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#snackshort
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Phim ngắnPhụ đề
00:00Welcome to Real Talk, where it gets hot, spicy, and to the drama.
00:04I'm Tess, you may know me from real short hits such as Surrender to My Professor, How to Tame a Silver Fox, and Swimming My Way Back to You, with more to come.
00:13And today I'm here with Olivia Koo.
00:15Hi, I'm Olivia Koo, and I'm the intimacy coordinator on a lot of your favorite shows, such as Faded to My Forbidden Alpha, Quarterback Next Door, Snatched a Billionaire, and Tess and I got to work on Surrender to My Professor together.
00:29And we're here to talk about some interesting facts about your job and how we work together.
00:35So exciting.
00:51Hi, Olivia.
00:52Hi.
00:53It's so good to see you.
00:55Good to see you, too.
00:56The last time we saw each other was when?
00:58Oh, a week ago.
00:59A week ago.
00:59A week ago.
01:00We got coffee together.
01:01Because we loved working with each other so much.
01:03We did.
01:04It was amazing.
01:05Olivia, I don't think everyone knows you that well, because you're usually not in front of the camera.
01:10You're behind it.
01:11So can you tell the people about yourself?
01:14Yes.
01:15So I'm Olivia Koo, and I'm an intimacy coordinator.
01:18For those of you who don't know what that is, a little bit about my background, I actually used to be an actress.
01:23So that informs a lot of my work.
01:26And then I spent years working in health and wellness, as well as survivor advocacy.
01:31So all of that kind of brought me together to intimacy coordinating.
01:34My first experience around that was my sister's boyfriend at the time, actually, sent me an article on intimacy coordinators during the pandemic.
01:45And I was like, oh, this makes sense.
01:47I think I want to do this.
01:48And basically started doing a lot of training and everything, because we were all stuck at home.
01:54And once that started happening, and I realized I really loved it, getting back on set in the role, was everything.
02:02I was like, wow.
02:02I feel like I naturally have all these skill sets from just my history of trying to find the thing that I love.
02:09So now I get to live it.
02:11It's pretty cool.
02:11When you work with people who are not on the acting side of things but used to be, it's just so clear, because a lot of the stuff that we have to do with our jobs is ridiculous.
02:22It's a ridiculous ask.
02:23And some people don't kind of have that empathy, just because they've never been there.
02:28And so it was really a blessing that you had the background that you did.
02:31I think it's also how you talk to actors, too.
02:35I think sometimes adjustments with certain things of choreography or something like that, letting the actor know why we're doing that, what it means.
02:46I'm such a why girl.
02:47I'm like, why?
02:48Why?
02:49I'm like a little kid.
02:50I'm a three-year-old.
02:51You and I worked together on a little project called Surrender to My Professor.
02:57You were the intimacy coordinator on that one.
03:01That was actually my first real short that I did.
03:04Really?
03:04Yeah.
03:05So I had not worked with real short before.
03:07I had done other verticals, but I had never done anything sort of of that tone.
03:14It was all very traditional, like billionaire, mistaken identity.
03:20So this was like definitely a new world for me.
03:23Had you done anything like that?
03:25So I feel like I've done nearly like every vertical genre.
03:29So actually, I started with real short on one of the very first ones, Faded to My Forbidden Alpha.
03:35And I remember there was like one camera.
03:38I remember I was with the director.
03:40We're in the bathroom.
03:40I'm in the bathtub.
03:42The set is so small that I'm like curled up in the bathtub trying to watch the monitor.
03:47And I was like, what are we filming?
03:49Because the lines were also so funny.
03:51Like she was really into fried chicken for some reason.
03:56And then she also bathed from a bucket.
03:58And I think that's one of the classic social media lines now from that show.
04:03And then eventually I started working on other things like Snatched by a Billionaire.
04:07Recently, like Quarterback Next Door that came out.
04:10True Heiress versus Fake Queen Bee.
04:13So just a lot of different shows.
04:15And ours was definitely one where they amped up the intimacy.
04:19That's for sure.
04:20For people who don't know what intimacy coordinating is, it's basically a newer role in the industry.
04:26So if you think of a stunt coordinator, it's very similar to that, except we're dealing with intimacy.
04:31So that means that we're prepping everything ahead of time in pre-production.
04:35We're having conversations with directors, with actors, with different department heads.
04:39We're looking at contracts and nudity writers and all of those things, like logistically, to make sure that everything is well prepared by the time that we get to filming.
04:49That way everyone also has informed consent at the top so actors know what they'll be performing, what they want to negotiate, like that sort of thing.
04:57We're kind of a liaison between everybody.
04:59We also help production in general reduce risk overall.
05:04And also facilitate those like really difficult conversations sometimes about certain things that maybe the production wants to ask of actors to do.
05:13And then when we get to set, it's very much like supporting like the team, choreographing.
05:18Ideally, we have a separate rehearsal day, but a lot of times because of the fast pace of vertical environments, rehearsals like right before we shoot the scene.
05:26So helping the director with choreography, supporting the team with like any technical adjustments and notes and stuff like that.
05:33And I like to cater my work to each individual.
05:37So some actors, I feel like, want a lot of choreo support and then other ones rather find it.
05:44So we'll define boundaries, of course.
05:46It's a very sensitive situation to be in.
05:49And I think that you do such a good job of just being such a safe space.
05:54Oh, that's so sweet.
05:56I think also like it's about like creating that environment so that everybody has the tools so that if they need to take a halt or if you just need some water, we can do that.
06:06I get so lightheaded doing especially like heavy breathing and they love the heavy breathing.
06:15So I'll like always get the note that's like more breathing, more breath.
06:18So I'm sitting there like hyperventilating and then they'll call cut and I'm like,
06:24And so like I always have water on standby and sometimes you're not wearing very many clothes.
06:31So like I can't go get my own water.
06:33So like the intimacy coordinator bringing me water.
06:36I like I'll have a piece of candy and water so that my blood sugar is all good and I'm staying hydrated.
06:43Or sometimes just like they need a five.
06:45Here's your robe.
06:45Yeah.
06:46We'll take a five and then come back.
06:47Yeah.
06:48So Olivia, what do you have on standby?
06:52So I have my IC kit with the emotional support.
06:57Love boo boo.
06:58Basically, this is a kit for intimacy coordinating.
07:01And just like hair and makeup would have their kit.
07:03This is mine.
07:05This is the basic kit that I will always wear and bring to set.
07:08I also have additional stuff depending on like what we need for different types of scenes, whether we need like a Pilates ball or it's surrender to my professor and Tess needs to be wearing five pairs of underwear because I was wearing five pairs of underwear like at all times that entire shoot.
07:28Or like barriers or just all different pillows, like all different kinds of things.
07:32But some of the highlights of this bag, mints, of course, like so many mints.
07:38And then also in the kit, I have deodorant wipes.
07:43We love that because sometimes intimacy is at the end of the day and it's nice to freshen up.
07:49I have not found a single deodorant that can last me through a 12 hour shoot.
07:54Right.
07:54Exactly.
07:55So gum tends to be a big one.
07:59That one's hard for me because like then you have to spit it out before the take.
08:03This is this is the usual.
08:07OK.
08:07Sometimes I'm like, also these these are something I found recently, which you might love.
08:13Do you know what this is?
08:14No.
08:15To go mouthwash.
08:17Oh, where do you spit it?
08:19Just on the ground?
08:20Usually.
08:21So if I have the to go ones, I'll hand it ahead of the scene.
08:24That way you can mouthwash.
08:26And then like when by the time you get to set, like we're all good to go.
08:29Yeah.
08:30But sometimes, as you know, like spit it back in the cup and hand the cup back to Olivia.
08:35Listerine.
08:35This is also the number one.
08:37Actors just love this.
08:39Don't ever put three in your mouth.
08:42Don't ever do that.
08:43Yeah.
08:43So those are those are fun.
08:45I think I also have scissors in here.
08:48One of also the most used items.
08:50And it's now in like a little Ziploc baggie because I use it so often.
08:57It's like drinking now.
08:58Topstick.
08:59Topstick.
09:00Topstick.
09:01So Topstick, for those that don't know, is actually men's toupee tape.
09:07And the reason I carry this is because it's double sided tape.
09:10It's the adhesive is skin safe.
09:12I mean, if you have a skin sensitivity, it might be a little bit.
09:15I am someone who is allergic to a lot of adhesives and Topstick and me are like that.
09:19It's like my bra strap keeps coming out.
09:23And so that's the situation in which I would use Topstick.
09:26Take a piece of Topstick.
09:28I love Topstick.
09:29I've been in like bras that just straight up don't fit.
09:33And so Topsticking them to myself.
09:36Okay.
09:37Here we go.
09:39This is this is what it's used for.
09:40Usually very last minute on set where we have to just like stick something down.
09:44And I will I will thank Olivia Koo for like Topstick as a solution to everything.
09:50It's like the middle.
09:51The middle you can pull it.
09:53There you go.
09:54There we go.
09:54It's like the duct tape, I feel like, of the intimacy coordinating world.
09:58Yes.
09:58You know what?
09:59A lot of times what I've been using it for is also this is like a like I feel like a movie magic problem where there's so many buttons on a men's shirt.
10:11So we'll unbutton it and then Topstick it down.
10:14So then you'll unbutton one and then they can just go like this.
10:17And that that tends to be.
10:19I can't unbutton shirts.
10:21I feel like costume has their own vision of what all of the characters look like and everything.
10:27And sometimes it doesn't it's not the best for the intimacy scenes because you'll have like 20 layers on and we're like, OK, we're just so there in comes Topstick.
10:37Yes.
10:38In comes Topstick to solve our all of our problems.
10:41So those are like the most used items in my kit.
10:45I also have like lotion.
10:47You have hand sanitizer.
10:48Hand sanitizer.
10:49Because like that's always if anybody has to touch my face ever.
10:52I'm like sometimes they have like all hand sanitizer.
10:55Lip situation, those types of things or wet wipes because I believe there was a chocolate moment also on our project.
11:03Chocolate moment wasn't there.
11:04There was a chocolate moment.
11:06I've actually I so I've learned from you in that like I now have essentially a mini kit in my set because in my set bag because not every intimacy coordinator is as like bulletproof prepared as you are.
11:20So like I have my own Listerine mouth spray.
11:23I have spray hand sanitizer.
11:25I always keep at least two pairs of underwear in my bag.
11:28That's one because liquid gets spilled on us all the time.
11:31And two because you know, like if there's a scene where I don't maybe feel like completely good about the coverage.
11:39It's like, great, just pop on another pair of underwear.
11:42Yeah.
11:42Good.
11:43The modesty shorts.
11:43I have modesty shorts.
11:45I also have, I just noticed, little Polaroids from like different sets.
11:50This is one from Aaron.
11:54Is that the car?
11:55That is the car.
11:57Is that the notorious car?
11:59Yes, it's the car.
12:00You can like sort of see us.
12:02You can sort of see us.
12:03I know it was really dark that day.
12:05Speaking of which, shall we?
12:08I think we should take a trip down memory lane.
12:09Yeah, we should.
12:10I think so too.
12:14Inappropriate.
12:16You're really going to use that excuse with me?
12:19Do I have to remind you of everything we did back in that room at the club?
12:25We started in the front seat and we talked for a long time.
12:28I feel like sometimes it's difficult when it's like intimacy and a lot of dialogue that's happening.
12:34Yes, definitely.
12:35That's been the thing that I've come into the most issues with is because like now you're remembering not only your lines, but all the things you have to do.
12:43Yeah, I feel like what's really interesting is like when there's a whole bulk of dialogue and the intimacy moments are happening in between all of it.
12:52So it's like say this line and then your hand goes into her hair.
12:56Say this line and then your hand has to land over here on his chest.
12:59So when you come from live theater, like I do, that's everything I'm remembering blocking as part of the whole gig and music theater, especially there's dance there.
13:09So I feel like that's one of my strong suits.
13:11That's why I'm able to pick up the choreography so fast because that's what it is.
13:15It's choreography.
13:17Choreography.
13:18And so like interspersing dialogue with it is not as much of a challenge for me, but I know that like it's tough.
13:23It's definitely tough on these long days when you're shooting so, so quickly.
13:27That's one of the hardest things.
13:28Definitely.
13:29I feel like what is very interesting is a lot of folks actually come from stunts or dance into IC work just because there is so much choreography.
13:39There is so much body movement and like learning about how to storytell in that place, like shifting power between the two characters, which means shifting weight between the two characters.
13:50And like where hands land, what works for each person.
13:54Breath, of course.
13:55A lot of breath.
13:56You're having to remember so many things at once.
13:59And I think that like just huge kudos to our team and to like Aaron for all the hard work that we put in.
14:07Because that was like for the strip club scene.
14:09Well, Sylvia, say something.
14:11I don't have anything to say to you.
14:13You're my professor, for God's sake.
14:16This is my life.
14:17You can't tell me what to do.
14:18So just leave me alone and let me work.
14:22That was a long day.
14:24That was a whole sequence.
14:26And we were, there was a sequence and it was like boom, boom, we're here, we're on the wall, we're turning around, we're moving to the couch.
14:31It's like, and we made it flow and I genuinely don't think it could have happened with any other team.
14:36Like in the way that it did and with the result that it had.
14:40Yeah.
14:40Shall we watch the rest of this?
14:41Let's see.
14:46Smoochies.
14:46I also feel like what I would love audiences to know is like we talk about how many beats a kiss lasts and how intense it is.
14:55Like one out of ten, like how intense it is.
14:57That way we can adjust numbers up or adjust numbers down.
15:00I know a lot of intimacy coordinators use skin contact versus muscle contact.
15:05So like skin contact would be just like brushing the face, whereas muscle contact, that's your gripping.
15:09And a lot of what makes something look more intense is just like fingertips pressing into skin.
15:17Right.
15:18And so there's a lot of that involved.
15:20And just molding clay.
15:21I like to use that analogy.
15:23Now we're moving into our sexy times.
15:26Right.
15:29Right now.
15:33Olivia, if you would explain how we sold this.
15:37So I think for scenes like this, a lot of people don't know that everything is so meticulously choreographed.
15:47So when I say this, it means like all of the close up shots were designating where hands are landing.
15:52Like, does it go here?
15:53Where on the thigh?
15:55How many seconds is there a motion where the fingers are going to squeeze a little bit?
15:59We talk about all of those details.
16:02That way we can nail it.
16:03Yeah.
16:04And it's on.
16:04It was like Aaron moving his shoulders.
16:07Right.
16:08So that we can sell things with the actors doing the least amount as possible.
16:12I like to always have like an anchor point.
16:15Anchor point.
16:16I was going to say you're big on anchor points.
16:17I love anchor points.
16:19So basically for anchor points, what that is, and we've worked together on this, is having a hand land on a scene partner within a designated boundary so that we can coordinate the reactions.
16:30So for something like this where we're seeing mostly your faces, like it's maybe a hand on a leg and then.
16:37I think his hand was on my knee.
16:39Like I genuinely think that when we were on the faces, his hand was on my knee because also like him having to go any closer to my hip area would have been awkward and he couldn't cheat out towards camera.
16:51So that's another thing is like it's not only selling it to camera.
16:54It's also making sure that your face is out.
16:57Right.
16:57That you could see, see what's happening.
17:00And then so with the anchor point, it's like, okay, if you squeeze, that means that's the moment for the reaction.
17:05So you both can be in sync with it.
17:08Yeah.
17:08So like, it's, it's really funny to me because also cars are so hard for intimacy because you have a center console.
17:14There's a center console, but then you have to be like so close to one another for the, for the shot.
17:19It's very meticulous.
17:21What do you want, Miss Parker?
17:23I want you.
17:26Oh, I didn't catch that.
17:28I want you, Professor Calhoun.
17:30So I think what is also interesting is for all of these closeups, it happens separately from everything else.
17:39So like, if there's any moments of like removing of underwear, we're literally putting the underwear here.
17:45You have modesty.
17:46Great.
17:46Cause I'm sitting, that was, we did a lot of underwear removal in this one.
17:50So like I'm sitting on the underwear in the scene because that's how it works.
17:55So it, it's awkward if I have to go like this and like, then my body is leaving frame because we're in a vertical frame.
18:03Right.
18:03So we do inserts.
18:05Lots of inserts.
18:07Insert of the hand going up the leg, insert of the underwear removal.
18:11And we designate like where the underwear is.
18:13And it's usually right about here, like mid thigh.
18:16Like it wouldn't normally be all the way up here because it would take forever.
18:19And you would have to move out of frame.
18:22The frame is too tight to do a lot of like, a lot of that blocking consecutively all the way through.
18:28So this is like really chopped up into chunks depending on what they want.
18:34Cause also intimacy scenes are physically exhausting.
18:39Especially a heavy level of intimacy or, and up to simulated sex is they're, you're physically very demanding.
18:47So having to run them through top to bottom for as many times as they need the shots for every angle wouldn't be possible.
18:54Right.
18:55Um, I also would love to talk about the underwear on the rear view.
18:59Oh yeah.
18:59So yeah, this insert of him pulling the underwear.
19:01That was an accident.
19:07It was like a, Aaron, can you do this?
19:10And we're like, we'll try.
19:11And then he does it.
19:12And makes it.
19:14It was, it was lovely.
19:15Yeah.
19:15And then the fog on the window was Aaron and I going before the take, we had to fog it up ourselves.
19:25And I, what I love is just like those movie magic moments happen when everybody feels safe and they feel comfortable.
19:33Because I feel good about trying things because I feel good about the environment that I'm in and the environment that you created.
19:41I feel like I'm able to try new things.
19:45And when someone, I'm, I'm much more likely to say yes to something because I feel like the floor is kind of open and I'm protected.
19:52I remember for, for that back of the car, the actual simulated sex, we tried many positions to figure out what was right.
20:01Yeah.
20:01I feel like with cars, it's so difficult, like choreographing things because of the kind of.
20:06Is not as long as a human body.
20:08Right.
20:08The tiny spaces of everything.
20:11So really when you get the frame like here, the two actors' bodies can be so far apart.
20:16And I think that's one thing that audiences may not know is like, I feel like most of my job is having actors do the least amount while making it look like they're doing the most.
20:27Yeah.
20:27There was probably what, like a solid foot of space between us just to get the framing right.
20:32Yeah.
20:33Because I'm also somewhat tall.
20:36And so that was definitely a worrisome thing when we're like, we're going to do what in the back of the car.
20:40Right.
20:40And I think a lot of it is also just selling the performances, you know, that, that when you have incredible actors like yourself, like to sell those performances to like really engage into that moment.
20:52That's what really makes all of that.
20:54Yeah.
20:55That shoot was really just a prime example of like best case scenario and like everything worked out and, and you see it with the product like that.
21:05We got such good footage.
21:08We got such good footage of everything because of how hard everyone was working and also how much respect there was on that set just for professional opinions and safety.
21:24I feel like sometimes actors tell me they're like, Olivia, I don't know why you're having me do.
21:29So for example, right, if we're talking about a simulated oral sex scene, a lot of the times what's happening is there is, let's say this is a thigh, someone's ear is mid thigh and they're just doing this.
21:42Yep.
21:42And it's like everything from certain camera angles just makes it look real.
21:46Even in our project, we had that.
21:48There should not be a moment in which in, in specifically like simulated sex, simulated oral sex penetration of any sort that an actor is like, whoa, what did you just do?
22:09Even if it wasn't distinctly inappropriate, I don't want to be surprised.
22:12I do not want to be surprised.
22:14We don't, not in this.
22:15We don't want surprises.
22:16Yeah.
22:16So making sure that everyone is on the same page and very clear is, I would say, of the utmost importance.
22:24Yeah, for sure.
22:26Does anyone ever like misunderstand what your role is?
22:29All the time.
22:31I feel like.
22:32What do they think you do?
22:33What do they think?
22:33I like to say this is like, I think sometimes they think we're COVID compliance as in like bring on the intimacy coordinator as long as someone's standing there.
22:44Like we're compliant with everything.
22:45And I think a lot of the misconception is that they think intimacy coordinators are just to stand there and like to be there on set when the bulk of our work happens during pre-production.
22:56Like I need my pre-production days because that's where we're planning for all of these intimacy scenes.
23:03On the day, it's going to take forever if I have to facilitate all of these conversations.
23:08Yeah.
23:09And there's just no time, especially when we're working on verticals, things are moving so fast in such a fast paced environment that there's no time to sit down for two hours and have these detailed conversations.
23:20So all of that needs to happen during pre-production.
23:23And then also talking to different departments, such as like, you know, costumes, like, hey, we need modesty garments.
23:29We need barriers.
23:30Like these are all the things that we need.
23:32We're going to have multiple changes for this.
23:34We need a bare back moment.
23:35So maybe we need sticky bra or pasties.
23:37And like thinking through all of those details and sending it off to different departments is the bulk of my work is pre-production.
23:46And I think that is something that is really misunderstood.
23:49There's SAG guidelines.
23:50And how that works is as of 2024, anytime an actor requests an intimacy coordinator, production has to do their best to provide one.
23:59So that's like a safeguard.
24:00And also, I think one of the other misconceptions is like, we're not only just there for the actors, we're there to reduce risk for production, which is a huge thing that we do because we are looking through the contracts and the nudity writers and all of that stuff for production, making sure all the boxes are checked, making sure all the things like are squared away before we get to set to reduce the risk of anything happening, preventing legal issues, all of that stuff.
24:28And I think that's something that people may not understand.
24:31And sometimes I've also run into the case of where one actor isn't really into working with an intimacy coordinator, but the other one is.
24:39And I'm all for it because of my advocacy background.
24:42For me, it's about how best to support each individual.
24:46So I'll meet you where you are, whether you're a director or an actor.
24:49I meet you where you are.
24:50And I think that's something that is often misunderstood, is that there are also so many other people, the crew, the background.
24:59You're an intimacy coordinator, not an intimacy director.
25:02Right.
25:03And all of those other folks also need to have informed consent.
25:07Right.
25:08So if we have background and then they're witnessing like the two lead actors in like intimacy, they should be...
25:16They should know that that's happening.
25:17Yeah.
25:18I'll be calling these.
25:19But sometimes background doesn't get the script.
25:21Right.
25:21They don't.
25:22So they don't actually know what they're watching or they see the call sheet and they're like, who and who have sex?
25:29Right.
25:29And I'm in that?
25:30Right.
25:31And I think the other thing is, is like, I think some people are steered away because they think that having an intimacy coordinator makes things like less spicy or less passionate.
25:40I would argue it's the opposite.
25:42It's the complete opposite because you're creating an environment where the risk is reduced, we're creating comfort, we're...
25:48Well, because there are so many things that I just wouldn't do if there weren't an intimacy coordinator.
25:53Oh, yeah.
25:54Because I would be like, well, that's too, like, that's a liability.
25:59That's a risk for me because I don't know exactly how it's going to happen.
26:04Like, there's nobody here that is, I don't know, overseeing that.
26:09And even if the director's like, well, I'll oversee that, will you?
26:13And also they are doing, everybody else is doing so many other things.
26:16Right, you have other jobs.
26:17Right.
26:17Like, you're watching the acting.
26:19I don't really need you to tell him where to anchor his hand to look like he's digitally penetrating, you know?
26:27Right.
26:27That's not your job.
26:30And so to have a designated person whose job it is, is really valuable.
26:36I love my job.
26:39I love your job.
26:40I love your job.
26:42Real Short is always super good about having intimacy coordinators, stunt coordinators on every single set.
26:47I've never had to be like, hey, why don't we have an intimacy coordinator for this?
26:52Um, I love to be a self-advocate personally, um, and so I would always say something, but I have been on sets with other companies that have, like, tried to get away with not having an intimacy coordinator for, for certain things.
27:07And my co-star expressed discomfort with that.
27:10And so I was like, hey, where's the intimacy coordinator if you guys want us to do this?
27:14You want, you want to straddle?
27:16Oh, we should have an intimacy coordinator for this.
27:18Um, and so it's, it can be hard, but I think at the very least, everyone should ask for one.
27:27I think so too.
27:28I think there's even a question in your mind of like, am I comfortable with this?
27:31I've also noticed like usually the crew feels a lot more relaxed when there is an intimacy coordinator on set because though a lot of the crew don't necessarily have, you know, any training in the, in intimacy coordinating or just in general,
27:46knowing how to approach these sensitive scenes.
27:48Right. Or a lot of them, um, don't understand like a closed set.
27:53So can you explain to us what a closed set is?
27:55So a closed set is minimizing the amount of crew to pretty much who just needs to be in the set for filming.
28:03So it's usually the camera, obviously, um, sounds, and then usually the monitors are outside of the room with the director, scripty and intimacy coordinator.
28:13Um, once in a while, depending on the project and depending on actors' comfort levels, we'll have a producer behind the camera, like that sort of thing.
28:21But just minimizing it to just whoever absolutely needs to be there to do the job for it to be filmed, essentially.
28:29Yeah.
28:30And it creates an environment where actors, I feel like, also feel more comfortable because otherwise it's like 30 people just staring at you.
28:37And some people are on their phones or like they're doing other things.
28:41Right.
28:41And it could be really distracting.
28:42I, whenever the question is asked, do you want a closed set?
28:46I pretty much always say yes, even if it's like not necessarily needed, just because if you're asking, that means there's probably an element of this scene that might feel a little vulnerable.
28:56Because like, you know, people love to rip each other's clothes off in a mean way in verticals.
29:03And so I feel like, um, whenever there's a scene like that, it's not necessarily intimacy.
29:07It might just be like one button popping off, but I'll always say like, yeah, I'd like a closed set because, you know, maybe there's a costume malfunction and the whole shirt comes off by accident.
29:17And so I just think that like asking is always okay.
29:22And like having an intimacy coordinator there to actually enforce it.
29:26Because as an actor, I sometimes am like, I don't know who's in the room.
29:30I'm not, I can't pay attention to that because I have to ignore the giant camera in my face.
29:35Right.
29:36So it's, it's really nice to just have an advocate there to support that.
29:41And I think that, um, another really important aspect of intimacy coordinating is consent and informed consent, like you said.
29:49Um, because for me, I, I don't love the language and verticals of, um, like in written in the script when they get a little dicey with consent.
30:01Like when the female lead is, is saying no or something adjacent to no, and the male lead is being intimate with her.
30:10Um, so I will tell every intimacy coordinator I worked, work with, like, I want to make this scene as consensual as possible with the dialogue that we've been given.
30:20Um, because I am not interested in telling a story of someone who does not want to be intimate with someone, having intimacy forced upon them, and then ending up with that person.
30:32I don't think that that's healthy.
30:34I don't think that that is with the amount of, of, like, platform that we have as actors.
30:40That is not a story that I want to tell.
30:44And that's an absolutely, like, a hard boundary for a lot of folks, I feel like.
30:48And what I think a lot of my job also is building in consent.
30:52Because even if the dialogue hasn't built that in, we can build it in physically.
30:56Like, maybe she closes the distance, and maybe she's the one that initiates.
31:00Maybe she pulls him closer.
31:02And those are all these beautiful micro moments, I feel like, on verticals that I've been able to choreograph and add in.
31:08So that we go from this, like, murky consent space to a fully consensual.
31:13Well, there wasn't a ton of that in Surrender to My Professor, because I do feel like Sylvia was the one initiating a lot of the intimacy.
31:19But there, there was some of it, because very often the female characters are written as more meek and, and passive.
31:27And as everybody knows, I am not meek and passive.
31:32I'm big and loud and hitting things.
31:35Um, so, kind of marrying my own personality with that of this character that's been written to be more naive is like, no, I, I don't want to play someone who just lets things happen to her.
31:49So, I'm going to work with the intimacy coordinator about making this, making this as clear as possible via physicality that, like, I'm an active participant.
32:00I'm an active and willing participant.
32:03Um, because I think that, and, and just like, you and your role helps merge that performance aspect, too.
32:12Right.
32:12And I think a lot of times it's also having informed consent and ongoing consent for actors.
32:17So, pre-production is, like, talking about every little detail.
32:21So, you're informed on what you're going to be performing.
32:24I'm also, like, constantly pushing back against the, like, corruption of innocence trope.
32:30I'm like, Linus, why do I have to be dressed like that?
32:33Like, I love a modest fit.
32:35I feel like I can, I can pull off a little, a little, like, skin coverance.
32:39But I'm like, but you can't have bare skin if you're not showing bare skin.
32:45Right.
32:45And so, we're having, like, someone like you on my team where you foresee that problem happening before I get to set makes my job easier.
32:57And that's on consent.
32:58And that's on consent.
32:59And it's ongoing.
33:01Like, I think that's something that's really important for folks to know as well is that, yes, you may have signed the contract and agreed to do it.
33:09But if on the day it's, like, you don't want to do it, you still have the right to say, okay, actually, like, I'm not comfortable with this.
33:15If that doesn't feel good in your body.
33:17Yeah.
33:17And I've been in that position before where I've started to do an action.
33:21I've been like, no, this actually doesn't feel good in my body.
33:24Whatever reason it is, I was just like, I don't have to justify this.
33:26Right.
33:27I just don't feel good doing it.
33:29Yeah, I tell actors that all the time.
33:30I don't need to know why you've got that boundary.
33:32I feel like we always, we always are like, well, it's because of, and I'm like, no, just honestly don't care.
33:37You don't want your hair touch?
33:38Great.
33:38Okay, let's, we won't do that.
33:39Yeah.
33:40And then it's, like, finding those moments where I go back to production and, like, renegotiate, like, hey, like, so we can tell the story in this other way.
33:47Yeah.
33:47Does that work for you?
33:48Or figuring out, because often, like, a lot of these productions will be very stubborn about exactly what they want.
33:53They want a hair pull.
33:55They want a hair pull, but, you know, I'm not good getting my hair touched.
33:58So then you get the very, very tricky, difficult job of figuring out how can we meet both of these people where they're at.
34:07Right.
34:08Exactly.
34:08Like, it doesn't, it's not a compromise.
34:11It is, we are going to respect each of the people's desires and you're going to make it happen.
34:17You're going to do, you're going to do something.
34:19It's a lot of creative problem solving.
34:20Yeah.
34:20For sure.
34:21Well, it's just so clear, Olivia, that you're incredibly gifted and good at what you do.
34:29And I love working with you.
34:30Working with you, too.
34:31Thank you.
34:31And I love chatting with you.
34:33And I think we should commemorate our time on Real Talk together.
34:37Do you think we should take a selfie?
34:39We should take a selfie.
34:41Should we take a Real Talk selfie?
34:42Real Talk selfie.
34:43Okay.
34:43Okay.
34:43Okay.
34:51Bye.
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