1
00:00:08,000 --> 00:00:13,000
Fuck, that really had something.
Fuck.

2
00:00:13,000 --> 00:00:23,000
Now you’re very close—yes.
You two were completely inside it.

3
00:00:23,000 --> 00:00:28,000
Ricky’s felt more performative.
That worked too.

4
00:00:28,000 --> 00:00:33,000
Ricky, you felt outside it;
the two of them were inside.

5
00:00:33,000 --> 00:00:36,000
You project from outside.

6
00:00:36,000 --> 00:00:38,000
[inaudible] projection.
What do you mean?

7
00:00:38,000 --> 00:00:40,000
I’m not telling you.

8
00:00:40,000 --> 00:00:42,000
Whose projection?

9
00:00:42,000 --> 00:00:44,000
Not telling you.

10
00:00:44,000 --> 00:00:46,000
[inaudible]

11
00:00:46,000 --> 00:00:50,000
Fuck, that was so good.
That feeling was perfect.

12
00:00:50,000 --> 00:00:55,900
That thing... yes.
It had this quality—

13
00:00:55,900 --> 00:00:59,700
A cinematic quality,
not a theatrical one.

14
00:00:59,700 --> 00:01:07,600
It wasn’t shouted with force,
yet every word drew the feeling out.

15
00:01:18,000 --> 00:01:24,800
I was thinking: suppose you two...

16
00:01:24,800 --> 00:01:28,100
said these lines in bed.
Could you do that?

17
00:01:28,100 --> 00:01:31,000
Who?

18
00:01:31,000 --> 00:01:32,000
A and B?

19
00:01:32,000 --> 00:01:35,000
No, not A and B.
B and C.

20
00:01:35,000 --> 00:01:39,400
Most of the time...

21
00:01:39,400 --> 00:01:45,200
C would be lying down,
with B above her.

22
00:01:45,200 --> 00:01:47,200
What do you mean by “above”?

23
00:01:47,200 --> 00:01:50,200
You said “sex”...
[inaudible]

24
00:01:50,200 --> 00:01:54,800
The exact form doesn’t matter.

25
00:01:54,800 --> 00:01:59,000
It’s more this state:
one of you above the other.

26
00:01:59,000 --> 00:02:04,000
Then C is in...
[inaudible].

27
00:02:04,000 --> 00:02:07,800
A stays outside,
facing outward.

28
00:02:07,800 --> 00:02:09,400
You rarely look at them.

29
00:02:09,400 --> 00:02:15,000
And you keep...

30
00:02:15,000 --> 00:02:20,000
imagining yourself speaking to them.

31
00:02:20,000 --> 00:02:24,000
As if you’re trying
to draw them out.

32
00:02:24,000 --> 00:02:27,000
Draw the two of us out?

33
00:02:27,000 --> 00:02:36,000
Imagine entering B or C.
[inaudible]

34
00:02:36,000 --> 00:02:40,000
No, not that.
That never crossed my mind.

35
00:02:40,000 --> 00:02:42,000
That? I hadn’t even thought of it.

36
00:02:42,000 --> 00:02:44,000
I didn’t say anything.

37
00:02:44,000 --> 00:02:46,000
No, no, no.

38
00:02:46,000 --> 00:02:50,000
Not that. I mean
the inner psychological state.

39
00:02:50,000 --> 00:02:51,000
Go on, go on.

40
00:02:51,000 --> 00:02:53,000
Okay. Can we try it?

41
00:02:53,000 --> 00:02:55,400
Keep it close to what you just did.

42
00:02:55,400 --> 00:02:59,400
You can use more eye contact,

43
00:02:59,400 --> 00:03:02,000
and bring in more physical action.

44
00:03:02,000 --> 00:03:08,400
And B and C need a dynamic
of domination and submission.

45
00:03:08,400 --> 00:03:10,400
It can reverse, of course.

46
00:03:10,400 --> 00:03:14,600
At times, you can both
let the tension go.

47
00:03:14,600 --> 00:03:19,400
At times C moves above,
with B below.

48
00:03:19,400 --> 00:03:21,600
None of that is fixed yet.

49
00:03:21,600 --> 00:03:24,200
But A can’t see either of them.

50
00:03:24,200 --> 00:03:28,400
You stay outside,
listening to their dialogue.

51
00:03:28,400 --> 00:03:30,800
You react immediately,

52
00:03:30,800 --> 00:03:36,800
then bring it back
into the way you speak.

53
00:03:36,800 --> 00:03:37,400
Mm.

54
00:03:37,400 --> 00:03:39,000
Does that make sense?

55
00:03:39,000 --> 00:03:40,000
That’s hard.

56
00:03:40,000 --> 00:03:45,000
You two stay on this bed.

57
00:03:45,000 --> 00:03:48,200
And you stay here,
facing outward.

58
00:03:48,200 --> 00:03:49,200
Oh, wow.

59
00:03:49,200 --> 00:03:50,400
Just listen to them.

60
00:03:50,400 --> 00:03:53,400
So we have no contact with A?

61
00:03:53,400 --> 00:03:54,200
Right.

62
00:03:54,200 --> 00:03:56,000
We were making eye contact before.

63
00:03:56,000 --> 00:03:57,000
Right. No need.

64
00:03:57,000 --> 00:04:00,200
B and C have no awareness
of A at all.

65
00:04:00,200 --> 00:04:03,800
Only B and C interact.

66
00:04:03,800 --> 00:04:06,400
A faces outward.

67
00:04:07,600 --> 00:04:09,000
Okay, I understand.

68
00:04:09,000 --> 00:04:12,600
But the two of us seem [inaudible].
I’m not quite following.

69
00:04:12,600 --> 00:04:14,600
It’s a power dynamic.

70
00:04:14,600 --> 00:04:18,000
But it is a viscous
kind of power dynamic.

71
00:04:18,000 --> 00:04:20,800
I think you should just lie flat.

72
00:04:20,800 --> 00:04:23,400
But lying flat,
how do you make eye contact?

73
00:04:23,400 --> 00:04:24,400
She can turn.

74
00:04:24,400 --> 00:04:26,600
No, then they’re equal.

75
00:04:26,600 --> 00:04:28,000
I want an imbalance.

76
00:04:28,000 --> 00:04:30,200
Get two chairs.
Lie on the chairs?

77
00:04:30,200 --> 00:04:32,800
No. I want an unequal dynamic.

78
00:04:32,800 --> 00:04:34,000
Okay, you can look.

79
00:04:34,000 --> 00:04:37,000
Okay, lie down first.
Suppose you sit astride her...

80
00:04:37,000 --> 00:04:42,400
No, no—over there.
Right there.

81
00:04:42,400 --> 00:04:46,000
Lie like that. It’s messy.
Yes—keep it that messy.

82
00:04:46,000 --> 00:04:51,400
You just... yes...

83
00:04:51,400 --> 00:04:52,600
Yes, exactly.

84
00:04:52,600 --> 00:04:53,800
And me? What do I do?

85
00:04:53,800 --> 00:04:56,200
You... sit astride her.

86
00:04:56,200 --> 00:04:59,800
Yes, yes, exactly.

87
00:04:59,800 --> 00:05:03,200
That look. Get more shots
of their eye contact.

88
00:05:03,200 --> 00:05:06,000
Jesus... We haven’t memorized
the lines yet, so...

89
00:05:06,000 --> 00:05:07,200
Okay.

90
00:05:07,200 --> 00:05:08,200
Right. Can’t see it.

91
00:05:08,200 --> 00:05:11,640
We still need the script, you know?
So the eye contact...

92
00:05:11,640 --> 00:05:16,760
Just keep it close
to the feeling you had before.

93
00:05:16,760 --> 00:05:21,000
Mumbling is fine.
The words needn’t be perfectly clear.

94
00:05:21,000 --> 00:05:27,680
Ricky, all you can do
is listen to their dialogue.

95
00:05:27,680 --> 00:05:35,160
You speak outward,

96
00:05:35,160 --> 00:05:36,600
as if to the audience.

97
00:05:36,600 --> 00:05:40,240
But that howl might also
break through—

98
00:05:40,240 --> 00:05:41,560
and reach inside you.

99
00:05:41,560 --> 00:05:43,280
I give up.

100
00:05:43,280 --> 00:05:44,560
Not necessarily a howl.

101
00:05:44,560 --> 00:05:46,480
But there is a kind of pain in you—

102
00:05:46,480 --> 00:05:51,560
a pain that can’t be expressed.

103
00:05:51,560 --> 00:05:53,000
Intense pain.

104
00:05:53,000 --> 00:05:55,080
Hold on. I’ll adjust the camera position.

105
00:05:57,680 --> 00:06:02,880
I think lying flat works better now.
It’s not because I’m shy.

106
00:06:02,880 --> 00:06:06,680
Why not lie down first
and feel it for yourself?

107
00:06:06,680 --> 00:06:07,680
Lie flat?

108
00:06:07,680 --> 00:06:12,000
But I want a power dynamic
between the two of you.

109
00:06:12,000 --> 00:06:14,000
Can she?

110
00:06:14,000 --> 00:06:18,200
Two people can’t have sex
with both lying flat.

111
00:06:18,200 --> 00:06:21,600
That feels more like afterward.

112
00:06:21,600 --> 00:06:23,000
That’s one possible form?

113
00:06:23,000 --> 00:06:27,080
You can prop yourself up
and look at her like that.

114
00:06:27,080 --> 00:06:28,240
Yes, exactly.

115
00:06:28,240 --> 00:06:32,920
Only with one above the other
can they make eye contact.

116
00:06:32,920 --> 00:06:34,560
Lying flat kills eye contact.

117
00:06:34,560 --> 00:06:36,480
Why can’t they face each other?

118
00:06:36,480 --> 00:06:38,320
How would they face each other?

119
00:06:38,320 --> 00:06:39,600
Then there’s no power.

120
00:06:39,600 --> 00:06:41,360
I want the power reversed.

121
00:06:41,360 --> 00:06:43,160
She props herself up
and looks at her?

122
00:06:43,160 --> 00:06:45,200
That has no power dynamic.

123
00:06:45,200 --> 00:06:47,200
Power doesn’t have to look like this.

124
00:06:47,200 --> 00:06:49,400
Oh, come on...

125
00:06:49,400 --> 00:06:53,000
Anyway...
Just think about it—

126
00:06:53,000 --> 00:06:55,240
Gender doesn’t matter.

127
00:06:55,240 --> 00:06:58,440
I don’t think that matters.

128
00:06:58,440 --> 00:07:04,760
This isn’t about men and women.

129
00:07:04,760 --> 00:07:08,000
B and C are both female leads.