00:00I've worked with a lot of men that are actually interested in and curious about women, even if, of course, I think it is impossible for a man to entirely understand a feminine experience.
00:23Because I think that there are men who are interested in exploring it with you and in correcting it if you're like, no, it's actually more like this.
00:35It's scary, though, to be the one to say, hang on a sec, guys.
00:39Can we try this?
00:40Because there's always so much going on.
00:42There's always a hundred things that they've got to do which are more important.
00:46So it's trying to find that moment to do it, trying to find the person.
00:49I think my show is actually about this.
00:53Like sex as a way into having an actually interesting conversation, which I find actually when I look back with a little objectivity on the work I've done in my life, I don't think I was conscious of this.
01:05But I do think sex and sex scenes and sexuality has been a way to get people's attention and then go, okay, are you listening?
01:19Now, here's what I actually really want to talk about, which that's what was available to me.
01:27So that's what I used.
01:29And I'm really interested in sex like everybody else is in the world, you know, and I'm interested in sex scenes.
01:34But in my show, like my character has access to filmmaking, but only in porn.
01:44And, you know, with her body, that's how she can get in and start having the conversation where she's like, what does that light do?
01:50You know, while she's got her clothes off.
01:53But I don't know, I kind of relate to that even as an actress.
01:56I want to learn how to make movies.
02:01I told you it's a nickel and dime.
02:06If they can make and sell that in Europe, it's not going to be far before we can make and sell it here.
02:14How do you know?
02:15It's America, right?
02:16When do we ever leave a fucking dollar for the other guy to pick up?
02:20If I'm wrong, well, at least I learned something about making movies.
02:23Maybe I can go out to California and go work for Disney or something.
02:28Is it based on any kind of true experience, the character?
02:32My character is, I think, based on like a, you know, combination of people.
02:37And there were people who were filmmakers and actresses in porn at the time, which is, you know, who she is.
02:43But I just think in like my experience, I don't know if you guys feel this way,
02:46but I feel like sex and sexuality for actresses, because you're right,
02:52I think it has felt like a prerequisite, you know, that yes, you can be smart and powerful and all these things,
02:58but you do also have to like throw a little sexiness in there.
03:01In our show, there's lots of prostitution.
03:08There's lots of transactional sex.
03:11There's lots of fake orgasms.
03:13They're not called fake orgasms, but you cut in on the end of a sex act between a sex worker and a john,
03:18and you hear this loud orgasm.
03:20And I said to David Simon Mann running our show, you know, I said,
03:27I think you need to see a real feminine orgasm in order to show the contrast
03:33and to show that these are performative.
03:36Because also you see a lot of performative orgasms on TV that are supposed to be real anyway.
03:40So like let's, can we get down to the real?
03:42Because it will illuminate the misogyny and the performance and all that stuff.
03:46And when I first said it to him, he was like, he, you know, he like pretended to spit his water back in his cup.
03:55You know, he's like doing his little thing, David Simon.
03:59But then he wrote a scene where my character is sleeping with somebody that she actually wants to sleep with.
04:05He doesn't make her cum, and she turns over and makes herself cum.
04:11That's amazing.
04:12And when I first saw the cut of that episode, anyway, the orgasm, I just have to say,
04:20I was like, this orgasm needs to be the realest orgasm ever.
04:24This needs to be like the one that takes 30 seconds.
04:29See, you know what I mean?
04:31That's very quiet.
04:33That's super internal.
04:34That's just about her.
04:35And I thought about that, and then I like went in and did that on TV.
04:41And I think that's very vulnerable.
04:43That's way more vulnerable than the orgasm that's the performance.
04:46But also powerful.
04:47I mean, that is a sign of power.
04:48Yeah, the empowering to be able to have an artistic say in what your character is going.
04:54But then, wait, I have to finish the story.
04:56Then I see the cut, and they cut the orgasm.
04:58And I was like, I wrote, like, a dissertation.
05:03I used to say, yeah, yeah, yeah.
05:04I woke up a picture and talked in the morning to see if they'd heard it.
05:07I'm like, you know, the second I got to set, I was like, where's the orgasm?
05:11And I explained to them again why they needed it in, and they put it in.
05:17Yeah.
05:28I was like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I'm like, I
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