With scenes of threesomes, drug use and sexual assault, I May Destroy You is the ‘brilliant’ and ‘dark’ drama millennials are watching now that Normal People is finished. . .
Ita O’Brien is a British movement director and intimacy coordinator for film, TV and theatre. She coached the actors in the BBC Three series Normal People and BBC One’s I May Destroy You and Netflix’s Sex Education.
In 2017 she released a set of Intimacy On Set Guidelines outlining procedures to keep actors safe while filming scenes of nudity or sex.
She told FEMAIL: ‘Working with an Intimacy Coordinator will start in pre-production, during the rehearsal process.
‘A production brings in an intimacy coordinator to choreograph the intimate content. I will first talk with the actors and director about the scenes, about the characters and storyline and what the creative vision is.
‘Then I will talk to the actors and establish agreement of consent and touch and most importantly, where is the “no”.
‘With this knowledge of boundaries, we are able to create a safe structure within which to choreograph the intimate content, the beats of the scene, the shapes, and the actors are then free to do what they do best: act.’
More . . .
Ita O’Brien is a British movement director and intimacy coordinator for film, TV and theatre. She coached the actors in the BBC Three series Normal People and BBC One’s I May Destroy You and Netflix’s Sex Education.
In 2017 she released a set of Intimacy On Set Guidelines outlining procedures to keep actors safe while filming scenes of nudity or sex.
She told FEMAIL: ‘Working with an Intimacy Coordinator will start in pre-production, during the rehearsal process.
‘A production brings in an intimacy coordinator to choreograph the intimate content. I will first talk with the actors and director about the scenes, about the characters and storyline and what the creative vision is.
‘Then I will talk to the actors and establish agreement of consent and touch and most importantly, where is the “no”.
‘With this knowledge of boundaries, we are able to create a safe structure within which to choreograph the intimate content, the beats of the scene, the shapes, and the actors are then free to do what they do best: act.’
More . . .
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