In Hollywood, there's a protection clause for male and female actors when filming nude or intimate scenes. Directors must get the actors' consent, even when using body doubles, and the extent to which doubles are used is entirely up to the actors. They have the right to refuse at any time.
Of course, the pressure from producers and directors on unknown actors is another matter entirely. There are many situations where actors don't have the power to say no, but that's a complex situation on its own.
At least on set, the control and the right to refuse remain with the actors.
Every actor, regardless of age, status, or gender, has the power to refuse intimate and nude scenes on set. This is a requirement that the actors' union mandates in all contracts.
In 1976, during the filming of "Last Tango in Paris," Marlon Brando and director Bernardo Bertolucci shot an over-the-line intimate scene without informing the inexperienced newcomer actress, Maria Schneider.
They deliberately deviated from the script and made bold, explicit attempts that terrified Maria Schneider, all while the camera faithfully captured the scene.
After the movie was released, it faced overwhelming criticism. Countless industry professionals deemed it the most notorious scene ever filmed. Despite Marlon and Bernardo's towering status in the industry and the fact that this happened back in 1976, their careers weren't severely impacted. However, this stain accompanied them for the rest of their professional lives.
Now, "The Butterfly Effect" faces a similar situation.
Mackie and Eric insisted on getting Rachel's agreement, which led to a perfect arrangement—
And so, they arrived here, sitting on the edge of the bed in their bathrobes, awkwardly avoiding each other's gaze.
Actually, the reason Rachel agreed was that the scene was simple.
The intimate scene didn't require nudity. Rachel would be covered with a sheet, with only her shoulders exposed. There weren't even any scenes showing her bare back, making it no different from wearing an off-shoulder evening gown. Mackie and Eric insisted that the focus of this scene wasn't on playing up those borderline gimmicks, but on showcasing the chemistry between Evan and Keller.
Everything was done purely to serve the film, not to create sensationalism.
So, Rachel agreed.
But thinking about it is one thing; actually doing it is another. Sitting on the bed in a bathrobe with another actor, feeling the ambiguous and heated atmosphere in the air, still felt unfamiliar and awkward.
After all, this was Rachel's first time.
She thought she was mentally prepared, but she realized she needed more preparation.
"…It's my first time, so if I mess up, please bear with me." She suddenly heard Anson's voice, causing Rachel to look up quickly.
And then, she saw Anson's bright and open smile.
She was stunned. "Your first time?"
Anson shrugged slightly. "Strictly speaking, I had a few experiences while filming 'Catch Me If You Can,' but Steven approached it more playfully, without really focusing on the intimacy. He and Tom were quite conservative in that regard, so there was no ambiguous atmosphere on set; it felt more like an academic exercise, leaving no room for your imagination to run wild."
Rachel responded, "So, are you imagining things now?"
She regretted the words as soon as they left her mouth, unsure how they slipped out.
However, Anson remained calm, looking into Rachel's eyes with clear sincerity. "Isn't that the whole point of this scene?"
Rachel's fingers, which had been nervously curling up, gradually relaxed. "Are you always this bold and straightforward? Making people feel embarrassed?"
Anson replied, "Occasionally. But not with everyone."
The implication was clear...
Rachel's lips parted slightly as she felt a sudden dryness in her mouth. But this time, she didn't look away. Instead, she confidently met Anson's gaze.
If Rachel still didn't understand that Anson was easing the tension and setting the mood for the scene, she would be foolish.
So, she couldn't look away. She needed to follow Anson's lead and get into character; not only that, she needed to take a more active role.
In the story, Evan is the one who is anxious, but Keller is not.
Keller doesn't know what Evan has gone through in the parallel timelines; she's just a sunny girl who hasn't been hurt. Rachel needed to show her sweetest side, making the audience feel that Keller truly loves Evan.
In other words, in this scene, Rachel needed to take the initiative.
So.
She looked up at Anson, meeting those clear blue eyes that gazed at her with focus and deep emotion. She saw her own reflection in his pupils, causing her to pause, and just like that—
She fell.
As if lost in that sea of blue, the words, the deeper meanings, the ambiguous emotions all wrapped around her soul like mist, pulling her down.
Rachel felt a bit shy.
She wasn't fully in character yet, nervously and awkwardly glancing away, tucking a loose strand of hair behind her ear. When her fingers brushed against her skin, she realized how warm her ears were.
She looked up at Anson again.
Anson was still gazing at her with deep emotion, fully focused, his bright blue eyes like a flowing stream where golden sunlight danced on the water. Before she realized it, her heartbeat had already gone erratic.
She lowered her gaze to hide her emotions, but half a second later, she looked up again. In the tug-of-war between emotion and reason, reason had already been defeated.
Then.
She fell deeper into that deep blue, continuing to fall.
Her heartbeat roared in her ears.
Thump. Thump. Thump.
The sound pounded against her eardrums, drowning out all other noises. She vaguely heard the director instruct them to lie down on the bed, but she wasn't entirely sure. Almost instinctively, she laid down, even before hearing the signal to start filming, already immersed in the role.
So, was she Rachel, or was she Keller?
Or perhaps, she was both Rachel and Keller.
Quietly, she lost herself in the vivid, blooming colors around her.
Huff, huff.
Heavy, rough breaths filled the room, like the sound of a final sprint. The camera captured nothing but the air, focusing on the details of those breaths and the subtle sounds of contact. Though nothing explicit was visible, it still ignited the imagination.
In the entire room, only a single lamp was lit, its orange glow casting a warm, hazy light in one corner. The heat and sweat in the air blurred even the light's halo.
Until, finally, it was all over.
The camera slowly panned over, revealing two figures tightly embracing, their forms outlined by the sheet, soaked in sweat.
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