Working with an Intimacy Coordinator
We caught up with Intimacy Co-ordinator Rosie Fletcher who talks about her work across film, television and theatre and her latest project Gay Pride And No Prejudice.
Q. When did you first think about becoming an Intimacy Co-ordinator and what were your first steps into the role?
A. It all started during lockdown, before that, I had a fulfilling 10-year career as an actor, mostly in the West End. Like many others, lockdown gave me a lot of time to reflect (and panic) about what might come next. I knew I loved working with people, advocating for them, and that I was creative and movement-oriented. After spending time in a corporate job, I realised how much I valued the skills I’d developed in the arts—skills I didn’t fully appreciate until then. Watching Normal People during lockdown left me amazed by its physical storytelling, which prompted me to research intimacy coordination more seriously. Around the same time, a friend shared her experience working with an intimacy coordinator on set, and that sealed the deal for me—I knew I had to pursue it
Q. Can you tell us a little more about your training?
A. Previously there has been some great training in the UK – but once I had aligned all my ideas and research nothing was available or accessible to me. For such a specialised role that handles vulnerability and power dynamics, I felt training was essential. Courses can be expensive and inaccessible. I found a new course called CINTIMA, run by a diverse team of intimacy coordinators, filmmakers, safety advocates, and artists. The course, mostly online, concluded with a choreography workshop in LA. It was incredibly well-structured, with industry leaders covering a wide range of topics. By the end, I felt fully equipped to work professionally as an intimacy coordinator. The course is SAG-AFTRA accredited, with students having the option to come out fully certified.
Q. When working with a new cast how do you approach each project?
A. Every project has its own unique language of intimacy, storytelling, and collaboration, so the approach varies. It’s about understanding the script, the director’s vision, and, most importantly, ensuring the actors feel comfortable and empowered to consent to what they’re being asked to perform. My role is to balance these elements while ensuring all bodies have autonomy. In the acting world, we’ve often been conditioned to say “yes” to things we’re not always comfortable with, but I’m there to advocate for the actors and help create a safe space for them to deliver their best work.
Q. You’re currently working on new play Gay Pride And No Prejudice which opens next week. How are you finding it working on the show and has it been different to your previous experiences?
A. Working on a play, especially a period piece, is always exciting. For this project, understanding the historical context is key, especially when it comes to the characters’ intimacy, given the societal norms of the time. Telling queer stories from such periods is vital, especially when they were largely closeted.
Q. Gay Pride And No Prejudice is playing at the Union Theatre which is quite an intimate space. Does this impact on the way in which the scenes of intimacy are staged?
A. An intimate space allows for subtle, nuanced storytelling between actors. For instance, we’ve focused on the small, charged moments between Darcy and Bingley. In such a close setting, the audience can pick up on these intricate details, allowing them to feel the characters’ anticipation in a more personal way.
Q. You’ve worked across film, television and theatre. Do you have a preference out of the three and if so, why?
A. Theatre will always be my first love. Having trained and performed in theatre myself, I have a deep connection to it. Intimacy in theatre is a thrilling challenge because it has to be repeated night after night, while still looking authentic from various angles. Film and TV, on the other hand, offer different opportunities, like playing with camera angles and framing. The two mediums are quite different. The pace of film is faster, and the number of people involved can be overwhelming. However, theatre still has room to grow when it comes to using intimacy directors, and I’m thrilled to be part of that progress.
Q. Can you tell us about some of the projects you’ve worked on and what you’ve enjoyed the most?
A. Returning to theatre to work on new musicals like The Devil Wears Prada and Becoming Nancy has been incredibly rewarding, particularly because they celebrate queer stories. When I was in musical theatre, intimacy directors weren’t even a part of the conversation. I’m very passionate about making this role a necessity in every production.
One of my favourite projects was my first film as an intimacy coordinator, assisting the amazing Stella Moss on Sister Wives, a queer short by Louisa Connolly-Burnham. It was an intense few days with a range of intimate and nude scenes. The work we did told a powerful story, and watching Louisa direct, write, and star in her own film was truly inspiring—she’s a force of nature!
We’d like to thank Rosie for her time and wish her well for her current project.
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