Actors can experience stress when filming intimate scenes on set.

They may be required to perform intimacy with a co-star, set boundaries with the director, and reveal themselves to an audience. Fortunately, there are now more safeguards and industry standards in place to protect actors than in the past.

SAG-AFTRA prohibits actual sex acts, meaning that actors are not actually having intercourse on set. Instead, simulated sex is used to create intimate scenes on screen.

Intimacy coordinators are becoming more prevalent on sets to shape the way sex scenes are performed.

They ensure that intimate actions shared between actors and their onscreen partners are discussed between talent and the director.

They also help establish the agreement and keep it in place.

Contracts, negotiations, and open communication about choreography and consent should dictate the contents and expectations of any sex scene in film or on TV.

Intimacy coordinators often supervise these protocols on set.

They, along with the director or showrunner, decide who will be present on the shoot day, what the crew should expect to see and film, and how the wardrobe, makeup, and props teams will work with actors to add details such as fake sweat.

Producers, directors, and intimacy coordinators should be aware of the contents of each performer’s nudity or simulated-sex rider.

An actor can also request the script pages for any intimate or nude scenes to be attached to their rider.

Alicia Rodis, an intimacy coordinator for “Insecure” and “We Own This City,” says that she reads the rider exactly as it is written so that there are no surprises.

The intimacy coordinator meets with the director or showrunner ahead of time to identify and address the script’s intimate moments and establish the arc, tone, and end goal of each scene.

If there is no intimacy coordinator on a project, actors should ask the director the same questions.

Before staging a scene, intimacy coordinators often meet one-on-one with actors to account for different comfort levels when choreographing a scene.

Intimacy coordinator Ita O’Brien, who developed “Intimacy on Set Guidelines,” follows a regimented process for creating sex scenes. She begins with a warmup to center and ground the performers.

Then, she and the actors identify the goal and beats of the scene, each character’s emotional journey, and the power dynamics of the interaction.

Together, the actors, intimacy coordinator, and director agree on acceptable touching areas.

Next, they sculpt the physical scene using words.

They walk through that blocking step-by-step before combining the physical and emotional into one fluid execution.

Improvisation within established touch zones is more often used as a devising tool in rehearsal before filming.

The degree to which a scene is choreographed versus improvised has changed in recent years.

In the past, directors often let their actors figure it out and “just do it” on shoot day.

But now, even on sets without intimacy coordinators, teams dedicate much more time and attention to comfort and planned choreography.

Shooting intimate scenes can take anywhere from three to five hours for a TV episode or short film to more than a full day for a feature.

Directors will likely want to capture a close-up shot, a wide shot, and a midshot in order to edit together the best version of the scene in post.

Coverings or full-body makeup can shield certain body parts from the camera and prevent genital-on-genital contact, which is strictly prohibited on union sets.

Intimacy coordinator David Thackeray says that it’s normal for actors to become aroused while filming a sex scene.

In this case, the team should simply stop shooting and take a “timeout.”

If an actor becomes uncomfortable at any point during filming, they can call for the shoot to stop. There is a clause

in a SAG-AFTRA contract that allows actors to say no to a scene while in the middle of shooting, even if they previously agreed to it and signed a nudity rider.

For nonunion actors, a similar clause can be included in their contract.

Actors should never do anything they are not comfortable doing, and if adjustments need to be made, they can speak with an intimacy coordinator or the director.

Modesty garments such as shibues, hibues, and pasties can be used to give the illusion of nudity without revealing an actor’s genitals. Male actors can wear a “sock,” which is a drawstring skin-colored pouch that holds the penis and testicles.

Actors may also wear elbow or kneepads for practicality and comfort. Props like pillows, yoga mats, and stress balls can be placed between actors, or prosthetics can be used.

Nudity, sex scenes, and other forms of filmed intimacy can be part of the job of an actor.

Knowing what to expect and what rights actors have before agreeing to a contract that requires physical intimacy can help them feel safer as professionals in the workplace.

In conclusion, actors face many stressors when it comes to filming intimate scenes on set.

However, industry standards and safeguards, such as the use of intimacy coordinators, contracts, negotiations, and open communication about choreography and consent, are now in place to protect actors.

Before staging a scene, intimacy coordinators meet one-on-one with actors to account for different comfort levels when choreographing a scene.

Improvisation within established touch zones is often used as a devising tool in rehearsal before filming.

Shooting intimate scenes can take several hours or even a full day, and modesty garments and props can be used to shield certain body parts from the camera.

If an actor becomes uncomfortable or aroused during filming, they can call for a timeout, and adjustments can be made.

Regardless, actors should never do anything they are not comfortable doing, and they have the right to say no to a scene while in the middle of shooting, even if they have previously agreed to it and signed a nudity rider.

Knowing their rights and what to expect can help actors feel safer and more confident as professionals in the industry.