Hello and welcome to Big Gay Energy. I'm Caitlin. And I'm Fiora. Come along with us while we dive into the fun and nuances of queer media. Representation matters, and we're. Here to talk about it. Cheers queers, We are back with another super fun interview today. We are talking once again to our favorite intimacy coordinator. And I'm not just saying that because he's the only one we know. Welcome. Robbie Taylor Hunt Welcome back to the podcast, Robbie. Hi.
Thank you so much for having me back. I'm thrilled. We just love talking to you. You're so knowledgeable and just so much fun to talk. To oh, you're so kind. We love talking to you guys as well. Yes. And and unfortunately last time we were talking, it was during the big strike that was going on, which has ended favorably,
which is really, really great. So today we're going to talk specifically about the Red White and Robo project and all the details because we weren't, you know, allowed to last time. Yeah. So first and foremost the I think our listeners want to know what was it like working with Nicholas and Taylor. Yeah, Nick and Taylor were such sweethearts. It was so lovely working with
them both. They're just very nice guys, which makes my life so much easier because they're just coming to working with you with a nice grounded sense of collaboration and wanting to talk about it. And particularly, I mean, I guess the only thing I could really speak to about it is in their relationship with talking about intimacy, coordination and working on intimate content. Intimacy, coordination being the slightly new thing it is, for some people it's a bit kind of not controversial.
It's a bit of a strong word, but contentious or whatever. Sometimes actors can come into talking to you with an energy of either like, whoa, this is so wild or a bit like not sure about this or or whatever it is. That doesn't happen so much anymore. But we had that in the earlier days, whereas Nick and Taylor just were so ready and and wanting to talk about it in just practical, creative terms.
They just understood why I was there and what I was doing and they were on board with it and and happy to to have all those chats. So professionally very nice. They're very collaborative, which is always very nice for me. And then just, you know, between tapes and all that, they're just nice. So but that's always makes a difference when you're working
with actors. You're like oh, I'm just looking forward to getting to kind of be around on set with them when they're just kind of good people you can get on with rather than sometimes actors can be a bit scary or a bit more intimidating and etcetera. And that's not true for these these guys. I'm. Sure, everyone is happy to hear that. Yeah. So imagine if I was like plot twist. They're awful.
Like, they're so mean. I just said and just destroyed everyone's everyone's dreams about what they're like. Yeah, no, they're they're they're lovely. So Alex and Henry are the classic Enemies to Lovers trope. What advice do you give actors from making that transition through intimacy? Yeah, that's such an interesting question because obviously I don't get to work on a lot of the enemy bit. When they're enemies, I'm not around. Like, I don't see them, like
argument scenes. I'm not on set. I'm at home having my lunch and then they're like, it's the first kiss you're in. So yeah, I think it's probably comes to in terms of my work, it's about understanding that there's probably going to be kind of conflict there. It's going to feel surprising. It's there's all those types of character understandings we'll we'll go into maybe how we talk around what the first instances of intimacy are and how that
might manifest. So that was definitely true of the first kiss at New Year's where obviously that it feels sort of full and and there's a sort of hunger to it but there's it's conflicted and and all those that kind of energy I I will bring that conversation in as I did Matthew and and the guys to that discussion. So I think that's the kind of how that legacy of that enemies might fuse into our work and then how that transitions into into Lovers.
As well as just knowing where we start at with these characters and then where we find them later on. Particularly towards the kind of later moments of intimacy and togetherness of like making sure there's a journey there and the intimacy is part of that journey. So you want to make sure you're you're doing justice to that first enemy section, which obviously isn't as nice. We like the lovers section more. But the pacing to get there
matters. So like you're saying, infusing conflict like definitely does help. Yeah, they can't just be like amazing, perfect, happy lover straight away. Then you've got nothing, right? You have to like do the, the scale, the spectrum, yeah. Keep it dramatic, you know? But Speaking of like the more
intimate moments. So, as you may have imagined, the the Paris scene showed up a lot in our comments a. Lot. And people were just singing you phrases for making that realistic and not gratuitous. So when you were putting a scene like that together, like what's your, what's your process for that type of scene?
Yeah well working on that scene was so special in terms of my the the process as well there's lots of scenes like as my queer male intimacy coordinator I work on quite a lot of queer male content and so I'll often come to to queer sex scenes with
certain amount of of general. How do I approach this and and thinking about the kind of tropes that we generally see and what feels like we see too much of and what I know queer audiences will roll their eyes at or get frustrated by or go I'm I'm just so bored of seeing this even if there's some truth to it. But just I've just seen it too much and it doesn't feel representative or actually there's no truth to it in terms of the kind of feel of the
scene. But then also importantly around the kind of realism of the what I call as like sexual mechanics of the scene of like what realistically can happen and does happen for this type of sex act with people of these kinds of bodies at this point in their life. There's all that kind of stuff that I will think about and bring in and bring to the scene, bring to conversations first
with the director. So Matthew, but what was so special about Red Wine and all blue is is Matthew was so brilliant and collaborative as well. I mean, I've never had such a a process of collaboration in a prep period before going into shooting. Like I I was, you know, I'd met Matthew for my interview and I'd got the job and then I had like my first meeting going into talk to them and I didn't know how long I was going to be there for, but I'd sort of blocked off the afternoon.
We ended up having like a three hour session, just the two of us, like charting the moments of intimacy. I'm now going away from just Paris. But like all the moments of intimacy and thinking about what the story was for all these characters, for these two characters, and then what we wanted and what it had to feel like and what kind of the positions would be and all these things which we really liked. Did a deep dive on. And I'm a like theatre boy originally and Matthew's a
theatre boy. I think it's a bit of that. Like in theatre you have more rehearsal time, you can really get into it and there's a bit more of a sense of that collaboration. I mean, not so film and TV people working that way as well. So that was so lovely and special in terms of the process for this. And then over the weeks as we filmed the the Paris scene, not right at the end but like in the kind of latter half of shooting.
So we also had time during shooting to have more conversations around it and update our thinking about it as we were learning more about the characters through shooting and the knowing the practicalities of what the set was like and how much time we had and all those things of what we wanted. And I blocked out some sort of storyboard esque like sketches and things to show Matthew to be like, is this what you're imagining? And this and these kind of
positions might be what we want. And just for it being feeling creatively right, because we really wanted to get it right. And also for just like saving us time and energy on the day, which makes the actors happier as well.
Like, you know, filming any intimate scene is a very strenuous thing to have to do. And so you're wanting to be as clear as possible going into that, what's what, So that it can be as smooth sailing as possible as you can get the most good stuff out of it. And that was all able to happen. So it's really lovely process for that, yeah. Yeah, that's interesting that that you mentioned like that level of like pre planning went into the scene.
It definitely shows and it's it's interesting to me that that's not always the case because I feel like that would alleviate like things from the actors and like everybody if we kind of have like a game plan going in almost like, you know, so that's interesting. Yeah, I mean, best best practices. You have good rehearsal. Yeah, we have rehearsal for the for the scene and as well and like you have that rehearsal, you have that.
Everyone has those conversations like every time that's better. There's there's never harm done by that. Like it doesn't. Some people don't want it to be too mapped out and they want to be able to be quite free and find things on the day and I'm all about that. But I still think having those prep conversations and rehearsal time and you don't need to block it all out in a rehearsal even.
You can just make sure everyone's clear and talk any issues through and what might happen and and get a skeleton of it and then on the day you can kind of get into it more That's that's my sort of preferred model and best practice generally but it's either not possible because of schedules and money and urgency and and one bits filming in Morocco and the other bits filming in Norway.
So you can't get the right people in the right place and all all of that but there's and but sometimes people just don't want to do that because also they're like look I have to do this quite intense time to simulate sex so I'd rather not do it too much as well. So if we can do the kind of minimal version that comes up sometimes, but for this, there was a real sense of how absolutely central getting their
romantic storyline. And part of that is their intimate life and and sexual life together, right? So like, if we're going to get it right, we can't just hope it goes well on the day. Like it is important then yeah, I feel like it. I feel like it paid off. People seem pleased about it, so. Oh, just a little. They're only a little. Just a little all. Good. Were there any memorable moments for you from set?
Oh my gosh, yeah. I mean, well, I mean anyone who who works in in this stuff can tell you it's it ends up all a bit of like a blur of like you go and you're just like there and it all happens and it's all so quick. You're just moving like you're so focused on the like moment to moment that all sort of becomes a bit of a a whirlwind. And then you finish and you're like, what has happened? I, like, blinked, and I filmed for three months on this.
Whatever memorable moments in particular, you look like you're. Just looking back on it. So fun. No, I thought, I remember I'm having flat. You could see if you zoom into my pupil, you'll see all the things like that's a Raven style. Is that really however of like
all the things going on? Yeah, I mean, I remember like little moment, I won't disclose when, but little moments of like where you're trying to figure out the choreography and this is, this is me admitting my faults of like not
choreographing perfectly. So like something someone trips or gets kind of tangled up or caught in each other and being like not of the kind of like oh that's fun playful good for the characters of being like the actors are tangled up and we haven't figured out where their limbs need to go. And and that being me, being me, like either making an offer that doesn't work or it's unclear or something.
We definitely had some of that, like in the kind of fall over the back of the sofa before when they're in the hotel room before. That's in the bloopers. I made it into the blooper room. I haven't even seen that. I'll go find the bloopers. I'll do a react to the bloopers, Yeah, well, there we go, Yeah. So things like that of me being on monitor, being like of knowing that I just need to make sure that they know where their knees are going so that no one
gets hurt. Certainly things like that were memorable and then also like a thing often happens and and these guys loved it of as I think they've talked about in interviews we have as intimacy coordinators like barriers. So you used different kind of like external barriers which can be placed between actors to allow for there to be kind of thrusting action etcetera. But that being going into barriers rather than body to body, right, you use them
sometimes. And so as I often do when I come to rehearsal as I kind of get out my bag of tricks and I go, here's all the things we can use and blah, blah, blah. And one of them is like a little Pilates ball. You sort of deflate a bit and then that can go between people. It's surrounded by material and yeah, I think they were infused by that. I'm sort of amused by it as people are. It was coined by Yaridor, an intimacy coordinator I work with.
She kind of invented it and and she called it a bouncer, which is quite funny as well. But then Nick, in an interview, I think you can go find this interview, talk if they change it or maybe I don't know. Anyway, someone like talked about it as a beach ball and I was like, I don't know, it's not a beach, but I don't really well, it makes me seem deeply unprofessional. The Pilates ball has a certain professionalism that I think so in case yeah, he ever says that again. It's Pilates ball.
I'm very professional. It's not a beach ball. I'm not sort of bringing Lilo's and and all sorts. Just picturing this like bright colour of YouTube. Exactly. It's just about like getting that out in like rehearsal. You're trying to seem very serious with your actors and you're like let's play beach ball. But no, it's like a very discreet little small neutral coloured Pilates ball that I cover in a skin tone material. It's all very professional rather than a beach. All right.
Well, I'd say it's a great segue into our next question. So in the film like it's obviously like a romance centric movie, but it's also like it's a romance. So there's like comedy element. So when you have those two elements together or you have romance and comedy, how does that impact like choreography sometimes in an intimate scene where you have both of those things? Yeah, yeah. I really love working on comedy,
and I think it's so important. There's a real vibe that intimacy coordinators are sort of like party poopers and a sort of buzz kill on set and like, they were there to be like, no one have fun. This is really serious and like everyone stay away from each other. And that's just so, no, not what it's about, right? Like, it's about like making the scenes work and good and making sure people are, yeah, being supported and and care for
through that process. But like ultimately that they're in a place to be able to do their best work. And sometimes that is by making sure that the space has a sort of level of lightness that they can feel like they can be fun and playful, particularly when the scene needs a bit of that comedy, right? It feels so counterproductive to be to come into like a comedy scene and to to come with an energy of, like, this is super serious. So I think I'm quite good at managing that balance.
And I've worked on like a show Big Boys in the UK with season 2's coming out soon which is also like a comedy and like queer based and and that that was quite an early job I did and that super season one and that was very like really being able to be like we're going to be sent like serious and professional and careful about this but also enjoy the fun, the silliness of the scene. That was true in in smaller ways
I think for this as well. Like, yeah, there's there's like funny lines being thrown in during moments of of passion and you know like the Red Room scene where they're kissing a super passionate and then they break away and they're sort of going, I'm looking at a bookcase and all that. You know, like you need, you have to be aware of what you want out of the like intimacy to feel so passionate so that that moment can break away and feel like earned and funny.
So yeah, I I yeah, it's just having an eye for it and like responding well with Matthew and Matthew and understanding what Matthew's trying to get out of the scene overall and how it's situate. Like how the moment of intimacy situates in the scene and then how that scene situates in the movie and not. And yeah, just making sure that it fits in basically. Yeah. But it's so fun to get to have a bit of a bit of the calm as well as the ROM. I love that scene too.
So like, yes, I absolutely love everything you just said. So besides the comedy, are there any specific scenes or moments in the movie that presented unique challenges? Yeah, I mean so we've I think with the, I know we haven't talked about it yet. The scene polo scene where they sneak off and it's all intercut like that.
I did. It wasn't the challenge in terms of like the energy of it. Like I knew that the energy had to feel kind of like really excited and like fiery and full and like a release and all that kind of stuff. But like maybe some challenges around exactly what we want, how we wanted to end that you we like, you know what we see in the end of that moment of Cos we wanted to have a sense of like it was moving towards like something sexual or like more intimate than what we're going to see.
But we also don't want that, don't feel. We need to see loads of it in that moment. But you also don't want to make it like really feel like dot, dot, dot, so like there's a bit of like a balance to be made. But obviously The thing is, is that editors are amazing.
So editors like, you know we we shoot a lot of, there's obviously there's so much stuff that we shoot that we don't use, but then edit it like how they edited it and cut it together with the polo and like zooming in on buttocks, bouncing in saddles and all those kind of things. It's like wildly more intimate than anything we could have achieved. It's like so good and it's just brilliant and that's I can't take any credit for that. Obviously there's Matthew and editing team.
So things like that. Yeah. We're easy problem solves of that kind of that kind of stuff. Challenges that's the main thing that I mean like you know there's lots of things with Paris that felt like not a challenge but that I I really like.
I think I'd feel a bit of pressure for the fact that Paris scene of like this is the scene I always kind of wanted to have been able to watch as a young queer person and like I don't think we can get good like properly romantic scenes between two men and then having sex because it's about like love and connection. I I really, I did more stuff now, but I still don't quite know anything else that does it quite the same as red, white and all blue.
So knowing that we were coming into that, that felt like a bit of a maybe more of just a pressure than a challenge. It was a challenge I guess of of making sure that was true. But also you know we're not making it's not like activism necessarily like it's it's creative content. It has to be true to the story and the characters first and foremost, but also just aware of that thing in my head of like. But also this, this has meaning out in the world for people who
watch it, right? And this this situates in a in a in a vast emptiness for what queer people are used to watching. So yeah, balancing like wanting to do right for that and for queer viewers and and for my like little teenage queer version of myself whilst also making sure we absolutely prioritise the like story and the characters and what's right for these people and bring that to life. And doing justice to the fans of
the book and all that. All of those things felt like there was a lot on top of that moment which is ultimately like screen time wise, Not a long moment, right? And so that was definitely a pressure but but never one that felt like super challenging. It was always such a a privilege and a pleasure to get to. Grapple with that and think about it. Yeah, that that definitely is
unique with queer media. I would say in a lot of ways, like you're saying where you're like, I wish I had this when I was a kid, like heals your inner child a little bit. Yeah. And I would definitely say that like it, that unique opportunity definitely was executed so well because we're still getting comments on the last time we talked to you, which we couldn't even talk specifically about the
film. But a lot of the comments were specifically about the film and how real it felt to people and it did have a lasting impact. So I'm just, we're curious like you know, how does it feel to be part of like creating something like that that still has such a lasting impression on people? Yeah, I mean even you're talking about their, I think maybe because of the strikes obviously wasn't so able to like engage in it. There wasn't that much as much discussion about it as there could be.
So I just can get little like snapshots of things and some very kind messages would people would come to me with that I'd be like. But yeah even hearing you talk about that it it is so yeah it's so special.
I'm so honoured to have been a part of something that spoke to people and you know emotionally affected people and that people can either feel like a kind of desire for or reflection or feeling seen in any capacity that's like your dream as like an artist at all in any capacity to evoke that kind of reaction. And as I think we've talked a bit about last time like as an intimacy coordinator, it's create. It's a creative role and movement role.
But first and foremost it's like you know there's the kind of safety and making sure well-being side of things. So I don't always get to do a lot of the creative stuff with this. It felt like I was it because Matthew was so brilliant and the actors were so brilliant, I was able to have more kind of creative input and so that on top of it also being received so well, it's just so special for me. It's I'm so like I'd be touched and and and sort of moved by it no matter what.
And then the the cherry on the cake of it all is, yeah, this is exactly the kind of thing that I've sort of spent 15 years going. I wish that scene existed. I mean, so frustrated that it didn't exist and like watching Brokeback Mountain and being like, OK, sure, but like why is this all I'm getting over and over again in terms of what I'm seeing on screen? Yeah. So, and I and I think I kind of hoped that people would be like, oh, great, I'm pleased about that being a new thing.
But I feel like, yeah, there's a bit of a buzz to it that that I didn't expect it to speak to people as much or in such such deep ways that some people seem to be responding. It's just amazing. Oh my God, yeah. Just I'm so, so thrilled and so happy to hear that.
I think it just shows how important it is and to to make better representations of these things and and I think people get a bit frustrated by the idea that we have to you know think about it in those kind of activism you terms or like whatever but you you can't avoid it. Like we are just so starved for good intimate storytelling that it is going to mean more to queer.
Like you just can't. Sure, you might want to just do a queer scene and it like not be a big deal, but like, you can't avoid the fact of it's going to mean something to people or or people are going to view it with that eye, that eye of, like, I I'm weird existing in a bit more of a void or have grown up in more of a void for that really good storytelling, intimate storytelling. So yeah, I'm just rambling now. Yeah, very, very happy and pleased.
Ramble away. Yeah. That is quite literally why we started this podcast. And listeners, please leave Robbie more Love in the. Comments. I won't be able to deal with it. Thank you. So I went through our comments on the last interview and we had some questions. So we're going to butcher all of these usernames, but I we'll try. So there's two different ways
I've decided to pronounce this. It's either Johnny Rich, 96 O one or John N Eric or yeah, that's the only way I could pronounce that 96 O1. But they wanted to know if you helped with the non intimate moments at all, like when the characters look at each other and have to convey emotions, That's. A very good question.
So in terms of intimacy practice big picture we like can be involved in those moments we sort of talk about like you absolutely have to have an intimacy coordinator if there's like simulated sex or nudity or like more involved like passionate kissing in the medium like recommended but we won't put our foot down is like kissing more mid level kissing more like a light kiss and then very light kiss bits of touch like eye contact connection chemistry that is like we'll
absolutely have things that we can supply and that we can help and you there might be someone who needs us but it's sort of a bit more TVC. So how it manifested for this was I mentioned we had a rehearsal.
We had, we had a first rehearsal really early before, well, not really early, but like before shooting, which was time I had with the actors where we did some sort of basics of kind of connection and intimacy and touch and exploration of like breath and how to like have that connection and share that with each other and giving it the professional structure so that they could go to those personal places and know that they had a professional structure to it. And then I was always available
if anyone needed. But then at that point they were pretty solid and clear in it. Matthew was brilliant working with them and very sensitive on that and felt very comfortable working on that. So they didn't feel necessary for me to be there for for the kind of moments of like chemistry or look or like closeness and things like that. And I think it's important to not. I mean it's important to not just be around lurking around when I'm not needed. Like I could have been there.
Sure I could have given some notes or thoughts or or or whatever it is, but a you don't want people getting bothered by you turning, sitting around all the time, not not being very active. Because then it starts to be like, oh then why are you here? Or like it can sort of affect how you're there on set generally, which then might affect how I managed to be on on other days.
But also it's sort of, I don't know, I worry it can get a bit like patronizing or hand holding me when they're totally fine. They don't like I don't need them to make a big deal. Like it's feeling like a really. Oh like it will be a nerve wracking moment where it doesn't need to be a nerve wracking moment. I'd be like team you've got this you know you're doing. You're good. We've done our rehearsal stuff Matthews. Amazing. You're great with each other. Go to town. Right.
You'll you'll be fine. So that was how it kind of ended up with this. Yeah. If I was nervous that Matthew was a nightmare or that they weren't able to kind of bring it to life, then I might have been more like you probably should have me. But that wasn't true. They they so knew the characters in the story. They knew what they were doing and it was run by good, good captain and in Matthew. So yeah, I wasn't around for some of the moments of chemistry and connection and things like that.
Second question from our comment section from at Michael Day 4598. This user asks do they have awards for intimacy coordinators? If not, the first should go to you. I can't believe I won an award from Michael. Thank you. That's so nice. There's no awards. Yeah. If you'd like to start the like campaign to BAFTA or the Oscars or whoever it is to start doing Intimacy 1 Nation, you can.
I know that the stunt community have been like, why is there no stunt award, which is sort of why that there's no stunt award considering they literally put their lives on the line sometimes, right. I think considering we've only managed to get intimacy coordination like taken seriously at all in the last couple of years, we're probably
away off our awards. But someone talked about this recently which really made me laugh of MTV used to do maybe they sort of do like kit like best kits award. Yeah. Where they'd like you know they'd just look at all the kisses that happened and be like this was the best kiss in terms of just like most swoony or
whatever. And I think they asked the actors and then redo it on stage which makes me more like OK maybe but so maybe I've just got to write MTV and be like bring back best kiss and and give it to me no yeah no no awards. But I'll keep keep my eye out and certainly excited for my nomination, Yeah. Get this man in a war. I won't rest until I've got a trophy. That's the only thing that will say to me, yeah. You win all awards in our eyes. That's all that matters.
That's all that matters to me. I don't. I don't need an Oscar. OK so last one from YouTube, I I have no idea how to say this Lin now she got 3959 as do female actors ever like kind of resent direction from you because you may not know what it's like to be I mean you you're not a female so you don't know what it's like to be them. Yeah, it's a really interesting question, right.
My The main kind of like, I don't know if resentment's the right word, but the main kind of slightly bad energy I can get sometimes is working with, say, older or more experienced female actors who all turn up as a male intimacy coordinator. I'd be like, OK, I'm here to like, help and work with some content. And maybe actually, regardless of of my gender, there can be a sense of like, where have you
been? Like, you know, I've had to make do my whole career and you're turning up now to be like, OK, let me talk you through it and help you in the scene. Like. And so there's a bit of, like, a resentment from that of of like, how thicker skin people have had to get and how much armour they've had to Don about this kind of content. So then by the time you turn up, they're a bit like, I've already figured out my ways of doing this. So, like, why you here?
Like, who are you to tell me what to do? And then particularly as a man they're like I don't need some man to come and like tell me this stuff. So that's that's there's been little little energies of of that in my career generally. But generally people in my experience think that me being a a male intimacy coordinator is going to be much more kind of contentious or strange than it
ends up being. It's it's always come from in my experience isn't it's I think I I mean I can't think of anything where it's come from producers being nervous or worried that this should have a female IC or or whatever it is And then I I'll come into the you know I I, well I trained to be an intimacy coordinator. I emailed being like am I allowed to apply because I'm a man like is And they were like
yes cool apply. And so I came into it really like nervous about making sure that I wasn't kind of entering a space that really shouldn't be for me. But I've worked with plenty of female actors and you know they they I've never had anyone seem bothered because you're you're and maybe it's. I mean they don't all know that I'm queer but there's that might be a sense of it that I I'm certainly not like very Uber masculine energy. So that I'm sure comes into it as well.
But you know you're there and you're there professional. You're trying to be professional and clear with them. And sometimes I adapt my practice a little bit depending on who I'm working with. So it might be about making sure there's a female member of the costume team able to help with things with modesty comments instead of me or someone near whatever it is. There might be ways that you
sort of adapt your practice. But yeah, certainly if I ever got an energy from a female actor or a non binary actor or or anyone who's not males giving that sense of I, you're not the person that I want to be working with right now. Then if if that if I'm going to make them more uncomfortable being there then of course I'd find a colleague to come in. I have brilliant female non binary colleagues who could come
in to to work with them instead. But that's I've worked now for many years and I've never had that or I've even explicitly if a scene, if it's quite male dominated set and the scene's quite intense for a female cat, a female actor, I've sometimes been like, look I have female colleagues that I could bring in instead if that would make you more comfortable. And they've been like, no, because usually at that point you've built up a bit of a relationship.
So they're like, I want some random like I know that you're good, if I may say it to myself. So yeah, I think that answers the question. Yeah. It's. It definitely does. They're they're totally are actors who are out there saying I I want to work with a a female intimacy coordinator and of course they you should be able to do that.
I'm not. I'm not coming in saying everyone has to work with me. I have to say, this is the second time we've gotten to talk to you and you just bring such a comfortable, calming presence that, yeah, I'm sure that it's amazing working with you. Thank you. That's very, very kind. I hope so. I mean, that's a lot of what we aim to kind of put people at ease. Yeah. Yeah, that's what we want. All right. So we, we're gonna ask you a series of questions from our
Patreon members. And by members, we mean Mary. So shout out to Mary, who left us like a ton of comments when like over 30. Like, thank you, Mary. Like we're interviewing Robbie. Here's 30 questions. So, hi, Mary. So first question for Mary. You weren't there when they shot the scene at the lake. How did that go without you there? Is there a question? Yeah, fine.
I remember. I think I checked in about it afterwards because there was one that I was like exactly like how close are they getting on the like pontoon? Things like obviously I was clear. I always clear and know what they're going to be wearing, so I know what type of like trunks they're going to be in.
Sorry. I know there's very like American English isms about like swimwear they're going to be wearing and all those sorts of things to make sure that there's no risks of things feeling more nude and exposing, particularly when wet. So it had all those chats. So that was clear. So there wasn't going to be surprises there. And we've been clear of what level of kind of intimacy was on the cards.
And again, it's usually like what's the kind of Max world that we're going to be in for what we're going to expect between these characters. And I get that very clear with Matthew Director and then make sure the boys know about it. And then I'm like, look this, you're going to be this level of clothing. This is what the maximum is going to be asked were that was quite late in the process. So we were like, look, you know, how are you feeling about it?
And they're like we're good. And again, I'm always a phone Callaway. And then and then everyone was fine. Like, Like I say, really so quickly. Like in rehearsal they were already just so they got on so well. They're just like good pals And then and also so respectful and clear and about it that, you know, I was definitely needed.
I'm not writing myself out of a job but in terms of the like holding space and care, they they were so already careful with each other and Seth was generally really careful and and caring and supportive and Matthew was sensitive with them and the AD team was was great at working with them. Costume was really lovely with the so you know, it meant that there was all those things in place that men, I was like, I know it's going to be great and they're going to be fine.
And because all those things were there, it was fine. With other jobs I work on, it's a bit more like things aren't great on set. So a moment like a scene like that, I'd be more like I'm going to be there because it'd be more likely that things would go a bit rogue or someone would say something or whatever, whereas I was just very confident that wasn't going to happen. Nana didn't, and everyone had a good time. That's awesome. Love comfortable, great environments. Yeah. Go on, Mary.
All right. So Mary gets a little more specific in this one. OK, so the touching of the toes, is that from you or the director or the guys doing it naturally? It really added realism and intimacy. I love that. Oh my gosh. I wish I could, like, transport my brain back and know exactly where all these moments came from. I don't think I'm going to give you a good answer, Mary. I imagine my nice slightly cop out answer is it will always be
a bit of a mix. It definitely wasn't me being like let's do toe touch, toe moment, here we go action, we would have talked about where touch could because some people really don't like their feet being touched or anything, right. So we talked about that. That would have been clear. So we knew that was on the cards as like, we could use. And then I imagine it would have been a thing that we were filming.
And then that was sort of like, you know, by the nature of body positions, feet were kind of close. And then we go like, oh, that's a good moment. We should catch as well. You know, we have like a structure in a plan. And then you of course discover things when you're there. So maybe that came out of it that way. I don't remember it being Matthew or the actors or me being like, let's definitely get
that. I think it was like let's we knew we wanted lots of little moments of cutaways of bits of touch, right. So I think we knew that was probably on the cards as an option and then seeing it, it like worked and then we had it. But yeah, but the guys were always discovering like great things. It would certainly wasn't me just being like do this and I sold everything, like so much of it came from them. So I wouldn't be surprised if they were kind of discovering
that as well. Sorry, my memory's not good enough, Mary. No, that's perfectly fine. And then the next question is very similar to that. So if it's the same answer, just let us know. So she also wants to know, like in Paris night and then on the raft, I remember this one pretty distinctly. There's like a kiss on the shoulder kind of thing. So again, is that directed versus like more go with it kind
of thing like you're saying? I think that was more go with I I hate to lie though that definitely wasn't me. I don't. I I never was like look picture this kiss on the shoulder every time I I couldn't tell you if there was Matthew or the guys they might have had a conversation so I wouldn't like to decide for them.
But when you have that scope and that comfortable you've you've made, you've done the foundations and the work as that we were able to do. It means that you can find those little things and it can feel organic and creative and and characterful and them knowing that that's OK in a space where they can find those discoveries. So it's probably just coming from there. Brilliant work.
OK. So I think you talked about this one a little bit, but did Taylor and Nicholas always seem comfortable together or did they have to work on it? They hated each other. They comfortable with each other. I I mean, obviously I I didn't. I wasn't there when they had chemistry. I didn't. I wasn't there when they first met in rehearsals, all those things. So I don't know like a lot of that stuff will have happened and just getting to know each other outside of intimacy.
Rehearsals dog. But in I mean I really I'm there wasn't really things right? I was. Felt like they weren't comfortable together, you know, there's the understandable, normal sense of like performing simulated sex or or intimacy is just a big ask for anyone. And so doing that you have, you need to make sure you're looking out to people and supporting people.
And there's can be certain levels of like fatigue that come through a day of filming no matter what, particularly when it's more kind of physically exertive whether that is riding a horse or doing a stunt or having to kiss or simulate sex or whatever it is. So yeah, I mean there's certainly it's not like every moment was like happy, clappy. Everyone's having the best time of their lives. Like they're still working still trying to do that.
It can still be long and and frustrating and when shots aren't quite working and having to get angles right etcetera. So that was that was definitely at moments as it is with anything and any moments of filming. But I don't. I really. I mean I know it would be more juicy and exciting if I could be like there was this one day they really didn't get along. But there's like, to my knowledge, they they were really
good pals and there wasn't. I mean, so I mean as you have to get even with their good pals, you have to build levels of comfort together no matter what. And actually, sometimes even because they become good powers, it becomes a bit weird then having to be intimate in a way that when you're like, don't know someone at all, you're like, this is weird but in a different way of like, we're just working.
We have to make it work with then your sort of mates hanging out, and then you have to transition into that sort of intimacy space so that we made sure we had a clear structure for of how to edge and flip into that quality together and then feel comfortable and supported. Yeah. Which is with various little things we do to kind of let them leave behind having a laugh on lunch break and come into a space of getting into character and connecting intimately.
There's something that I'll I'd give them for that, But that's not really discomfort. It's just part of that swing flicking that switch and shift. Thank you that that makes a lot of sense. I can see that being a double edged sword if you're actually friends with them in real life. Yeah, it's it's funny well. Then just go get pizza after work and be like, yeah, so that happened. Yeah, exactly. Sometimes if you have like, a scene with one person, you never see them again.
You can be like, right, Right. That was again, whatever. But then, yeah, sort of hanging out again for another like two months of filming and and beyond. Yeah. All right. Another question from Mary SO. Last one. Yeah, it was the last one. All right, So this has to do with like, people watching the movie and then making a drinking game out of it. So are you aware that there is a drinking game people play when Alex smiles at Henry? Henry shows Alex. Every time Henry shoves Alex,
people drink. There's it's like such a long list, and I think there's a couple different ones, but I'm like, how are you drinking? This is like basically every time they breathe, take a shot. Is it what pounces A shove? Is it like, oh, like little things? It's not, like, just the big kind of. I think so. I think it's the big enemy shoves and then the playful shoves, right? I can imagine people that being a dangerous game to play. Yeah. Funny. No, I didn't know. But I'll play.
I'll Why do I do like a sort of charity event where I I do it and get everyone to drink along with me. And we'll raise money for better queer representation in space. We'll raise money for that, the award ceremony. Yeah. No, the awards for your award. Yeah. No, that makes sense. You know, intimacy coordinators that still people should team up and just have like an underrated is that That's the right word, right? Yeah. Underrated awards. Yeah, unsung. Hero Award. I love it.
Yeah, that one. That's a better title. I I mean, look, I love intimacy coordinators. I I very rarely turn up at work doing something so dangerous that I might die. So I think stunts probably deserve that a little bit more in terms of getting the like, unsung hero credit. But hey, you know, good for them. But you, you established the comfortability. That was a word with the actors and that is also very important. That's true. Thank you so much. You're right. We win. This is a rival.
OK, so in a film with a diverse cast and characters, how do you approach intimacy coordination to ensure like cultural sensitivity and inclusivity? Yeah, yeah, it's a really good question. Is this specific to this film or is it like general? Approach general. That's a general. Yeah, yeah. So I mean, for me as an intimacy coordinator, it comes from looking at like the make up of who's making a project, right, and how I'm going to be a part of that picture, right?
As an intimacy coordinator, I'm one tiny piece of a very big puzzle of people. And like I said, I don't necessarily always have a lot of like power and say particularly over how something creatively is manifesting. So if I'm asked onto a project where it's like cultural experience is different to my own, I will look at OK, who's involved in making this? Am I adding to an already like discrepancy of people who should be making this project.
And that's been true two projects I've worked on which have been like predominantly like black stories that I've been asked to come on to. But both of them were predominantly black content like the the writers and directors and and a lot of people involved with global majority and producers etcetera. So in those instances you kind of look at the team and you go and you make sure that they're clear and they and you know they know what's going on and and make sure that that the actors then.
OK or and again as always like we're talking about gender going is there someone else that you'd like to be there etcetera. And all of that kind of comes into the mix of just figuring out how you position in that space and then otherwise, yeah, cultural consideration. Just basically making sure you have your eye on making sure like with everything, like with queer content, cultural considerations.
Things too, with ethnicity, ability, age, like all protected characteristics or minority statuses you want to go. What's happening here that might be skewed because of the stereotype or expectation around this or lack of knowledge or lack of appreciation. So that will be how I'd I'd come into those rooms slightly differently. And I've worked with consultants sometimes I've worked on one of those. There was actually a consultant already attached to the project about the specific community.
So I just made sure I had like really good conversations with them about because obviously a lot of the work they were doing is like talk about the community and the culture generally. Then I was like, look, we have a talk about intimacy and sex in this community and like anything I should be aware that I'm bringing in here. And then you just make sure you're like teaming up and doing all the things you need to do so you can actually do your job with it and support people as
they need. Worked on a job which had sort of like potential like kink BDSM elements. And again, make sure I'd like talked. I've done some kink BDSM like consultancy stuff before, but did a sort of session on kink with a kink consultant to talk about it and make sure that I knew kind of again creatively about like representations of KINK and BDSM as well as practical considerations of how to make that work. So it's anything like that that you need to know what you're
working with. And if I ever didn't feel equipped to deal with it, or that there weren't people attached to the project or in the space with me who could deal with it, then I'd have to either make sure bring those people in or go, you know, actually this isn't for me, you should find someone who can, and here's some people who maybe you should reach out to, etcetera. But I also have this week go on.
We'll get more intimacy coordinators who speak to a bigger community that it feels more able to go, you know what, my colleagues better for this just to have my colleague. But that hasn't been true so much yet, as we're still quite a small pool, but it's growing. So now we're in a better place that there's more representation in the UKI.
Think I was going to say you've mentioned that this is like basically like it's you know, relatively new and it's, it's an evolving kind of space like our specialty. So that that is interesting that there's so many facets where like you could have specialty within the specialty that's really interesting. Totally, yeah. And there's, you know, in the US, intimacy Coordinators of Colour is an organization who, you know, particularly
specialized in that work. And there are definitely intimacy coordinators who come more from the like BDSM kink space. And some people come from like sex workspace. And so there's people who are like more specialized and ready to work on certain content. And then it's sort of up to different people how much like when I came to it working, the only thing I can speak to is in terms of queer intimacy and queer male intimacy.
Earlier on, I think I was a bit more like if it's queer male content, like I want to be the person there because it's like my lived experience and I know and I can work on it. But as I've gone on, I'm like, I obviously just can't do all of the queer male projects as much as I'd love to. And particularly if you're working on a project over like ATV show, over 10 episodes, you're going to work on like
tons of different projects. And it's helpful to have a consistent intimacy coordinator who might bring in colleagues. But often people then don't want that and it get complicated, so you're going to have to work on all sorts of content. So for me it's about like upskilling and equipping our community with the resources and support they need. So I've done like workshops within the Intimacy community about choreographing Queer mail intimate content, right?
So I work, I've gone and talked to training organizations and and union and back to our intimacy coordinators there. If you go, here's some things, here's stereotypes you should be worried about. Here's some questions to ask, going to burst your bubble a bit. Here's some things that's really annoying that we see unrealistic, blah blah blah. So I think that should be happening that we all as a team like strengthen up, so that we're going to be able to support people properly in those
moments. Yeah, no, I love that because it's just more support the more people who are equipped to help. Yeah, as always. Yeah, like Stronger Together and all that. Like like 11 intimacy, quantity will never be able to be like the font of all wisdom and like know how to deal with everything. So it's about knowing where you're like.
I need a bit of extra support spaces are and where you're like this is definitely not for me, spaces are and just operating with authenticity and integrity within that. So you brought up earlier, before we started this interview that you have worked on Mary and George. Yeah. With Nick so. Do you want to talk about that a little bit? Sure. Yeah. Obviously I can talk less about that because it's not come out yet. But yeah, I mean it's so funny
that year. I mean not like January to January, but however, whenever red white roll blue. And then into Marion George, I just worked with Nick for like most of my year that year, which I think I've worked with one other actor on two different projects. But generally obviously you're working with all sorts. So it's very nice to get to have that kind of long running relationship with someone and you get development bit more a shorthand and they know all the garments you're bringing.
They know how you work. You can do less of the like easing them in and more like you know me, you trust me you know what I'm talking about. Here we go and and I can just get to it and Ditto. He could just be more clear with me about what he needs what he wants and and it doesn't have to kind of doesn't have to do so much of A dance around it because we're just like look we know how each other work and
there's already a trust there. So that was absolutely that was such a blessing and and so lovely to get to have that with someone and as people will see and people probably already seen from the trailer which I believe you've done a little react to that it's a very different energy. So please, red, white, royal blue fans, don't come into that expecting your same old lovely Prince Henry because it is certainly, yeah, a different energy.
Red, white and royal blue was a good warm up for Nick working with American. Joy it was good. It was that way round like that We that he made these projects. Let's just say that. So yeah. So yeah. I'd be so curious what people particularly the red white and royal blue fans think of it. It's it was a really fun project for kind of yeah, queer Intimacy again and with red, black roll, blue, obviously I entirely
worked with just two of them. Whereas Mary and George worked with Nick a lot, but also loads of other characters. So much intimacy from so many different angles, queer and not queer and all sorts of of things and we'll see what what makes it in. But yeah, I'm really, really looking forward to seeing. It was such a we were filming for like 6 months and it was like a lot of of big stuff going
on in that. And by nature of TV instead of film, it's like often kind of quicker and you're like jumping around different episodes and who's what and where you are. And it spans a very long time in different countries and all this. So it felt kind of more epic in a way that was like whoa. And I feel like I less know how it's going to kind of end up with red, white or blue. It's lovely and kind of more contained. And in the you kind of know you can chart these two guys story a
bit more easily. Yeah, we look forward to seeing it. No idea. No it was gonna be like, but yeah, certainly you're in for a a fun experience watching. Yeah. Can't wait for people's questions. We'll see if if my award gets snatched away afterwards. Never. I was fishing for that, yeah. Good. No, we're excited to see that show. It looks it looks awesome and the what a great cast. Oh, Julianne Moore. Absolute icon. Can't believe.
Yeah that was, that was amazing. She's so brilliant and NI vanga amazing. Who's opposite Julianne a lot. Tony's great. Yeah. And like there's yeah loads of brilliant actors who I've got to work with which was such a delight and I mean it's based on a true story. Do you know, there's like, there's Mary Villiers and George Villiers, Real like, you know, which is just so wild and it's so fun to get to do historical queer stuff of being like, look at all this queer stuff going on. History.
You think this is invention? For the last 10 years, queer people have been doing weird shit for hundreds of years over. So I can't, yeah, I can't wait. I couldn't have said it better, like if you guys weren't aware of the show, like go watch the trailer. Yeah, yeah. All right. So that concludes our regular questions. So we're going to transition into a rapid fire little game we like to kind of conclude the show with. So this is I think new from last time we talked to you. OK.
So we're calling this game the this is the would you rather game. So very rapid fire, would you rather? Oh, my gosh. Stress. OK. OK, ready. Yeah. OK, first question, would you rather coordinate an elaborate and romantic kissing scene in the pouring rain or a playful and light hearted scene involving a pillow fight? My heart says rain that I just. I love the gushy romance of that. I've never done a scene in the
rain. I'm always looking for something to tick off my intimacy card that I've not done before. So I say rain. Awesome. Would you rather design an intimacy scene that involves A playful food fight or a serene and romantic boat ride under the stars? I love food and I'm such a food person so although so I want to say food but then food fight was getting thrown around and not eaten and I don't get to eat.
It would be hard for me. So actually I'm going to pivot away from just hearing the word food made me excited for that. But thinking about it I think no I want I want boat that sounds also like nice although that will be a nice shoot and I'll be tired. So that is that is hard to, but yeah, I'll give it. Right. OK, let's see. Hold on. I just love like all the. Considerations you just made in that question Quick choices. There's a lot going on.
Gotta think it through, OK? Would you rather work on a romantic scene that involves a series of hilariously mismatched royal wardrobe malfunctions? Oh my gosh. Or a scene. With the. Characters. Trying to be discreet in a crowded royal photo booth. A crowded. Royal Photo Booth I don't know how that would work but. You know that. Was the question. I think I the like costume thing sounds really fun.
I'm I like the idea of that feels much more like playful and silly and like you'd get to have lots of silliness whereas like discreet stuff is fun and different way but you're having to be more kind of subtle and contained. So maybe the the big, fun, silly costume stuff. OK, now I I. Have a really, really random one. I love it. If given the choice, would you rather? Have a pocket sized. Dragon as a loyal companion. I'm sorry, I'm trying to get through this.
But it. Insists on telling cheesy jokes or a talking cat that gives sarcastic advice but can predict the future. The. Dragon makes little jokes. How good are the jokes? Cheesy jokes. Are they, like, no cheesy jokes? Or like, I roll terrible? I mean, I don't know. It didn't. Let's say they're amusing. Yeah, I'm not annoying. Amusing cheesy jokes I'm. Such a cat, man, so my heart. Says Cat. But but I don't appreciate too much sarcasm, I think.
I think there's sarcasm I'd feel I'd end up feeling too to like this cat assassinating me in like Sabrina style. What's he called that cat? Salem. Salem. I think I'd be a bit like can you please give me a break like at Salem? So I guess I already we have lovely cat Ursula. So I guess also for her to be happy I'll go dragon. And I'd hope that the jokes veer on cheesy funny rather than cheesy like, oh come on I would also pick the dragon. Just. Because like.
You can whip what a what a thing to. If you don't have like a conversation, starters whip up the little dragon. Talk inside the dragon. Tell a joke, all right, Would you? Rather be able to talk to your past. Self and give advice or talk to your future self and ask questions about what is to come oh. I don't I don't think a future I don't like.
I like not knowing like and my life is very sort of like I never really know what's going on and I've sort of come to terms with that and and I'm OK with it. So I think I think not future also I'm not particularly excited about like my past self did all right. Figured his things out I guess maybe go back and be like past self look like here's some things you don't need to worry about like this is going to work out it'll be fine. Like little reassurances I'd like to give.
I wouldn't want to give spoilers but I'd give some some reassurance to maybe save me some and some like how do we back on track away from that moments maybe so I could have speed up some some things but even then they were good learning curves so tends to have passed. But neither gosh I'm so wise and profound. I was thinking about this as your. Answer. I'm like technically this is the same option, just in a different. Way. It just depends who you're talking about. You don't.
You don't get a choice. All right. So last question, would you rather have to get the sex talk from President Claremont or King James? Easily Claremont. Oh my goodness. Easily Claremont. I mean that scene with Alex where he comes out is just like, just this makes my heart explode, right? So like, it's so beautiful and. So I'd have any conversation I could have with her in any kind of that capacity. Amazing King James. Chaotic nightmare. Like, not nightmare.
You know true chaos as you'll see. So I'm gonna definitely go Yeah, the former. Just wish we got to see the PowerPoint I. Know she had a PowerPoint and everything. She's exactly. Exactly. All right. Well, thank you for answering all of. Our questions both good and ridiculous. We really appreciate you and spending time with us. Before we wrap things up and sign off, do you have any final words for the the people listening at home? No, just honestly, yeah, thank you. So but there's.
Been little like comments of I've seen that I haven't responded to or or anything and just thank you. It's all very appreciate it. I'm so happy that people have engaged in it and yeah big love to all the all the fans. All right. Well, thank you. Thank you. Once again for talking to us today, we always appreciate getting to spend time with you to everybody listening at home. If you haven't checked out red brine and wear a blue, please go do that.
Also, Mary and George, go check that out when that starts streaming on Hulu. I think pretty soon. And until next time, hydrate for lesbian Jesus and get it up all over the place. Bye, bye, bye, bye. And with that, we've been big gay energy. If you like this episode, check out all our other episodes on whatever you're using to listen right now. If you're listening on Apple, we'd really appreciate it if you
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