a bruiser.
• 46:07
  Speaker 4: What a legend.
• 46:08
  Speaker 5: Maybe we all say, are in one word, what we
• 46:13
  Speaker 5: do every day, what we do on set?
• 46:15
  Speaker 4: Yeah, should we say our name with one word?
• 46:19
  Speaker 3: How about we say our name and then our one word?
• 46:21
  Speaker 2: I like that, Luis, go ahead, I'm Louise.
• 46:25
  Speaker 5: And intimacy coaching to me is fluid.
• 46:31
  Speaker 2: I'm Gavin Mueller, and intimacy coaching for me is a fantasy.
• 46:38
  Speaker 1: I'm w Patrick. Intimacy coaching for me is sex.
• 46:46
  Speaker 4: Hi. My name is Albert Habib uh, and intimacy coordinating
• 46:50
  Speaker 4: for me is juice.
• 46:55
  Speaker 3: I'm Cedric Shabouzzi, and intimacy coordinating for me is reckon.
• 47:03
  Speaker 2: This has been Hollywood's intimacy coordinators, answering the question, and
• 47:07
  Speaker 2: that's why they call it show business. Join us next
• 47:10
  Speaker 2: week on Artists on Artists on Artists on Artists.
• 47:16
  Speaker 1: Hi, I'm Angela Jerretana, I'm Jeremy.
• 47:18
  Speaker 3: Colhayne, I'm Patrick McDonald's.
• 47:19
  Speaker 1: And I'm Kylie Brakman. Artists on Artists On Artists on
• 47:22
  Speaker 1: Artists is an improvised Hollywood roundtable podcast available on iTunes
• 47:26
  Speaker 1: and Spotify.
• 47:27
  Speaker 2: You can follow us at aoaoaoa pod on Twitter and Instagram.
• 47:31
  Speaker 3: That's right, four a's with three o's in between then.
• 47:35
  Speaker 2: Pod music for this week's episode was provided by Gabriel Ponton.
• 47:38
  Speaker 2: Our guest this week was Peter Banafatz. You can follow
• 47:41
  Speaker 2: him on Instagram at Pea Bonnie p ba n I.
• 47:45
  Speaker 1: That's all for now, good Night, Hollywood