Intimacy scenes are like a carefully crafted dance choreographed by an intimacy coordinator. The intimacy coordinator is there to guide the actors through each movement, constantly asking the actors involved if each movement is okay while preserving the illusion of sex with each step.
There is a lot that goes into a sex scene, and the intimacy coordinator is there to make sure every actor is safe and comfortable the entire time.
But what happens to a sex scene if there is no intimacy coordinator there?
In a recent interview for The Guardian,Gemma Whelan talked about her time as Yara Greyjoy on Game of Throneswhile promoting her upcoming role as Detective Sergeant Sarah Collins in ITV’s The Tower, adapted from Kate London’s novel, Post Mortem.
During the interview, she opens up about what it was like to shoot intimate scenes—including that awkward one with her character’s brother, Theon—without an intimacy coordinator.
'Game of Thrones'Credit: Warner Bros. Television Distribution
At the time of filming, intimacy coordinators were not common in the entertainment industry, until the demand for them grew in 2017 due to the Weinstein scandal and the rise of the #MeToo movement. Still, the mishandling of the sex scenes in Game of Thrones shows us why intimacy coordinators are needed.
The actors, including Whelan, were left to figure it out on their own, acting as their own intimacy coordinators minutes before the camera started rolling.
Whelan recalls in the interview, “They used to just say, ‘When we shout actions, go for it!’ and it could be a sort of frenzied mess.”
While the directors were not concerned with consent, the actors were constantly checking in with each other, acting as their own intimacy coordinators.
In one intimacy scene, Whelan said, “There was a scene in a brothel with a woman, and she was so exposed that we talked together about where the camera would be and what she was happy with. A director might say, ‘Bit of boob biting, then slap her bum and go!’ but I’d always talk it through with the other actor.”
The directors seemed to lack any sort of sex on-set safety, focusing more on how good the scene looked on camera. Whelan and her fellow actors were left to figure out the best way to perform safe, intimate moments by asking each other for permission and consent before starting.
Whelan isn’t the only Game of Thrones alum to talk about how sex scenes were mishandled.
In an interview for James Hibberd’s oral history Fire Cannot Kill A Dragon: Game of Thrones and The Official Untold Story of the Epic Series, Jason Momoa shared that he was pressured to remove his intimacy pouch by David Benioff. Momoa removed the pouch that covered his genitals and handed it over to the Game of Thrones co-creator.
Emilia Clarke also told James Hibberd for his book about her experience shooting sex scenes, saying, “I was so desperate to be the most professional actors I could be that I’d be like, ‘Yeah, sure,’ for anything they threw at me. I’ll just cry about it in the bathroom later, whatever, you won’t know.”
Emilia Clarke and Jason Momoa talk about their discomfort during sex scenes in 'Game of Thrones'Credit: Warner Bros. Television Distribution
Sex scenes are difficult to navigate, but there is a difference between difficult and neglected. No one deserves to be taken advantage of or violated for the sake of a shot. Making an actor do something that they have clearly stated they didn’t want to or didn’t say anything about is unacceptable and shameful.
Today, intimacy coordinators are here and should be on set if intimate scenes are happening. Actors should be asked constantly if they are comfortable and feel safe. If they change their level of comfort the next day, then the choreography can be altered.
People deserve to feel safe on set. Conversations about comfort, consent, and safety should have always been there, but now there is no excuse for them to not be happening.
Let us know what you think about Game of Thrones' lack of conversation on sex scenes in the comments below!
I read somewhere that there are only two best-case scenarios for a great screenplay—either it meets the expectations of the audience or it doesn’t. Either they sigh in relief or gasp out loud in shock.
Giving your audience what they want shouldn’t be difficult for a practiced writer. A character has a desire, and they achieve it at the end of the story. Boom! Expectations met!
But there’s something oddly satisfying about not meeting those expectations in a screenplay, leaving the audience shaken in disbelief.
Many compelling screenplays use something called misdirection—it's sneaky, it's intelligent, and it takes viewers somewhere unexpected. It's all about planting subtle clues that seem insignificant until a revelation forces us to reconsider everything.
Let’s examine how this narrative tool, when used thoughtfully, can transform straightforward storytelling into something more complex and satisfying.
What is Misdirection?
Misdirection is distracting the audience to mislead them, preventing them from getting on to your scheme of actions, until you finally reveal the truth. In essence, it is a style of storytelling, where the “audience proposes, filmmaker disposes.”
In misdirection, a filmmaker manipulates information, character(s), and their timing in the narrative while building the conflict, until everything falls into place to reveal an unexpected resolution that does not match the audience’s expectations.
Many times, the audience is also purposefully misdirected by exploiting their biases, prejudices, and gullibility.
Why Would Any Filmmaker Misdirect Their Audience?
A story is as interesting as its narration. Be it a bedtime story or Nolan’s Inception, if the narrative is linear and flat, it may be less engaging to your audience.
Misdirection is one of the finest tools that acts like a hook to your story. Misdirecting elements are thought-provoking, working with the audience’s psychology to throw them off guard.
Fiction gives you the freedom to alter realities, but even while misdirecting, it is important that the dots connect effectively by the end of the story. Information shouldn’t be irrelevant and without context.
How Do You Misdirect Your Audience?
You can use any story element to misdirect the audience, but the most commonly used are characters, sound, props, plot points, strategic information reveal, and the time of the incident of any event.
Examples of Misdirection in Great Films
Gone Girl by David Fincher
Misdirection by unreliable narrator
This is one of those stories that is completely narrated in misdirection.
The film opens through husband Nick’s (Ben Affleck) perspective, who becomes the prime suspect in the disappearance of his wife, Amy (Rosamund Pike), on their fifth marriage anniversary. As the investigation and media frenzy take over, we are let into the lives of our two main characters and led to believe that Amy might actually be dead.
We learn about their failing marriage and Nick’s extramarital affair. Thus, when Nick lies through his teeth about his loving relationship with Amy to the police, he instantly becomes an unreliable narrator in the story.
Thus, even though his alibis are believable, you cannot trust him and can’t take his word. Rather, you, with the police, start suspecting him.
This automatically shifts all your trust to Amy instead, even though you know even less about her than Nick. Wonderfully, you have begun rooting for her now.
What you might not realize is that you have been misdirected to dislike Nick as a character, so that you automatically take Amy’s side right from the beginning, until it is revealed that Amy is alive and purposefully in hiding.
This is one of the many misdirections in the film.
By regulating how the audience judges the characters, their morality, and their intentions, a filmmaker often shatters the expectations of the audience with misdirection to give them a more surprising resolution than expected.
The Sixth Sense by M. Night Shyamalan
Misdirection by character
Just by establishing a character in a certain way and revealing information about them strategically, a filmmaker can determine the character’s impression on the audience.
This is what M. Night Shyamalan does in The Sixth Sense. The magician of misdirection keeps both the characters and the audience engaged, looking for the ghost, all the while narrating the events through the ghost’s perspective!
The beauty of a nuanced misdirection lies in the clues left throughout a film’s events, leaving you both frustrated and delighted at the same time that you didn’t pick up on them!
Money Heist by Álex Pina
Misdirection by sound
In the Spanish drama series, Money Heist, the makers use a powerful misdirection but with a genius twist. This misdirection is not only for the audience per se, but for the main character—the Professor (Álvaro Morte), too.
In the Season 2 finale of the drama series, the Professor and Raquel (Itziar Ituño), the love of his life and newly minted partner-in-crime known as “Lisbon,” are sprinting through a dense, shadowy forest. The air crackles with urgency as police hounds close in, their shouts breaking the eerie silence of the forest.
Eventually, they are forced to separate, with a radio as their only mode of communication. Raquel ends up taking refuge in a barn, but not for too long. The police arrive, and she is completely surrounded. A gun to her head, she is ordered to compromise the Professor, but she’s steel-willed and denies the police any information.
All the while, the Professor is on the radio with her, frightened and worried, begging her to tell them everything in exchange for her life. The Professor frantically runs through the forest to reach Raquel, when… bang! A gunshot rips through the radio.
The Professor stops dead, the forest swallowing his anguished cry. But as the episode races to its close, the fog clears. The shot? A cruel ruse. She’s alive and in police custody. The Professor’s despair was their bait, and he bit—hard.
What I love about this particular sequence is that the filmmakers don’t use misdirection as a generalized cliff-hanger of “what happens next.”
Instead of revealing that Raquel is alive in an upcoming episode of the next season, they make a choice to reveal it at the tail end of the same episode.
Raquel is a crucial character in the series at this point, so to lose her in the narrative would have been a huge plot twist. At times, thrillers do go for the cheap surprise, whether it makes sense or not. But in Money Heist, the reveal elevates the value of the misdirection because now the audience knows things are going to change forever—for better or worse.
Final Destination 5 by Steven Quale
Misdirection by props
The sequence leading up to Candice’s fall in Final Destination 5 is a series of brilliantly crafted misdirections that keep us on the edge of our seats until the mishap finally happens.
The misdirections also seem to be symbolic, as the death of poor Candice (Ellen Wroe) is a sharp irony. Throughout the scene, we keep worrying about the loose screw in her gymnastic apparatus but how she is killed by it in the end is absolutely unexpected—just how a nuanced misdirection should be.
Psycho by Alfred Hitchcock
Misdirection by casting
Killing the heroine halfway through the film was a risky but brilliantly used misdirection by Alfred Hitchcock in Psycho, especially considering the film dates back to the ‘60s.
An actor’s face value is as important as their acting skills. Big actors usually have strong plot armor and are expected to survive the story.
In Psycho, when a star like Janet Leigh is killed off midway through the movie, the audience is thrown off guard and does not know what to assume, whose story to follow, or what to expect next. This amplifies the shock factor of the plot twist.
Misdirection can turn your story into a fun experience with plenty of unexpected twists and turns. When done well, a reveal should prompt viewers to think, "Of course! How did I miss that?" rather than, "That came out of nowhere!"
The audience hates being deceived. So, not meeting audience expectations doesn’t mean you lie and fill the screenplay with deceiving information, revealed in an untimely way, aiming for a plot twist in the climax that feels isolated and seemingly unmotivated.
Also, be careful not to clutter your narrative with forced misdirections.
For a better understanding, check out the examples in the article—how each misdirection is a strategic literary device, not just a stylized form of storytelling.
'Game of Thrones'Credit: Warner Bros. Television Distribution
Emilia Clarke and Jason Momoa talk about their discomfort during sex scenes in 'Game of Thrones'Credit: Warner Bros. Television Distribution
