WEBVTT
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Girls have three holes.
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And not just two.
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And so they're like, wait, what?
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One of the actors had glitter and it was all over that.
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Hi, I'm Ariel Lee Cohen.
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Hey, I'm Morgan Smith.
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And we are the hosts of Faking It with Ariel and Morgan.
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We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV.
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But once again, we are three intimacy coordinators because today we have a new guest, Brooke M.
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Haney.
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Brooke M.
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Haney is a New York City-based intimacy coordinator, choreographer, and author, and one of the first 50 professionals recognized as qualified SAG AFTRA with credits spanning film, TV, and theater, both in the US and internationally.
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They're also the editor of the Intimacy Coordinator's Guidebook, and they were the intimacy coordinator for productions, including Mayor of Kingston, Law and Order SBU, and Pretty Little Liars Original Sin.
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We love a multi-hyphenate who's not just doing the work on set, but actively helping define what this job is.
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Welcome to the pod, Brooke.
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We're so happy to be here.
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Thank you.
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So happy to be here.
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Oh, I love your art behind you.
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Oh, yeah.
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Thanks.
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That's from a show I was in where there were visual artists live charcoal drawing the show.
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That's me and the thing.
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Thanks.
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Wow.
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That's it.
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So you've been listening to the podcast a little bit already, yeah?
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Yeah.
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Oh, yeah.
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So much fun to listen to.
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Thanks for listening.
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We love your book too.
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That's one of the ones that we use all the time and refer to in our work.
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So thank you for putting that together.
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So tell us about that.
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Like, what led you to the decision to start the process of creating that book?
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I wrote it because I wanted to read it.
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I love that.
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Yeah.
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In the early days of IC work, you would meet with a producer and they would be like, Cool, tell me what you do.
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And then they would just expect that any of us could do anything.
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But like we can have specialties too.
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I felt this like hunger to learn new things.
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And there were all these people that were doing these cool specializations that I was like, how can I get all these really brilliant people to write one chapter?
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And then hopefully, for those of us that are working, it's like a resource book for what might pique our interest or what might, you know.
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There it is.
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Maybe get us excited.
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Yeah.
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Totally.
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And it was also a really good excuse to get to know all the people in the book, which I love building community.
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It's part of why I'm excited to be here with you guys.
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I'm excited to get to know you better.
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Yes.
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Likewise.
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The community is so good.
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All the intimacy coordinators in LA have like a Discord and we all talk all Dalton.
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That's pretty awesome.
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Can you tell us more about what brought you to intimacy coordination?
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The question that we all get many, many times.
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I was an actor before this, and I often was cast in roles that involved either physical intimacy or where the character experienced trauma.
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And I have a dance background and a stage combat background.
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I was in a touring production when I was an undergrad that did sexual abuse prevention in schools.
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And we taught the difference between a good touch, a bad touch, a confusing touch, and how to talk about it.
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I have my MFA in performance, and all of my teachers told me how to get to the place of grief and sorrow and upset, but not how to get back from it.
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And I started teaching at Marymount Manhattan College and was like, I want better for my students.
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So I worked with a group of students and alumni to workshop a warm down for actors.
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Theaters started bringing me in to work with their casts with this warm down.
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And then I came out later in life and I knew immediately I wanted to tell queer stories.
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And I also knew I had a straight lens.
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I was raised very straight.
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Identity didn't equal expertise.
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And so I took a year and every day for a year I read something or watched something or listened to a podcast or took a class all on queer sex storytelling, BDSM, and kink.
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And then one day a theater that I'd been working with for a while was like, Hey, will you be our intimacy director again?
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And I was like, Dear Google was an intimacy director.
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And I discovered that these things, consent and boundaries, choreography at closure, are what I'm doing.
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And now there is a craft.
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So I started taking classes and kept working, and here we are.
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Oh, that's awesome.
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Also, can we just quickly discuss how we're three queer intimacy coordinators who used to be or are still actors?
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Kind of amazing, right?
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Yeah.
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Yeah.
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Yeah.
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What is the craziest scene you've worked on as far as content within the project?
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I have permission from the actors and the producers.
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I worked on a film called Burder that takes place in a queer nudist camp.
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And it's a queer psychosexual thriller.
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There's a threesome on the beach in which two of the characters die.
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Whoa.
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And the day of shooting, we had issues.
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We were shooting on a like an island that you could only get to by boat.
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We had issues with the boat that morning.
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So we had to bump the scene to the end of the day, which, as you know, is not generally ideal for intimacy.
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So we were shooting this choreographically very difficult scene, emotionally difficult scene, and we were fighting the light.
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That was for sure one of the most difficult scenes I've ever experienced.
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And I think it came out really awesome.
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And the actors afterward have really positive things to say about the experience, which I'm very grateful for because time can be a coercive, and we were rushing at the end in a way that I think was professional and as safe as we could be.
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I love the phrase time is coercive.
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That's so very real.
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Stealing that.
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Yeah, it was steal that real, real fast.
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I also want to say, just for audience who may or may not be in like in the film world, first of all, gotta say, lunch is any time of day and can be whenever it is.
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It's just like six hours into filming, so lunch could be at midnight.
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Second of all, the reason it's difficult to do intimacy scenes after lunch is the actors feel full.
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They don't necessarily always want to, if it's some kind of implied or actual nude scene, they don't really want to take off clothing necessarily, or they sometimes don't eat, and then folks may potentially faint or have some kind of other issue or glycemic issue.
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After you eat, you're just tired.
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Everyone's just tired and slower and like a little less into what we're doing.
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Even when actors are fully prepared, sometimes these scenes can still be very vulnerable.
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So having to think about it all day while working on other things can be emotionally exhausting for them.
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Um and like getting to go and do it and then the relief of how it went so well and I actually had fun can actually move your day into a really positive rhythm.
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Yeah, you don't have like the anticipation or anxiety of a scene throughout the day.
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So it it can be really helpful to just like get it done, get it over, rip the band-aid off.
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Don't do it on the first day of filming, but do it the first day.
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First day, first scene.
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Hi, nice to meet you.
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We're gonna have a threesome and be murdered.
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The situation you described, Brooke, speaks to the importance of prep because I'm sure the conversations that you had with the actors before production, on the day when you met with them individually, and all of that made it so that even when there was pressure of, oh, we're gonna lose the light, we have to get this done by a certain time, maybe people are tired, we don't want to go into overtime.
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Like because you did all of that work ahead of time, it allowed the actors to get to the place where they needed to be to do their performance.
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Prep is such a huge part of our job.
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And because we were so far into the film, I had done intimacy scenes with all of these actors already.
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They'd seen the process with other actors.
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Right.
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People are more able to trust because they've seen proof that it's gonna work.
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Absolutely.
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And build that trust with you too.
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Like build that professional relationship.
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I have a question though about that.
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It was you said it was on the beach itself.
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How tell me about sand.
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Talk to me about all that sand.
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Well, we had a blanket that we definitely shook off between takes.
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Miraculously, it was not the biggest problem.
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Were they wearing modesty garments at the time as well?
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And prosthetics.
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And prosthetics.
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Got it.
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And the sand didn't get stuck to all the adhesives and stuff.
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Amazing.
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Kind of amazing.
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That is kind of phenomenal.
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It is like the glitter of nature where it is just like everywhere forever.
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So well done, you.
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I did a scene literally yesterday where one of the actors had glitter and it was all over that monastic colour.
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And I was like, this is the end of this.
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That's when you should maybe shoot at the end of the day.
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Yeah.
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Yeah.
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If glitter's involved, that's the exception.
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And speaking of adhesives and all that fun stuff, what is your favorite kit item?
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I really like a tagger.
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Like you to tag as- Also use the tag!
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I'm a huge proponent of the tag.
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Yeah.
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Yeah.
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It just feels like such a way to like give ease of movement.
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Um, for anyone who's listening that doesn't know what we're talking about.
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It's like the gun you use to tag a ticket on a piece of clothing.
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If you're gonna buy a piece of clothing, and we'll do it, we'll like tag a sheet to a modesty garment so the actor can roll around on the bed and the sheet kind of comes with them.
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What do you use it for other things?
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I mean, I'll use it if there's a rip in something and wardrobe isn't for it has not been requested for a clothes set, so I can just pop there.
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Um, if it's not silk or something, sheet is a great use.
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I've never needed to do that specifically, but I've done it with towels.
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Like if you have a design towels of a shower or something.
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Yeah, yeah.
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Yeah, and they keep like tucking it in, but then it like unrolls and falls out, and then you just like tag it, and then we don't have to worry about it.
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Brilliant.
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That's a good segue into our scene work where today we are covering the film Book Smart.
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Yay! Brooke, what is your experience with this film?
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I just love this film.
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I think it's such a good queer film.
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And I hadn't watched it in years before you all asked what film I would like to do, and I was like, oh, Book Smart would be fun.
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But then I re-watched it in prep for this and was like, man, it's so good.
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The thing that I had remembered was that it was awkward.
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I've worked with directors who say, like, oh, we don't need to choreograph it because it should be awkward.
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And then I'm like, we can choreograph awkward.
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Yes.
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Or the expectation is just that these two characters, because they're meant to be together or whatever, are magically really good at sex.
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We can have boundaries too.
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And one of my boundaries is that when possible, I don't work on projects where underage characters are sexualized.
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But what I love about this film is this is about underage characters and it is about sex.
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And I don't think it's sexualized for the adult gaze.
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That's such a good way of putting it.
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Because we often hire actors who are over 18 to play high schoolers, sometimes it's easy to forget that the character is supposed to be 16.
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Another one of the many reasons that I love Book Smart is because it feels like that age.
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Like they still feel like half child, they still have that innocence, still they're still figuring things out.
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Yeah.
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And I'm like, that's so much more relatable.
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So just a little context to start.
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I know all three of us have watched this film and loved this film some years ago.
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Caitlin Deaver as Amy Ansler and Diana Silvers as Hope.
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This is written by Emily Halburn, Sarah Haskins, Susanna Fogle, and Katie Silverman.
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Produced by Megan Ellison, Jessica Ellbaum, Katie Silverman, and Jessica Barnard and David Distenfeld, directed by Olivia Wilde, woo-woo, and co-intimacy coordinated by no one, even though it's from 2019 and ICs existed at the time.
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So, context Amy and Molly crash Nick's graduation party after realizing their classmates got into good colleges despite partying.
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And Amy becomes nervous around her crash, Ryan.
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After drinking and feeling overwhelmed by jealousy and insecurity, Amy impulsively jumps into the pool.
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So we're going to start at about an hour and four minutes in.
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What a great um freeze frame right there.
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Alright, so here we go.
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So here they're going outside.
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And I think we're gonna see right away with how they take their clothes off.
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Ryan's pulling them off over sideways over their body.
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It's not the like smooth two hands up and over.
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And I love that we're just seeing her back, Ryan's back, and jumps in and it's like a cannonball, not a like beautiful dive.
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I think there's so much in this like hair, hands, bubbles, light, and just body parts.
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We're seeing her look around and swim.
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And like, even though we just saw the front of someone's pelvis and it took up a pretty significant part of the screen, it wasn't about that.
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I'm just struck by how many background folks are in this scene as well, and and they're all in their underwear.
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The amount of people you would need to speak to.
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So many.
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I'm also struck by how she has to keep her eyes open underwater so much.
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Oh my gosh.
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Yeah, uncomfortable.
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Totally.
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So now we see her seeing her crush with a boy.
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And even underwater, they have hands on each other.
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Like her hands are on his shoulder, his hands are around her waist, on her leg.
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And it's not grabby passion, it's two teenagers making out in a pool.
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Yeah, there's a little bit of hesitation between the two of them.
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They're not like she has her leg around him, but she's not like pulling him in close to their pelvises, or like as close together as possible.
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And now the shot just looks crowded.
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She's feeling stifled.
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It's she's getting out of the water, but the camera is placed to the side.
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So we kind of see the side of her go getting out as opposed to her face coming out, her chest.
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Oh, like a little mermaid.
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Right.
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Yeah.
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Oh my god, we're not like tilting down and following every inch of the front of her body.
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Yeah, the droplets falling and whatever.
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It feels fantastical to me.
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It does.
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But also heartbreaking.
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Like it feels like when she jumps in, you're in this fantastical world of possibility until the moment that she's disappointed.
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And then all of a sudden, it felt crowded.
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The person that her crush is with is not someone who feels so much more sexually advanced than her.
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Like she's the awkward one, and this is a very mature young person who feels more comfortable in their body and is moving in more like a kitty-like fashion or something.
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Like, she's also an awkward young person.
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They just happen to connect.
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And I feel like a lot of times we would have seen that other story.
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It's like, well, you're not with him because you're too innocent.
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There are people that age that are very passionate and grabby and experienced and all of that.
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Yeah.
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And the beauty of this film is that it's not that.
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I also appreciate the the wardrobe choices.
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Like it was full coverage underwear, there were bralettes.
00:16:25.039 --> 00:16:28.080
Like it was refreshing to see something so different.
00:16:28.320 --> 00:16:29.200
And I liked that.
00:16:29.519 --> 00:16:33.279
I love that Ryan is in a racerback sports bra, basically.
00:16:33.440 --> 00:16:39.440
Like we're not in a padded wonder bra situation, which would have been a very different choice and would have told a very different story.
00:16:39.759 --> 00:16:51.279
It's really interesting because a lot of the time when young queer folks are depicted, it's like they have an active disregard and dislike of the opposite sex.
00:16:51.679 --> 00:16:55.919
Whereas in this scene, you see her sort of appreciating all bodies in the space.
00:16:56.000 --> 00:17:06.480
It's directed towards Ryan, but she's just kind of in wonder about people in general and this blossoming of sexuality as it occurs and surrounds her.
00:17:06.559 --> 00:17:07.920
And I think that's very cool.
00:17:08.240 --> 00:17:12.640
Yeah, and it's this world that she's missed out on because she's been studying all the time.
00:17:13.359 --> 00:17:16.640
And it's that like, oh life.
00:17:17.279 --> 00:17:17.759
Yes.
00:17:18.000 --> 00:17:19.519
Yes, exactly.
00:17:20.799 --> 00:17:21.680
Snaps for life.
00:17:22.079 --> 00:17:26.640
Which brings us to our next scene, which is literally 10 minutes later in the film.
00:17:26.720 --> 00:17:28.799
Like, what an arc! Insanity.
00:17:29.359 --> 00:17:34.160
Context for this part of the film Amy and Molly are still split up at this party.
00:17:34.559 --> 00:17:39.759
So after the situation with Ryan, Amy has run into another character, Hope.
00:17:40.079 --> 00:17:46.720
They are experiencing their first sort of intimate moment as Amy finally sort of acts on her feelings.
00:17:47.279 --> 00:17:51.039
We're gonna start at 1142-ish.
00:17:51.680 --> 00:17:54.799
I also I just want to say, so we're watching this on YouTube right now.
00:17:55.279 --> 00:17:58.160
I'm gonna show I'm gonna show you this because I didn't know that it ever did this.
00:17:58.240 --> 00:17:59.359
This is amazing, actually.
00:17:59.519 --> 00:18:06.720
If you scrub through the bottom, it says most replayed is the scene we're about to watch.
00:18:07.039 --> 00:18:08.000
Amazing.
00:18:09.279 --> 00:18:10.079
I love it.
00:18:10.559 --> 00:18:11.519
Kind of incredible.
00:18:11.680 --> 00:18:15.839
And I feel like, see, most replayed, fantastic.
00:18:16.160 --> 00:18:19.039
So Amy has kissed Hope.
00:18:19.359 --> 00:18:26.400
We see her take the initiative, and then she takes the initiative to take Hope's shirt off.
00:18:26.640 --> 00:18:28.480
Together go to kiss each other.
00:18:28.720 --> 00:18:30.480
Hope asks, like, are you okay?
00:18:30.640 --> 00:18:31.279
Is this okay?
00:18:31.519 --> 00:18:32.720
Asking for consent.
00:18:32.960 --> 00:18:34.960
Amy says, We're not stopping.
00:18:36.079 --> 00:18:40.319
Hope goes to lay down, is unbuttoning her own pants.
00:18:40.480 --> 00:18:45.440
Amy's trying to pull them off, but Hope is wearing converse tennis shoes.
00:18:45.759 --> 00:18:53.119
So now there's the like time it takes to take off the tennis shoes, and it's difficult to get the jeans off now.
00:18:53.519 --> 00:19:04.160
Amy falls back pulling them off, and then she's pulling off Hope's underwear, and she's realizing she needs to take off her stuff too.
00:19:04.319 --> 00:19:12.720
We just see like her chest up as she's trying to wiggle out of her underwear under her dress and then pulls her dress off.
00:19:12.880 --> 00:19:17.039
But instead of watching her take it off, we watch Hope watching her take it off.
00:19:17.200 --> 00:19:19.279
Amy's starting to crawl on top.
00:19:19.519 --> 00:19:20.960
They both start kissing.
00:19:21.119 --> 00:19:22.880
They're kind of making out now.
00:19:23.039 --> 00:19:28.559
We see Amy's character go to reach down theoretically to do some manual stimulation.
00:19:28.960 --> 00:19:30.559
She's asking how it's going.
00:19:30.720 --> 00:19:31.519
Is it good?
00:19:32.160 --> 00:19:36.480
We can tell it's not great, but it's maybe okay, fine.
00:19:38.160 --> 00:19:41.519
I don't think that's the whole you think it is, which is great.
00:19:42.079 --> 00:19:43.599
My geometry was off.
00:19:44.559 --> 00:19:52.559
Referencing an earlier scene where uh Molly, her best friend, says, It's just what you do to yourself.
00:19:52.640 --> 00:19:54.160
You just turn it around.
00:19:54.240 --> 00:19:57.039
And she's saying, I'm I'm not used to approaching it from that angle.
00:19:57.359 --> 00:19:58.559
And then she vomits.
00:19:58.960 --> 00:20:00.160
Oh my gosh.
00:20:00.640 --> 00:20:02.160
I mean, luckily you're in a bathroom.
00:20:02.559 --> 00:20:04.880
And luckily you're in the bathroom, so we can wash it off.
00:20:05.119 --> 00:20:10.559
We see kind of from right above her bra up as she's putting her clothes back on.
00:20:11.039 --> 00:20:11.839
So good.
00:20:12.240 --> 00:20:14.319
Love the way that consent is shown in the scene.
00:20:14.480 --> 00:20:24.799
It's actually in the text, but also there's moments you see it in them like kissing and then backing up and asking for permission with their eyes, like not rushing into it.
00:20:25.119 --> 00:20:27.680
Morgan and I have talked about this a lot on the podcast.
00:20:27.920 --> 00:20:30.319
Consent on screen doesn't need to be.
00:20:30.480 --> 00:20:32.240
Do you consent to this activity?
00:20:32.400 --> 00:20:33.359
Yes, I do.
00:20:33.599 --> 00:20:39.039
It can just be a flicker of the eyes and a light nod or something of just like a smile.
00:20:39.279 --> 00:20:43.519
There are so many options for body language to reveal consent.
00:20:43.599 --> 00:20:46.720
And I'm just I'm blown away by this scene in particular.
00:20:46.880 --> 00:20:54.880
I also just want to say, I love that they put her on a fluffy rug so the actress doesn't have to feel the cold hard tiles beneath her.
00:20:55.119 --> 00:21:00.000
I think what's also nice about the consent is it's not just them checking in, like, is this okay?
00:21:00.079 --> 00:21:02.319
But it's also like truly just trying to figure it out.
00:21:02.480 --> 00:21:02.799
Yeah.
00:21:02.960 --> 00:21:03.279
Yeah.
00:21:03.759 --> 00:21:04.480
Do you like this?
00:21:05.200 --> 00:21:05.680
Yeah, yeah.
00:21:06.240 --> 00:21:07.519
Am I good at this?
00:21:07.680 --> 00:21:13.119
Because what especially when you're having those like really early experiences, I mean, you truly don't know.
00:21:13.200 --> 00:21:15.519
Like you haven't interacted with a lot of other bodies.
00:21:15.599 --> 00:21:17.519
You're used to just yourself.
00:21:17.599 --> 00:21:20.480
And and so you can't feel how it feels on the other end.
00:21:20.559 --> 00:21:25.119
And you also like don't want to be embarrassed or, you know, accidentally throw up on the other person.
00:21:25.359 --> 00:21:27.119
Yeah, that would be crazy.
00:21:28.079 --> 00:21:29.759
Yeah, it's really vulnerable.
00:21:30.000 --> 00:21:37.359
And it's so tempting to try to play it cool, especially if it's someone like you've been crushing on for a while, especially someone who like seems really cool.
00:21:37.440 --> 00:21:41.839
Like she didn't look at her like, oh, I can't believe you're not experienced enough.
00:21:42.000 --> 00:21:44.240
Like they understand this is where we're both at.
00:21:44.480 --> 00:21:54.079
I read an interview with Olivia Wilde, who directed it, that she wanted the like converse in there intentionally because I have that in my notes.
00:21:54.640 --> 00:21:54.799
Yes.
00:21:54.960 --> 00:21:59.599
Yeah, because those are the kinds of things that like you get to in real life and you're like, uh, they never have shoes in.
00:22:00.240 --> 00:22:05.759
Movies, and we do learn so much of our sex education from movies and other media.
00:22:06.079 --> 00:22:16.000
And maybe that's also why I love this film is I feel that a lot of queer sexuality has been stunted because there's so little representation of queer intimacy.
00:22:16.160 --> 00:22:18.240
And so I loved that that was part of it.
00:22:18.480 --> 00:22:26.480
The tedish shoe, love it that they actually showed that like that's gonna take a minute, and those skin tight pants are gonna be difficult to get off.
00:22:26.880 --> 00:22:29.119
Yes, the skinny jeans.
00:22:29.440 --> 00:22:31.839
And and you know that you bring up such a good point.
00:22:31.920 --> 00:22:37.200
That's something we also talk about on the podcast is the representation of sexuality in media.
00:22:37.519 --> 00:22:45.359
Because sex education in this country is so extremely limited, especially when it comes to queer sex, it really matters what we're showing.
00:22:45.440 --> 00:23:00.559
And if we only show people who young people immediately have the confidence and body awareness of a full adult, then people are gonna feel like if that's not my experience, and I there must be something wrong with me.
00:23:00.880 --> 00:23:06.640
I love that on this season of Bridgerton, they have someone that can't find climax.
00:23:06.880 --> 00:23:17.200
Both a character like manually stimulating themselves, masturbating, who can't get there and gives up, and a character that can't get there with her husband.
00:23:17.440 --> 00:23:20.400
Those are things that happen all the time for people.
00:23:20.720 --> 00:23:22.960
And normalizing it is super helpful.
00:23:23.200 --> 00:23:30.960
In season one, Bridgerton did a great job of showing how she truly didn't understand like how sex worked because nobody talked about it.
00:23:31.119 --> 00:23:37.680
Like she didn't understand that by her husband pulling out, he was actively trying to avoid having children with her.
00:23:37.839 --> 00:23:38.160
Yep.
00:23:38.319 --> 00:23:45.359
And now we see like, oh, I didn't even know that there was climax, let alone that it was something I was supposed to reach.
00:23:45.599 --> 00:23:46.000
Yeah.
00:23:46.319 --> 00:23:53.279
So bringing it back to this film, I think that's the wrong hole is meant to be a butt sex joke.
00:23:53.519 --> 00:23:53.839
Yeah.
00:23:54.079 --> 00:23:56.799
But I also think it could be a urethra.
00:23:57.440 --> 00:24:00.240
Like we know from later in the film that it's not.
00:24:00.559 --> 00:24:05.920
If you don't know the parts, like oh, wrong hole.
00:24:06.799 --> 00:24:11.920
There's so much that's unknown if you haven't had a good sex education.
00:24:12.240 --> 00:24:20.400
I remember when I was in high school having to explain to one of my guy friends that girls have three holes and not just two.
00:24:20.559 --> 00:24:23.119
And like Hina Stones are like, wait, what?
00:24:25.440 --> 00:24:25.759
All right.
00:24:25.920 --> 00:24:29.119
I think I think we should do some spy scale.
00:24:29.200 --> 00:24:29.759
What do you think?
00:24:30.079 --> 00:24:39.519
Welcome to the spy scale, or not so scientific way of rating intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, and heat factor.
00:24:39.680 --> 00:24:42.960
Each category gets a score from one to five, with five being the highest.
00:24:43.039 --> 00:24:46.480
Then we add it all up to give the scene a final letter grade.
00:24:46.720 --> 00:24:55.039
We've touched on this a bit already, but let's start with consent and power dynamics, how the scene depicts consent and power in the story, and if known, behind the scenes.
00:24:55.359 --> 00:25:12.480
Well, I read in I think Vanity Fair, Olivia Wilde talking about how she wanted to direct an awkward sex scene, but also she wanted to direct a stimulated sex scene where it was handled the way she wished scenes had been handled for her.
00:25:12.799 --> 00:25:16.160
Actually closing set completely.
00:25:16.480 --> 00:25:29.359
And I heard an interview with the two actresses, what with Beanie Feldstein, who plays Molly, and Caitlin Dever that plays Amy, talked about how it felt like a truly closed set and she hadn't always felt that.
00:25:29.680 --> 00:25:34.000
Behind the scenes stuff was handled better than it sometimes is.
00:25:34.319 --> 00:25:38.720
And certainly to me, the consent in the scene is super clear.
00:25:39.039 --> 00:25:46.160
You know, even though they didn't have an intimacy coordinator, it's still an emerging field and is slowly becoming more and more of an industry standard.
00:25:46.240 --> 00:25:59.440
I really appreciate that Olivia made that effort to really close the set because I feel like you can feel it in the performance with how vulnerable the actors were being with each other, the comfort level that was there.
00:25:59.599 --> 00:26:04.400
And it's hard to get that if you don't have the right environment to get those performances.
00:26:04.720 --> 00:26:04.960
Yeah.
00:26:05.359 --> 00:26:08.400
And 2019 was very early in the movie.
00:26:08.640 --> 00:26:10.400
Yeah, it was just two years after the first one, right?
00:26:10.640 --> 00:26:11.200
Absolutely.
00:26:11.359 --> 00:26:18.240
And I know that Yehuda Dueñez worked with Olivia Wilde on something recently that went to Sundance.
00:26:18.480 --> 00:26:20.880
Yeah, so she's working with ICs now.
00:26:21.440 --> 00:26:25.920
Obviously, the consent in the film itself, very, very clear.
00:26:26.079 --> 00:26:27.599
The dynamics are very clear.
00:26:27.680 --> 00:26:31.759
They're really in that same figuring it out kind of at the same pace.
00:26:31.920 --> 00:26:34.240
There's awkwardness, but there's consent.
00:26:34.319 --> 00:26:39.599
There's even what was that one line she says, we can stop if you want, and at one point.
00:26:40.000 --> 00:26:47.839
Consent in the other scene is sort of interesting because anyone who jumps in the pool is sort of implying consent in some capacity.
00:26:48.319 --> 00:26:49.440
I don't know, for me it's a five.
00:26:49.680 --> 00:26:50.640
It's five for me.
00:26:51.039 --> 00:26:51.279
Yeah.
00:26:51.359 --> 00:26:51.599
Yeah.
00:26:51.839 --> 00:26:52.799
Five for me too.
00:26:53.279 --> 00:26:53.440
Yeah.
00:26:53.680 --> 00:26:59.519
And I was just thinking too, like Olivia Wilde, her breakout role was on the OC where she played a high schooler.
00:26:59.839 --> 00:27:08.559
It could have been uncomfortable to shoot those scenes, or yeah, it it's so nice that now she can like pay it forward and like give these actors an experience she wasn't able to have before.
00:27:08.880 --> 00:27:09.119
Okay.
00:27:09.279 --> 00:27:19.680
Well, let's we're kind of getting into it already, but technical craft, coordination, excellence, the staging, film coverage, modesty, protection, choreography, and overall execution of the scene.
00:27:20.079 --> 00:27:29.440
I do have to say I did see the top of her Amy's buttocks at the very, very last second when she's putting the shirt on, but it's again not in the very sexualized way.
00:27:29.680 --> 00:27:31.039
It felt purposeful.
00:27:31.359 --> 00:27:34.000
I actually do have a question about everybody's opinions on this.
00:27:34.079 --> 00:27:48.720
Because while I feel that the choreography is fantastic, really, for the simulated manual stimulation, I don't know that I felt the story, like the story overall was clear, but I didn't really see her arm move very much.
00:27:48.960 --> 00:27:50.559
Am I on my own on that?
00:27:50.880 --> 00:27:56.240
Well, I don't need her arm to move that much because it wouldn't necessarily need to move in real life.
00:27:56.400 --> 00:27:58.720
Fingers can be moving without the arm moving.
00:27:58.960 --> 00:28:16.240
I saw the shoulder move to get into place, but I didn't necessarily see was, and I think this happens all the time, and maybe we saw it in other takes, and the take didn't make the cut, but I didn't see Hope's character the moment that touch happened.
00:28:16.559 --> 00:28:18.880
Yes, the point of contact we missed.
00:28:19.200 --> 00:28:20.480
I saw her hand moving down.
00:28:20.559 --> 00:28:30.400
I wasn't as bothered to not have shoulder movements because I feel like we were telling the story of someone like trying to figure out and was a little more hesitant, but yeah, I didn't think there was any penetration.
00:28:30.960 --> 00:28:33.279
No, no, I I don't think they were telling that story.
00:28:33.440 --> 00:28:39.680
I'm not saying I need like a top like a whole shoulder roll in order to showcase them what we're looking at.
00:28:40.079 --> 00:28:44.000
We know that it was the quote wrong hole because it was stated.
00:28:44.079 --> 00:28:55.440
I don't know that it was seen on the character's face or seen like even with a slight like shift of the shoulder or some kind of elbow movement to initiate that visually.
00:28:55.680 --> 00:28:58.960
But modesty protection, definitely in the pool, amazing.
00:28:59.119 --> 00:29:01.200
Choreography in the pool was fantastic.
00:29:01.599 --> 00:29:12.079
I think this scene for me was more like a four, just because I think it wasn't one million million percent clear, but I do think that overarchingly it looked really strong.
00:29:12.319 --> 00:29:20.079
I will go here with you that more shoulder movement would have told a clearer story, especially with the wrong hole part.
00:29:20.319 --> 00:29:21.200
The searching.
00:29:21.440 --> 00:29:21.680
Yeah.
00:29:22.079 --> 00:29:22.319
Yeah.
00:29:22.640 --> 00:29:31.519
Also, even just like a slight shift or tensing of hope's shoulders or some just like even just a touch of something to be like.
00:29:32.640 --> 00:29:33.680
Like four breath.
00:29:33.920 --> 00:29:35.200
Nope, not there.
00:29:35.359 --> 00:29:38.400
Yeah, you know, could have really sold it, I think, a little more for me.
00:29:38.720 --> 00:29:38.960
Am I?
00:29:39.759 --> 00:29:40.880
I'll I'll go with four.
00:29:40.960 --> 00:29:43.519
I want it to be a five, but I think you're correct that it's a four.
00:29:43.680 --> 00:29:43.920
Yeah.
00:29:44.000 --> 00:29:45.680
Emotionally, I want these all to be five.
00:29:45.920 --> 00:29:47.359
Emotionally, it's a five.
00:29:47.599 --> 00:29:48.240
Yeah.
00:29:48.960 --> 00:29:49.599
Of course.
00:29:49.759 --> 00:29:50.640
For sure.
00:29:50.880 --> 00:29:51.279
All right.
00:29:51.359 --> 00:29:56.640
Last category: heat factor, the level of erotic charge or sexual tension in the scene.
00:29:57.039 --> 00:29:58.079
As intended.
00:29:58.400 --> 00:30:02.160
I think it's a five in that I think they did what they set out to do.
00:30:02.319 --> 00:30:04.480
It's not like at the top of sexiness.
00:30:04.640 --> 00:30:04.960
Yeah.
00:30:05.519 --> 00:30:07.119
But it wasn't trying to do that.
00:30:07.359 --> 00:30:09.440
I might give the pool a four.
00:30:09.680 --> 00:30:20.799
There's one moment where she swims back and we see the back of her pelvis, the underwear's kind of going into the gluteal cleft a little bit, and it felt a little like jarring.
00:30:21.200 --> 00:30:26.000
They've now trained the audience to see these bodies in a less sexualized way.
00:30:26.079 --> 00:30:33.920
And so then when we do something that feels a little bit more sexualized, even if it was by accident, then all of a sudden it does kind of like surprise you a little bit.
00:30:34.319 --> 00:30:37.839
I did see the underwear starting to shift a little bit.
00:30:38.160 --> 00:30:43.680
That didn't bother me so much because I feel like we're looking at an imperfect situation.
00:30:44.000 --> 00:30:54.240
But what I will say about the pool scene is that there is a difference between characters feeling awkward and actors feeling awkward.
00:30:54.400 --> 00:31:04.319
And I do feel like the character of Ryan and the semi-faceless man that she was with really seemed tentative to even touch.
00:31:05.200 --> 00:31:05.599
Agreed.
00:31:05.759 --> 00:31:09.920
And it seemed like they didn't even really have a pull to come together.
00:31:10.000 --> 00:31:15.519
It seemed like they just were sort of near each other, and the legs even underwater kind of supported that as well.
00:31:15.680 --> 00:31:18.319
So for me, I'm like not sold on the pull one as well.
00:31:18.400 --> 00:31:19.200
I feel you.
00:31:19.440 --> 00:31:28.720
Then as far as the manual stimulation scene, there was definitely sexual tension, unrealized sexual tension for sure.
00:31:29.039 --> 00:31:29.359
Yes.
00:31:30.559 --> 00:31:34.240
Between the two scenes, if we're averaging out, I'm a three.
00:31:34.480 --> 00:31:36.160
I would bring it up to a four.
00:31:36.240 --> 00:31:38.960
I feel like I hear you on the hesitancy.
00:31:39.119 --> 00:31:45.039
I read that as the characters being hesitant, like maybe it was their first time being that close to each other.
00:31:45.279 --> 00:31:46.799
So I would go down to a four.
00:31:46.960 --> 00:31:48.720
I maybe I'm biased emotionally.
00:31:48.799 --> 00:31:51.200
I just don't feel like I can give this movie a three.
00:31:51.519 --> 00:31:53.359
I hear you and I understand.
00:31:53.759 --> 00:31:54.400
Yeah.
00:31:54.960 --> 00:32:02.559
I think maybe the pool scene is an example of if there had been an IC, it might have been done a little better.
00:32:08.400 --> 00:32:12.319
So for the director, that's a lot of what we're focused on.
00:32:12.480 --> 00:32:15.519
I'm with you that that story wasn't clear.
00:32:15.839 --> 00:32:22.160
I don't know why the two of them started making out or what kind of charge there was between them.
00:32:22.400 --> 00:32:31.279
So I would give the pool maybe a 3.5 because I think they mostly did what they set out to do with the fantasticalness.
00:32:31.359 --> 00:32:35.759
But then if you really break it down into the technical, it's like, well, no.
00:32:36.240 --> 00:32:40.480
Through the body language, we don't know the history of Ryan and Boy.
00:32:40.720 --> 00:32:42.960
We don't know the familiarity between them.
00:32:43.039 --> 00:32:47.200
We don't know if she did she jumped in the pool and she's like, you, and then they come together.
00:32:47.359 --> 00:32:50.400
We don't know if they're together in outside of the pool.
00:32:50.640 --> 00:32:56.559
We are coming from the perspective of Amy, and she doesn't know their level of familiarity either.
00:32:56.640 --> 00:32:58.880
So that also could be very purposeful.
00:32:59.119 --> 00:33:02.640
Ultimately, I like the 3.5 idea.
00:33:02.880 --> 00:33:04.079
Um I'll give.
00:33:04.160 --> 00:33:05.599
I'll give to the 3.5.
00:33:05.759 --> 00:33:06.480
That's okay.
00:33:07.039 --> 00:33:09.599
3.5 to go crazy.
00:33:09.920 --> 00:33:12.720
Heard, and that lands us at a B.
00:33:18.720 --> 00:33:20.160
B for Book Smart.
00:33:20.400 --> 00:33:21.279
B for Booksmart.
00:33:23.119 --> 00:33:28.079
Although shocking that Booksmart didn't get it, A being Booksmart as it is.
00:33:28.400 --> 00:33:31.759
I love how we broke it down the way you all do with your spice scale.
00:33:32.000 --> 00:33:36.880
But if we were just looking at like how great is this for queer representation, then it's an A.
00:33:36.960 --> 00:33:38.160
Oh, absolutely.
00:33:38.480 --> 00:33:39.279
And it did it so well.
00:33:40.240 --> 00:33:47.759
Like these scenes matter because it basically changed how sapphic scenes could look, like with the awkwardness and everything.
00:33:47.920 --> 00:33:54.000
It shows how not all sex, not all queer sex is perfect and everyone orgasms every time.
00:33:54.079 --> 00:33:59.839
You know, this proves awkward first hookups are true for everyone and not just the straights.
00:34:00.160 --> 00:34:05.200
It was the queer female super bad that I needed when I was that age.
00:34:05.599 --> 00:34:06.880
Yes, 100%.
00:34:07.680 --> 00:34:15.760
Wait, Brooke, when you watch things as an audience, like are you able to kind of turn off a little bit of the icy brain and just like react?
00:34:15.920 --> 00:34:19.280
Or do you feel like you still have the icy brain like fully on?
00:34:19.840 --> 00:34:21.280
I have the icy brain on.
00:34:21.440 --> 00:34:27.840
Honestly, when I was watching the pool scene, I was thinking, how many towels did we need for this to be?
00:34:28.559 --> 00:34:36.400
Because that's always my first thing when there's a scene that involves water, is I go to production and say, we're gonna need a lot of towels.
00:34:36.639 --> 00:34:37.039
Yeah.
00:34:37.199 --> 00:34:39.679
We're gonna need as many towels as you want takes.
00:34:40.000 --> 00:34:42.159
I just was dealing with this last night.
00:34:42.239 --> 00:34:50.480
We were doing a rain scene and the night before we had done a shower scene, and I was like, we need so many towels because they need a dry towel between every take.
00:34:50.559 --> 00:34:54.639
We can't just keep giving them the same wet towel between because they're gonna get cold.
00:34:54.719 --> 00:34:57.519
Even if the water is warm, they're gonna get cold so fast.
00:34:57.760 --> 00:35:00.239
And we need more than one robe because their robe is gonna get wet.
00:35:00.480 --> 00:35:11.440
The water needs to be heated, which is a question I also ask in all prep work because sometimes it isn't heated, and then no matter how many towels you have, the actors get hypothermia like they did one time on is that I was on.
00:35:11.599 --> 00:35:11.920
Yeah.
00:35:12.639 --> 00:35:20.000
Isn't it so amazing though when you're at monitor and the actors do an incredible job and you're like, yes, look at so totally?
00:35:20.559 --> 00:35:21.599
Oh my god.
00:35:22.079 --> 00:35:24.159
Yes, the greatest feeling.
00:35:24.239 --> 00:35:31.760
I'm like, ah, you have to stay quiet, but you're like amazing.
00:35:32.239 --> 00:35:34.800
All right, thank you so much for joining us.
00:35:34.960 --> 00:35:40.480
I know you have some plugs, possibly a new book you'd like to talk about.
00:35:41.519 --> 00:35:41.920
Sure.
00:35:42.159 --> 00:35:43.840
So I have two books out.
00:35:44.079 --> 00:35:47.360
I have the Intimacy Coordinator's guidebook that we talked about.
00:35:47.679 --> 00:35:59.599
And then in July uh or August 1st of last year, a history of intimacy professionals and entertainment came out, which was very much my love letter to the industry.
00:35:59.920 --> 00:36:05.920
And I just yesterday got an offer for my third book from a publisher.
00:36:06.400 --> 00:36:07.039
So yeah.
00:36:07.360 --> 00:36:12.079
I haven't seen crafted it yet, but I will accept an offer for that book soon.
00:36:12.159 --> 00:36:13.599
And I'm very excited about it.
00:36:14.559 --> 00:36:15.199
That's amazing.
00:36:15.280 --> 00:36:16.079
Congratulations.
00:36:16.239 --> 00:36:17.440
We can't wait for it.
00:36:18.079 --> 00:36:20.000
Well, thank you so much for joining us, Brooke.
00:36:20.159 --> 00:36:21.119
Thanks for taking the time.
00:36:21.199 --> 00:36:22.079
We know you're really busy.
00:36:22.159 --> 00:36:23.280
It was a pleasure having you.
00:36:23.360 --> 00:36:24.559
We'd love to have you again.
00:36:24.880 --> 00:36:25.840
Thank you for having me.
00:36:25.920 --> 00:36:27.519
This was so fun.
00:36:28.000 --> 00:36:33.679
Yay! Happy! I'm so grateful that you were able to share your time with us.
00:36:34.000 --> 00:36:35.679
I love getting to know the two of you better.
00:36:35.760 --> 00:36:37.920
You have bring such joy to this podcast.
00:36:38.239 --> 00:36:41.760
I really appreciate you both, and I hope you have a wonderful evening.
00:36:46.639 --> 00:36:48.159
I love amazing.
00:36:48.320 --> 00:36:49.599
What a lovely human.
00:36:49.840 --> 00:36:53.920
I really felt like they got us.
00:36:54.159 --> 00:36:55.039
You know what I mean?
00:36:55.199 --> 00:36:56.960
Like we were all on the same page.
00:36:57.119 --> 00:36:59.199
We're like queer intimacy coordinators.
00:36:59.280 --> 00:37:00.079
I'm from New York.
00:37:00.159 --> 00:37:01.119
They were all actors.
00:37:01.199 --> 00:37:03.519
Like it's just, it's, it was beautiful.
00:37:03.840 --> 00:37:06.159
I love meeting other intimacy coordinators.
00:37:06.320 --> 00:37:10.400
I feel like no matter what our background is or whatever, we can find some common ground.
00:37:10.480 --> 00:37:16.079
It's always really nice when you meet someone who you feel like has like a similar approach to the work.
00:37:16.239 --> 00:37:19.519
And they do approach this with so much joy.
00:37:19.840 --> 00:37:22.480
I loved their choice of book smart.
00:37:22.559 --> 00:37:24.880
I don't think it was something on our list initially.
00:37:25.039 --> 00:37:30.320
And then when when it was recommended, we were like, Abso freaking lutely, this is the greatest.
00:37:30.559 --> 00:37:49.599
I really appreciate that they chose the swimming pool scene because I don't know that I would have chosen to discuss that, but I really appreciated them choosing that and having us do that first because it does establish how we're showing young people in a non-sexualized way.
00:37:50.000 --> 00:37:53.360
Even though this is a movie where they have sexual experiences.
00:37:53.679 --> 00:38:08.800
Man, could ruin the shit out of the scene, and we just have like all these like slow tilts up the body, and we're in these like lacy push-up bras and tiny underwear, and we're whipping the hair around, you know.
00:38:09.039 --> 00:38:11.840
I can't believe we forgot to ruin it again.
00:38:12.159 --> 00:38:24.800
If I were to ruin both scenes, just kill all the awkwardness, just only smooth, only chill, and they spit in each other's mouth, which is a thing that happens, I feel like, in almost every queer scene I don't understand.
00:38:26.079 --> 00:38:33.360
All sapphic scenes have like one character spits in the other character's mouth, and they're like, Oh, I haven't been noticing that trend.
00:38:33.519 --> 00:38:36.320
Is that you're gonna see it all the time now?
00:38:36.400 --> 00:38:36.800
Oh my god.
00:38:37.039 --> 00:38:38.960
You're gonna see it in everything.
00:38:39.280 --> 00:38:42.079
It is so funny how certain things get trendy.
00:38:42.159 --> 00:38:44.800
Like there was a while where there was a lot of choking.
00:38:44.960 --> 00:38:46.719
Now there's a lot of like fingers in the mouth.
00:38:46.960 --> 00:38:49.360
Fingers in the mouth is happening in a lot of intimate scenes.
00:38:50.000 --> 00:38:50.480
All the time.
00:38:50.639 --> 00:38:51.760
Like finger in the mouth.
00:38:51.840 --> 00:38:55.840
Sometimes it's stuffed on, sometimes it's not, but it's always like there's a lot of hands in mouths.
00:38:55.920 --> 00:38:57.360
And I'm like, Sometimes it's just there.
00:38:57.599 --> 00:39:07.280
Or just like finger goes across the lip, or finger like pulls the lip down, or or they brush their teeth with the finger.
00:39:09.280 --> 00:39:11.679
Nothing sexier than that.
00:39:12.000 --> 00:39:12.559
Anyway.
00:39:12.800 --> 00:39:12.960
Yeah.
00:39:13.440 --> 00:39:15.679
Thank you so much for listening to faking it.
00:39:15.760 --> 00:39:19.440
This episode's research and context was done by me, Arielle.
00:39:19.840 --> 00:39:23.920
You invite us on Apple Podcasts, Spotify, or anywhere you get your podcasts.
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00:40:29.920 --> 00:40:31.920
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00:40:32.159 --> 00:40:36.800
This episode was produced by Erie Lee Cohen, social media and branding by Morgan Smith.
00:40:36.960 --> 00:40:40.960
Our new theme song is faking it by my guests.
00:40:41.119 --> 00:40:44.480
Thank you, Mike, for guessing us that new theme song.
00:40:44.639 --> 00:40:46.960
Yeah! Yeah.
00:40:47.679 --> 00:40:48.559
Dad jokes.
00:40:48.719 --> 00:40:49.679
Dad jokes.
00:40:50.400 --> 00:40:54.239
Credits for the film where show we reacted to are in the episode caption.
00:40:54.559 --> 00:40:56.320
Stay real, fakers.
00:40:56.719 --> 00:40:57.199
Woo!
00:00:00.160 --> 00:00:01.120
Girls have three holes.
00:00:01.280 --> 00:00:02.160
And not just two.
00:00:02.240 --> 00:00:04.320
And so they're like, wait, what?
00:00:06.080 --> 00:00:08.880
One of the actors had glitter and it was all over that.
00:00:39.280 --> 00:00:41.039
Hi, I'm Ariel Lee Cohen.
00:00:41.520 --> 00:00:42.799
Hey, I'm Morgan Smith.
00:00:42.960 --> 00:00:46.240
And we are the hosts of Faking It with Ariel and Morgan.
00:00:46.479 --> 00:00:51.280
We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV.
00:00:51.520 --> 00:00:57.759
But once again, we are three intimacy coordinators because today we have a new guest, Brooke M.
00:00:57.920 --> 00:00:58.640
Haney.
00:00:58.880 --> 00:00:59.359
Brooke M.
00:00:59.520 --> 00:01:15.519
Haney is a New York City-based intimacy coordinator, choreographer, and author, and one of the first 50 professionals recognized as qualified SAG AFTRA with credits spanning film, TV, and theater, both in the US and internationally.
00:01:15.680 --> 00:01:27.040
They're also the editor of the Intimacy Coordinator's Guidebook, and they were the intimacy coordinator for productions, including Mayor of Kingston, Law and Order SBU, and Pretty Little Liars Original Sin.
00:01:27.359 --> 00:01:33.120
We love a multi-hyphenate who's not just doing the work on set, but actively helping define what this job is.
00:01:33.359 --> 00:01:34.799
Welcome to the pod, Brooke.
00:01:34.879 --> 00:01:35.519
We're so happy to be here.
00:01:35.680 --> 00:01:35.920
Thank you.
00:01:36.319 --> 00:01:37.200
So happy to be here.
00:01:38.159 --> 00:01:39.680
Oh, I love your art behind you.
00:01:39.840 --> 00:01:40.239
Oh, yeah.
00:01:40.560 --> 00:01:40.879
Thanks.
00:01:41.040 --> 00:01:46.159
That's from a show I was in where there were visual artists live charcoal drawing the show.
00:01:46.319 --> 00:01:48.079
That's me and the thing.
00:01:48.239 --> 00:01:48.640
Thanks.
00:01:48.879 --> 00:01:49.439
Wow.
00:01:49.599 --> 00:01:50.480
That's it.
00:01:50.879 --> 00:01:53.519
So you've been listening to the podcast a little bit already, yeah?
00:01:53.680 --> 00:01:53.840
Yeah.
00:01:54.000 --> 00:01:54.319
Oh, yeah.
00:01:54.480 --> 00:01:55.599
So much fun to listen to.
00:01:55.840 --> 00:01:56.799
Thanks for listening.
00:01:57.280 --> 00:01:58.239
We love your book too.
00:01:58.480 --> 00:02:01.840
That's one of the ones that we use all the time and refer to in our work.
00:02:02.000 --> 00:02:03.519
So thank you for putting that together.
00:02:03.840 --> 00:02:04.879
So tell us about that.
00:02:04.959 --> 00:02:09.199
Like, what led you to the decision to start the process of creating that book?
00:02:09.439 --> 00:02:11.120
I wrote it because I wanted to read it.
00:02:12.159 --> 00:02:12.639
I love that.
00:02:13.199 --> 00:02:13.520
Yeah.
00:02:13.680 --> 00:02:19.280
In the early days of IC work, you would meet with a producer and they would be like, Cool, tell me what you do.
00:02:19.439 --> 00:02:22.639
And then they would just expect that any of us could do anything.
00:02:22.960 --> 00:02:25.360
But like we can have specialties too.
00:02:25.520 --> 00:02:30.000
I felt this like hunger to learn new things.
00:02:30.240 --> 00:02:38.560
And there were all these people that were doing these cool specializations that I was like, how can I get all these really brilliant people to write one chapter?
00:02:38.800 --> 00:02:47.199
And then hopefully, for those of us that are working, it's like a resource book for what might pique our interest or what might, you know.
00:02:47.520 --> 00:02:48.000
There it is.
00:02:48.080 --> 00:02:49.599
Maybe get us excited.
00:02:49.759 --> 00:02:50.080
Yeah.
00:02:50.319 --> 00:02:50.639
Totally.
00:02:50.800 --> 00:02:55.599
And it was also a really good excuse to get to know all the people in the book, which I love building community.
00:02:56.000 --> 00:02:58.000
It's part of why I'm excited to be here with you guys.
00:02:58.080 --> 00:02:59.439
I'm excited to get to know you better.
00:02:59.680 --> 00:03:00.000
Yes.
00:03:00.240 --> 00:03:00.639
Likewise.
00:03:01.680 --> 00:03:03.199
The community is so good.
00:03:03.360 --> 00:03:07.039
All the intimacy coordinators in LA have like a Discord and we all talk all Dalton.
00:03:08.240 --> 00:03:09.280
That's pretty awesome.
00:03:09.599 --> 00:03:12.719
Can you tell us more about what brought you to intimacy coordination?
00:03:12.879 --> 00:03:15.840
The question that we all get many, many times.
00:03:16.560 --> 00:03:25.680
I was an actor before this, and I often was cast in roles that involved either physical intimacy or where the character experienced trauma.
00:03:25.919 --> 00:03:29.199
And I have a dance background and a stage combat background.
00:03:29.360 --> 00:03:35.520
I was in a touring production when I was an undergrad that did sexual abuse prevention in schools.
00:03:35.680 --> 00:03:41.199
And we taught the difference between a good touch, a bad touch, a confusing touch, and how to talk about it.
00:03:41.360 --> 00:03:51.439
I have my MFA in performance, and all of my teachers told me how to get to the place of grief and sorrow and upset, but not how to get back from it.
00:03:52.400 --> 00:03:58.080
And I started teaching at Marymount Manhattan College and was like, I want better for my students.
00:03:58.319 --> 00:04:02.719
So I worked with a group of students and alumni to workshop a warm down for actors.
00:04:02.879 --> 00:04:07.280
Theaters started bringing me in to work with their casts with this warm down.
00:04:08.080 --> 00:04:13.840
And then I came out later in life and I knew immediately I wanted to tell queer stories.
00:04:14.000 --> 00:04:16.079
And I also knew I had a straight lens.
00:04:16.160 --> 00:04:17.839
I was raised very straight.
00:04:18.160 --> 00:04:21.120
Identity didn't equal expertise.
00:04:21.439 --> 00:04:32.480
And so I took a year and every day for a year I read something or watched something or listened to a podcast or took a class all on queer sex storytelling, BDSM, and kink.
00:04:32.639 --> 00:04:39.279
And then one day a theater that I'd been working with for a while was like, Hey, will you be our intimacy director again?
00:04:39.600 --> 00:04:44.639
And I was like, Dear Google was an intimacy director.
00:04:45.199 --> 00:04:52.399
And I discovered that these things, consent and boundaries, choreography at closure, are what I'm doing.
00:04:52.480 --> 00:04:54.399
And now there is a craft.
00:04:54.639 --> 00:04:59.439
So I started taking classes and kept working, and here we are.
00:04:59.759 --> 00:05:00.720
Oh, that's awesome.
00:05:01.279 --> 00:05:08.240
Also, can we just quickly discuss how we're three queer intimacy coordinators who used to be or are still actors?
00:05:08.560 --> 00:05:09.600
Kind of amazing, right?
00:05:09.839 --> 00:05:10.000
Yeah.
00:05:10.720 --> 00:05:10.879
Yeah.
00:05:11.040 --> 00:05:11.199
Yeah.
00:05:11.439 --> 00:05:16.240
What is the craziest scene you've worked on as far as content within the project?
00:05:16.639 --> 00:05:19.680
I have permission from the actors and the producers.
00:05:19.920 --> 00:05:25.680
I worked on a film called Burder that takes place in a queer nudist camp.
00:05:26.000 --> 00:05:28.560
And it's a queer psychosexual thriller.
00:05:28.879 --> 00:05:32.720
There's a threesome on the beach in which two of the characters die.
00:05:32.959 --> 00:05:33.360
Whoa.
00:05:34.639 --> 00:05:37.600
And the day of shooting, we had issues.
00:05:37.680 --> 00:05:41.120
We were shooting on a like an island that you could only get to by boat.
00:05:41.360 --> 00:05:43.279
We had issues with the boat that morning.
00:05:43.439 --> 00:05:49.360
So we had to bump the scene to the end of the day, which, as you know, is not generally ideal for intimacy.
00:05:50.399 --> 00:05:59.360
So we were shooting this choreographically very difficult scene, emotionally difficult scene, and we were fighting the light.
00:05:59.600 --> 00:06:04.639
That was for sure one of the most difficult scenes I've ever experienced.
00:06:04.720 --> 00:06:07.120
And I think it came out really awesome.
00:06:07.360 --> 00:06:21.920
And the actors afterward have really positive things to say about the experience, which I'm very grateful for because time can be a coercive, and we were rushing at the end in a way that I think was professional and as safe as we could be.
00:06:22.240 --> 00:06:24.879
I love the phrase time is coercive.
00:06:24.959 --> 00:06:26.480
That's so very real.
00:06:27.040 --> 00:06:27.600
Stealing that.
00:06:27.839 --> 00:06:29.920
Yeah, it was steal that real, real fast.
00:06:30.079 --> 00:06:41.360
I also want to say, just for audience who may or may not be in like in the film world, first of all, gotta say, lunch is any time of day and can be whenever it is.
00:06:41.439 --> 00:06:45.680
It's just like six hours into filming, so lunch could be at midnight.
00:06:45.839 --> 00:06:51.920
Second of all, the reason it's difficult to do intimacy scenes after lunch is the actors feel full.
00:06:52.079 --> 00:07:07.680
They don't necessarily always want to, if it's some kind of implied or actual nude scene, they don't really want to take off clothing necessarily, or they sometimes don't eat, and then folks may potentially faint or have some kind of other issue or glycemic issue.
00:07:07.920 --> 00:07:09.519
After you eat, you're just tired.
00:07:09.680 --> 00:07:13.279
Everyone's just tired and slower and like a little less into what we're doing.
00:07:13.600 --> 00:07:19.360
Even when actors are fully prepared, sometimes these scenes can still be very vulnerable.
00:07:19.759 --> 00:07:25.759
So having to think about it all day while working on other things can be emotionally exhausting for them.
00:07:26.639 --> 00:07:36.480
Um and like getting to go and do it and then the relief of how it went so well and I actually had fun can actually move your day into a really positive rhythm.
00:07:36.800 --> 00:07:42.160
Yeah, you don't have like the anticipation or anxiety of a scene throughout the day.
00:07:42.319 --> 00:07:46.879
So it it can be really helpful to just like get it done, get it over, rip the band-aid off.
00:07:47.120 --> 00:07:50.240
Don't do it on the first day of filming, but do it the first day.
00:07:51.920 --> 00:07:53.040
First day, first scene.
00:07:53.120 --> 00:07:53.839
Hi, nice to meet you.
00:07:53.920 --> 00:07:56.079
We're gonna have a threesome and be murdered.
00:07:58.079 --> 00:08:18.160
The situation you described, Brooke, speaks to the importance of prep because I'm sure the conversations that you had with the actors before production, on the day when you met with them individually, and all of that made it so that even when there was pressure of, oh, we're gonna lose the light, we have to get this done by a certain time, maybe people are tired, we don't want to go into overtime.
00:08:18.240 --> 00:08:25.519
Like because you did all of that work ahead of time, it allowed the actors to get to the place where they needed to be to do their performance.
00:08:25.839 --> 00:08:28.000
Prep is such a huge part of our job.
00:08:28.160 --> 00:08:33.679
And because we were so far into the film, I had done intimacy scenes with all of these actors already.
00:08:33.840 --> 00:08:36.159
They'd seen the process with other actors.
00:08:36.399 --> 00:08:36.639
Right.
00:08:36.879 --> 00:08:41.120
People are more able to trust because they've seen proof that it's gonna work.
00:08:41.519 --> 00:08:42.000
Absolutely.
00:08:42.080 --> 00:08:43.600
And build that trust with you too.
00:08:43.840 --> 00:08:45.519
Like build that professional relationship.
00:08:45.840 --> 00:08:46.960
I have a question though about that.
00:08:47.039 --> 00:08:49.279
It was you said it was on the beach itself.
00:08:50.080 --> 00:08:51.679
How tell me about sand.
00:08:51.840 --> 00:08:53.679
Talk to me about all that sand.
00:08:54.559 --> 00:09:00.320
Well, we had a blanket that we definitely shook off between takes.
00:09:00.720 --> 00:09:02.559
Miraculously, it was not the biggest problem.
00:09:02.879 --> 00:09:05.440
Were they wearing modesty garments at the time as well?
00:09:05.679 --> 00:09:06.799
And prosthetics.
00:09:07.039 --> 00:09:08.159
And prosthetics.
00:09:08.399 --> 00:09:08.720
Got it.
00:09:08.879 --> 00:09:12.159
And the sand didn't get stuck to all the adhesives and stuff.
00:09:12.559 --> 00:09:13.120
Amazing.
00:09:13.519 --> 00:09:14.480
Kind of amazing.
00:09:14.720 --> 00:09:15.840
That is kind of phenomenal.
00:09:15.919 --> 00:09:21.120
It is like the glitter of nature where it is just like everywhere forever.
00:09:21.759 --> 00:09:23.120
So well done, you.
00:09:23.679 --> 00:09:29.840
I did a scene literally yesterday where one of the actors had glitter and it was all over that monastic colour.
00:09:30.000 --> 00:09:32.159
And I was like, this is the end of this.
00:09:32.720 --> 00:09:35.279
That's when you should maybe shoot at the end of the day.
00:09:35.600 --> 00:09:35.919
Yeah.
00:09:36.240 --> 00:09:36.399
Yeah.
00:09:36.480 --> 00:09:38.799
If glitter's involved, that's the exception.
00:09:40.320 --> 00:09:45.519
And speaking of adhesives and all that fun stuff, what is your favorite kit item?
00:09:45.840 --> 00:09:48.399
I really like a tagger.
00:09:48.720 --> 00:09:51.200
Like you to tag as- Also use the tag!
00:09:51.840 --> 00:09:53.759
I'm a huge proponent of the tag.
00:09:54.559 --> 00:09:54.879
Yeah.
00:09:55.039 --> 00:09:55.360
Yeah.
00:09:55.679 --> 00:09:59.840
It just feels like such a way to like give ease of movement.
00:10:00.320 --> 00:10:03.200
Um, for anyone who's listening that doesn't know what we're talking about.
00:10:03.279 --> 00:10:07.759
It's like the gun you use to tag a ticket on a piece of clothing.
00:10:07.919 --> 00:10:17.840
If you're gonna buy a piece of clothing, and we'll do it, we'll like tag a sheet to a modesty garment so the actor can roll around on the bed and the sheet kind of comes with them.
00:10:18.240 --> 00:10:20.159
What do you use it for other things?
00:10:20.639 --> 00:10:28.559
I mean, I'll use it if there's a rip in something and wardrobe isn't for it has not been requested for a clothes set, so I can just pop there.
00:10:28.639 --> 00:10:32.399
Um, if it's not silk or something, sheet is a great use.
00:10:32.480 --> 00:10:35.679
I've never needed to do that specifically, but I've done it with towels.
00:10:35.840 --> 00:10:38.559
Like if you have a design towels of a shower or something.
00:10:39.039 --> 00:10:39.360
Yeah, yeah.
00:10:39.679 --> 00:10:45.360
Yeah, and they keep like tucking it in, but then it like unrolls and falls out, and then you just like tag it, and then we don't have to worry about it.
00:10:45.600 --> 00:10:46.000
Brilliant.
00:10:46.320 --> 00:10:53.120
That's a good segue into our scene work where today we are covering the film Book Smart.
00:10:53.279 --> 00:10:56.399
Yay! Brooke, what is your experience with this film?
00:10:56.639 --> 00:10:57.919
I just love this film.
00:10:58.159 --> 00:11:01.360
I think it's such a good queer film.
00:11:02.320 --> 00:11:08.559
And I hadn't watched it in years before you all asked what film I would like to do, and I was like, oh, Book Smart would be fun.
00:11:08.720 --> 00:11:13.600
But then I re-watched it in prep for this and was like, man, it's so good.
00:11:13.840 --> 00:11:16.559
The thing that I had remembered was that it was awkward.
00:11:16.879 --> 00:11:21.279
I've worked with directors who say, like, oh, we don't need to choreograph it because it should be awkward.
00:11:21.679 --> 00:11:23.759
And then I'm like, we can choreograph awkward.
00:11:23.919 --> 00:11:24.559
Yes.
00:11:25.120 --> 00:11:33.840
Or the expectation is just that these two characters, because they're meant to be together or whatever, are magically really good at sex.
00:11:35.200 --> 00:11:36.720
We can have boundaries too.
00:11:36.879 --> 00:11:45.679
And one of my boundaries is that when possible, I don't work on projects where underage characters are sexualized.
00:11:45.840 --> 00:11:52.080
But what I love about this film is this is about underage characters and it is about sex.
00:11:52.480 --> 00:11:56.960
And I don't think it's sexualized for the adult gaze.
00:11:57.440 --> 00:12:00.399
That's such a good way of putting it.
00:12:00.639 --> 00:12:09.759
Because we often hire actors who are over 18 to play high schoolers, sometimes it's easy to forget that the character is supposed to be 16.
00:12:10.000 --> 00:12:14.080
Another one of the many reasons that I love Book Smart is because it feels like that age.
00:12:14.159 --> 00:12:20.320
Like they still feel like half child, they still have that innocence, still they're still figuring things out.
00:12:20.399 --> 00:12:20.559
Yeah.
00:12:20.720 --> 00:12:22.799
And I'm like, that's so much more relatable.
00:12:23.600 --> 00:12:25.679
So just a little context to start.
00:12:25.759 --> 00:12:29.120
I know all three of us have watched this film and loved this film some years ago.
00:12:29.759 --> 00:12:33.919
Caitlin Deaver as Amy Ansler and Diana Silvers as Hope.
00:12:34.000 --> 00:12:38.960
This is written by Emily Halburn, Sarah Haskins, Susanna Fogle, and Katie Silverman.
00:12:39.120 --> 00:12:53.519
Produced by Megan Ellison, Jessica Ellbaum, Katie Silverman, and Jessica Barnard and David Distenfeld, directed by Olivia Wilde, woo-woo, and co-intimacy coordinated by no one, even though it's from 2019 and ICs existed at the time.
00:12:53.759 --> 00:13:01.919
So, context Amy and Molly crash Nick's graduation party after realizing their classmates got into good colleges despite partying.
00:13:02.080 --> 00:13:04.879
And Amy becomes nervous around her crash, Ryan.
00:13:05.279 --> 00:13:11.200
After drinking and feeling overwhelmed by jealousy and insecurity, Amy impulsively jumps into the pool.
00:13:11.519 --> 00:13:16.240
So we're going to start at about an hour and four minutes in.
00:13:16.559 --> 00:13:19.279
What a great um freeze frame right there.
00:13:19.360 --> 00:13:20.399
Alright, so here we go.
00:13:23.120 --> 00:13:25.039
So here they're going outside.
00:13:25.279 --> 00:13:29.440
And I think we're gonna see right away with how they take their clothes off.
00:13:29.759 --> 00:13:34.320
Ryan's pulling them off over sideways over their body.
00:13:34.559 --> 00:13:37.840
It's not the like smooth two hands up and over.
00:13:39.279 --> 00:13:48.000
And I love that we're just seeing her back, Ryan's back, and jumps in and it's like a cannonball, not a like beautiful dive.
00:13:48.399 --> 00:13:56.879
I think there's so much in this like hair, hands, bubbles, light, and just body parts.
00:13:57.120 --> 00:14:00.240
We're seeing her look around and swim.
00:14:00.399 --> 00:14:07.600
And like, even though we just saw the front of someone's pelvis and it took up a pretty significant part of the screen, it wasn't about that.
00:14:07.840 --> 00:14:13.440
I'm just struck by how many background folks are in this scene as well, and and they're all in their underwear.
00:14:13.759 --> 00:14:15.679
The amount of people you would need to speak to.
00:14:16.080 --> 00:14:16.720
So many.
00:14:16.960 --> 00:14:21.039
I'm also struck by how she has to keep her eyes open underwater so much.
00:14:21.360 --> 00:14:22.080
Oh my gosh.
00:14:22.240 --> 00:14:23.039
Yeah, uncomfortable.
00:14:28.480 --> 00:14:29.120
Totally.
00:14:29.360 --> 00:14:33.360
So now we see her seeing her crush with a boy.
00:14:33.759 --> 00:14:36.639
And even underwater, they have hands on each other.
00:14:36.720 --> 00:14:41.519
Like her hands are on his shoulder, his hands are around her waist, on her leg.
00:14:41.679 --> 00:14:48.960
And it's not grabby passion, it's two teenagers making out in a pool.
00:14:49.200 --> 00:14:52.480
Yeah, there's a little bit of hesitation between the two of them.
00:14:52.639 --> 00:14:59.600
They're not like she has her leg around him, but she's not like pulling him in close to their pelvises, or like as close together as possible.
00:14:59.840 --> 00:15:01.519
And now the shot just looks crowded.
00:15:01.600 --> 00:15:02.720
She's feeling stifled.
00:15:02.799 --> 00:15:06.960
It's she's getting out of the water, but the camera is placed to the side.
00:15:07.120 --> 00:15:13.679
So we kind of see the side of her go getting out as opposed to her face coming out, her chest.
00:15:14.159 --> 00:15:15.440
Oh, like a little mermaid.
00:15:15.679 --> 00:15:15.759
Right.
00:15:17.200 --> 00:15:17.600
Yeah.
00:15:17.840 --> 00:15:22.320
Oh my god, we're not like tilting down and following every inch of the front of her body.
00:15:22.639 --> 00:15:24.879
Yeah, the droplets falling and whatever.
00:15:25.759 --> 00:15:27.840
It feels fantastical to me.
00:15:28.080 --> 00:15:28.720
It does.
00:15:28.960 --> 00:15:30.240
But also heartbreaking.
00:15:30.399 --> 00:15:39.360
Like it feels like when she jumps in, you're in this fantastical world of possibility until the moment that she's disappointed.
00:15:39.519 --> 00:15:41.279
And then all of a sudden, it felt crowded.
00:15:41.600 --> 00:15:47.519
The person that her crush is with is not someone who feels so much more sexually advanced than her.
00:15:47.759 --> 00:15:58.080
Like she's the awkward one, and this is a very mature young person who feels more comfortable in their body and is moving in more like a kitty-like fashion or something.
00:15:58.240 --> 00:16:00.720
Like, she's also an awkward young person.
00:16:00.879 --> 00:16:02.720
They just happen to connect.
00:16:02.879 --> 00:16:05.279
And I feel like a lot of times we would have seen that other story.
00:16:05.360 --> 00:16:08.720
It's like, well, you're not with him because you're too innocent.
00:16:09.039 --> 00:16:14.639
There are people that age that are very passionate and grabby and experienced and all of that.
00:16:14.799 --> 00:16:15.039
Yeah.
00:16:15.759 --> 00:16:19.120
And the beauty of this film is that it's not that.
00:16:19.440 --> 00:16:22.159
I also appreciate the the wardrobe choices.
00:16:22.240 --> 00:16:24.960
Like it was full coverage underwear, there were bralettes.
00:16:25.039 --> 00:16:28.080
Like it was refreshing to see something so different.
00:16:28.320 --> 00:16:29.200
And I liked that.
00:16:29.519 --> 00:16:33.279
I love that Ryan is in a racerback sports bra, basically.
00:16:33.440 --> 00:16:39.440
Like we're not in a padded wonder bra situation, which would have been a very different choice and would have told a very different story.
00:16:39.759 --> 00:16:51.279
It's really interesting because a lot of the time when young queer folks are depicted, it's like they have an active disregard and dislike of the opposite sex.
00:16:51.679 --> 00:16:55.919
Whereas in this scene, you see her sort of appreciating all bodies in the space.
00:16:56.000 --> 00:17:06.480
It's directed towards Ryan, but she's just kind of in wonder about people in general and this blossoming of sexuality as it occurs and surrounds her.
00:17:06.559 --> 00:17:07.920
And I think that's very cool.
00:17:08.240 --> 00:17:12.640
Yeah, and it's this world that she's missed out on because she's been studying all the time.
00:17:13.359 --> 00:17:16.640
And it's that like, oh life.
00:17:17.279 --> 00:17:17.759
Yes.
00:17:18.000 --> 00:17:19.519
Yes, exactly.
00:17:20.799 --> 00:17:21.680
Snaps for life.
00:17:22.079 --> 00:17:26.640
Which brings us to our next scene, which is literally 10 minutes later in the film.
00:17:26.720 --> 00:17:28.799
Like, what an arc! Insanity.
00:17:29.359 --> 00:17:34.160
Context for this part of the film Amy and Molly are still split up at this party.
00:17:34.559 --> 00:17:39.759
So after the situation with Ryan, Amy has run into another character, Hope.
00:17:40.079 --> 00:17:46.720
They are experiencing their first sort of intimate moment as Amy finally sort of acts on her feelings.
00:17:47.279 --> 00:17:51.039
We're gonna start at 1142-ish.
00:17:51.680 --> 00:17:54.799
I also I just want to say, so we're watching this on YouTube right now.
00:17:55.279 --> 00:17:58.160
I'm gonna show I'm gonna show you this because I didn't know that it ever did this.
00:17:58.240 --> 00:17:59.359
This is amazing, actually.
00:17:59.519 --> 00:18:06.720
If you scrub through the bottom, it says most replayed is the scene we're about to watch.
00:18:07.039 --> 00:18:08.000
Amazing.
00:18:09.279 --> 00:18:10.079
I love it.
00:18:10.559 --> 00:18:11.519
Kind of incredible.
00:18:11.680 --> 00:18:15.839
And I feel like, see, most replayed, fantastic.
00:18:16.160 --> 00:18:19.039
So Amy has kissed Hope.
00:18:19.359 --> 00:18:26.400
We see her take the initiative, and then she takes the initiative to take Hope's shirt off.
00:18:26.640 --> 00:18:28.480
Together go to kiss each other.
00:18:28.720 --> 00:18:30.480
Hope asks, like, are you okay?
00:18:30.640 --> 00:18:31.279
Is this okay?
00:18:31.519 --> 00:18:32.720
Asking for consent.
00:18:32.960 --> 00:18:34.960
Amy says, We're not stopping.
00:18:36.079 --> 00:18:40.319
Hope goes to lay down, is unbuttoning her own pants.
00:18:40.480 --> 00:18:45.440
Amy's trying to pull them off, but Hope is wearing converse tennis shoes.
00:18:45.759 --> 00:18:53.119
So now there's the like time it takes to take off the tennis shoes, and it's difficult to get the jeans off now.
00:18:53.519 --> 00:19:04.160
Amy falls back pulling them off, and then she's pulling off Hope's underwear, and she's realizing she needs to take off her stuff too.
00:19:04.319 --> 00:19:12.720
We just see like her chest up as she's trying to wiggle out of her underwear under her dress and then pulls her dress off.
00:19:12.880 --> 00:19:17.039
But instead of watching her take it off, we watch Hope watching her take it off.
00:19:17.200 --> 00:19:19.279
Amy's starting to crawl on top.
00:19:19.519 --> 00:19:20.960
They both start kissing.
00:19:21.119 --> 00:19:22.880
They're kind of making out now.
00:19:23.039 --> 00:19:28.559
We see Amy's character go to reach down theoretically to do some manual stimulation.
00:19:28.960 --> 00:19:30.559
She's asking how it's going.
00:19:30.720 --> 00:19:31.519
Is it good?
00:19:32.160 --> 00:19:36.480
We can tell it's not great, but it's maybe okay, fine.
00:19:38.160 --> 00:19:41.519
I don't think that's the whole you think it is, which is great.
00:19:42.079 --> 00:19:43.599
My geometry was off.
00:19:44.559 --> 00:19:52.559
Referencing an earlier scene where uh Molly, her best friend, says, It's just what you do to yourself.
00:19:52.640 --> 00:19:54.160
You just turn it around.
00:19:54.240 --> 00:19:57.039
And she's saying, I'm I'm not used to approaching it from that angle.
00:19:57.359 --> 00:19:58.559
And then she vomits.
00:19:58.960 --> 00:20:00.160
Oh my gosh.
00:20:00.640 --> 00:20:02.160
I mean, luckily you're in a bathroom.
00:20:02.559 --> 00:20:04.880
And luckily you're in the bathroom, so we can wash it off.
00:20:05.119 --> 00:20:10.559
We see kind of from right above her bra up as she's putting her clothes back on.
00:20:11.039 --> 00:20:11.839
So good.
00:20:12.240 --> 00:20:14.319
Love the way that consent is shown in the scene.
00:20:14.480 --> 00:20:24.799
It's actually in the text, but also there's moments you see it in them like kissing and then backing up and asking for permission with their eyes, like not rushing into it.
00:20:25.119 --> 00:20:27.680
Morgan and I have talked about this a lot on the podcast.
00:20:27.920 --> 00:20:30.319
Consent on screen doesn't need to be.
00:20:30.480 --> 00:20:32.240
Do you consent to this activity?
00:20:32.400 --> 00:20:33.359
Yes, I do.
00:20:33.599 --> 00:20:39.039
It can just be a flicker of the eyes and a light nod or something of just like a smile.
00:20:39.279 --> 00:20:43.519
There are so many options for body language to reveal consent.
00:20:43.599 --> 00:20:46.720
And I'm just I'm blown away by this scene in particular.
00:20:46.880 --> 00:20:54.880
I also just want to say, I love that they put her on a fluffy rug so the actress doesn't have to feel the cold hard tiles beneath her.
00:20:55.119 --> 00:21:00.000
I think what's also nice about the consent is it's not just them checking in, like, is this okay?
00:21:00.079 --> 00:21:02.319
But it's also like truly just trying to figure it out.
00:21:02.480 --> 00:21:02.799
Yeah.
00:21:02.960 --> 00:21:03.279
Yeah.
00:21:03.759 --> 00:21:04.480
Do you like this?
00:21:05.200 --> 00:21:05.680
Yeah, yeah.
00:21:06.240 --> 00:21:07.519
Am I good at this?
00:21:07.680 --> 00:21:13.119
Because what especially when you're having those like really early experiences, I mean, you truly don't know.
00:21:13.200 --> 00:21:15.519
Like you haven't interacted with a lot of other bodies.
00:21:15.599 --> 00:21:17.519
You're used to just yourself.
00:21:17.599 --> 00:21:20.480
And and so you can't feel how it feels on the other end.
00:21:20.559 --> 00:21:25.119
And you also like don't want to be embarrassed or, you know, accidentally throw up on the other person.
00:21:25.359 --> 00:21:27.119
Yeah, that would be crazy.
00:21:28.079 --> 00:21:29.759
Yeah, it's really vulnerable.
00:21:30.000 --> 00:21:37.359
And it's so tempting to try to play it cool, especially if it's someone like you've been crushing on for a while, especially someone who like seems really cool.
00:21:37.440 --> 00:21:41.839
Like she didn't look at her like, oh, I can't believe you're not experienced enough.
00:21:42.000 --> 00:21:44.240
Like they understand this is where we're both at.
00:21:44.480 --> 00:21:54.079
I read an interview with Olivia Wilde, who directed it, that she wanted the like converse in there intentionally because I have that in my notes.
00:21:54.640 --> 00:21:54.799
Yes.
00:21:54.960 --> 00:21:59.599
Yeah, because those are the kinds of things that like you get to in real life and you're like, uh, they never have shoes in.
00:22:00.240 --> 00:22:05.759
Movies, and we do learn so much of our sex education from movies and other media.
00:22:06.079 --> 00:22:16.000
And maybe that's also why I love this film is I feel that a lot of queer sexuality has been stunted because there's so little representation of queer intimacy.
00:22:16.160 --> 00:22:18.240
And so I loved that that was part of it.
00:22:18.480 --> 00:22:26.480
The tedish shoe, love it that they actually showed that like that's gonna take a minute, and those skin tight pants are gonna be difficult to get off.
00:22:26.880 --> 00:22:29.119
Yes, the skinny jeans.
00:22:29.440 --> 00:22:31.839
And and you know that you bring up such a good point.
00:22:31.920 --> 00:22:37.200
That's something we also talk about on the podcast is the representation of sexuality in media.
00:22:37.519 --> 00:22:45.359
Because sex education in this country is so extremely limited, especially when it comes to queer sex, it really matters what we're showing.
00:22:45.440 --> 00:23:00.559
And if we only show people who young people immediately have the confidence and body awareness of a full adult, then people are gonna feel like if that's not my experience, and I there must be something wrong with me.
00:23:00.880 --> 00:23:06.640
I love that on this season of Bridgerton, they have someone that can't find climax.
00:23:06.880 --> 00:23:17.200
Both a character like manually stimulating themselves, masturbating, who can't get there and gives up, and a character that can't get there with her husband.
00:23:17.440 --> 00:23:20.400
Those are things that happen all the time for people.
00:23:20.720 --> 00:23:22.960
And normalizing it is super helpful.
00:23:23.200 --> 00:23:30.960
In season one, Bridgerton did a great job of showing how she truly didn't understand like how sex worked because nobody talked about it.
00:23:31.119 --> 00:23:37.680
Like she didn't understand that by her husband pulling out, he was actively trying to avoid having children with her.
00:23:37.839 --> 00:23:38.160
Yep.
00:23:38.319 --> 00:23:45.359
And now we see like, oh, I didn't even know that there was climax, let alone that it was something I was supposed to reach.
00:23:45.599 --> 00:23:46.000
Yeah.
00:23:46.319 --> 00:23:53.279
So bringing it back to this film, I think that's the wrong hole is meant to be a butt sex joke.
00:23:53.519 --> 00:23:53.839
Yeah.
00:23:54.079 --> 00:23:56.799
But I also think it could be a urethra.
00:23:57.440 --> 00:24:00.240
Like we know from later in the film that it's not.
00:24:00.559 --> 00:24:05.920
If you don't know the parts, like oh, wrong hole.
00:24:06.799 --> 00:24:11.920
There's so much that's unknown if you haven't had a good sex education.
00:24:12.240 --> 00:24:20.400
I remember when I was in high school having to explain to one of my guy friends that girls have three holes and not just two.
00:24:20.559 --> 00:24:23.119
And like Hina Stones are like, wait, what?
00:24:25.440 --> 00:24:25.759
All right.
00:24:25.920 --> 00:24:29.119
I think I think we should do some spy scale.
00:24:29.200 --> 00:24:29.759
What do you think?
00:24:30.079 --> 00:24:39.519
Welcome to the spy scale, or not so scientific way of rating intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, and heat factor.
00:24:39.680 --> 00:24:42.960
Each category gets a score from one to five, with five being the highest.
00:24:43.039 --> 00:24:46.480
Then we add it all up to give the scene a final letter grade.
00:24:46.720 --> 00:24:55.039
We've touched on this a bit already, but let's start with consent and power dynamics, how the scene depicts consent and power in the story, and if known, behind the scenes.
00:24:55.359 --> 00:25:12.480
Well, I read in I think Vanity Fair, Olivia Wilde talking about how she wanted to direct an awkward sex scene, but also she wanted to direct a stimulated sex scene where it was handled the way she wished scenes had been handled for her.
00:25:12.799 --> 00:25:16.160
Actually closing set completely.
00:25:16.480 --> 00:25:29.359
And I heard an interview with the two actresses, what with Beanie Feldstein, who plays Molly, and Caitlin Dever that plays Amy, talked about how it felt like a truly closed set and she hadn't always felt that.
00:25:29.680 --> 00:25:34.000
Behind the scenes stuff was handled better than it sometimes is.
00:25:34.319 --> 00:25:38.720
And certainly to me, the consent in the scene is super clear.
00:25:39.039 --> 00:25:46.160
You know, even though they didn't have an intimacy coordinator, it's still an emerging field and is slowly becoming more and more of an industry standard.
00:25:46.240 --> 00:25:59.440
I really appreciate that Olivia made that effort to really close the set because I feel like you can feel it in the performance with how vulnerable the actors were being with each other, the comfort level that was there.
00:25:59.599 --> 00:26:04.400
And it's hard to get that if you don't have the right environment to get those performances.
00:26:04.720 --> 00:26:04.960
Yeah.
00:26:05.359 --> 00:26:08.400
And 2019 was very early in the movie.
00:26:08.640 --> 00:26:10.400
Yeah, it was just two years after the first one, right?
00:26:10.640 --> 00:26:11.200
Absolutely.
00:26:11.359 --> 00:26:18.240
And I know that Yehuda Dueñez worked with Olivia Wilde on something recently that went to Sundance.
00:26:18.480 --> 00:26:20.880
Yeah, so she's working with ICs now.
00:26:21.440 --> 00:26:25.920
Obviously, the consent in the film itself, very, very clear.
00:26:26.079 --> 00:26:27.599
The dynamics are very clear.
00:26:27.680 --> 00:26:31.759
They're really in that same figuring it out kind of at the same pace.
00:26:31.920 --> 00:26:34.240
There's awkwardness, but there's consent.
00:26:34.319 --> 00:26:39.599
There's even what was that one line she says, we can stop if you want, and at one point.
00:26:40.000 --> 00:26:47.839
Consent in the other scene is sort of interesting because anyone who jumps in the pool is sort of implying consent in some capacity.
00:26:48.319 --> 00:26:49.440
I don't know, for me it's a five.
00:26:49.680 --> 00:26:50.640
It's five for me.
00:26:51.039 --> 00:26:51.279
Yeah.
00:26:51.359 --> 00:26:51.599
Yeah.
00:26:51.839 --> 00:26:52.799
Five for me too.
00:26:53.279 --> 00:26:53.440
Yeah.
00:26:53.680 --> 00:26:59.519
And I was just thinking too, like Olivia Wilde, her breakout role was on the OC where she played a high schooler.
00:26:59.839 --> 00:27:08.559
It could have been uncomfortable to shoot those scenes, or yeah, it it's so nice that now she can like pay it forward and like give these actors an experience she wasn't able to have before.
00:27:08.880 --> 00:27:09.119
Okay.
00:27:09.279 --> 00:27:19.680
Well, let's we're kind of getting into it already, but technical craft, coordination, excellence, the staging, film coverage, modesty, protection, choreography, and overall execution of the scene.
00:27:20.079 --> 00:27:29.440
I do have to say I did see the top of her Amy's buttocks at the very, very last second when she's putting the shirt on, but it's again not in the very sexualized way.
00:27:29.680 --> 00:27:31.039
It felt purposeful.
00:27:31.359 --> 00:27:34.000
I actually do have a question about everybody's opinions on this.
00:27:34.079 --> 00:27:48.720
Because while I feel that the choreography is fantastic, really, for the simulated manual stimulation, I don't know that I felt the story, like the story overall was clear, but I didn't really see her arm move very much.
00:27:48.960 --> 00:27:50.559
Am I on my own on that?
00:27:50.880 --> 00:27:56.240
Well, I don't need her arm to move that much because it wouldn't necessarily need to move in real life.
00:27:56.400 --> 00:27:58.720
Fingers can be moving without the arm moving.
00:27:58.960 --> 00:28:16.240
I saw the shoulder move to get into place, but I didn't necessarily see was, and I think this happens all the time, and maybe we saw it in other takes, and the take didn't make the cut, but I didn't see Hope's character the moment that touch happened.
00:28:16.559 --> 00:28:18.880
Yes, the point of contact we missed.
00:28:19.200 --> 00:28:20.480
I saw her hand moving down.
00:28:20.559 --> 00:28:30.400
I wasn't as bothered to not have shoulder movements because I feel like we were telling the story of someone like trying to figure out and was a little more hesitant, but yeah, I didn't think there was any penetration.
00:28:30.960 --> 00:28:33.279
No, no, I I don't think they were telling that story.
00:28:33.440 --> 00:28:39.680
I'm not saying I need like a top like a whole shoulder roll in order to showcase them what we're looking at.
00:28:40.079 --> 00:28:44.000
We know that it was the quote wrong hole because it was stated.
00:28:44.079 --> 00:28:55.440
I don't know that it was seen on the character's face or seen like even with a slight like shift of the shoulder or some kind of elbow movement to initiate that visually.
00:28:55.680 --> 00:28:58.960
But modesty protection, definitely in the pool, amazing.
00:28:59.119 --> 00:29:01.200
Choreography in the pool was fantastic.
00:29:01.599 --> 00:29:12.079
I think this scene for me was more like a four, just because I think it wasn't one million million percent clear, but I do think that overarchingly it looked really strong.
00:29:12.319 --> 00:29:20.079
I will go here with you that more shoulder movement would have told a clearer story, especially with the wrong hole part.
00:29:20.319 --> 00:29:21.200
The searching.
00:29:21.440 --> 00:29:21.680
Yeah.
00:29:22.079 --> 00:29:22.319
Yeah.
00:29:22.640 --> 00:29:31.519
Also, even just like a slight shift or tensing of hope's shoulders or some just like even just a touch of something to be like.
00:29:32.640 --> 00:29:33.680
Like four breath.
00:29:33.920 --> 00:29:35.200
Nope, not there.
00:29:35.359 --> 00:29:38.400
Yeah, you know, could have really sold it, I think, a little more for me.
00:29:38.720 --> 00:29:38.960
Am I?
00:29:39.759 --> 00:29:40.880
I'll I'll go with four.
00:29:40.960 --> 00:29:43.519
I want it to be a five, but I think you're correct that it's a four.
00:29:43.680 --> 00:29:43.920
Yeah.
00:29:44.000 --> 00:29:45.680
Emotionally, I want these all to be five.
00:29:45.920 --> 00:29:47.359
Emotionally, it's a five.
00:29:47.599 --> 00:29:48.240
Yeah.
00:29:48.960 --> 00:29:49.599
Of course.
00:29:49.759 --> 00:29:50.640
For sure.
00:29:50.880 --> 00:29:51.279
All right.
00:29:51.359 --> 00:29:56.640
Last category: heat factor, the level of erotic charge or sexual tension in the scene.
00:29:57.039 --> 00:29:58.079
As intended.
00:29:58.400 --> 00:30:02.160
I think it's a five in that I think they did what they set out to do.
00:30:02.319 --> 00:30:04.480
It's not like at the top of sexiness.
00:30:04.640 --> 00:30:04.960
Yeah.
00:30:05.519 --> 00:30:07.119
But it wasn't trying to do that.
00:30:07.359 --> 00:30:09.440
I might give the pool a four.
00:30:09.680 --> 00:30:20.799
There's one moment where she swims back and we see the back of her pelvis, the underwear's kind of going into the gluteal cleft a little bit, and it felt a little like jarring.
00:30:21.200 --> 00:30:26.000
They've now trained the audience to see these bodies in a less sexualized way.
00:30:26.079 --> 00:30:33.920
And so then when we do something that feels a little bit more sexualized, even if it was by accident, then all of a sudden it does kind of like surprise you a little bit.
00:30:34.319 --> 00:30:37.839
I did see the underwear starting to shift a little bit.
00:30:38.160 --> 00:30:43.680
That didn't bother me so much because I feel like we're looking at an imperfect situation.
00:30:44.000 --> 00:30:54.240
But what I will say about the pool scene is that there is a difference between characters feeling awkward and actors feeling awkward.
00:30:54.400 --> 00:31:04.319
And I do feel like the character of Ryan and the semi-faceless man that she was with really seemed tentative to even touch.
00:31:05.200 --> 00:31:05.599
Agreed.
00:31:05.759 --> 00:31:09.920
And it seemed like they didn't even really have a pull to come together.
00:31:10.000 --> 00:31:15.519
It seemed like they just were sort of near each other, and the legs even underwater kind of supported that as well.
00:31:15.680 --> 00:31:18.319
So for me, I'm like not sold on the pull one as well.
00:31:18.400 --> 00:31:19.200
I feel you.
00:31:19.440 --> 00:31:28.720
Then as far as the manual stimulation scene, there was definitely sexual tension, unrealized sexual tension for sure.
00:31:29.039 --> 00:31:29.359
Yes.
00:31:30.559 --> 00:31:34.240
Between the two scenes, if we're averaging out, I'm a three.
00:31:34.480 --> 00:31:36.160
I would bring it up to a four.
00:31:36.240 --> 00:31:38.960
I feel like I hear you on the hesitancy.
00:31:39.119 --> 00:31:45.039
I read that as the characters being hesitant, like maybe it was their first time being that close to each other.
00:31:45.279 --> 00:31:46.799
So I would go down to a four.
00:31:46.960 --> 00:31:48.720
I maybe I'm biased emotionally.
00:31:48.799 --> 00:31:51.200
I just don't feel like I can give this movie a three.
00:31:51.519 --> 00:31:53.359
I hear you and I understand.
00:31:53.759 --> 00:31:54.400
Yeah.
00:31:54.960 --> 00:32:02.559
I think maybe the pool scene is an example of if there had been an IC, it might have been done a little better.
00:32:08.400 --> 00:32:12.319
So for the director, that's a lot of what we're focused on.
00:32:12.480 --> 00:32:15.519
I'm with you that that story wasn't clear.
00:32:15.839 --> 00:32:22.160
I don't know why the two of them started making out or what kind of charge there was between them.
00:32:22.400 --> 00:32:31.279
So I would give the pool maybe a 3.5 because I think they mostly did what they set out to do with the fantasticalness.
00:32:31.359 --> 00:32:35.759
But then if you really break it down into the technical, it's like, well, no.
00:32:36.240 --> 00:32:40.480
Through the body language, we don't know the history of Ryan and Boy.
00:32:40.720 --> 00:32:42.960
We don't know the familiarity between them.
00:32:43.039 --> 00:32:47.200
We don't know if she did she jumped in the pool and she's like, you, and then they come together.
00:32:47.359 --> 00:32:50.400
We don't know if they're together in outside of the pool.
00:32:50.640 --> 00:32:56.559
We are coming from the perspective of Amy, and she doesn't know their level of familiarity either.
00:32:56.640 --> 00:32:58.880
So that also could be very purposeful.
00:32:59.119 --> 00:33:02.640
Ultimately, I like the 3.5 idea.
00:33:02.880 --> 00:33:04.079
Um I'll give.
00:33:04.160 --> 00:33:05.599
I'll give to the 3.5.
00:33:05.759 --> 00:33:06.480
That's okay.
00:33:07.039 --> 00:33:09.599
3.5 to go crazy.
00:33:09.920 --> 00:33:12.720
Heard, and that lands us at a B.
00:33:18.720 --> 00:33:20.160
B for Book Smart.
00:33:20.400 --> 00:33:21.279
B for Booksmart.
00:33:23.119 --> 00:33:28.079
Although shocking that Booksmart didn't get it, A being Booksmart as it is.
00:33:28.400 --> 00:33:31.759
I love how we broke it down the way you all do with your spice scale.
00:33:32.000 --> 00:33:36.880
But if we were just looking at like how great is this for queer representation, then it's an A.
00:33:36.960 --> 00:33:38.160
Oh, absolutely.
00:33:38.480 --> 00:33:39.279
And it did it so well.
00:33:40.240 --> 00:33:47.759
Like these scenes matter because it basically changed how sapphic scenes could look, like with the awkwardness and everything.
00:33:47.920 --> 00:33:54.000
It shows how not all sex, not all queer sex is perfect and everyone orgasms every time.
00:33:54.079 --> 00:33:59.839
You know, this proves awkward first hookups are true for everyone and not just the straights.
00:34:00.160 --> 00:34:05.200
It was the queer female super bad that I needed when I was that age.
00:34:05.599 --> 00:34:06.880
Yes, 100%.
00:34:07.680 --> 00:34:15.760
Wait, Brooke, when you watch things as an audience, like are you able to kind of turn off a little bit of the icy brain and just like react?
00:34:15.920 --> 00:34:19.280
Or do you feel like you still have the icy brain like fully on?
00:34:19.840 --> 00:34:21.280
I have the icy brain on.
00:34:21.440 --> 00:34:27.840
Honestly, when I was watching the pool scene, I was thinking, how many towels did we need for this to be?
00:34:28.559 --> 00:34:36.400
Because that's always my first thing when there's a scene that involves water, is I go to production and say, we're gonna need a lot of towels.
00:34:36.639 --> 00:34:37.039
Yeah.
00:34:37.199 --> 00:34:39.679
We're gonna need as many towels as you want takes.
00:34:40.000 --> 00:34:42.159
I just was dealing with this last night.
00:34:42.239 --> 00:34:50.480
We were doing a rain scene and the night before we had done a shower scene, and I was like, we need so many towels because they need a dry towel between every take.
00:34:50.559 --> 00:34:54.639
We can't just keep giving them the same wet towel between because they're gonna get cold.
00:34:54.719 --> 00:34:57.519
Even if the water is warm, they're gonna get cold so fast.
00:34:57.760 --> 00:35:00.239
And we need more than one robe because their robe is gonna get wet.
00:35:00.480 --> 00:35:11.440
The water needs to be heated, which is a question I also ask in all prep work because sometimes it isn't heated, and then no matter how many towels you have, the actors get hypothermia like they did one time on is that I was on.
00:35:11.599 --> 00:35:11.920
Yeah.
00:35:12.639 --> 00:35:20.000
Isn't it so amazing though when you're at monitor and the actors do an incredible job and you're like, yes, look at so totally?
00:35:20.559 --> 00:35:21.599
Oh my god.
00:35:22.079 --> 00:35:24.159
Yes, the greatest feeling.
00:35:24.239 --> 00:35:31.760
I'm like, ah, you have to stay quiet, but you're like amazing.
00:35:32.239 --> 00:35:34.800
All right, thank you so much for joining us.
00:35:34.960 --> 00:35:40.480
I know you have some plugs, possibly a new book you'd like to talk about.
00:35:41.519 --> 00:35:41.920
Sure.
00:35:42.159 --> 00:35:43.840
So I have two books out.
00:35:44.079 --> 00:35:47.360
I have the Intimacy Coordinator's guidebook that we talked about.
00:35:47.679 --> 00:35:59.599
And then in July uh or August 1st of last year, a history of intimacy professionals and entertainment came out, which was very much my love letter to the industry.
00:35:59.920 --> 00:36:05.920
And I just yesterday got an offer for my third book from a publisher.
00:36:06.400 --> 00:36:07.039
So yeah.
00:36:07.360 --> 00:36:12.079
I haven't seen crafted it yet, but I will accept an offer for that book soon.
00:36:12.159 --> 00:36:13.599
And I'm very excited about it.
00:36:14.559 --> 00:36:15.199
That's amazing.
00:36:15.280 --> 00:36:16.079
Congratulations.
00:36:16.239 --> 00:36:17.440
We can't wait for it.
00:36:18.079 --> 00:36:20.000
Well, thank you so much for joining us, Brooke.
00:36:20.159 --> 00:36:21.119
Thanks for taking the time.
00:36:21.199 --> 00:36:22.079
We know you're really busy.
00:36:22.159 --> 00:36:23.280
It was a pleasure having you.
00:36:23.360 --> 00:36:24.559
We'd love to have you again.
00:36:24.880 --> 00:36:25.840
Thank you for having me.
00:36:25.920 --> 00:36:27.519
This was so fun.
00:36:28.000 --> 00:36:33.679
Yay! Happy! I'm so grateful that you were able to share your time with us.
00:36:34.000 --> 00:36:35.679
I love getting to know the two of you better.
00:36:35.760 --> 00:36:37.920
You have bring such joy to this podcast.
00:36:38.239 --> 00:36:41.760
I really appreciate you both, and I hope you have a wonderful evening.
00:36:46.639 --> 00:36:48.159
I love amazing.
00:36:48.320 --> 00:36:49.599
What a lovely human.
00:36:49.840 --> 00:36:53.920
I really felt like they got us.
00:36:54.159 --> 00:36:55.039
You know what I mean?
00:36:55.199 --> 00:36:56.960
Like we were all on the same page.
00:36:57.119 --> 00:36:59.199
We're like queer intimacy coordinators.
00:36:59.280 --> 00:37:00.079
I'm from New York.
00:37:00.159 --> 00:37:01.119
They were all actors.
00:37:01.199 --> 00:37:03.519
Like it's just, it's, it was beautiful.
00:37:03.840 --> 00:37:06.159
I love meeting other intimacy coordinators.
00:37:06.320 --> 00:37:10.400
I feel like no matter what our background is or whatever, we can find some common ground.
00:37:10.480 --> 00:37:16.079
It's always really nice when you meet someone who you feel like has like a similar approach to the work.
00:37:16.239 --> 00:37:19.519
And they do approach this with so much joy.
00:37:19.840 --> 00:37:22.480
I loved their choice of book smart.
00:37:22.559 --> 00:37:24.880
I don't think it was something on our list initially.
00:37:25.039 --> 00:37:30.320
And then when when it was recommended, we were like, Abso freaking lutely, this is the greatest.
00:37:30.559 --> 00:37:49.599
I really appreciate that they chose the swimming pool scene because I don't know that I would have chosen to discuss that, but I really appreciated them choosing that and having us do that first because it does establish how we're showing young people in a non-sexualized way.
00:37:50.000 --> 00:37:53.360
Even though this is a movie where they have sexual experiences.
00:37:53.679 --> 00:38:08.800
Man, could ruin the shit out of the scene, and we just have like all these like slow tilts up the body, and we're in these like lacy push-up bras and tiny underwear, and we're whipping the hair around, you know.
00:38:09.039 --> 00:38:11.840
I can't believe we forgot to ruin it again.
00:38:12.159 --> 00:38:24.800
If I were to ruin both scenes, just kill all the awkwardness, just only smooth, only chill, and they spit in each other's mouth, which is a thing that happens, I feel like, in almost every queer scene I don't understand.
00:38:26.079 --> 00:38:33.360
All sapphic scenes have like one character spits in the other character's mouth, and they're like, Oh, I haven't been noticing that trend.
00:38:33.519 --> 00:38:36.320
Is that you're gonna see it all the time now?
00:38:36.400 --> 00:38:36.800
Oh my god.
00:38:37.039 --> 00:38:38.960
You're gonna see it in everything.
00:38:39.280 --> 00:38:42.079
It is so funny how certain things get trendy.
00:38:42.159 --> 00:38:44.800
Like there was a while where there was a lot of choking.
00:38:44.960 --> 00:38:46.719
Now there's a lot of like fingers in the mouth.
00:38:46.960 --> 00:38:49.360
Fingers in the mouth is happening in a lot of intimate scenes.
00:38:50.000 --> 00:38:50.480
All the time.
00:38:50.639 --> 00:38:51.760
Like finger in the mouth.
00:38:51.840 --> 00:38:55.840
Sometimes it's stuffed on, sometimes it's not, but it's always like there's a lot of hands in mouths.
00:38:55.920 --> 00:38:57.360
And I'm like, Sometimes it's just there.
00:38:57.599 --> 00:39:07.280
Or just like finger goes across the lip, or finger like pulls the lip down, or or they brush their teeth with the finger.
00:39:09.280 --> 00:39:11.679
Nothing sexier than that.
00:39:12.000 --> 00:39:12.559
Anyway.
00:39:12.800 --> 00:39:12.960
Yeah.
00:39:13.440 --> 00:39:15.679
Thank you so much for listening to faking it.
00:39:15.760 --> 00:39:19.440
This episode's research and context was done by me, Arielle.
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00:40:32.159 --> 00:40:36.800
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00:40:41.119 --> 00:40:44.480
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Yeah! Yeah.
00:40:47.679 --> 00:40:48.559
Dad jokes.
00:40:48.719 --> 00:40:49.679
Dad jokes.
00:40:50.400 --> 00:40:54.239
Credits for the film where show we reacted to are in the episode caption.
00:40:54.559 --> 00:40:56.320
Stay real, fakers.
00:40:56.719 --> 00:40:57.199
Woo!
