News & Press: Press

“I’m really glad I had Sex Ed to kick me off, because on Eiffel I’m naked,” she says. Sex Education was among the first shows to publicly announce the appointment of an “intimacy coordinator”, Ita O’Brien, to coach young actors through delicate scenes and safeguard against any pre-MeToo behaviour on set. O’Brien’s first ice-breaker for the cast was to have them watch videos of animals having sex, and attempt to imitate them. The stars could find the animal they felt best meshed with their character, and choreograph their sex scenes accordingly. “Honestly, I was watching it thinking, what the hell is this job? It’s absurd,” says Mackey. “But it was also a really good way of bonding. It was a great day, like being part of some really odd drama school.” 

Does Mackey think O’Brien’s role is necessary? “Yes, it totally demystifies and desensationalises what might be a really intimidating sex scene. And getting to know each other beforehand is a real luxury, because sometimes you rock up and you have to film an intimate scene and strike up chemistry with an actor you’ve never met before in your life. Luckily, too, our show isn’t about ridiculously passionate, romantic sexual intercourse.”

Read the article

The show’s commitment to approaching female pleasure in an unbiased, non-judgmental way shouldn’t be surprising considering Sex Education was the first Netflix series to employ use of an intimacy coordinator. Ita O’Brien, a trained dancer, actress, movement director and intimacy coordinator, helped develop the Intimacy On Set Guidelines that have sparked a change in the way TV and film approach filming scene simulating sex and nudity. While O’Brien spent years training theater groups in these practices and developing the now widely referenced guidelines, Sex Education marked the first series to seriously use her expertise.

“The idea of creating time and space for rehearsal of the intimate content wasn’t there, and there was pushback from that. The production, if there’s a fight or a dance, they will make time, they’ll know they have to put in a schedule time to choreograph, time to rehearse, and that’s the shift that we were asking for in the industry,” O’Brien explains.

It was an ask that Sex Education director Ben Taylor eagerly said yes to.

O’Brien held a workshop for the cast a crew a few weeks before filming began. “I share how the guidelines work, and then they get up on stage doing a warmup,” O’Brien says. “Each of the actors look at the different scenes that they had and then I put them into groups, and we worked through the various scenes, helping them find the structure, the guidelines. And it was a joyous day, it was so lovely. And, of course, in asking people to get hot and sweaty together, physical work just helps to make a connection with each other, to help to open that ensemble feeling.”

Sex Education doesn’t shy away from raunchy scenes seeing Otis and the gang get steamy between the sheets. But while both teenage angst and dreams are at the heart of the binge-worthy series, we can’t help but feel some of the more seductive scenarios might get awkward on set. Talking about the secrets behind those ‘realistic’ sex scenes, intimacy co-ordinator (yes, that’s a thing) Ita O’Brien has opened up on how they keep the cast as comfortable as possible.

Read the article

O’Brien told news.com.au that one of the significant developments in the industry brought on by the MeToo movement and multiple allegations of sexual misconduct against Harvey Weinstein was that it had “invited a positive ‘no’ in the industry”.

“We want to know your ‘no’. We want to know what’s not suitable for you as a person, and we can work creatively with an actor with your agreement and consent and help the production. When we work from a clear ‘yes’ from the actors, it’ll be a way better sex scene because the actor can be free, they can be open, which you can see from the scenes in Sex Education.”

Intimacy co-ordinators like O’Brien are also skilled to choreograph the intimate content – that could involve where camera angles might go or where legs are placed.

“We have an understanding of physicality, body movements and anatomy, and of an actor’s process and how they can serve the script,” she said.

Ideally, O’Brien would be able to have time during rehearsals to go through the process, but she has found that “old school people” are still resistant to what she brings.

Intimacy Coordinator and Movement Director, Ita O’Brien, joins the podcast this week to talk about her work which involves establishing best practice when dealing with intimacy, sexual content and nudity in film, television and theatre. Georgie finds out about the brilliant productions Ita has worked on, such as ‘Sex Education’ on Netflix and why the work of Intimacy Coordinators is so important in this industry.

Read the article

​With Netflix’s Sex Education returning to our screens next week, Ita O’Brien, the show’s expert intimacy coordinator, will be in Elephant & Castle’s London College of Communication (UAL) for a seminar on how actors and directors work to support the actor.

The industry is now embracing intimacy coordination on set and stage with the help of experts like O’Brien, to provide support to the industry in the post #MeToo landscape.

The show has been celebrated for its candid — read: graphic — depiction of sex. Netflix employed an intimacy director, Ita O’Brien, on set to ensure the cast always felt safe; consented without pressure; and were able to discuss where they were and weren’t comfortable being touched.

O’Brien’s methods include a workshop, where cast members could practise impressions of animals having sex. This wasn’t just a riotous icebreaker, Wood says. “[Ita’s] going, ‘Oh yeah, I do thrusts as a bonobo monkey’, and you’re like, ‘OK, that’s cool because it’s distancing me from the character’.

“So this is Aimee Gibbs having sex, not Aimee Lou Wood.” She adds that the sensitivity is game-changing. “You don’t want to feel vulnerable, like your skin has been stripped off, and then watch it back and go, ‘Why did I do that? I wasn’t comfortable, and now the whole world can see it’.”  For that crumpet scene, “the vain part of me was like, ‘This is so embarrassing’,” says Wood.

“But then I was like, ‘I’d much rather this, wearing days-of-the-week pants, in a big pink T-shirt, in unflattering positions and grunting, so that girls feel seen’.” Rather than? “Rather than watching some person in Victoria’s Secret lingerie with a bit of sweat dripping down her chest. That’s bullshit.”

Read the article

One of the big behind-the-scenes stories that came out of season one was the show’s decision to hire intimacy co-ordinator Ita O’Brien.

“You never have a fight scene without a fight director. Why would you have a sex scene without a sex director?” says Patricia. “Or a dance scene without a dance choreographer. You don’t just fling people together in a room,” adds Emma.

Out of all the scenes that the cast shoot on the series, the sex scenes sound the most mundane with the biggest challenge being reminding themselves that they’re supposed to be enjoying themselves while being asked to “start on a number two orgasm and work to a number four”.

“You have beats. It’s not as glamourous as it might look,” explains Emma. “You have to hit certain beats. You come towards him and touch him here, here and here. You kiss for three beats and then move to the wall.”

Asa, who Ncuti describes as a “busy boy” this season, said: “It often looks like we’re doing things, but often it’s just your hand going under a table. You often have to remind yourself in a scene that you’re supposed to be doing stuff so you will be feeling a certain way. Nothing is actually going on. There is no awkwardness. You just have to remember that you’re doing more than you think you’re doing.”

Explaining the lengths that the crew went to in making the cast feel comfortable, Emma said: “We had a whole morning where we talked with the directors, cast and writers about our own experiences of intimacy. A massive conversation. And then we had a more physical session about physical consent. There were animal rhythms and all that stuff.  It was a real ice-breaker.

“And then you walk into the room and you feel empowered to say no, no, no to this, this and this. And I’ve taken it on to other jobs and it wasn’t scary doing that. And thank god it’s happening. It’s really necessary and about time.”

Read the article

The cast of Sex Education tell BBC Radio 5 Live about how they prepared for acting sex scenes in the show. This included watching videos of animals mating, to help make it less ‘real’ and less personal. The videos formed part of a workshop with an ‘intimacy expert’, and Conor Swindells, who plays Adam, said it was “really beneficial”.

Listen back on BBC Radio 5

There are film scenes that are uncomfortable or dangerous for actors. Stunt doubles help out with action scenes. Battle scenes are choreographed down to the smallest detail so that nobody gets hurt. There has been no support for other scenes that can be hurtful: sex and nude scenes.

Sex scenes can violate privacy and can be emotionally, physically and mentally stressful. For example, if there is a huge team in the room. When a director repeats a violent sex scene many times. When actors are touched in places where they don’t want to be touched.

For a long time there was hardly any talk about the risk of injury in intimate scenes. Now something is happening: so-called intimacy coordinators are being established to ensure the security of nude scenes in the film. The United States and the UK have already set standards for staging intimate scenes. Now there is also the first intimacy coordinator in Germany: the actress and screenwriter Julia Effertz.

Note: this article is no longer available on the original link: wdr.de/radio/wdr5/sendungen/neugier-genuegt/redezeit-julia-effertz-100.html