Carmen Sanders-Gratl

What is the scope of intimacy coordination?

During preparation, I work closely with the director, actors, and production team to plan intimate scenes early on and transparently. This involves clarifying both the director’s artistic vision and the individual boundaries of the actors. A key part of the preparation is obtaining the consent of all involved. Based on the prior agreements, I work with the director—or initially independently with the actors—to develop an initial choreographic implementation of the scene. Basically, it works similarly to fight choreography: it’s about clear agreements and procedures and a safe framework in which acting creativity can unfold.

On the day of shooting, I make sure that only essential personnel are present during intimate scenes (“closed set”) and that physical proximity is reduced through the use of protective clothing or aids such as “modesty garments.” I support the actors in ensuring that the agreed boundaries are respected.

You also work as an actress yourself. Were your own experiences the impetus and motivation for your decision to become an intimacy coordinator?

„Yes, my own experiences as an actress certainly played a role, but the real motivation to become an intimacy coordinator came mainly from conversations and reports from young actors who had been confronted with boundary violations. Many don’t know how to prepare for intimate scenes or what they have to consent to. As an actor, you are often trained to say “yes” – even if you feel uncomfortable. It is often difficult for young actors in particular to set boundaries, especially when experienced actors take the lead in such scenes. This can lead to young actors feeling pushed into an inferior position. This issue motivated me to become an intimacy coordinator to ensure that everyone involved in intimate scenes is protected and their boundaries are respected.“

What measures do you take to ensure that everyone involved always feels safe and respected during the collaboration?

1. Early communication: Before filming, I discuss with everyone involved—the actors, the director, and the production team—exactly which scenes are coming up and what boundaries need to be respected. It is important to me to create a space where everyone can express their ideas and concerns. Communication with the actors always takes place in one-on-one conversations.
2. Consent and documentation: I document all boundaries and consents of those involved to ensure that everyone knows exactly what they are getting into. This documentation serves as a clear and binding basis so that everyone involved—from the actors to the production team—can understand at any time which actions or scenes have been agreed upon within the framework of consent. Through this clear documentation, we create an atmosphere of transparency and trust. At the same time, it allows all participants to adjust or withdraw their consent at any time if something changes in the course of the work.
3. Choreography: I ensure that intimate scenes are choreographed and clearly defined so that everyone knows what movements and actions are expected. In doing so, I make sure that physical distance and personal boundaries are respected. However, intimacy coordination does not mean restricting artistic expression—on the contrary, it creates a clear, safe framework within which creativity can flourish. Similar to a piece of music that must first be practiced technically before it can be played freely and emotionally, the same applies here: the more familiar you are with the agreed-upon sequences, the more freedom you have in your performance.
4. Availability during filming: I am available throughout the entire shoot as a contact person for the actors, so that any uncertainties can be addressed and clarified immediately. I am also available after filming days if there are any questions or concerns.

My goal is to create a work environment in which everyone involved can approach their work with confidence and security.

How do you deal with difficult situations where different perspectives clash?

I haven’t had any situations with seriously differing perspectives yet, at most actors who initially had the wrong idea about the role of an intimacy coordinator and were therefore skeptical at first. But all concerns were ultimately dispelled.

How do you think the introduction of intimacy coordination has changed the industry, and what are your hopes for the future?

The introduction of intimacy coordinators shows that more importance is being placed on the professionalization of intimate scenes.

In the past, improvisation was often used, which offered more flexibility at first glance, but could also lead to uncertainty, misunderstandings, and sexual assault. Today, the introduction of intimacy coordinators ensures that procedures are planned and boundaries are respected. This is similar to fight choreography, where everything is clarified in advance to prevent psychological and physical injuries. It would be unthinkable to simply let the actors loose on each other with the words “Go for it!”

However, this does not mean that experienced actors are forced to work with an intimacy coordinator.

I hope that in the future, the work of intimacy coordination will become a matter of course and we will no longer have to educate people about it.

Contact:

Carmen Sanders-Gratl

Zimmeterweg 17