March 4, 2025 • 38 mins
While Sex in Hollywood movies goes in and out of style, we seem to be in an upswing moment with Academy Award wins for nudity-containing films like Anora and The Substance. Jason personally has some scenes, mostly for comedic purposes but even then, performing it is complicated and often very, very uncomfortable.
The #metoo movement brought increased scrutiny to on-screen contact, and with that a relatively new position called an Intimacy Coordinator was born. Coordinators have recently become more common on set but… what does that person do? What qualifications does one have to have to be one… and does it really give performers a feeling of safety, security and control?
To answer that question, we brough on one of the industry’s pioneers in the field. Yehuda Duenyas is a SAG-AFTRA accredited Intimacy Coordinator who provides full-service Intimacy Coordination for film, TV, and theater productions.
Yehuda’s work and collaborations have received a Primetime Emmy award, 2 Webby awards, 8 Cannes Lions, 11 Clios, 2 Facebook awards, an OBIE award, among others.
***
IN THIS EPISODE:
- Yehuda describes how and why he became an intimacy coordinator.
- What does a SAG-AFTRA certified intimacy coordinator actually do?
- The Blake Lively / Justin Baldoni lawsuit exposes potential on-set dangers.
- Many actors like Michael Douglas, Jennifer Aniston have questioned intimacy coordination.
- What happens when an actor changes their mind?
- That time an actress asked Jason to help her during a dramatic sex scene.
- Jason’s Game: Have they gone nude… or not?
- Google-HEIM: Other potential on-set coordination!
***
FOLLOW YEHUDA:
Website (Coordinator): yehudaintimacy.film
Website (Director): xxxyehuda.com
Instagram: ___x_x_x_y___
LinkedIN: Yehuda Duenyas
***
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Now really.
Speaker 2 (00:06):
Really real hello, and welcome to really know really with
Jayson Alexander and Peter Tilden, who remind you that subscribing
to our show is one of the sexiest things you
can possibly do, all by yourself.
Speaker 3 (00:19):
So hit that subscribe button slowly.
Speaker 2 (00:22):
And speaking of sex, there seems to be a whole
lot of it going on in both film and stage.
This year's Oscars feature two films where sexuality and nudity
play a major part, Anora and The Substance. But sexuality
in cinema is not new. What has changed is the
film and stage industry's understanding of the complex and intimate
demands it makes on the actors who must perform it.
Speaker 3 (00:44):
The me Too movement brought.
Speaker 2 (00:45):
Increased scrutiny to on screen contact, and with that a
relatively new position called an intimacy coordinator was born. Part coach,
part choreographer, and often part therapists, Intimacy coordinators are now
tasked with helping assist the artistic vision of the intimate
story while providing the guidance and communication between producers, directors,
and performers. And despite how seemingly obvious the need for
(01:07):
them may be, they are often regarded as superfluous, unnecessary,
or irksome.
Speaker 3 (01:13):
Really no, really.
Speaker 2 (01:14):
Today the guys talk to Yehuda Duenya, a sag after,
a credited intimacy coordinator who provides full service intimacy coordination
for film, TV and theater productions. They'll discuss what the
job actually entails, what the qualifications are to become and
I see what the challenges can be. And most importantly,
we may discover why it is that our own Jason
Alexander has appeared so often in the bluff. We'll also
(01:36):
find out how he feels about it. Now here hopefully
with clothes are Jason and Peter this season?
Speaker 4 (01:43):
In particular, the films that I've seen that have had
the most you know sort of people are talking.
Speaker 1 (01:48):
About there's a lot of sexuality in these films.
Speaker 4 (01:51):
What like I saw Anora the other day and it's
and it's about a sex worker and there's a lot
of sexual no clothing, didn't I don't know where like
you know, well, please you're Hollywood adjacent, not even but
there's a lot going on.
Speaker 1 (02:08):
Now. I have done some stuff.
Speaker 5 (02:10):
Oh that's right, and love, valor, compassion.
Speaker 1 (02:13):
Passion, but even on Asha Bob Patterson we did make it.
Speaker 4 (02:16):
That's right, naked standing there in front of forty guys,
naked with basically.
Speaker 1 (02:23):
A leaf, and you know, to your credit, and it
was not comfortable.
Speaker 5 (02:26):
To your credit. And I, you know what, in thinking
about this later on now that you bring that up,
I felt you. And I never said this here because
I know who comedic it was, and because you're chunking
and it's funny and you're uncomfortable and you play uncomfortable funny.
I never had a discussion with you, and I really
did feel bad afterwards that I never asked you, are
you uncomfortable doing it? Are you incremfortable? But no, I
(02:48):
never did. And and you know what I take. I
always assume with you, you go for the even great
you do comedy, You'll do whatever gets to laugh. But
I should have said, are you okay doing I know
you would have said yes, and you did it, but
it's still yet a lot of people on that set.
I'm well away, and this intimacy in movies. Right now,
the big story is Blake Lively and Justin Baldini, who
(03:09):
was in the movie, directed the movie, and produced the movie.
They're going back and forth with lawsuits, saying that he
was even before shooting he inserted improvised with tuitor sexual
content and there was specifically, and his lawyers released the
scene where they were dancing and he was kissing her
neck to doing stuff dialog and one of the intimacy
(03:31):
or people who watched this comment and said it looked
like they were negotiating the stuff as the scene was happening.
He claims that he had a meeting with an intimacy
coordinator before the movie and she didn't make the meeting
that she said, I don't need to come to the meeting.
She's saying she had to beg to get an emascy coordinator.
And then somebody else said, usually with dance scenes, it's
(03:54):
nudity at sexistists. Usually with dance scenes, even though they're close,
you don't need an is the coordinator. So we figured, well,
we're in New Turf. Yeah, and I got a lot
of questions. And then you're dealing with people who have
different level of what they perceived to be on car.
Speaker 4 (04:11):
You don't know you're working from multiple people at the
same time. You're working for the producer, you're working for
the director who has a vision of how this is
supposed to go on, and then you're working with four
and with the people who have to execute it, who
will bring their own is.
Speaker 5 (04:27):
And there's been pushback, like Michael Douglas said, you don't
need one because what it does is that usurp the director.
Director should be doing this and getting it. Jennifer Aniston
was asked when she worked with John ham on a
second team during the morning show I get one. She said,
come on, we're both professionals, and John and I discussed
what we were comfortable with or not. But not everybody
comes from that same place or it doesn't have traumas
(04:47):
in the past.
Speaker 4 (04:48):
Second, and I will tell you I've never directed sex,
but I directed some partial nudity and intimacy.
Speaker 1 (04:57):
I mean two people in a bed in a film.
I have never been more uncomfortable in my life.
Speaker 5 (05:03):
And I'm sure and there's no there's no You walk
into a set man and you're it's like when you
just signed and you're a guest director.
Speaker 4 (05:11):
It's uncomfortably in that I was the guest director. We
didn't have a guest but again, new actor or whatever.
You're walking into a culture you don't know, so you
don't know when you're walking into a.
Speaker 1 (05:19):
Set Listen, it doesn't. It's as simple as this.
Speaker 4 (05:21):
How many times on the TV show or a film
or on a stage play do you see two actors
playing they're a married couple, they casually kiss each other
good morning. Yeah, I don't normally kiss that person. So
if you don't know, there's a whole, really relatively new
job of intimacy coordinator into me intimacy director, and we
(05:45):
have in our studio today mister Uhuda Duenyas, who is
a sag After accredited intimacy coordinator who provides full service
intimacy coordination for film, TV and theater. Right, he's also
an award winning experiential director, and I want to find
out what that means, transdisciplinary artist working, as he says,
at the intersections of intimacy, experiential design, performance, film and sound.
(06:09):
And sure, here we go another one another, every winner,
Emmy winner, Emmy winner. They are all Emmy winners.
Speaker 1 (06:15):
M Webby Awards.
Speaker 4 (06:16):
I don't have a Webby Award, eight cons Lions Awards,
I don't have.
Speaker 1 (06:19):
Any of those. You know how many commercials I've done.
I don't have a Cleo.
Speaker 4 (06:22):
He's got eleven Kleos, two Facebook Awards, I'm not even
on Facebook and Albi.
Speaker 1 (06:27):
Award and then the other among all most others.
Speaker 4 (06:29):
Right, it's a complete for a guy I'm supposed to be.
Speaker 1 (06:34):
I'm already feeling a little.
Speaker 5 (06:35):
Bit off, but you got let's welcome you, Huda Duenas. Hello,
so for coming in and congratulations on all the honors.
That's a lot. You must be pretty good at what
you do. How long have you been doing this?
Speaker 6 (06:45):
Yere okay, so I it's great to be here. By
the way, it's nice to meet you both. I began
this practice in two thousand and seven directing theater in
New York, and I was directing shows and you have
the theater back ground in New York. I was directing
shows that had very extreme content in them, and was
(07:06):
working with a cast who I really cared about, a
playwright who I really cared about as well, and wanted
to make sure that they could do thirty performances and
not want to tear each other's eyeballs out. And also
it was very traumatic work. I mean, the content of
the piece was very traumatic and so exactly like you
(07:28):
said in your intro, we don't know, everyone's got something around,
some sort of intimacy. Everyone's had an experience, and the
statistics are pretty staggering about that, about how many people
have had something happen in their life. And so it
was very important to me that we approached these scenes
very carefully and also that we served the play, that
(07:50):
it looked great, and that you know, that we served
the playwrights vision. So I started developing a system. And
you know, it was two thousand and seven. This was
I date myself here, but I had my first iPhone
that year. It was the year the iPhone came out.
The word consent existed in the dictionary, but it was
not a word that we were using a lot. And
(08:12):
I just started developing practices of how to slowly get
the actors to perform these.
Speaker 5 (08:21):
Roles independent, independent, if you had no mentor yet nobody
else you saw doing.
Speaker 6 (08:26):
It, no, And that was very surprising to me that,
you know, we also had a slap on the stage,
and so we had to pay a fight director to
come and teach the actors how to slap each other.
Speaker 7 (08:38):
But if we're dealing.
Speaker 6 (08:38):
With non consensual incestual, you know, the scenario was on set,
it was just up to me and the stage manager.
Speaker 7 (08:46):
And the actors figure it out.
Speaker 6 (08:49):
And I'd been an actor for many years as well
and had had some experiences where the director says, you know.
Speaker 7 (08:54):
Why don't you aren't you gone the hallway and kiss.
Speaker 6 (08:57):
Each other and kind of figure it out, the figure
it out, and so you know, to take that back
into the fight director and fight choreography realm, you.
Speaker 7 (09:07):
Wouldn't say, you know, Peter, why don't you just like.
Speaker 1 (09:10):
Just just just give.
Speaker 6 (09:12):
Jason a nice slap on the face and get it
over with, you know, And so you know, the damage
from a slap is different than the damage from putting
people into uncomfortable situations, but the emotional resonance is very similar.
And so that was my first experience, and I was
the director too, And so now we really want to
separate out the director and intimacy coordinator were there to
(09:35):
really disrupt the power dynamics that are on sets and.
Speaker 4 (09:40):
For people that you know, if this all sounds alien
to somebody, I think most people have heard at this
point intimacy coordinator or director. But if you had to
define what the parameters of the job are, what what
you know sort of technically is it.
Speaker 6 (09:55):
Exactly well, we are trained professionals were artists, and we're
there to help facilitate intimate scenes between the creative vision
of the production and the performers and the cast and
the cast and the crew as well. And you know
there's a lot inside of that. But I was about
to say, is that you never again you just don't
know where everyone's coming from. You know, it could be
(10:17):
a crew member watching the traumatic situations could bring up
something from that. You just don't know what start.
Speaker 5 (10:23):
How much do you know going in? And who hires
the director, actor, producer And the second part of that
is that the producer hires or the director. What if
the producer is not necessarily on board? Does that cause friction?
Speaker 6 (10:36):
There's a lot of needles to thread and there's a
few questions in there. So first you should be trained
in order to do this work. And so I also
run a training organization or called Cinema the Cinematic Intimacy Artists,
and we certify were sag After credited to certify intimacy coordinators.
So training is really key and sag After lays out
(10:57):
a series of protocols that we should be trained in.
Speaker 5 (11:00):
Yeah, but do you get pushed back because I mentioned
in the intro. Like Michael Douglas said, he doesn't like
intimacy coordinators because the control of the film and the
scene is taken away from the director. Jennifer Andison said,
we're adults. We know how we know that it was premissure,
and there's been others who said the same thing. They
have a choice, I guess not to do it or
to do it. But do you get pushed back if
(11:22):
an actor's uncomfortable and wants you there, but the director
does What if somebody is against it when he's on
these four its, somebody doesn't understand it. How do you
balance that once you're brought in.
Speaker 6 (11:31):
Yeah, and you know, I've encountered every permutation of that.
Everyone's on board. They love it. It's really exciting. It
could be a very joyous, fun experience. Actually, you said
you were extremely uncomfortable.
Speaker 1 (11:44):
But I needed a fun experience exactly.
Speaker 6 (11:46):
You make you know, we build a good space, and
you know, we build a bubble around the work that
we're doing close the set. There's a lot of protocols
that we follow and techniques that we have for icebreakers
and things to do in the case of like you know,
Jenniferns and John Ham, and I know the intimacy coordinator
was one of my trainees on that project. They are
(12:06):
they're professionals, and you know they particularly they didn't want
one for those particular scenes. But imagine it was a
star at a high level and a you know, day
player who's coming in for a day.
Speaker 7 (12:18):
There's a real imbalance there.
Speaker 6 (12:20):
And if the star at the higher level is saying
I'm fine with anything, what position does that put.
Speaker 7 (12:26):
The day player in to say, well, if.
Speaker 6 (12:29):
They're fine with everything, then I'm going to be fine
with everything too, because I don't want to be a problem.
And so Jennifer Aniston and John Ham, I'm sure they
are really comfortable with each other, and that's fine.
Speaker 7 (12:40):
You know that there's nothing wrong with that.
Speaker 6 (12:42):
Like they and you know, they have every right to
that comfort that they have with one another. But we're
also there for the crew members. We're also there for
the director. What if something goes wrong, you know, like
there's a lot of things that could happen that we
are there to help mediate and to mitigate.
Speaker 5 (12:57):
If you're a psychologists, a psychiatrist, I mean, you've got
to be everything kind of at the moment at any
given moment. So if I can bring up the premise
that we started with Blake Lively, this thing has gotten
so ugly when I read that there's two intimacy coordinators
on that movie, and then again Jason Baldi claimed that
she didn't come to the meeting and in the dance
(13:17):
scene they weren't there. And then I saw other intimacy
coordinators quoted as saying, well, you don't necessarily need one
in a dance scene, but maybe you do. What's your take.
You probably know much more about this or what happened,
and probably know the people involved the coordinators.
Speaker 7 (13:31):
I don't know that.
Speaker 6 (13:32):
I don't know the people involved specifically, and it's an
ongoing litigation, so you know, we can zoom out a
little bit and just sort of look at the there's
a lot happening in this particular scenario. Having an intimacy
coordinator and just talking about the realm of what you
want to do beforehand is just really helpful for everyone.
(13:53):
It just it smooths you wouldn't go into You wouldn't
suddenly think like I actually think this actor should fly
out of the second story window, or I just think
that they should have a fight here and not have
someone to help coordinate that. That's why we have stunt coordinators,
That's why we have fight you know, fight directors.
Speaker 4 (14:14):
So given that, is there a prime time for someone
who does your job to be brought into the process.
You don't want to be brought in day of and
have to commune with the director of their I'm wanted
to be kind of this thing and then have to
go figure out what is the best time to get
involved with something that has perhaps you know, a smattering
(14:36):
of sexuality, nothing horribly provocative, but somebody is going to
have partial nudity on a set and they're going to
be in the bed together, and there's going to be
some simulation of intimacy. When when is the right time
to bring you in and start these conversations.
Speaker 6 (14:52):
The right time is in pre production, as you're reading
through the script, as you're saying that there's into we
teach this the very clear intimate scene, the one that
you just described, there's partial nudity, there's an intimate scene.
People are having sex in a bed. You need an
intimacy coordinator for that, particularly because there's going to be
nudity and simulated sex riders that need to be developed
(15:16):
and signed before that. So there's paperwork, which is a
big part of our you know, it's interesting, Like the
tip of the iceberg is of our job is that
we get to be on set working with actors. That's
really fun. There's a whole administrative side to what we
do as well. There's conversations with the director to understand
their creative vision, what they want. We speak with actors
to understand what their boundaries are. Hey, this is the
(15:36):
creative vision. How do you feel about it? So pre
production is really the best time to get involved. And
you mentioned I wanted to go back to the Michael
Douglas thing, you know, people.
Speaker 7 (15:47):
Who didn't who didn't come up.
Speaker 6 (15:49):
I mean, look, it's an a long ass career, you know,
like amazing performer and long, very long career, and you know,
I mean, yeah it, you know. And so I feel like,
if you don't know what the role is, it's hard
to just say yes, and you feel like, hey, this
person might get in the way of what is happening,
(16:13):
then yes, why why would you not have resistance to that?
But when people start to learn that we can be
very valuable collaborators in the same way that a stunt
coordinator or a fight director can really bring out the
spectrum of what's possible in a scene. And so, and
if you ask anyone on a set what is sex
(16:35):
to you? And what is sex to you or someone else,
You're going to come up with really different answers to that.
And so when we can start telling stories of intimacy
and of sexuality and really represent like the spectrum of
what human sexuality is, which is vast, I feel like
we can really start to see humanity in a better, different,
(16:56):
more elevated light.
Speaker 7 (16:58):
And I really feel like it's a healing practice.
Speaker 1 (17:01):
What what do you say?
Speaker 4 (17:04):
And this used to I don't I can't imagine this
comment would be made anymore, but it was certainly prevalent
when I was in my thirties and forties. Where actor
or actress reads the scene, they can clearly see what
it is. It says, she takes off her clothes, she
reveals her thing, they climb into bed and ba but
(17:27):
and it describes a certain kind of intimacy.
Speaker 1 (17:30):
And you get there on the day and one of the.
Speaker 4 (17:33):
Actors, now clearly you would have gotten to them prior
to this, but one of the actors decides on the
day maybe even after you've they're not as comfortable as
they thought they would be, and the producer or the
director is suddenly going.
Speaker 1 (17:45):
For God's sakes, you read this. This is not a surprise.
You read it. You saw what it was. You took
the job. First of all.
Speaker 4 (17:53):
Does that situation still come up? And if it does,
how do you what do you do with that?
Speaker 1 (17:58):
Yeah?
Speaker 7 (17:58):
Absolutely? I mean, for.
Speaker 1 (18:10):
God's sakes, you read this. There's not a surprise. You
read it.
Speaker 5 (18:14):
You saw what it was.
Speaker 4 (18:15):
You took the job, first of all. Does that situation
still come up? And if it does, how do you
what do you do with that?
Speaker 5 (18:23):
Yeah?
Speaker 7 (18:23):
Absolutely?
Speaker 6 (18:24):
I mean imagine you read it on paper and sounded great,
and then you got to set and someone's given you
the sorry, yes, someone's giving you the creeps on set,
or suddenly you have a bad feeling about this, or
suddenly you said yes because of the role, but then
when you got to set, you think, you know, maybe
I don't want to do this. And so the actor
(18:46):
has the right to revoke their consent at any time,
even after a writer assigned. After the writer is signed,
the production will also then have the right to double
the actor, but the double cannot do more than what
the act or agreed to do.
Speaker 5 (19:01):
Oh that really, yeah, that's what I got a belt.
Speaker 1 (19:07):
That is really so I'll do this.
Speaker 5 (19:09):
But the scene it's there, I can't then go all right,
But there are still a little more because their own.
Speaker 6 (19:16):
Think about this scenario. You're on set, someone someone new
you know, is on set. It's really exciting. They're working
with Jason. This is the most exciting scene. This is like,
you know, they're high suddenly from like you know, oxytocin
flowing through their through their veins. They're just so excited
to be here. And in the moment, in this heightened
state of excitement, they say, you know what, I wasn't
(19:38):
comfortable taking off my clothes, but screw it. Now I'm
comfortable taking off my clothes. And you're like great, and
you shoot the scene and then they put their clothes
on and they go off into the trailer.
Speaker 1 (19:50):
Like what the fuck did I do?
Speaker 7 (19:52):
What did I just do?
Speaker 6 (19:53):
So that's why in a very calm you know, usually
on a zoom, sometimes in person a conversation, we'll talk
through it and an actor might say I'm comfortable with it,
and I say great, if you change your mind, let
me know, and we'll all have a conversation discreetly, or
I'll approach the director and we'll come up with a
different way to do it. It's going to maintain the
(20:15):
integrity of the story and slightly alter what we have
to do. And there's so many tips and tricks that
we have. There's so many things we can do just
framing up a little bit, or you.
Speaker 7 (20:25):
Know, shooting, there's just so many Uh. Typically yes, but
it really depends on the creative team.
Speaker 5 (20:34):
You know.
Speaker 6 (20:34):
Some creative teams are like, you know, let the we'll
handle that stuff.
Speaker 1 (20:38):
You just let us know.
Speaker 6 (20:39):
Other creative teams are like, yes, please, we really want
to collaborate with you.
Speaker 7 (20:43):
So I've really had a wide spectrum.
Speaker 1 (20:46):
You're a lovely guy.
Speaker 4 (20:48):
I'm meeting you for the first time, and now you're
going to start a conversation with me where I'm going
to reveal to you somehow I'm going to entrust you
with my comfort levels about all kinds of things. I
don't know that that's the most natural, you know, I
don't know why people give up that. So there has
to be a kind of, for lack of a better word,
(21:08):
a kind of seduction that you are able to do that,
you get an actor a performer to trust that they
are safe with you. But you know, I mean, I
just can't imagine that's always a terribly easy process to establish.
Speaker 7 (21:23):
It's not.
Speaker 6 (21:23):
It's not always easy, and some actors are more resistant
to it. And that's fine. Yeah, And I'm really at
the end of the day, we're there to make sure
that the actors feel safe and seen, heard and all
of the things that they want to do, and the
director feels seen and heard in the creative that they
want to get and that we leave set with a
(21:44):
good fist bump or a high five and say, hey,
great job, that was amazing.
Speaker 5 (21:48):
High five made me uncomfortable. Could you do me a favor?
Because you're really interesting? But I want to hear it
because I wonder how you engage. So Jason's about to
do a nudsday and he's a little uncomfortable. Just if
you don't mind, because you're not talking through what would
you I just want to hear what that comedy.
Speaker 6 (22:04):
So we'd meet on Zoom and I'd say, hey, Jason,
it's great to meet you.
Speaker 7 (22:08):
I'm a big fan. You've brought a lot of joy
to the world.
Speaker 8 (22:11):
Finish thought, okay, I'd say, you know, scene fifty three,
you've got Jason steps out of the shower, or your
character steps out of the shower.
Speaker 6 (22:21):
That's another thing. We'll talk about the character, not the person.
And that's a nice trick because it's not you that's
doing it.
Speaker 1 (22:28):
It's the character.
Speaker 5 (22:29):
I want.
Speaker 6 (22:30):
It's the character that's doing And so your character steps
out of the shower, drops your towel. The creative vision
is that we see you from behind and you climb
into bed with your partner, you start kissing, and you
make love. How are you feeling about that?
Speaker 1 (22:48):
Go ahead, and you know what the comedy is?
Speaker 5 (22:49):
No, I want to I want the comedy.
Speaker 1 (22:51):
The comedy answers who's the partner?
Speaker 4 (22:57):
My answer would probably be to you, I am more
comfortable portraying nudity and sexuality for its comedic.
Speaker 1 (23:12):
Values than I am for its intimate values.
Speaker 7 (23:16):
Amazing. And I'm typing notes, I'm saying to type notes.
Speaker 4 (23:19):
And you know, and I will probably say I'm not
comfortable showing my genitals.
Speaker 5 (23:25):
I'm not.
Speaker 1 (23:25):
You know, how do I look on the day what.
Speaker 7 (23:29):
I'm typing notes?
Speaker 6 (23:30):
Yeah, not comfortable showing genitals? And how about rear nudity.
How does that feel for you? It's a comedic moment,
it's your I have.
Speaker 4 (23:38):
If I have a good glute day the day before,
I've done it, so you know it's it's clearly. I mean,
I did a movie where I played a character that
was dressed for quite a long sequence in merely a
flowery hat, woman's high heels and an apron and I
was shot from behind an awful lot and it was,
(24:00):
you know, again one of the pantheon of uncomfortable days
that I did it.
Speaker 5 (24:04):
So when you were doing that, how did you feel
you're going to and that you're into it? But how
do you think it was?
Speaker 4 (24:09):
Probably it was love velor compassion, And I'm trying to
remember it's like the early aughts, you know.
Speaker 5 (24:15):
Were there primes that was really tough. It's always tough because.
Speaker 7 (24:19):
Did someone give you a robe in between takes?
Speaker 3 (24:22):
Sure?
Speaker 5 (24:22):
Okay, that's yeah, but you never betray that. You always
want to please everybody and make it feel okay.
Speaker 1 (24:28):
Yes to a degree.
Speaker 4 (24:29):
Now, Also, most of my career has been the kind
of intimacy that I've been asked to portray is for
comedic value, which I'm.
Speaker 1 (24:38):
Again more comfortable with that than not.
Speaker 4 (24:40):
But I remember doing a movie where I won't name
the actress, but she and I had a brief bed
scene and the director was hell bent on her being
topless in the scene, and I guess she had signed
some paperwork for it.
Speaker 1 (24:52):
And I happened to know this actress a little bit,
and she went, can you help me? I went, what
I really don't want. I don't want my us to
be seen.
Speaker 4 (25:00):
I went, let's try, And so I found ways to
make sure that my arm was always draped across her
or you know. And as far as I know that
we got away with it. I think we kept her
from being exposed in the way she didn't want to.
But that scene, because it was not for comedy, was
among the more uncomfortable things.
Speaker 6 (25:19):
So, Jason, you're a mention putting your arm around her,
and that's why we're there.
Speaker 4 (25:25):
Well, I got to tell you, see, this is the
thing for me, what makes what you do and the
moments that you're asked to come in on a film
for me so hard is that when you said, well,
let's look at this through the character's eyes. But when
I as an audience member in counter nudity or intimacy,
(25:48):
in any stage play camp, I.
Speaker 1 (25:51):
Immediately go right out.
Speaker 4 (25:53):
It immediately takes me out because I go to Okay,
this is the one thing that the actor acting is
make believe I'm not a hit man, I don't work
for the mafia, and I'm not married to Beverly the Angelo.
I'm acting that. But if I have to start being
intimate with better Beverly the Angelo, Beverly, I just use
(26:15):
you as your name. I hope that's okay.
Speaker 5 (26:17):
I like that you leaned in.
Speaker 4 (26:19):
Then there is something that is now it's me and Beverlys.
It's not character goes away in some ways, not completely.
You're telling a certain kind of story with those people.
But that is a level of like if I if
I shoot a guy in a movie, I didn't really
shoot him, but if I put my hand on somebody's breast,
(26:41):
I put my hand, My hand went on somebody's breast,
and so I'm always taken out.
Speaker 1 (26:47):
I go right out of it.
Speaker 5 (26:48):
But there's more, are we right? There's much more nudity.
And I don't know if it's because international, but there's
much more nudity than I've ever seen before on television
and streaming.
Speaker 7 (26:56):
Yes, there's yeah, there's a lot more leaning.
Speaker 6 (26:59):
Yeah, so there's also a lot more nuance in the
type of intimacy and the type of sexuality that's depicted.
In the last ten years, we see so much more
and so much more, you know, just so many more
facets of the what I was saying earlier, just the
perspective of what human sexuality is.
Speaker 4 (27:17):
My younger son as a young man who's out in
the dating world, you know, and from my understanding is
it's madness out there. Have you learned anything that translates
into the real world of people meeting people and navigating
the beginnings of intimate relationships so that there is a
reasonable assurance that everyone's in the same place.
Speaker 1 (27:39):
Is there a method for that?
Speaker 6 (27:42):
You know, we teach in our course, and all intimacy
coordinator courses teach consent frameworks. And when you study this
and you get deep into what consent is that it
needs to be freely given, it needs to be reversible,
it needs to be in formed, it needs to be enthusiastic,
it needs to be specific. You start to and that's
(28:06):
just for like interpersonal consent. When you're working in film
and television, it's your job and so you don't have
to be enthusiastic about this intimate scene that you're doing,
but you have to be informed about it, and you
have to know specifically what's going to happen, and you
have to be able to participate in the you know,
(28:27):
in the negotiation of what it is that happens. And
so when you start to get into you know, consent
practices and understanding people, and also consent can't happen under
you know, under the influence, which a lot of you
know days do have righter the end right, and so
if someone is inebriated in some way like, that's not
(28:48):
you know that there it's not clear consent, you know.
Speaker 5 (28:52):
And so.
Speaker 6 (28:55):
Not to sound too lofty, but studying to become an
intimacy coordinator is actually it's a very life changing journey.
And we've had a lot of trainees we've said this
has actually completely changed my life. It's changed my relationship
with my partner, with my husband, with my wife because
of the awareness, yeah, the awareness, and also we teach
so much about what the spectrum of sexuality is and
(29:16):
someone's like, you know, I realized something about myself that
I didn't know before. I'm attracted to this I'm not
attracted to that where I just thought I need to
be attracted to this thing, because that's what culture tells me.
Speaker 1 (29:29):
Boy, you said one second, if I don't pay, I'm
going to come as this.
Speaker 5 (29:32):
Really we got to do this, and I should continue
to wrap this up by your painting. Of course you
had a doctor's appoint me. Obviously a little bit of
a large prostate thing, I'm guessing, but thank you. Really
really fascinating what you do in the fact that you train,
you train people to do this. And he's back again.
I apologize.
Speaker 1 (29:50):
I want to say.
Speaker 5 (29:51):
It takes him quite quite a while.
Speaker 1 (29:52):
I can hear you.
Speaker 5 (29:53):
We wrapped it up. Okay, you just knocked the key light.
That's okay, That's what I'm saying there now you look
all right. I heard everything you said.
Speaker 1 (30:04):
Well, and as a as a member of SHAG after
I am bringing you up. You talk about you prostating
that is my intimate organ.
Speaker 5 (30:13):
Do me a favorite, do it public because we get
some attention, and thank you, Thank you. Man.
Speaker 4 (30:21):
Don't don't don't coordinate me. I'll let this man coordinate me.
You're not in charge of me. You're not the boss
of me.
Speaker 1 (30:27):
Thank you.
Speaker 5 (30:28):
You hude, thank you, sure, pleasure.
Speaker 1 (30:32):
I'm sorry I missed the variant.
Speaker 6 (30:33):
It was an honor of my life.
Speaker 1 (30:46):
So first of all, let me just say fabulous, what
a great I love what he does. I love everything
he had to say.
Speaker 4 (30:53):
Is there any other podcast let me just ask you this,
because you're the podcast mavin Is there any other podcast
where one of the hosts has to take a pee
break and the other host just keeps going where they
don't edit it out, where they don't pretend that I
was just here the whole time. You had four hundred
and seven podcast instances of your nick really where they
(31:14):
went on? Do you think they had a coordinator? Maybe
four eighty because that's pretty in it.
Speaker 5 (31:18):
Maybe for twenty Well, you know what, we can also
wire the bathroom so you can continue. I heard enough
coding here. Wow, help me, I can't pee? I mean, yeah, the.
Speaker 4 (31:28):
Reason I asked you who about the you know, the
practical advice. I was talking to a coordinator one time
and they said something interesting. They said, you know, in
this world of modern dating, and we were talking about
how do you know you have consent? And they said,
you have to get rid of the mindset that you
and I grew up.
Speaker 1 (31:45):
With which was running the basis.
Speaker 4 (31:48):
Oh, I got the first base, I got the second base,
I got the third base. I was on the day
they got the second base, and they said, that is
where you get people who are caught up in the
passion of a moment and they kind of they do,
they do more than they're going to be comfortable with
the next day. And that coordinator said to me, a
really good practice for now is if you're on a
(32:11):
date and it's becoming intimate and you're kissing, you know,
they said, just save enjoy that savor.
Speaker 1 (32:18):
Don't push it to be the next thing.
Speaker 4 (32:21):
It's the hormone that runs away with you, especially with
someone you are just beginning to I.
Speaker 5 (32:27):
Never had that problem because a large nose, pimples and
a pompadoor the only thing, Oh God, are usually she
pictures me at eighteen nineteen twenty. Yeah, you just say,
because then I kind of there's a minute in time,
so you know what I mean. But yeah, the pimples
went away, and then I got buffed for a little bit,
uh not lasted not long.
Speaker 1 (32:47):
And then yeah, I always tell the story.
Speaker 4 (32:48):
I had braces from the time I was eight until
I was eight nine years so seventeen right, eight to seventeen.
Speaker 1 (32:56):
They come off. I go to the gym because.
Speaker 4 (32:58):
I got a date that night, and I take a
shower at the gym and I'm tweling off my hair
on I realized for the first time I have a
bolt spot the size of a dixie cup at the time,
Are you kidding?
Speaker 1 (33:08):
I don't get a day. Yes, and there you go, David,
google him.
Speaker 3 (33:13):
No one I.
Speaker 1 (33:14):
Would rather be more intimate with than you. Was that should?
That was that? Should? I not have said that? By God?
Speaker 5 (33:19):
Was that too? I might have might have heard a
weird very neat if something happened. Something happen so.
Speaker 4 (33:28):
Well, first of all, I think I want to be
a trailblazer as a prostate ordator.
Speaker 1 (33:37):
I think I think Hollywood.
Speaker 3 (33:39):
Can could use that.
Speaker 1 (33:40):
David, what else you got for it?
Speaker 3 (33:42):
Well, that was a big thing. I know you have
a big, big game that you wanted to play.
Speaker 1 (33:46):
I have a little game for you.
Speaker 5 (33:47):
I gotta quick.
Speaker 1 (33:49):
I got a quick game. I'm gonna na.
Speaker 4 (33:52):
Yeah, hold on, Peter, let me check you. Let me
check you our present coordinator.
Speaker 5 (33:59):
I got a Jack Peter today. He said, I'm good, okay, good,
all right?
Speaker 1 (34:04):
I'm going to be I'm an actor and actress.
Speaker 4 (34:06):
You tell me if they have ever appeared nude in
a film, television show, or stage play.
Speaker 1 (34:12):
All right, all right, the nude being like full nudity,
like some degree of exposure. Samuel L.
Speaker 5 (34:22):
Jackson, Damuel Jackson nude. I bet he has.
Speaker 3 (34:26):
No, I don't think so.
Speaker 1 (34:28):
He has never appeared nude. Daniel Radcliffe, Oh yeah, yes, yes,
I'm Broadway.
Speaker 4 (34:34):
Very good, Peter, very very good. Anna Kendrick, No, David.
Speaker 1 (34:40):
No, no, Anna Kendrick is absolutely will not do it.
Speaker 3 (34:45):
Chris Pine, Yes, boy, what.
Speaker 5 (34:53):
I'm gonna say now, I'm gonna say no, just to
say no.
Speaker 4 (34:56):
It was Chris Pine in Outlaw King Full front of
wh Julia.
Speaker 5 (35:01):
Roberts, No, in the body double for Pretty Woman, you
know that.
Speaker 4 (35:04):
Yeah, No, you're absolutely right. She has never appeared in nude.
Jessica Alba No, no, no, she absolutely does not.
Speaker 5 (35:14):
Mark Ruffalo yes'. Mark was making now somewhere.
Speaker 1 (35:17):
A movie called in the cut.
Speaker 5 (35:19):
He looks like a guy who says, can I write
this nude?
Speaker 1 (35:21):
YEA Oscarion, Yes, yes, I think I've seen him.
Speaker 4 (35:27):
Oscar Isaacon scenes from a Marriage Thompson, Yes, yes, Emma Thompson,
Good luck to you, Leo Grande, and our final one,
Megan Fox.
Speaker 5 (35:41):
Just because because you would think yes, I'm gonna say no.
Speaker 4 (35:46):
Wait wait wait wait, but just before you do that, Peter,
we've got I think we've gotten him all right now,
so this is for a perfect game.
Speaker 1 (35:53):
I thinks somebody missed on miss.
Speaker 3 (35:57):
Oh did you?
Speaker 5 (35:59):
But it should be a yes, but I'll be guessing.
Speaker 4 (36:01):
You know, I'm gonna say a no for her because
she had the Transformers experience she has.
Speaker 1 (36:07):
Not done there.
Speaker 5 (36:09):
You go very well playing boys, and thank you for
the quich and thank you for being part of Really No, Really.
Speaker 1 (36:17):
No Really?
Speaker 3 (36:19):
How's another episode of Really No Really? He comes to
a close. I know you're wondering.
Speaker 2 (36:22):
Has an X rated film ever won an Academy Award
for Best Motion Picture. We'll hold your horses, Cowboy. I'll
answer that in a moment, but first let's thank our guests.
You who to Duenyas. For more info on his work
as a coordinator, visit his website yeahudah Intimacy dot film.
For his directing experience, you can visit Xxxhuda dot com
and on Instagram, he is at underscore x Underscore x
(36:44):
Underscore x Underscore y Underscore. Find all pertinent links in
our show notes, our little show hangs out on Instagram, TikTok, YouTube, and.
Speaker 3 (36:54):
Threads at really No Really podcast And.
Speaker 2 (36:56):
Of course you can share your thoughts and feedback with.
Speaker 3 (36:59):
Us online at reallynoreli dot com.
Speaker 2 (37:01):
If you have a really some amazing factor story that
boggles your mind, share it with us, and if we
use it, we will send you a little gift. Nothing
life changing, obviously, but it's the thought that counts. Check
out our full episodes on YouTube, hit that subscribe button
and take that bell so you're updated when we release
new videos and episodes, which we do each Tuesday. So
(37:23):
listen and follow us on the iHeartRadio app, Apple podcasts,
or wherever you get your podcasts.
Speaker 1 (37:29):
And now the answer to the.
Speaker 2 (37:29):
Question has an X rated film ever won the Academy
Award for Best Picture, Well, I can tell you that
the sweet spot for Best Picture winners seems to be
the R rating. So many R rated films have nabbed
the top honor, including The Godfather, Platoon, rain Man, The
Silence of the Lambs, Shindler's List, Glady Eat, No Country
for Old Men, and twelve years of sleep. So clearly, war, murder, blood,
(37:51):
and human suffering are all viable for the Oscars. Also,
somewhat notably, only one G rated picture has ever won
Best Film. That would be the nineteenth sixty eight film
version of the Broadway musical Oliver, as adapted from the
original Charles Dickens novel. So R rated and g rated
made the cut. But what about X Well, Yes, one
X rated film did in fact win Best Picture. One
(38:13):
year after Oliver brought home those top honors for G
rated films, The X rated feature Midnight Cowboys starring Dustin
Hoffman and John Voight, won the Best Picture award.
Speaker 3 (38:23):
In nineteen sixty nine. Nice.
Speaker 2 (38:26):
The film is about a touching bromance between Joe Buck,
a Texas dishwasher who moves to New York to seduce
his way into the heart of a wealthy dowager, only
to find himself trying to survive alongside a colorful street hustler.
Speaker 3 (38:38):
Named ratso Rizzo.
Speaker 2 (38:39):
It's the stuff Hollywood dreams are made of, and awarded
for X extremely rarely really and a really is production
of Blaise Entertainment
Now really.
Speaker 2 (00:06):
Really real hello, and welcome to really know really with
Jayson Alexander and Peter Tilden, who remind you that subscribing
to our show is one of the sexiest things you
can possibly do, all by yourself.
Speaker 3 (00:19):
So hit that subscribe button slowly.
Speaker 2 (00:22):
And speaking of sex, there seems to be a whole
lot of it going on in both film and stage.
This year's Oscars feature two films where sexuality and nudity
play a major part, Anora and The Substance. But sexuality
in cinema is not new. What has changed is the
film and stage industry's understanding of the complex and intimate
demands it makes on the actors who must perform it.
Speaker 3 (00:44):
The me Too movement brought.
Speaker 2 (00:45):
Increased scrutiny to on screen contact, and with that a
relatively new position called an intimacy coordinator was born. Part coach,
part choreographer, and often part therapists, Intimacy coordinators are now
tasked with helping assist the artistic vision of the intimate
story while providing the guidance and communication between producers, directors,
and performers. And despite how seemingly obvious the need for
(01:07):
them may be, they are often regarded as superfluous, unnecessary,
or irksome.
Speaker 3 (01:13):
Really no, really.
Speaker 2 (01:14):
Today the guys talk to Yehuda Duenya, a sag after,
a credited intimacy coordinator who provides full service intimacy coordination
for film, TV and theater productions. They'll discuss what the
job actually entails, what the qualifications are to become and
I see what the challenges can be. And most importantly,
we may discover why it is that our own Jason
Alexander has appeared so often in the bluff. We'll also
(01:36):
find out how he feels about it. Now here hopefully
with clothes are Jason and Peter this season?
Speaker 4 (01:43):
In particular, the films that I've seen that have had
the most you know sort of people are talking.
Speaker 1 (01:48):
About there's a lot of sexuality in these films.
Speaker 4 (01:51):
What like I saw Anora the other day and it's
and it's about a sex worker and there's a lot
of sexual no clothing, didn't I don't know where like
you know, well, please you're Hollywood adjacent, not even but
there's a lot going on.
Speaker 1 (02:08):
Now. I have done some stuff.
Speaker 5 (02:10):
Oh that's right, and love, valor, compassion.
Speaker 1 (02:13):
Passion, but even on Asha Bob Patterson we did make it.
Speaker 4 (02:16):
That's right, naked standing there in front of forty guys,
naked with basically.
Speaker 1 (02:23):
A leaf, and you know, to your credit, and it
was not comfortable.
Speaker 5 (02:26):
To your credit. And I, you know what, in thinking
about this later on now that you bring that up,
I felt you. And I never said this here because
I know who comedic it was, and because you're chunking
and it's funny and you're uncomfortable and you play uncomfortable funny.
I never had a discussion with you, and I really
did feel bad afterwards that I never asked you, are
you uncomfortable doing it? Are you incremfortable? But no, I
(02:48):
never did. And and you know what I take. I
always assume with you, you go for the even great
you do comedy, You'll do whatever gets to laugh. But
I should have said, are you okay doing I know
you would have said yes, and you did it, but
it's still yet a lot of people on that set.
I'm well away, and this intimacy in movies. Right now,
the big story is Blake Lively and Justin Baldini, who
(03:09):
was in the movie, directed the movie, and produced the movie.
They're going back and forth with lawsuits, saying that he
was even before shooting he inserted improvised with tuitor sexual
content and there was specifically, and his lawyers released the
scene where they were dancing and he was kissing her
neck to doing stuff dialog and one of the intimacy
(03:31):
or people who watched this comment and said it looked
like they were negotiating the stuff as the scene was happening.
He claims that he had a meeting with an intimacy
coordinator before the movie and she didn't make the meeting
that she said, I don't need to come to the meeting.
She's saying she had to beg to get an emascy coordinator.
And then somebody else said, usually with dance scenes, it's
(03:54):
nudity at sexistists. Usually with dance scenes, even though they're close,
you don't need an is the coordinator. So we figured, well,
we're in New Turf. Yeah, and I got a lot
of questions. And then you're dealing with people who have
different level of what they perceived to be on car.
Speaker 4 (04:11):
You don't know you're working from multiple people at the
same time. You're working for the producer, you're working for
the director who has a vision of how this is
supposed to go on, and then you're working with four
and with the people who have to execute it, who
will bring their own is.
Speaker 5 (04:27):
And there's been pushback, like Michael Douglas said, you don't
need one because what it does is that usurp the director.
Director should be doing this and getting it. Jennifer Aniston
was asked when she worked with John ham on a
second team during the morning show I get one. She said,
come on, we're both professionals, and John and I discussed
what we were comfortable with or not. But not everybody
comes from that same place or it doesn't have traumas
(04:47):
in the past.
Speaker 4 (04:48):
Second, and I will tell you I've never directed sex,
but I directed some partial nudity and intimacy.
Speaker 1 (04:57):
I mean two people in a bed in a film.
I have never been more uncomfortable in my life.
Speaker 5 (05:03):
And I'm sure and there's no there's no You walk
into a set man and you're it's like when you
just signed and you're a guest director.
Speaker 4 (05:11):
It's uncomfortably in that I was the guest director. We
didn't have a guest but again, new actor or whatever.
You're walking into a culture you don't know, so you
don't know when you're walking into a.
Speaker 1 (05:19):
Set Listen, it doesn't. It's as simple as this.
Speaker 4 (05:21):
How many times on the TV show or a film
or on a stage play do you see two actors
playing they're a married couple, they casually kiss each other
good morning. Yeah, I don't normally kiss that person. So
if you don't know, there's a whole, really relatively new
job of intimacy coordinator into me intimacy director, and we
(05:45):
have in our studio today mister Uhuda Duenyas, who is
a sag After accredited intimacy coordinator who provides full service
intimacy coordination for film, TV and theater. Right, he's also
an award winning experiential director, and I want to find
out what that means, transdisciplinary artist working, as he says,
at the intersections of intimacy, experiential design, performance, film and sound.
(06:09):
And sure, here we go another one another, every winner,
Emmy winner, Emmy winner. They are all Emmy winners.
Speaker 1 (06:15):
M Webby Awards.
Speaker 4 (06:16):
I don't have a Webby Award, eight cons Lions Awards,
I don't have.
Speaker 1 (06:19):
Any of those. You know how many commercials I've done.
I don't have a Cleo.
Speaker 4 (06:22):
He's got eleven Kleos, two Facebook Awards, I'm not even
on Facebook and Albi.
Speaker 1 (06:27):
Award and then the other among all most others.
Speaker 4 (06:29):
Right, it's a complete for a guy I'm supposed to be.
Speaker 1 (06:34):
I'm already feeling a little.
Speaker 5 (06:35):
Bit off, but you got let's welcome you, Huda Duenas. Hello,
so for coming in and congratulations on all the honors.
That's a lot. You must be pretty good at what
you do. How long have you been doing this?
Speaker 6 (06:45):
Yere okay, so I it's great to be here. By
the way, it's nice to meet you both. I began
this practice in two thousand and seven directing theater in
New York, and I was directing shows and you have
the theater back ground in New York. I was directing
shows that had very extreme content in them, and was
(07:06):
working with a cast who I really cared about, a
playwright who I really cared about as well, and wanted
to make sure that they could do thirty performances and
not want to tear each other's eyeballs out. And also
it was very traumatic work. I mean, the content of
the piece was very traumatic and so exactly like you
(07:28):
said in your intro, we don't know, everyone's got something around,
some sort of intimacy. Everyone's had an experience, and the
statistics are pretty staggering about that, about how many people
have had something happen in their life. And so it
was very important to me that we approached these scenes
very carefully and also that we served the play, that
(07:50):
it looked great, and that you know, that we served
the playwrights vision. So I started developing a system. And
you know, it was two thousand and seven. This was
I date myself here, but I had my first iPhone
that year. It was the year the iPhone came out.
The word consent existed in the dictionary, but it was
not a word that we were using a lot. And
(08:12):
I just started developing practices of how to slowly get
the actors to perform these.
Speaker 5 (08:21):
Roles independent, independent, if you had no mentor yet nobody
else you saw doing.
Speaker 6 (08:26):
It, no, And that was very surprising to me that,
you know, we also had a slap on the stage,
and so we had to pay a fight director to
come and teach the actors how to slap each other.
Speaker 7 (08:38):
But if we're dealing.
Speaker 6 (08:38):
With non consensual incestual, you know, the scenario was on set,
it was just up to me and the stage manager.
Speaker 7 (08:46):
And the actors figure it out.
Speaker 6 (08:49):
And I'd been an actor for many years as well
and had had some experiences where the director says, you know.
Speaker 7 (08:54):
Why don't you aren't you gone the hallway and kiss.
Speaker 6 (08:57):
Each other and kind of figure it out, the figure
it out, and so you know, to take that back
into the fight director and fight choreography realm, you.
Speaker 7 (09:07):
Wouldn't say, you know, Peter, why don't you just like.
Speaker 1 (09:10):
Just just just give.
Speaker 6 (09:12):
Jason a nice slap on the face and get it
over with, you know, And so you know, the damage
from a slap is different than the damage from putting
people into uncomfortable situations, but the emotional resonance is very similar.
And so that was my first experience, and I was
the director too, And so now we really want to
separate out the director and intimacy coordinator were there to
(09:35):
really disrupt the power dynamics that are on sets and.
Speaker 4 (09:40):
For people that you know, if this all sounds alien
to somebody, I think most people have heard at this
point intimacy coordinator or director. But if you had to
define what the parameters of the job are, what what
you know sort of technically is it.
Speaker 6 (09:55):
Exactly well, we are trained professionals were artists, and we're
there to help facilitate intimate scenes between the creative vision
of the production and the performers and the cast and
the cast and the crew as well. And you know
there's a lot inside of that. But I was about
to say, is that you never again you just don't
know where everyone's coming from. You know, it could be
(10:17):
a crew member watching the traumatic situations could bring up
something from that. You just don't know what start.
Speaker 5 (10:23):
How much do you know going in? And who hires
the director, actor, producer And the second part of that
is that the producer hires or the director. What if
the producer is not necessarily on board? Does that cause friction?
Speaker 6 (10:36):
There's a lot of needles to thread and there's a
few questions in there. So first you should be trained
in order to do this work. And so I also
run a training organization or called Cinema the Cinematic Intimacy Artists,
and we certify were sag After credited to certify intimacy coordinators.
So training is really key and sag After lays out
(10:57):
a series of protocols that we should be trained in.
Speaker 5 (11:00):
Yeah, but do you get pushed back because I mentioned
in the intro. Like Michael Douglas said, he doesn't like
intimacy coordinators because the control of the film and the
scene is taken away from the director. Jennifer Andison said,
we're adults. We know how we know that it was premissure,
and there's been others who said the same thing. They
have a choice, I guess not to do it or
to do it. But do you get pushed back if
(11:22):
an actor's uncomfortable and wants you there, but the director
does What if somebody is against it when he's on
these four its, somebody doesn't understand it. How do you
balance that once you're brought in.
Speaker 6 (11:31):
Yeah, and you know, I've encountered every permutation of that.
Everyone's on board. They love it. It's really exciting. It
could be a very joyous, fun experience. Actually, you said
you were extremely uncomfortable.
Speaker 1 (11:44):
But I needed a fun experience exactly.
Speaker 6 (11:46):
You make you know, we build a good space, and
you know, we build a bubble around the work that
we're doing close the set. There's a lot of protocols
that we follow and techniques that we have for icebreakers
and things to do in the case of like you know,
Jenniferns and John Ham, and I know the intimacy coordinator
was one of my trainees on that project. They are
(12:06):
they're professionals, and you know they particularly they didn't want
one for those particular scenes. But imagine it was a
star at a high level and a you know, day
player who's coming in for a day.
Speaker 7 (12:18):
There's a real imbalance there.
Speaker 6 (12:20):
And if the star at the higher level is saying
I'm fine with anything, what position does that put.
Speaker 7 (12:26):
The day player in to say, well, if.
Speaker 6 (12:29):
They're fine with everything, then I'm going to be fine
with everything too, because I don't want to be a problem.
And so Jennifer Aniston and John Ham, I'm sure they
are really comfortable with each other, and that's fine.
Speaker 7 (12:40):
You know that there's nothing wrong with that.
Speaker 6 (12:42):
Like they and you know, they have every right to
that comfort that they have with one another. But we're
also there for the crew members. We're also there for
the director. What if something goes wrong, you know, like
there's a lot of things that could happen that we
are there to help mediate and to mitigate.
Speaker 5 (12:57):
If you're a psychologists, a psychiatrist, I mean, you've got
to be everything kind of at the moment at any
given moment. So if I can bring up the premise
that we started with Blake Lively, this thing has gotten
so ugly when I read that there's two intimacy coordinators
on that movie, and then again Jason Baldi claimed that
she didn't come to the meeting and in the dance
(13:17):
scene they weren't there. And then I saw other intimacy
coordinators quoted as saying, well, you don't necessarily need one
in a dance scene, but maybe you do. What's your take.
You probably know much more about this or what happened,
and probably know the people involved the coordinators.
Speaker 7 (13:31):
I don't know that.
Speaker 6 (13:32):
I don't know the people involved specifically, and it's an
ongoing litigation, so you know, we can zoom out a
little bit and just sort of look at the there's
a lot happening in this particular scenario. Having an intimacy
coordinator and just talking about the realm of what you
want to do beforehand is just really helpful for everyone.
(13:53):
It just it smooths you wouldn't go into You wouldn't
suddenly think like I actually think this actor should fly
out of the second story window, or I just think
that they should have a fight here and not have
someone to help coordinate that. That's why we have stunt coordinators,
That's why we have fight you know, fight directors.
Speaker 4 (14:14):
So given that, is there a prime time for someone
who does your job to be brought into the process.
You don't want to be brought in day of and
have to commune with the director of their I'm wanted
to be kind of this thing and then have to
go figure out what is the best time to get
involved with something that has perhaps you know, a smattering
(14:36):
of sexuality, nothing horribly provocative, but somebody is going to
have partial nudity on a set and they're going to
be in the bed together, and there's going to be
some simulation of intimacy. When when is the right time
to bring you in and start these conversations.
Speaker 6 (14:52):
The right time is in pre production, as you're reading
through the script, as you're saying that there's into we
teach this the very clear intimate scene, the one that
you just described, there's partial nudity, there's an intimate scene.
People are having sex in a bed. You need an
intimacy coordinator for that, particularly because there's going to be
nudity and simulated sex riders that need to be developed
(15:16):
and signed before that. So there's paperwork, which is a
big part of our you know, it's interesting, Like the
tip of the iceberg is of our job is that
we get to be on set working with actors. That's
really fun. There's a whole administrative side to what we
do as well. There's conversations with the director to understand
their creative vision, what they want. We speak with actors
to understand what their boundaries are. Hey, this is the
(15:36):
creative vision. How do you feel about it? So pre
production is really the best time to get involved. And
you mentioned I wanted to go back to the Michael
Douglas thing, you know, people.
Speaker 7 (15:47):
Who didn't who didn't come up.
Speaker 6 (15:49):
I mean, look, it's an a long ass career, you know,
like amazing performer and long, very long career, and you know,
I mean, yeah it, you know. And so I feel like,
if you don't know what the role is, it's hard
to just say yes, and you feel like, hey, this
person might get in the way of what is happening,
(16:13):
then yes, why why would you not have resistance to that?
But when people start to learn that we can be
very valuable collaborators in the same way that a stunt
coordinator or a fight director can really bring out the
spectrum of what's possible in a scene. And so, and
if you ask anyone on a set what is sex
(16:35):
to you? And what is sex to you or someone else,
You're going to come up with really different answers to that.
And so when we can start telling stories of intimacy
and of sexuality and really represent like the spectrum of
what human sexuality is, which is vast, I feel like
we can really start to see humanity in a better, different,
(16:56):
more elevated light.
Speaker 7 (16:58):
And I really feel like it's a healing practice.
Speaker 1 (17:01):
What what do you say?
Speaker 4 (17:04):
And this used to I don't I can't imagine this
comment would be made anymore, but it was certainly prevalent
when I was in my thirties and forties. Where actor
or actress reads the scene, they can clearly see what
it is. It says, she takes off her clothes, she
reveals her thing, they climb into bed and ba but
(17:27):
and it describes a certain kind of intimacy.
Speaker 1 (17:30):
And you get there on the day and one of the.
Speaker 4 (17:33):
Actors, now clearly you would have gotten to them prior
to this, but one of the actors decides on the
day maybe even after you've they're not as comfortable as
they thought they would be, and the producer or the
director is suddenly going.
Speaker 1 (17:45):
For God's sakes, you read this. This is not a surprise.
You read it. You saw what it was. You took
the job. First of all.
Speaker 4 (17:53):
Does that situation still come up? And if it does,
how do you what do you do with that?
Speaker 1 (17:58):
Yeah?
Speaker 7 (17:58):
Absolutely? I mean, for.
Speaker 1 (18:10):
God's sakes, you read this. There's not a surprise. You
read it.
Speaker 5 (18:14):
You saw what it was.
Speaker 4 (18:15):
You took the job, first of all. Does that situation
still come up? And if it does, how do you
what do you do with that?
Speaker 5 (18:23):
Yeah?
Speaker 7 (18:23):
Absolutely?
Speaker 6 (18:24):
I mean imagine you read it on paper and sounded great,
and then you got to set and someone's given you
the sorry, yes, someone's giving you the creeps on set,
or suddenly you have a bad feeling about this, or
suddenly you said yes because of the role, but then
when you got to set, you think, you know, maybe
I don't want to do this. And so the actor
(18:46):
has the right to revoke their consent at any time,
even after a writer assigned. After the writer is signed,
the production will also then have the right to double
the actor, but the double cannot do more than what
the act or agreed to do.
Speaker 5 (19:01):
Oh that really, yeah, that's what I got a belt.
Speaker 1 (19:07):
That is really so I'll do this.
Speaker 5 (19:09):
But the scene it's there, I can't then go all right,
But there are still a little more because their own.
Speaker 6 (19:16):
Think about this scenario. You're on set, someone someone new
you know, is on set. It's really exciting. They're working
with Jason. This is the most exciting scene. This is like,
you know, they're high suddenly from like you know, oxytocin
flowing through their through their veins. They're just so excited
to be here. And in the moment, in this heightened
state of excitement, they say, you know what, I wasn't
(19:38):
comfortable taking off my clothes, but screw it. Now I'm
comfortable taking off my clothes. And you're like great, and
you shoot the scene and then they put their clothes
on and they go off into the trailer.
Speaker 1 (19:50):
Like what the fuck did I do?
Speaker 7 (19:52):
What did I just do?
Speaker 6 (19:53):
So that's why in a very calm you know, usually
on a zoom, sometimes in person a conversation, we'll talk
through it and an actor might say I'm comfortable with it,
and I say great, if you change your mind, let
me know, and we'll all have a conversation discreetly, or
I'll approach the director and we'll come up with a
different way to do it. It's going to maintain the
(20:15):
integrity of the story and slightly alter what we have
to do. And there's so many tips and tricks that
we have. There's so many things we can do just
framing up a little bit, or you.
Speaker 7 (20:25):
Know, shooting, there's just so many Uh. Typically yes, but
it really depends on the creative team.
Speaker 5 (20:34):
You know.
Speaker 6 (20:34):
Some creative teams are like, you know, let the we'll
handle that stuff.
Speaker 1 (20:38):
You just let us know.
Speaker 6 (20:39):
Other creative teams are like, yes, please, we really want
to collaborate with you.
Speaker 7 (20:43):
So I've really had a wide spectrum.
Speaker 1 (20:46):
You're a lovely guy.
Speaker 4 (20:48):
I'm meeting you for the first time, and now you're
going to start a conversation with me where I'm going
to reveal to you somehow I'm going to entrust you
with my comfort levels about all kinds of things. I
don't know that that's the most natural, you know, I
don't know why people give up that. So there has
to be a kind of, for lack of a better word,
(21:08):
a kind of seduction that you are able to do that,
you get an actor a performer to trust that they
are safe with you. But you know, I mean, I
just can't imagine that's always a terribly easy process to establish.
Speaker 7 (21:23):
It's not.
Speaker 6 (21:23):
It's not always easy, and some actors are more resistant
to it. And that's fine. Yeah, And I'm really at
the end of the day, we're there to make sure
that the actors feel safe and seen, heard and all
of the things that they want to do, and the
director feels seen and heard in the creative that they
want to get and that we leave set with a
(21:44):
good fist bump or a high five and say, hey,
great job, that was amazing.
Speaker 5 (21:48):
High five made me uncomfortable. Could you do me a favor?
Because you're really interesting? But I want to hear it
because I wonder how you engage. So Jason's about to
do a nudsday and he's a little uncomfortable. Just if
you don't mind, because you're not talking through what would
you I just want to hear what that comedy.
Speaker 6 (22:04):
So we'd meet on Zoom and I'd say, hey, Jason,
it's great to meet you.
Speaker 7 (22:08):
I'm a big fan. You've brought a lot of joy
to the world.
Speaker 8 (22:11):
Finish thought, okay, I'd say, you know, scene fifty three,
you've got Jason steps out of the shower, or your
character steps out of the shower.
Speaker 6 (22:21):
That's another thing. We'll talk about the character, not the person.
And that's a nice trick because it's not you that's
doing it.
Speaker 1 (22:28):
It's the character.
Speaker 5 (22:29):
I want.
Speaker 6 (22:30):
It's the character that's doing And so your character steps
out of the shower, drops your towel. The creative vision
is that we see you from behind and you climb
into bed with your partner, you start kissing, and you
make love. How are you feeling about that?
Speaker 1 (22:48):
Go ahead, and you know what the comedy is?
Speaker 5 (22:49):
No, I want to I want the comedy.
Speaker 1 (22:51):
The comedy answers who's the partner?
Speaker 4 (22:57):
My answer would probably be to you, I am more
comfortable portraying nudity and sexuality for its comedic.
Speaker 1 (23:12):
Values than I am for its intimate values.
Speaker 7 (23:16):
Amazing. And I'm typing notes, I'm saying to type notes.
Speaker 4 (23:19):
And you know, and I will probably say I'm not
comfortable showing my genitals.
Speaker 5 (23:25):
I'm not.
Speaker 1 (23:25):
You know, how do I look on the day what.
Speaker 7 (23:29):
I'm typing notes?
Speaker 6 (23:30):
Yeah, not comfortable showing genitals? And how about rear nudity.
How does that feel for you? It's a comedic moment,
it's your I have.
Speaker 4 (23:38):
If I have a good glute day the day before,
I've done it, so you know it's it's clearly. I mean,
I did a movie where I played a character that
was dressed for quite a long sequence in merely a
flowery hat, woman's high heels and an apron and I
was shot from behind an awful lot and it was,
(24:00):
you know, again one of the pantheon of uncomfortable days
that I did it.
Speaker 5 (24:04):
So when you were doing that, how did you feel
you're going to and that you're into it? But how
do you think it was?
Speaker 4 (24:09):
Probably it was love velor compassion, And I'm trying to
remember it's like the early aughts, you know.
Speaker 5 (24:15):
Were there primes that was really tough. It's always tough because.
Speaker 7 (24:19):
Did someone give you a robe in between takes?
Speaker 3 (24:22):
Sure?
Speaker 5 (24:22):
Okay, that's yeah, but you never betray that. You always
want to please everybody and make it feel okay.
Speaker 1 (24:28):
Yes to a degree.
Speaker 4 (24:29):
Now, Also, most of my career has been the kind
of intimacy that I've been asked to portray is for
comedic value, which I'm.
Speaker 1 (24:38):
Again more comfortable with that than not.
Speaker 4 (24:40):
But I remember doing a movie where I won't name
the actress, but she and I had a brief bed
scene and the director was hell bent on her being
topless in the scene, and I guess she had signed
some paperwork for it.
Speaker 1 (24:52):
And I happened to know this actress a little bit,
and she went, can you help me? I went, what
I really don't want. I don't want my us to
be seen.
Speaker 4 (25:00):
I went, let's try, And so I found ways to
make sure that my arm was always draped across her
or you know. And as far as I know that
we got away with it. I think we kept her
from being exposed in the way she didn't want to.
But that scene, because it was not for comedy, was
among the more uncomfortable things.
Speaker 6 (25:19):
So, Jason, you're a mention putting your arm around her,
and that's why we're there.
Speaker 4 (25:25):
Well, I got to tell you, see, this is the
thing for me, what makes what you do and the
moments that you're asked to come in on a film
for me so hard is that when you said, well,
let's look at this through the character's eyes. But when
I as an audience member in counter nudity or intimacy,
(25:48):
in any stage play camp, I.
Speaker 1 (25:51):
Immediately go right out.
Speaker 4 (25:53):
It immediately takes me out because I go to Okay,
this is the one thing that the actor acting is
make believe I'm not a hit man, I don't work
for the mafia, and I'm not married to Beverly the Angelo.
I'm acting that. But if I have to start being
intimate with better Beverly the Angelo, Beverly, I just use
(26:15):
you as your name. I hope that's okay.
Speaker 5 (26:17):
I like that you leaned in.
Speaker 4 (26:19):
Then there is something that is now it's me and Beverlys.
It's not character goes away in some ways, not completely.
You're telling a certain kind of story with those people.
But that is a level of like if I if
I shoot a guy in a movie, I didn't really
shoot him, but if I put my hand on somebody's breast,
(26:41):
I put my hand, My hand went on somebody's breast,
and so I'm always taken out.
Speaker 1 (26:47):
I go right out of it.
Speaker 5 (26:48):
But there's more, are we right? There's much more nudity.
And I don't know if it's because international, but there's
much more nudity than I've ever seen before on television
and streaming.
Speaker 7 (26:56):
Yes, there's yeah, there's a lot more leaning.
Speaker 6 (26:59):
Yeah, so there's also a lot more nuance in the
type of intimacy and the type of sexuality that's depicted.
In the last ten years, we see so much more
and so much more, you know, just so many more
facets of the what I was saying earlier, just the
perspective of what human sexuality is.
Speaker 4 (27:17):
My younger son as a young man who's out in
the dating world, you know, and from my understanding is
it's madness out there. Have you learned anything that translates
into the real world of people meeting people and navigating
the beginnings of intimate relationships so that there is a
reasonable assurance that everyone's in the same place.
Speaker 1 (27:39):
Is there a method for that?
Speaker 6 (27:42):
You know, we teach in our course, and all intimacy
coordinator courses teach consent frameworks. And when you study this
and you get deep into what consent is that it
needs to be freely given, it needs to be reversible,
it needs to be in formed, it needs to be enthusiastic,
it needs to be specific. You start to and that's
(28:06):
just for like interpersonal consent. When you're working in film
and television, it's your job and so you don't have
to be enthusiastic about this intimate scene that you're doing,
but you have to be informed about it, and you
have to know specifically what's going to happen, and you
have to be able to participate in the you know,
(28:27):
in the negotiation of what it is that happens. And
so when you start to get into you know, consent
practices and understanding people, and also consent can't happen under
you know, under the influence, which a lot of you
know days do have righter the end right, and so
if someone is inebriated in some way like, that's not
(28:48):
you know that there it's not clear consent, you know.
Speaker 5 (28:52):
And so.
Speaker 6 (28:55):
Not to sound too lofty, but studying to become an
intimacy coordinator is actually it's a very life changing journey.
And we've had a lot of trainees we've said this
has actually completely changed my life. It's changed my relationship
with my partner, with my husband, with my wife because
of the awareness, yeah, the awareness, and also we teach
so much about what the spectrum of sexuality is and
(29:16):
someone's like, you know, I realized something about myself that
I didn't know before. I'm attracted to this I'm not
attracted to that where I just thought I need to
be attracted to this thing, because that's what culture tells me.
Speaker 1 (29:29):
Boy, you said one second, if I don't pay, I'm
going to come as this.
Speaker 5 (29:32):
Really we got to do this, and I should continue
to wrap this up by your painting. Of course you
had a doctor's appoint me. Obviously a little bit of
a large prostate thing, I'm guessing, but thank you. Really
really fascinating what you do in the fact that you train,
you train people to do this. And he's back again.
I apologize.
Speaker 1 (29:50):
I want to say.
Speaker 5 (29:51):
It takes him quite quite a while.
Speaker 1 (29:52):
I can hear you.
Speaker 5 (29:53):
We wrapped it up. Okay, you just knocked the key light.
That's okay, That's what I'm saying there now you look
all right. I heard everything you said.
Speaker 1 (30:04):
Well, and as a as a member of SHAG after
I am bringing you up. You talk about you prostating
that is my intimate organ.
Speaker 5 (30:13):
Do me a favorite, do it public because we get
some attention, and thank you, Thank you. Man.
Speaker 4 (30:21):
Don't don't don't coordinate me. I'll let this man coordinate me.
You're not in charge of me. You're not the boss
of me.
Speaker 1 (30:27):
Thank you.
Speaker 5 (30:28):
You hude, thank you, sure, pleasure.
Speaker 1 (30:32):
I'm sorry I missed the variant.
Speaker 6 (30:33):
It was an honor of my life.
Speaker 1 (30:46):
So first of all, let me just say fabulous, what
a great I love what he does. I love everything
he had to say.
Speaker 4 (30:53):
Is there any other podcast let me just ask you this,
because you're the podcast mavin Is there any other podcast
where one of the hosts has to take a pee
break and the other host just keeps going where they
don't edit it out, where they don't pretend that I
was just here the whole time. You had four hundred
and seven podcast instances of your nick really where they
(31:14):
went on? Do you think they had a coordinator? Maybe
four eighty because that's pretty in it.
Speaker 5 (31:18):
Maybe for twenty Well, you know what, we can also
wire the bathroom so you can continue. I heard enough
coding here. Wow, help me, I can't pee? I mean, yeah, the.
Speaker 4 (31:28):
Reason I asked you who about the you know, the
practical advice. I was talking to a coordinator one time
and they said something interesting. They said, you know, in
this world of modern dating, and we were talking about
how do you know you have consent? And they said,
you have to get rid of the mindset that you
and I grew up.
Speaker 1 (31:45):
With which was running the basis.
Speaker 4 (31:48):
Oh, I got the first base, I got the second base,
I got the third base. I was on the day
they got the second base, and they said, that is
where you get people who are caught up in the
passion of a moment and they kind of they do,
they do more than they're going to be comfortable with
the next day. And that coordinator said to me, a
really good practice for now is if you're on a
(32:11):
date and it's becoming intimate and you're kissing, you know,
they said, just save enjoy that savor.
Speaker 1 (32:18):
Don't push it to be the next thing.
Speaker 4 (32:21):
It's the hormone that runs away with you, especially with
someone you are just beginning to I.
Speaker 5 (32:27):
Never had that problem because a large nose, pimples and
a pompadoor the only thing, Oh God, are usually she
pictures me at eighteen nineteen twenty. Yeah, you just say,
because then I kind of there's a minute in time,
so you know what I mean. But yeah, the pimples
went away, and then I got buffed for a little bit,
uh not lasted not long.
Speaker 1 (32:47):
And then yeah, I always tell the story.
Speaker 4 (32:48):
I had braces from the time I was eight until
I was eight nine years so seventeen right, eight to seventeen.
Speaker 1 (32:56):
They come off. I go to the gym because.
Speaker 4 (32:58):
I got a date that night, and I take a
shower at the gym and I'm tweling off my hair
on I realized for the first time I have a
bolt spot the size of a dixie cup at the time,
Are you kidding?
Speaker 1 (33:08):
I don't get a day. Yes, and there you go, David,
google him.
Speaker 3 (33:13):
No one I.
Speaker 1 (33:14):
Would rather be more intimate with than you. Was that should?
That was that? Should? I not have said that? By God?
Speaker 5 (33:19):
Was that too? I might have might have heard a
weird very neat if something happened. Something happen so.
Speaker 4 (33:28):
Well, first of all, I think I want to be
a trailblazer as a prostate ordator.
Speaker 1 (33:37):
I think I think Hollywood.
Speaker 3 (33:39):
Can could use that.
Speaker 1 (33:40):
David, what else you got for it?
Speaker 3 (33:42):
Well, that was a big thing. I know you have
a big, big game that you wanted to play.
Speaker 1 (33:46):
I have a little game for you.
Speaker 5 (33:47):
I gotta quick.
Speaker 1 (33:49):
I got a quick game. I'm gonna na.
Speaker 4 (33:52):
Yeah, hold on, Peter, let me check you. Let me
check you our present coordinator.
Speaker 5 (33:59):
I got a Jack Peter today. He said, I'm good, okay, good,
all right?
Speaker 1 (34:04):
I'm going to be I'm an actor and actress.
Speaker 4 (34:06):
You tell me if they have ever appeared nude in
a film, television show, or stage play.
Speaker 1 (34:12):
All right, all right, the nude being like full nudity,
like some degree of exposure. Samuel L.
Speaker 5 (34:22):
Jackson, Damuel Jackson nude. I bet he has.
Speaker 3 (34:26):
No, I don't think so.
Speaker 1 (34:28):
He has never appeared nude. Daniel Radcliffe, Oh yeah, yes, yes,
I'm Broadway.
Speaker 4 (34:34):
Very good, Peter, very very good. Anna Kendrick, No, David.
Speaker 1 (34:40):
No, no, Anna Kendrick is absolutely will not do it.
Speaker 3 (34:45):
Chris Pine, Yes, boy, what.
Speaker 5 (34:53):
I'm gonna say now, I'm gonna say no, just to
say no.
Speaker 4 (34:56):
It was Chris Pine in Outlaw King Full front of
wh Julia.
Speaker 5 (35:01):
Roberts, No, in the body double for Pretty Woman, you
know that.
Speaker 4 (35:04):
Yeah, No, you're absolutely right. She has never appeared in nude.
Jessica Alba No, no, no, she absolutely does not.
Speaker 5 (35:14):
Mark Ruffalo yes'. Mark was making now somewhere.
Speaker 1 (35:17):
A movie called in the cut.
Speaker 5 (35:19):
He looks like a guy who says, can I write
this nude?
Speaker 1 (35:21):
YEA Oscarion, Yes, yes, I think I've seen him.
Speaker 4 (35:27):
Oscar Isaacon scenes from a Marriage Thompson, Yes, yes, Emma Thompson,
Good luck to you, Leo Grande, and our final one,
Megan Fox.
Speaker 5 (35:41):
Just because because you would think yes, I'm gonna say no.
Speaker 4 (35:46):
Wait wait wait wait, but just before you do that, Peter,
we've got I think we've gotten him all right now,
so this is for a perfect game.
Speaker 1 (35:53):
I thinks somebody missed on miss.
Speaker 3 (35:57):
Oh did you?
Speaker 5 (35:59):
But it should be a yes, but I'll be guessing.
Speaker 4 (36:01):
You know, I'm gonna say a no for her because
she had the Transformers experience she has.
Speaker 1 (36:07):
Not done there.
Speaker 5 (36:09):
You go very well playing boys, and thank you for
the quich and thank you for being part of Really No, Really.
Speaker 1 (36:17):
No Really?
Speaker 3 (36:19):
How's another episode of Really No Really? He comes to
a close. I know you're wondering.
Speaker 2 (36:22):
Has an X rated film ever won an Academy Award
for Best Motion Picture. We'll hold your horses, Cowboy. I'll
answer that in a moment, but first let's thank our guests.
You who to Duenyas. For more info on his work
as a coordinator, visit his website yeahudah Intimacy dot film.
For his directing experience, you can visit Xxxhuda dot com
and on Instagram, he is at underscore x Underscore x
(36:44):
Underscore x Underscore y Underscore. Find all pertinent links in
our show notes, our little show hangs out on Instagram, TikTok, YouTube, and.
Speaker 3 (36:54):
Threads at really No Really podcast And.
Speaker 2 (36:56):
Of course you can share your thoughts and feedback with.
Speaker 3 (36:59):
Us online at reallynoreli dot com.
Speaker 2 (37:01):
If you have a really some amazing factor story that
boggles your mind, share it with us, and if we
use it, we will send you a little gift. Nothing
life changing, obviously, but it's the thought that counts. Check
out our full episodes on YouTube, hit that subscribe button
and take that bell so you're updated when we release
new videos and episodes, which we do each Tuesday. So
(37:23):
listen and follow us on the iHeartRadio app, Apple podcasts,
or wherever you get your podcasts.
Speaker 1 (37:29):
And now the answer to the.
Speaker 2 (37:29):
Question has an X rated film ever won the Academy
Award for Best Picture, Well, I can tell you that
the sweet spot for Best Picture winners seems to be
the R rating. So many R rated films have nabbed
the top honor, including The Godfather, Platoon, rain Man, The
Silence of the Lambs, Shindler's List, Glady Eat, No Country
for Old Men, and twelve years of sleep. So clearly, war, murder, blood,
(37:51):
and human suffering are all viable for the Oscars. Also,
somewhat notably, only one G rated picture has ever won
Best Film. That would be the nineteenth sixty eight film
version of the Broadway musical Oliver, as adapted from the
original Charles Dickens novel. So R rated and g rated
made the cut. But what about X Well, Yes, one
X rated film did in fact win Best Picture. One
(38:13):
year after Oliver brought home those top honors for G
rated films, The X rated feature Midnight Cowboys starring Dustin
Hoffman and John Voight, won the Best Picture award.
Speaker 3 (38:23):
In nineteen sixty nine. Nice.
Speaker 2 (38:26):
The film is about a touching bromance between Joe Buck,
a Texas dishwasher who moves to New York to seduce
his way into the heart of a wealthy dowager, only
to find himself trying to survive alongside a colorful street hustler.
Speaker 3 (38:38):
Named ratso Rizzo.
Speaker 2 (38:39):
It's the stuff Hollywood dreams are made of, and awarded
for X extremely rarely really and a really is production
of Blaise Entertainment
Hosts And Creators
Peter Tilden
Jason Alexander
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