News & Press: Press

BY FIONNUALA HALLIGAN
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Audiences will hopefully never look at perspective, slow-mo, fragmented bodies or female faces presented in 2D in the same way again, thanks to Menkes’ two-decades-plus of research. She certainly proves that shot design is gendered. As her eloquent interviewee Amy Zierling notes: “It’s invisible, and you don’t notice the air.” 

Menkes moves beyond the predatory camera and the subject-object set-up, though. With her commentators  — who also include Eliza Hittman, Julie Dash, Laura Mulvey, the intimacy co-ordinator Ita O’Brien and Joey Soloway, amongst others, she talks about the implied violence hidden in these tropes. The up-the-bum shot, the slow-pan down the body, the whole idea of a beautiful unconscious woman — taken to an extreme, recalls Rosanna Arquette, when her dead character was embraced by the camera in a sexual manner in Scorsese’s After Hours. Dead women, silent women – as with Cathy Moriarty’s character in Raging Bull, who literally couldn’t be heard – women seen bent over from behind – these turn into women whose consent is immaterial. The ‘Baby It’s Cold Outside’ trope where Harrison Ford, for example, smacks a resisting Sean Young in Bladerunner and she’s suddenly aroused, as with Jessica Lange in The Postman Always Rings Twice (1981). It’s disempowerment at its essence and, as Menkes said, it worms its way into the collective consciousness through the global power of Hollywood. (Or, in other words, forms the “bedrock of the language of rape culture”.) 

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The Girl Before star Jessica Plummer gave insight into how the cast worked closely under the eye of intimacy coordinator Ita O’Brien and explained the ’safe’ practices she brought to set.

The BBC drama tells the story of Jane (Gugu Mbatha-Raw), who becomes the tenant of a super minimalist property, designed by mysterious architect Edward (David Oyelowo). 

There’s one catch; she must live by his very specific set of rules and has limits on what and who she can bring into her life, and her new home.

But she soon ends up making some shocking discoveries about the titular ‘girl before’ Emma (Jessica Plummer), who met a grisly end three years previously.

Amid coming to grips with the initial plotline, the series also made for some more difficult scenes for the cast during production, with some very intimate moments to film.

Intimacy on screen is not a new phenomenon, but in recent years its place in the film industry has been rediscovered. The emergence of intimacy coordinators can be credited for this revolution, changing approaches to sex scenes both artistically and pragmatically. 

Male dominance in the film industry has historically moulded sexual depictions of women in objectified and degrading ways. It has also perpetuated these attitudes on set. Maria Schneider’s experience, in which she was purposely excluded from the decision to substitute butter for lubricant in her scripted rape scene, demonstrated indifference to boundaries in the workplace. In fact, the intention for director Bernardo Bertolucci was to inspire a genuine emotion of humiliation in Schneider, treating her as a prop on set. The negative psychological impact on Schneider demonstrated the need for safeguarding measures protecting women in the film industry.

Following the viral #MeToo movement in 2017, concerns around sexual assault and manipulative behaviour in the industry were pushed to the forefront. The exposure of Harvey Weinstein unmasked a world of abuse behind the glamorised Hollywood name. 

In the same year, intimacy coordinator Ita O’Brien introduced her ‘Intimacy on Set Guidelines’, inspiring a momentous shift in the treatment towards sex on set. New rules were implemented to ensure actors’ consent and set boundaries for their comfort. This shift also impacted the representation of sex on screen. Rather than constituting an entertaining and commodified addition to film and TV, sex scenes were revolutionised as realistic, vulnerable and emotive portrayals of human experience. 

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The weight of the show falls on the shoulders of the three leads: clever Melchior, whose high-minded dreams of a better future are nearly crushed by the consequences of his affair with the naïve but lovely Wendla; and well-meaning Moritz, who is destroyed by the weight of expectations placed upon him. All are utterly superb.

As Melchior, Laurie Kynaston (familiar from The Son and The Ferryman) has a tentative openness, and a firm belief in his own knowledge that make his descent almost unbearable to watch. Amara Okereke as Wendla matches him in tenderness and magnanimous trust; the scene where they make love (staged with the help of intimacy director, Ita O’Brien) has a touching clumsiness that makes it all the more affecting. Her singing is so pure and radiant, it seems to come directly from her heart. The last of the central trio, Stuart Thompson, is simply heart-breaking and there are fine performances too from Nathan Armarkwei-Laryea as one of life’s survivors and Carly-Sophia Davies as one of the world’s lost souls. It is a triumphant achievement and I wish it a long run and full houses.

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By K.J. Yossman

​Leading intimacy coordinator Ita O’Brien, who has worked on projects including “I May Destroy You” and “Normal People,” among others, has revealed she was once assaulted by a director while working on set.

O’Brien, who started her career as a dancer and movement director, was discussing the challenges of her work — including the resistance she sometimes encounters from creatives and crew — during producers’ conference Focus London.

In the beginning of her move into intimacy coordination, which was around 2015, O’Brien said productions invited her in “because they knew they really wanted” her experience and input. However, that was followed by a “middle period,” just prior to the COVID-19 pandemic starting in early 2020, when she was often met with resistance on set.

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The series hired intimacy coordinator, Ita O’Brien to carefully construct and choreograph the scenes with realistic portrayal. On Ita’s role, Daisy spoke about the vulnerability that actors face and the importance of having intimacy coordinator’s on set.

She said: ‘I find it very shocking that [intimacy coordinators are] new. You are simulating something, and you are very vulnerable in that moment. ‘So, it was amazing working with Ita [O’Brien, Normal People’s intimacy coordinator], she’s really good at allowing you to have agency in those moments.’ 

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In other words, Momoa never would have been pressured to remove his intimacy pouch had there been an intimacy coordinator on set to help guide the scene. But, sadly, the actors on Game of Thrones weren’t the only ones harmed by its problematic sex scenes. Fans who watched the fantasy series — particularly those who were young, sexually inexperienced and impressionable at the time — may have developed their own incorrect or outdated views on what’s considered normal or acceptable when it comes to sex and consent based on what they saw onscreen.

“Very often, how someone learns about intimacy is through what they see,” intimacy coordinator Ita O’Brien told InsideHook. “That is the medium through which we’re entertaining ourselves, but also reflecting our humanity back to itself. That’s what people feel that they need to aspire to. When it’s so unrealistic, it forms a real schism in how people think they should be and what they think is normal.”

We obviously can’t go back in time and undo the damage wrought by Game of Thrones‘s lack of an intimacy coordinator, but moving forward, we can work towards making the role an industry standard to ensure that actors like Whelan are never made to feel as though their personal boundaries regarding sex and nudity have been violated at work.

Ten years after the premiere of Thrones, HBO is now using intimacy coordinators on all its productions that have intimate scenes (the move was announced in 2018 after Thrones had finished filming its final season); here’s hoping that in another decade, it’ll be an absolute requirement on all film sets.

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Salvor does have a romance. I’m really struck by how in the show, sexuality and intimacy is just romantic. In other shows, it’s for shock value or it’s racy. Every single moment of intimacy felt earned, it felt dreamy and passionate. And in this case, it’s your character’s relationship with Hugo (Daniel McPhearson). Can you talk to me about how Salvor sees that relationship, and how you saw and approached those kissing scenes and more intimate moments with the other actors?

We had an amazing intimacy coach, Ita O’Brien, and some of the people that worked with her worked with us, and she made those scenes very, very easy and comfortable, and I think that we ended up with the best result. But yeah, I think that they are beautiful, and I think that it shows what Salvor’s fighting for, actually. When you get to see the connection she has with Hugo and her parents and just anyone, because, you know, a hug is intimate. A kiss on the cheek is intimate. It shows what we’re all fighting for, and that’s why I think it’s so earned and it’s so beautifully put in the show. It’s humanity, and it’s wonderful to be able to do that, to show that.

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The BBC has made intimacy co-ordinators mandatory for all its television programmes after actors including Michaela Coel said they were essential to filming sex scenes safely.

Charlotte Moore, the BBC’s director of television, has told external production companies that co‑ordinators “must be engaged” when filming scenes of an intimate nature.

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The rape scene is particularly traumatic. How did you approach filming that?

We had an amazing intimacy coordinator called Ita O’Brien and she’s worked on Sex Education, I May Destroy You and I Hate Suzie; so many incredible things that have tackled really difficult subjects. We were so lucky to have her on board, and so it was having conversations with her about what I was comfortable with, what I wasn’t. The night before shooting those scenes, Adam and I went to set with Ridley and blocked out the physicality of it. Then the next day me and Adam had a conversation and said: if there’s anything that either of us aren’t comfortable with, we’ll let each other know. But we had a respect for each other and trust in one another and we both felt very safe.

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