For the first time, a web series has roped in an intimacy co-ordinator, Amanda Cutting, to create safe working spaces for artistes
Nuzhat Aziz (BOMBAY TIMES; May 17, 2020)

Whether it is a mega or medium budget film, a web film or web series, shooting intimate scenes for the screen is a challenge for filmmakers. It needs to be directed and filmed aesthetically and with sensitivity, apart from creating a comfortable space for the actors in the spotlight. So, when producer Prabhleen Kaur roped in intimacy coordinator, Amanda Cutting, for the recently launched web series Mastram, it was a refreshing initiative. The series — an adapted biopic based on the erotic writer, Mastram — needed to depict sex in an unrestrained manner and Amanda was flown in from Canada to help actors feel confident and reduce the emotional bleed-off that can happen during the shoot of intimate scenes. Excerpts from an interview…

How difficult was it to break the language barrier and understand the intricacies of intimacy suited for the Indian sensibility with regard to erotica?
Mastram, the author, has a cult following in India and it was important to do this in a manner that paid homage to that. I got some of his works translated into English to have a stronger idea of the context of the show, and the poetry of Mastram. It was important for me to understand how Mastram creates these sensuous scenes, and the language that he utilises in order to depict them. It is erotica, and there’s nothing that you can avoid in that, but it could have gone incredibly graphic in a way that felt distasteful. But I really feel it was incredibly, elegantly done.

How important is it to have intimacy coordinators on board a film set, especially in a post #MeToo era?
I am seeing a massive uptake in production houses wanting intimacy coordinators on their sets. I think people are seeing the difference that it makes. Unfortunately, there is a disease of mediocrity out there. Because we are trying to pump out so much content so quickly that we forget that the artistes are human beings. I feel artistes are not confident when there is no clear communication between the production unit and the performers.

Do you think the way we shoot intimate scenes will change in the post-Coronavirus pandemic future?
Making sure that we are not exposing people unnecessarily is critical. It could also mean that there is a revival of renaissance flirting on screen. Something that I loved about the Bollywood films of the 60s and 70s was a lot of the tantalising eye contact and the sensual dancing used as build-up. Indians really know how to flirt on film. With challenges comes an amazing collective creativity and it might even be something that’s more exciting to watch.
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ON THE MOST CHALLENGING SCENES

“The Kama Sutra scene (with Isha Chhabra and Anshuman Jha) with candles was incredible. We had very specific positions that we wanted to embrace in that scene and Tara Alisha Berry was brilliant because she is so flexible that it actually allowed us to pull out even more interesting positions. It was also challenging because we only had that much time on set.

The motorcycle scene was a challenge because the actors were being vulnerable, and doing something that, on camera, appears that it is public. However, we made sure there was no actual public perceiving those actions. We had a lot of security, and massive big curtains that basically covered and created a big black box around the area. The content that we were creating was 4-5 minutes long, after an average 4-6 hours of shooting.”
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FILMING AN INTIMATE SCENE

- First, we understood the performers’ personal boundaries.

- We then had a workshop with the performers where we cleared their consent with each other, and went through the storyboard so that they knew exactly the sexual positions, and the angles they were being filmed from, including the type of lighting we were using.

- Next, we walked through the choreography, as that’s really what it is. It is no different than a Bollywood musical dance sequence.

Intimacy coordinator for the web series Mastram, Amanda Cutting, on what her presence on a film set means for aesthetics in a post - #MeToo world
Mohar Basu (MID-DAY; May 3, 2020)

For the longest time, the most persistent imagery of sex on our screens was the visual of two flowers coming together. And yet, in a parallel universe, existed the erotic novels by Mastram that explored the vivid sexual experiences of the common Indian. Thus, it was essential for producers of a biographical series based on Mastram, to depict sex uninhibitedly — much like how Vatsayana’s Kamasutra meant for us to enjoy the experience.

Among the first things that producer Sunil Bohra and the OTT platform MX Player did was hire an intimacy co-ordinator, a first for the Indian entertainment industry.

Amanda Cutting, who has previously worked on an unaired prequel pilot for Game Of Thrones, The Magicians and The Good Doctor, was flown in from Canada for the job.

Cutting, locked down at her home in Calgary, Canada, tells mid-day in a telephonic interview that she had to mentally realign herself to Indian sensibilities to deliver an authentic show that stayed true to its muse. “The idea of bringing me down was to ensure that performers are confident doing intimate actions and feel safe during shooting. Because I had both prior directorial experience and have worked on shows with explicit sexual content, they felt like I was a good fit,” she says about the 10- episode series directed by Akhilesh Jaiswal, starring Anshuman Jha and Tara Alisha Berry.

Mastram is an adapted biopic based on the life of erotica writer Mastram. The show blends in experiences of his personal life and his stories. On the subject, Cutting says, “I was familiar with Mastram because my uncle is East Indian. But, as part of my research, I familiarised myself with the details of the script and understood the cultural milieu of the stories he wrote. I got [my hands on] some translated Mastram novels to understand how he created sexual tension. A lot of the choreography for these scenes was done keeping in mind the novel.”

The thing about depicting sex on screen, Amanda concedes, is to ensure that it’s sensual and arousing. “In this case, I had to help the audience use its imagination to finish off stories. Some of it was explicit, a lot of it was suggestive. And that often has a more seductive impact than a full naked body.”

She adds that she stayed away from Bollywood clichés. “The positions usually utilised were discarded. I brought in many Kamasutra positions that honoured Indian culture and don’t rely on the Westerner’s gaze. Different things are considered appealing for people in different cultures. It was a pleasant discovery that Indians like curvy women. As a full figured woman myself, it was refreshing to know that curves are sexy. Also, it was nice to realise that build-up and tension is valued. Indians understand foreplay. Delayed gratification is a significant tool in my line of work where we can drag an audience along for the ride and keep them excited. That’s where the sizzle lies.”

Cutting walks us through workshops and storyboards created for every scene that helped familiarise the cast with the choreography of an intimate scene. “It’s like dance prep where there are set moves which are orchestrated. So, where do the hands go, in what position should each performer be, what are the barriers so that private parts don’t graze. The better you know them, the safer you feel, the better you perform. Every detail was discussed thoroughly and after that there could be no changes. It also reduced the possibility of retakes.”

She says that work begins where a script would say “they make love passionately on the beach” “What does this entail? Will they be nude or under beach towels? The intent of the scene had to be clearly stated. Depending on the scene, there was a strict close-set protocol where only essential crew was allowed. A lovemaking scene usually had the two performers, the DOP, the sound recordist, the director and myself. Eliminating people was important to ensure a safe environment.”

In the post-#MeToo world, her own hiring, Cutting believes, helps establish the idea of setting boundaries for artistes. “Defining consent is top priority now. Every actor has different boundaries and my job was to ensure the scene supports the story and is not gratuitous. No actor should be compelled or pushed into a scene. Sometimes, producers, even in the West, would pressure to show more; something that the performer on that day may not have wanted to do. Productions might want to push them to hold up to their contract but my job is to ensure they feel safe and consequently negotiate on scenes. Sometimes changing shooting angles can help say the same story, without making anyone feel uncomfortable. I am now getting called at the audition level itself to familiarise actors with what they are walking into. They can say no right at the start if they wish.”

Kunaal Roy Kapur signs two comedy films; shares filmmaking aspirations
Soumya Vajpayee Tiwari (MID-DAY; November 11, 2016)

Despite bagging several big-tickets films, including Delhi Belly (2011) and Yeh Jawaani Hai Deewani (2013), Kunaal Roy Kapur hasn’t had a blockbuster that could boost his solo-hero career, yet. However, the brother of producer Siddharth Roy Kapur and actor Aditya Roy Kapur has now signed a rom-com, Hum Dono Honge Kamyab, which he hopes will change the course of his career.

Talking about his experience of working on the film, which pairs him opposite Tara Alisha Berry, Kunaal says, “I enjoyed the script and had multiple meetings with Vishal Mishra (director). I play the role of a guy from Kanpur, a world I am not familiar with. It’s challenging, but that’s the fun of being an actor.”

Does he also have filmmaking aspirations like elder brother Siddharth? “I do. But it will take some time to get the right script,” he says.

Like most brothers, the three Roy Kapurs also share a warm rapport. “We enjoy each other’s company.
Generally, we make it a point to eat together so that we can bond as a family.”

He is also all praises for sister-in-law Vidya Balan. “She is a wonderful actress. Her recent successes speak volume about her talent,” he says.

The actor also has Ankush Bhatt’s thriller cum dark comic caper in his kitty, which is set for a 2017 release.

Sonil Dedhia (BOMBAY TIMES; April 9, 2016)

Writer-director Vikram Bhatt on how he attained nirvana through a song
MUMBAI MIRROR (April 5, 2016)

Hiren Kotwani (BOMBAY TIMES; March 16, 2016)

Mohar Basu (BOMBAY TIMES; August 7, 2015)

MID-DAY (July 31, 2015)

Director Vikram Bhatt has decided to put his next film in the Murder franchise on hold as his mentor, Mahesh Bhatt, felt it was not feasible post the debacle of his last venture, Mr X. He now plans to begin shooting for another film with a fresh story as well as star cast.

A source says, “Vikram had another script in hand and after discussing it with the Bhatts, got a nod.
The film will go on floors on August 9 in Cape Town. He has decided to call it Love Games, a title that he had reserved for Murder. It will star Patralekhaa, Tara Alisha Berry and mark the debut of model Gaurav Arora, who is rumoured to dating Kriti Sanon.”

Confirming the development, Bhatt says, “That narrative was going to be Murder 4, which seemed tired, worn out and fatigued at moment. So, Vikram pulled out another script from enormous work he has been doing all this while, which captivating story of the times we live in. The film shows physical passion and also connects to the heart so touches lust and peaks love. The shooting will start in Cape Town.”

Stating that the casting couldn’t have been better, adds: “Vikram, after the humiliating defeat of Mr X has got a new DNA. I see new beginning for him,” adds Bhatt.

While Patralekhaa says she is looking forward the shoot, Vikram says, "I am excited because something I have never done. (It is) Twisted and sexy.”