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”“Working with the actors and their connection to those tactile sensations is all about finding their emotional vulnerability and helping them bring that to the surface.

That part is very similar in both shows, but the camera is totally different and so are the writing styles.

I had an idea that Wes [played by Nolan Bateman] should dare Kat to take her shirt off.

Sam liked the idea and quickly came up with some new lines for the actors.

It was exactly what the scene needed to make it feel real and give the audience that proprioceptive experience.” It was about the scene needing that moment.

I feel there’s a responsibility as a filmmaker to show someone taking the time to put on a condom, especially in a scenario like that.

It’s the same reason why I always make my actors wear seatbelts in driving scenes.

There’s a definite double standard with male/female nudity in film, and figuring out what it takes to even the playing field is a process I’m still learning.”“Never in a million years did I think it would be approved.

The other song that I was very attached to was the final song by Agnes Obel, titled ‘Run Cried the Crawling.’ She’s one of my favorite artists, and it fit so beautifully, I couldn’t imagine anything better for the ending of the show.

I only just found out she’s had songs in both “I think anytime you can bring a different perspective to the screen it’s beneficial.

I’m a woman, and it’s still awkward to approach a young female and say, ‘We didn’t plan this but mind taking your shirt off in this scene, like right now? The scene where Rue and Jules first meet was something that I had imagined very specifically in my head.

The awkwardness, that bodily discomfort when you’re standing there and you don’t know what to say or do with your arms, but it might be love at first sight so you need to say/do something!

They know how they think it should look, but can’t connect to how it should feel.

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