![game of thrones 5 ita game of thrones 5 ita](https://static.onecms.io/wp-content/uploads/sites/6/2017/09/macall-b-polay-hbo-photo-9-2000.jpg)
They had been growing their body hair, like under their arms, because that was what was needed for the period.” I’m working on a production at the moment and all the actresses knew they were going to be doing it from March. I’m asked by the production team to navigate it, along with the makeup or wardrobe departments. “It is a conversation that needs to be had in a very delicate way. Stroking her hair became out of bounds, but she was happy to have her cheek stroked.”
![game of thrones 5 ita game of thrones 5 ita](https://i.ytimg.com/vi/HfPIn1xdFc4/maxresdefault.jpg)
We called a time out and then she came back. “At any point in the process, people can call a halt to the action. I had a situation where one actor said to the other, “Can I stroke your hair?” She said, “Yes”, and then the lady went to stroke her hair and you could see that the other actor’s whole body had this flash of a memory that she had no idea was even there and she came to tears. Someone might have agreed to kiss at the beginning of the day, but by the time it’s the middle of the afternoon and the guy’s got an afternoon shadow and the girl’s beginning to get a red chin, you go, “OK, we’ve got the kiss.”” It very quickly becomes obvious if an image or the intimacy required is gratuitous. That’s what leaves an actor feeling vulnerable. An actor can feel when nudity is thrown in for the sake of it and that makes them go home feeling not good about their day of work.” “The same scene with different camera angles can look like pornographic material or it can serve the storytelling. It sticks just above the pubic line and round on to the small of the back.”
GAME OF THRONES 5 ITA PATCH
“The least someone would wear is a modesty pouch for a man and a modesty patch for a woman, which is like a G-string with the sides cut off. If they’re coming out of the shower or getting changed, if the actor is comfortable in that complete nudity, that is absolutely fine. “With some shots, like in Normal People, you’d think they were completely naked, but an actor is never completely naked. It’s standard for there to be no tongues, unless it’s wanted and with agreement and consent from both people.” “It’s very rare within a script that they kiss, where two people come together with the same energy in the same moment. Who’s kissing whom? What’s the power play within that kiss? “If a kiss is wanted and the actors are happy to kiss, they have a peck so there’s lip-to-lip contact before the actual scene. Using adult words keeps everything professional, but open.”ĭaisy Edgar-Jones and Paul Mescal agreed where they were comfortable being touched for their intimate scenes in Normal People, which were choreographed by Ita We’re not talking about her tits and his ass – we’re talking about breasts, buttocks, penetration, orgasm. “We don’t colloquialise body parts or shy away from the physicality that’s been asked for. Plain words are used to describe the physical actions The actors agree touch for all their “yes” areas. “I always talk to the director first to see what they want from the scene, then talk to the actors and put in place a clear agreement, consent and choreography. It serves the writing, the scene, the storytelling and the director’s vision. The intimacy work is absolutely about keeping actors safe, but on a larger scale, it enhances the whole production – it’s not just about getting the waivers done. “There’s the idea that the role comes post the Me Too and Time’s Up movements, and therefore, it’s about safeguarding. Intimacy coordinator Ita O’Brien is navigating a brave new world of her own Producers might go, “We need someone for the girls.” A stunt coordinator wouldn’t say, “We’ll help you choreograph the goodie, but we’ll let the baddie get on with it.” A fight is between two people. An intimacy coordinator is akin to a stunt coordinator or a choreographer.”įind out how Ita ensures physical intimacy is kept fail-safe as she walks us through her fascinating profession… “Much of the role at the moment is educating as we’re on the job. In that sense, is she entering a brave new world herself? “It is absolutely entering a brave new world,” Ita says. The relatively new role lends itself to “creating the best work in the best way possible”. We presume she’s talking about Normal People and I May Destroy You? Ita nods and smiles before wondering aloud, “Is that a coincidence?” We have a feeling it’s not – she’s carving out a space within the television, film and theatre industries that is necessary and has been a long time coming. “Interestingly, the productions that have taken the work and the process on board and put in place everything I asked for have been two of the most acclaimed productions this year,” she says.