It always works so much better when the rehearsal is done in good time. ![]() How do rehearsals for these intimate scenes work? I shared the process and the guidelines, and on that day was the first rehearsal with Michaela and one of the actors. I came in, I did the presentation, we had everybody there: wardrobe first, second, third ADs sound operators makeup. And that’s absolutely what happened with “I May Destroy You.” I always say, “Look, the best thing is that I don’t just share this and work with the director and the actors, but I share it across the board with the whole of the production.” And that’s exactly what happened. What I find really interesting is the productions that have really hit-have been most widely acclaimed in the industry-are the ones that have listened to what I’m offering, as far as the structure and the process. Much has been said about the authenticity of the intimate scenes on “I May Destroy You.” What steps did you take to make that happen? How they were speaking about those incidents-they were basically being re-triggered as they were sharing their stories. They had had really awful experiences, and it was still affecting them. When I’ve run my workshops, I always start by asking, “When has intimacy been done well? And when has it been challenging?” And actually, the two most traumatized people in that open circle ever have been two middle-aged men one who had experienced a situation in the theater, and one in film. It truly has the impact of ruining not just someone’s career, but their life. Emotional and psychological injury is far more long-lasting than breaking an ankle. ![]() ![]() But that idea of taking care of our mental health is something that is harder as a society to really hold up as something you need to take care of and put safeguards in place for as much as your physical self. If someone’s broken an ankle, we know they go in a cast and have some time not walking. If someone is touched or manhandled in a way that’s not right for them, as much as a physical injury, there’s an emotional and psychological injury, from feeling awkward to feeling harassed to actually feeling downright abused.īecause the implication has been that psychological injury to the actor is less critical than them getting injured physically.Īnd I think it’s in our society as a whole. The risk can be physical-people can injure themselves-but it’s also that the injury is emotional and psychological if it’s not done well. For intimate content, there is a risk assessment that needs to be taken, just like a dance or a fight. The other side of it is that, just like a tango, someone might fall over and break their ankle because it’s really hard. And when there isn’t a professional structure in place, there is no forum to have that pathway, just as you would if there was a dance or a fight in the script, to journey through to create something professional. Why do we need a specialist, a practitioner, to teach us how to do intimate content? What is completely overlooked is, first off, people are embarrassed to talk openly, professionally, in detail about intimate content. But the inference is that we’re human beings, and we sleep, we eat, we have sex, so everybody knows how to have sex. ![]() If you want to put swords in someone’s hands, you know you need a practitioner to teach those skills. In my contemplation of this, it’s twofold: One, if you want to have a tango, it’s clear that nobody walks off the street being able to do a tango. Why do you think this is still an emerging line of work rather than the industry standard? Related With Intimacy Coordinators, Actors Learn the Power of ‘No’ in Sex Scenes
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