Just as natural as stunt coordination

Simplified, you could compare intimacy coordination with stunt coordination. Collaboration with a stunt coordinator ideally begins at an early stage in the process. Fundamentally, the goal is to create an authentic scene based on the director’s vision while ensuring that the process is safe and secure for everyone involved. The stunt coordinator has an overarching view of the production’s stunt scenes,  breaks down scripts, carries out risk assessment,  facilitates dialogue with the actors before the scenes while finding alternative ways to meet challenges. All safety measures are taken in consultation with the production team before the stunt coordinator choreographs the various steps in the scene in collaboration with the director.

This is more or less how an intimacy coordinator works, but with scenes that include intimacy, nudity, simulated sex and sexual violence. Work with the scene does not only taken place in a safe and secure way for everyone involved, but has also been deepened and become more authentic.

An intimacy coordinator has both an artistic education, further education in intimacy coordination and training in mental health. 

Ur Tisdagsklubben /Foto: Björn Larsson Rosvall/TT

Intimacy Coordination is liberating

You may think that intimacy choreography limits the actor’s movement and creativity, but it’s just the opposite. By choreographing the scene and breaking it down in detail, opportunities open up and the actors get a greater freedom to deepen their character work while at the same time reducing the risk of personal boundaries being crossed.

Intimacy is individual and should therefore, regardless of genre, be handled carefully and through a structured process.

As an intimacy coordinator, Malin has an overarching responsibility for intimate scenes and is available throughout the process. All choreography and coordination takes place in close collaboration with the director and actors while coordinating with other professions and departments in the production.

Ur Magisterlekarna / Foto: Northern Fable

“This is the first time we see our bodies having sex in Swedish television and we wanted to do well. It was important for us not to compromise but to do the same as two white bodies do when they have sex.” – Alexander Abdallah (Raseriet)

“Talking about the characters’ sexuality before the filming makes everything much easier. We’re both undressed in our intimate scenes, but it does not feel like a big deal. What looks hot and authentic is just choreography. ” Evin Ahmad (Aftonbladet)

Snabba Cash

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