Room for Error | Breaking Down The Infamous Sex Scene from "The Room"

Ariel & Morgan, two professional intimacy coordinators, pull back the curtain on how intimacy is really made for film and TV.

In our very first episode, we kick things off with wild on-set stories (yes, one involves a horse 🐴 - don't worry, it's fake), break down what it really means to choreograph intimacy, and tackle the infamous simulated sex scene from the cult classic, The Room.

We give Tommy Wiseau's awkward sequence a beat-by-beat analysis, rate it on our "Spice Scale," and explain what could have made it work. Get the inside scoop on why intimacy coordinators are a crucial—and often misunderstood—part of the film industry.

You’ll hear:

• Hilarious and cringe-worthy stories from our time on set.
• A professional breakdown of one of cinema’s most bizarre sex scenes.
• Why intimacy coordination matters for actors and storytelling.

Love cult films, bad movies, or a hilarious insider's look at Hollywood? You’re in the right place.

🔗 Links & More
For show notes, a video of the scene, and all our links, visit our website at fakingitthepod.com.
Follow for more chaos: @FakingItThePod

New episodes drop every other Wednesday! Subscribe now so you don't miss an episode.

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"THE ROOM"
Director: Tommy Wiseau
Writer: Tommy Wiseau
Producer: Tommy Wiseau
Actors: Tommy Wiseau; Juliette Danielle
© 2003 Wiseau Films. All rights reserved.

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Transcript

SPEAKER_02 0:28

Hi, I'm Ariel Lee Cohen.

SPEAKER_00 0:31

Hey, I'm Morgan Smith.

SPEAKER_02 0:32

And we are the hosts of Faking It with Ariel and Morgan.

SPEAKER_00 0:36

We're two intimacy coordinators here to talk about the spicy scenes you see in film and TV.

SPEAKER_02 0:43

Yeah, yeah. Yeah. Well, as this is our first episode, maybe we should introduce ourselves a little and talk about why we're making mistakes.

SPEAKER_00 0:53

Yes, I love that idea. You want me to start? You want to start?

SPEAKER_02 0:56

I think that you should start, you beautiful soul.

SPEAKER_00 0:59

Thank you so much. I appreciate it. I'm Morgan Smith. I am an intimacy coordinator, choreographer, and consultant with over four years of experience. My work has appeared in features, pilots, new media, including verticals, student films, and plays. Some of my film work includes a feature that I just found out got into the Toronto International Film Festival this year. The feature is called Find Your Friends, directed by Isabel Paxad. It's kind of like Spring Breakers in Joshua Tree. I also worked on a feature called Nobody Moves Till Jesus Comes, which was an official Dances with Film selection of 2024. My specialties include queer intimacy, consent, complicated consent, non-consent, and uh supporting productions with inclusive, thoughtful, professional, trauma-informed, and culturally competent choreography.

SPEAKER_02 1:55

Yes, I loved it. I also loved that you choreographed your hands in such a way during the word choreography.

SPEAKER_00 2:03

Thank you so much. Oh, and I'm qualified in all areas required by SAG for intimacy professionals.

SPEAKER_02 2:12

Glorious love.

SPEAKER_00 2:14

Yeah.

SPEAKER_02 2:14

I am Arielle Lee Cohen. I am a certified intimacy coordinator through IDC, and I'm also an intimacy director based in Los Angeles. Since 2019, I've worked across SAG After Productions, Indie Features, Vertical Series, numerous student films and festival films, as well as some HBO and Netflix projects. I'm also one of the resident intimacy coordinators for USC student projects, both undergrad and grad school. I also provided choreography and support for stage productions throughout LA. Before I was doing intimacy work, I spent seven years in New York writing, directing, acting, producing plays, and then I was working on props for Broadway shows. I have just directed my film exhibition, which will be in film festivals at some point. My specialties include queer intimacy, period pieces, BDSM and kink, comedy and non-consensual slash complicated consent dynamics. I bring a storyteller, choreo-heavy mindset, and a calm collaborative present to every set. I'm also very vivacious, I would say so myself. I'm passionate about building trust, protecting creative freedom, and ensuring intimate scenes are handled with care, clarity, and attention.

SPEAKER_00 3:33

Gorgeous.

SPEAKER_02 3:35

Gorgeous, honey. Why did you make this podcast, Morgan?

SPEAKER_00 3:40

We decided to make this podcast when we were hanging out, talking about our work. And for me, there's been so much emphasis put on the safety aspect of our jobs for obvious reasons. It's very important. Me too happened. Like that's gonna make it the forefront of the conversation. Totally valid. But I feel like there hasn't been much conversation about the storytelling aspect of our job, which is the fun part. That's the thing we get excited about. That's the juice, you know? And I remember having these conversations with you and being like, it would be so great if we could share this part that we nerd out about all the time with other people and show another aspect of intimacy coordinating. Because I feel like for as much talk as there have been, no one has a very clear idea of what we do still.

SPEAKER_02 4:42

100% true. Um, I mean, we were talking about this earlier, but I I find that when I walk into a room and folks don't know me or what I do, the second I say I'm an intimacy coordinator, everybody stops what they're doing. It's like the greatest icebreaker, and they immediately want to ask me a thousand questions, which I love talking about it, which is why a podcast is a good medium for this. There's so much about the job and about the protocols, about the day-to-day functions we perform that I feel like so many people would be interested in and are interested in. And I'm happy to provide that. There is a need for more clarity and understanding and more reaction videos. So that's what we're doing here.

SPEAKER_00 5:29

Whether you're someone who works in the industry, you are a film nerd, or you're just a person who has opinions about spicy scenes, which everybody does, I feel like this podcast is for you. Or if you love Bridgerton.

unknown 5:45

Yeah.

SPEAKER_00 5:46

Equally important. Okay. So because we're all about informed consent, we're gonna tell you what's gonna happen in our podcast. First, we're gonna start off with a segment we call Hot Off the Set, where we share recent onset stories with all identifying details such as names, places, and project titles changed for privacy. Then, in our segment scene work, we'll watch an intimacy scene in real time and rate it using our spice scale, scoring it across key categories and giving it a final letter grade. We'll have notes and links in our captions in case you want to watch the scene yourself. And after that, in our final segment, Position to Know, we'll answer common questions we get about our work. So let's kick it off with hot off the set. My first intimacy coordinator job was on a student film that was going for avant-garde, I think. And the scene I was working on was a man penetrating a horse from behind.

SPEAKER_01 6:48

Oh my God.

SPEAKER_00 6:53

They didn't cover that in the training at any point. Bestiality was not discussed, but I was like, okay, just baptism by fire, I guess. Let's get in there. And I had to write a nudity writer because we were gonna have some rare nudity. We were doing some simulated sex because it was a student film, I was the one writing it. So I was writing a legal document that contained words about horse's buttocks and penetration and every and I was like, wow, every choice I've made that has led me here is absolutely worth it.

SPEAKER_02 7:35

I love that. That's amazing. We do some fun stuff.

SPEAKER_00 7:39

I should mention it was a fake horse. They made a horse rear, so I didn't have to deal with like PETA or anything like that. That actor who was doing the scene was super cool, very great to work with, very open to doing what the scene called for. I think the horse represented America.

SPEAKER_02 7:59

Obviously.

SPEAKER_00 8:00

Obviously. Yeah. So from now on, if anyone asks, is this the craziest scene you've ever worked on? I can pretty confidently say, no. I started with it.

SPEAKER_02 8:20

So I worked on a film like a year or so ago where the evil character had to pick up the lead female character who was just in gorgeous lacy lingerie and her hands are tied to the front. He picks her up off the bed and he throws her into a human-sized birdcage. And then he closes the door and then he tries to touch her face and her shoulders through the slats in the birdcage. And then she's supposed to kick him in the groin through the slats. So it's also sort of stunts. You know, she's tied up, sort of a ode to BDSM. Funniest thing for me was that this birdcage was mostly like a gate that you would get at Home Depot. And we were shooting pretty close in, so it looked pretty realistic, but the door didn't close all the way in the front of the cage. You could very easily just like push it open. In fact, you could walk around the sides and just be like, all right, I'm out of the cage. I did it. But in this situation, it looked very realistic. It went off without a hitch. It was pretty funny.

SPEAKER_00 9:24

I love the creativity of just using a regular gate, but filming close enough that it can pass as being a birdcage.

SPEAKER_02 9:32

Could have just been a gate, I guess, or just like a cage of some kind, but they specified birdcage in the script, which was interesting.

SPEAKER_00 9:40

Feels like a metaphor, you know?

SPEAKER_02 9:42

It is for America. Oh my god, this is called a callback.

SPEAKER_00 9:52

You funny.

SPEAKER_02 9:53

Let's move into scene work, baby. What have you got for us today, Morgan?

SPEAKER_00 9:59

It's actually a really easy transition because we're talking about wild projects. And today we are going to discuss the infamous ultimate awesomely bad movie, The Room.

unknown 10:14

Yes.

SPEAKER_00 10:15

Good choice. Really good choice. I am a huge, awesomely bad movie fan. I'm, as you'll learn, a huge fan of The Room, signed by Tommy Wuzo. And uh, do I have signed copies about the comic that one of the actors made about making the room? I sure do.

SPEAKER_02 10:39

I did not know that you had that story.

SPEAKER_00 10:43

Yeah. Yeah. Also, I met Tommy Wuzeau at a screening and it was amazing. It was written, directed, and produced by and starring Tommy Wuzeau as Johnny. Julia Danielle is also on the scene. She is playing Lisa. Some historical context because this is a historical film. It was released in 2003. What was meant to be, quote, the greatest drama ever written, unquote, became a cult phenomenon after a giant billboard in Los Angeles of Tommy's creepy headshot lured audiences into the one theater where it was playing. Soon it became a rocky horror-like phenomenon. After suddenly becoming bored with her relationship with her perfect fiance, Johnny, Lisa seduces his best friend. To justify the affair, Lisa plans to get Johnny drunk, which he never does because he's such a good guy. And she falsely will claim that he abused her while he was blacked out. After mixing what looks like vodka into glasses of what looks like bourbon, they get very drunk. Lisa seems to forget her plant for a moment, and they make love.

SPEAKER_02 11:57

Beautiful. Oh, so we see nipple and Areola kissing. This movie's so funny. And she's sort of gently touching his back. He's also shirtless. We're both topless. Rose petals all over the place.

SPEAKER_00 12:17

As you do.

SPEAKER_02 12:19

As one does. She looks very confused about what where to put her hand for a second. Um, she looks like she's pushing him away, and his hand is like weirdly up. I he's simulating penetrative sex from above, but he is like five inches too far down unless he has an enormous penis. The motion is weird and awkward. Um and then and then that's it. And it's done. I don't know why I had a memory of it being much longer and repeating elements over and over again, but it is as bad as I remember.

SPEAKER_00 13:02

There are a couple of sex scenes, but this one I feel like highlights all the things we want to highlight. It's spectacularly terrible.

SPEAKER_02 13:14

So thoughts? Poorly done. Very poor. I think I've seen this movie many times. I think it is one of the worst simulated sex scenes I have seen. And I'm not just saying that because there was no intimacy coordinator, because they did not exist at the time, and also he wouldn't have gotten one just knowing him. But I think it's awkward, it's lengthy, it's bright. Granted, we don't always have complete control over brightness or otherwise or how it's shot and where camera moves, but I would recommend against all of this. Uh, it looks like he has a two-foot-long penis that also curves to the left and right depending on the shot. The movement is less of like a swing of the hip and more of an in-out, in out, which is not how bodies function together. She often doesn't know what to do with her hands. She goes to touch his chest but then moves it to go under the blanket, but then she lifts it back up again because she and his arm is up behind his head inexplicably, which looks so uncomfortable and unrealistic. And then lastly, there is no reason for her to be topless in this scene. And granted, if the director were to come to either of us and be like, I have very specific reasons why she is topless in the scene, why we need to see breast, areola, nipple, everything. But it's not necessary in the scene. It doesn't further the story in any capacity. It's just exploitative for the sake of nothing. And she looks unhappy in it. Thank you for my dinosaur.

SPEAKER_00 14:57

I agree with all of that. One of the things I enjoy about awesomely bad movies, besides just pure entertainment factor, is you can actually learn so much about filmmaking from watching a terrible movie. Oh yeah. This is like a what not to do kind of situation. All the things that are usually invisible to you, if you're just a casual viewer, all of a sudden become very apparent because you're like, wait, why is this happening?

SPEAKER_02 15:26

I'm racking my brain for something about it that I liked. I got nothing. I got absolutely nothing. The only thing I can almost even think of is while the hip movement is incorrect, um, as far as authentic movement goes, the tensing of his buttocks upon thrusting was pretty good. That did imply what was happening. That is the only thing I can give this. That's it.

SPEAKER_00 15:57

With that, we should head up our spice scale.

SPEAKER_02 16:00

Welcome to the spice scale. Our not so scientific way of rating intimacy scenes based on consent and power dynamics, technical craft and coordination excellence, and heat factor. Each category gets a score from one to five, with five being the highest. Then we add it all up to give the scene a final letter grade. So, consent and power dynamics. In the scene, I know that the characters are consenting to this. But given her hesitance and awkwardness with her hand placement, what I can read as the narrative is that she's not very interested in this sexual scenario. And also, having remembered the scene, I mean, like, if I remember correctly in the film, she doesn't really like Johnny anymore. So maybe I'm reading it correctly.

SPEAKER_00 16:59

It's interesting because in the scene before, which I briefly mentioned in the context, she purposely gets him really drunk so that she can later say he did something he didn't do. Now, the sex is unrelated to that. That just happens. So there is an interesting power dynamic in that she got him drunk and he never normally drinks seeing. Like they're trying to tell a story of this like gorgeous love making. And what is actually happening is the actress is clearly uncomfortable, and they both seem unsure of what they're doing. And that just creates an overall level of awkwardness that completely takes away from whatever romance is being told to us through the rose petals and the music and the candlelight and the poster bed.

SPEAKER_02 17:52

It's just completely at odds with itself. If this is this is the scene they wanted to present as is, I'd say she doesn't really like him very much. This is maybe the second time they've ever slept together, if even that. And that he completely misses her vagina upon penetration, and she's just going with it, just so that it's over soon. That is the reading of this film. But I think we both know that is not the intention.

SPEAKER_00 18:25

No. So for consent and power dynamics, I'm gonna give it a one. All right, we can give it a one. Totally, totally. Technical craftslash coordination excellence. This includes anything from the staging, film coverage, modesty protection, choreography, and overall execution of the scene.

SPEAKER_02 18:46

It's very bad. Like it's all across the world. Very bad. I enjoy it because of how bad it is, but the execution is awful because there's so many differences between what the scene implies versus what the scene wants to imply.

SPEAKER_00 19:09

So, one thing I do know about the making of this film is they went through a few different crews. Lots of crew members quit, and then a whole new team came in, and that happened at least a couple times until they ended up with student filmmakers. Which no shade to student filmmakers. I know some amazing ones. I was one. Sometimes you can tell though. And I don't know if there was modesty protection used in this. The choreography is wild. Like at one point, he's five inches too low. At another, he's five inches too high. This is why one of the most popular things to scream out during this and other sex scenes is fuck that belly button. Yeah.

unknown 19:51

Exactly.

SPEAKER_00 19:53

Yep. Something we do as intimacy coordinators is we help make it look like people are having sex. And one way we do that is we have people move their pelvises just a couple inches off the target. So on camera, it looks like they're really there. They overdid it here.

SPEAKER_02 20:15

They overdid it. I would have moved him down or up several inches. I also would have made his hips more of a kettlebell swing movement than a straight in and out. Um because that is what the body does. I will agree as far as modesty protection. I do not know if they're wearing modesty garments. My assumption, my hopeful assumption is that they are, at least on the bottom half, obviously. At the very least, I will say not a bad job hiding with the sheet. The sheetography is not terrible to hide what needs to be hidden. We do not see the meeting of his butt cheeks. We only see just one butt cheek, which I'm sure was what he wanted because he had a lot of control in this film. I don't think it's a glattering view of either of them. I want to give this a 1.5 or 2 just because of the modesty garment scenario. But everything else, I feel like, is a one. So I don't know what you think.

SPEAKER_00 21:17

Um, yeah, I agree. I think I'm more inclined to give it a one because I believe what they were going for was a gorgeous making love scene between two beautiful people where everything feels seamless, and both people are looking their best, and we're getting all these gorgeous, flattering angles. And I can almost imagine just like the candlelight flickering against their skin. You know, we didn't have any of that. We had some of the worst angles you could shoot someone, like something you wouldn't do to your worst enemy. So for that, I give it a one.

SPEAKER_02 22:02

I accept your one. Mine was a barely more than one anyway. All right, so next we have heat factor, the level of erotic charge or sexual tension in the scene. Zero. I bring it to the table, zero. I could not feel less attracted to this scene.

SPEAKER_00 22:23

There is zero erotic charge. There's no sexual tension. And sometimes that is the story of the scene.

SPEAKER_02 22:31

Sometimes.

SPEAKER_00 22:32

Sometimes we're watching a scene that is about bad sex. That is about people who don't have any chemistry, but that's not the story they want to tell here. And I feel like things that could have helped. We're in profile. We see a close-up of their two faces, like nose to nose. They're looking at each other. We're all of this love. We have soft kisses. Like we see attractive angles of their arms and hands caressing each other. Maybe some hands and hair. Maybe we brushed Tommy Wuzhou's hair. Like all of those things. All those things could have helped.

SPEAKER_02 23:09

Absolutely. One of the sexiest decisions to make on a film set is to not show everything. We are attracted to what we can't see because then the imagination can run wild. It's and it's the tension on the face. It's the grip of the fingertips. It's the throwing back of the head. It's not shot on the same level as your body, where the sheet is kind of awkwardly above half of it, and you're just kind of rolled against yourself and crunched over. And it's like, I'm just like, I can't imagine a situation where they they placed the camera and the people so poorly. Sorry. I got heated there on the heat factor. I got heated. You were out of 10. I was out of 10. 10 out of 10. I I fully agree with that. How would you have approached this scene if you were given this script?

SPEAKER_00 24:07

And they and it's Tommy Wiseo, perhaps, who is the director and writer and starring in what I would have done is first get clarity on what Tommy is going for in this scene. Then I would have figured out some choreography to make it clear to him and the other actor what is going to happen, because I think a lot of awkwardness in that scene came from them not knowing what's going to happen. They don't know what the camera's seeing, so they can't angle themselves in such a way to make it flattering or even just like interesting to see on camera. I think discussions on the length that some beats of the scene go would have been helpful. It didn't need to last an entire song. And if it was possible to have any say about light where the rose is so bright. I don't know if I'd be able to say anything about that. But I could maybe say something about having the rose and the rose petals. So I'm like, they were just like kind of dropped on her in a very clunky way. And I'm like, in Buffy the Vampire Slayer, there is uh in the first network television sapphic sexual scene, you have Tara and Willow do a spell that involves opening a rose, and they do it in such a sexy, sensual way that you feel like they've had sex, you know, in addition to like their breathing and some of the ways that they shoot it. And like this was the opposite of that.

SPEAKER_02 25:44

I agree. I think that that initial conversation with Tommy Wizo, I'd have a lot of questions. I'm not here to say, don't showcase topless folks in films, but I am here to ask you a question about why it is necessary for the story. And I would love for you to have a good answer to that question because it would tell me that you've thought about it and thought about its place in the narrative. I think that going back to the rose petals, if they asked me, and I know Tommy Wise, I think, would never ask me, if he were to ask me, I would say if you need the rose petals and you want to up the sensuality of the scene, maybe place some rose petals around her. Maybe use your own breath to like blow them across the nipple. If you want to do slow motion because you're in that cliche vibe, go for it. Or maybe don't. Or maybe take the rose petals and slowly caress the body with them. And if they fall, then great. That's cute. And if they don't fall, then it's more of a there was that movie, like 40 days and 40 nights or something where we should do that movie.

SPEAKER_00 26:46

Oh my God. Incredible scene and great use of a flower.

SPEAKER_02 26:52

Beautiful. Exactly. Could have done something along those lines. If we had any power over lighting, I have a lot of thoughts about the lighting and dimming it down. It would have been really beautiful, maybe even just to see their silhouettes through the fabric instead of right there they are. Like there it is. And a little more planning, pre-planning as far as boundaries, and then where can she touch on his body that feels motivated? So everything.

unknown 27:18

Yeah.

SPEAKER_00 27:19

I love that. I love the idea of blowing the petals on her body.

SPEAKER_02 27:24

Just a lot of options. Well, overall, this got an F.

SPEAKER_00 27:31

Surprising no one. I appreciate it because it gets us thinking about all the things that Azure viewers will take for granted when they see a romantic simulated sex scene. You just assume that they know what a good camera angle is and the lighting is going to be good, and any props they're using are going to be used well. And whatever nudity you see is going to feel intentional. When you don't see that, all of a sudden you're like, wow, the work that these people do is really important.

SPEAKER_02 28:06

I also think I read something about how the lead actress was kind of miserable in that scene.

SPEAKER_00 28:11

She was very new to acting. She had already been having a really difficult time on set. I think at this point she had been gaining some weight, and Tommy had been making comments about her body. So I can't imagine that that puts you in a headspace where you then want to be physically intimate with that person.

SPEAKER_02 28:32

That brings us to position to know, our next segment, where we'll answer common questions we get about our work. A question that I get a lot from folks is have you experienced a difficult director who is trying to exploit the actors? Or something along those lines. Yeah. What do you do when you come across someone on the hierarchy who's quite high up who is taking advantage of the situation in some capacity? It does depend on the situation and it depends to what degree is this a perceived action, is this an active action witnessed by many? There is a hierarchy to a film set. And you going into a production as an intimacy coordinator need to understand all levels of that hierarchy so you know who to report to if there is a situation. If it is the director, then you would go up to production. An actor comes up to you and says, the director is creating problems for me. Depending on the severity, you may talk to the director privately. You may have some conversation about appropriateness in the workplace, or maybe just inquire about what happened and maybe offer light suggestions of how to move forward. And if everyone is able to move forward from that situation, then you do so. And if not, if there is no solution that can be easily reached, or if it is egregious, you would surpass the director and go directly to producer, executive producer, someone higher up to explain what happened and create solutions based on that. If a director is making a lot of lewd comments, if a producer is asking for more than the actors are willing to give, we are here to support the actors and advocate for them if need be. We are here to support the directors and advocate for them if need be. We are there as a barrier between power positions.

SPEAKER_00 30:35

The short answer is it depends. The majority of people I've worked with, whether it's actors, directors, producers, someone else involved with the crew, they've all been very open to working with an intimacy coordinator, if not just straight up enthusiastic about it. And this will lead into my question I get asked a lot. Are you here to choreograph every little thing and kill all spontaneity that happens in the scene?

SPEAKER_02 31:05

Yeah. No. I mean, so sorry. You're right. No, never mind.

SPEAKER_00 31:11

Ariel, you can't tell them. Damn it. I'm sorry. No. I have worked with a wide range of people. Some people are very technical, whether it's the director or the actors, and they're like, I do want a lot choreographed. Other people are like, I want room for improvisation. I don't want every little thing dictated, it'll put me in my head, whatever. Cool. Then we just create a container. Here are some boundaries that your scene partner has. Here are some boundaries the director has for storytelling purposes or whatever. Go nuts. The other thing with that question is the position that's most similar to ours is stunt coordinator. I don't think Tom Cruise feels like he has lost spontaneity from working with his stunt coordinators. In fact, I think what working with stunt coordinators has allowed him to do is do crazy shit like ride his motorcycle off a cliff and then have a parachute come up. We could potentially have whatever the simulated sex equivalent of that is, because we have someone there who can give whatever kind of guidelines we need, whether that's very strict little choreography or that's more just general, here's the space that you play in.

SPEAKER_02 32:31

It is easier to work with limitations than it is to work in an empty ocean of question marks. If you know where the boundaries are, you don't have to spend your time as an actor wondering what you can and cannot touch, how you will be perceived in a negative way potentially. You just can be your character and just remember, oh, I can't touch her hair. That was a boundary for her. He doesn't want his stomach touched. Great. It's much easier that way because you know ahead of time what you can work with. First thing in the safety meeting, the assistant director says, These sinks are not weight bearing. Do not sit on the sinks. Great. I now know that when I perform in this scene, I cannot sit on the sink or lean against it. Great. Now I don't have to add that as part of my process. I can use the rest of the room for whatever I need to. It is really helpful and actually allows you to be even more spontaneous because you know those parameters. Now I know I can't sit on the sink, but I know that I can, I don't know, open the refrigerator and sit inside there. I can't say it's a good choice, but it is an option that you know you have. And I think that can be really helpful. Maybe there's a chair in the kitchen. You get the point.

unknown 33:47

Yeah.

SPEAKER_02 33:47

Before we go, Morgan, do you have anything you want to plug?

SPEAKER_00 33:51

Yes, I want to plug a short film called Home that I worked on as an intimacy coordinator. The director was my partner, so it's very exciting to get to work on that with her. It is premiering at Out on Film in Atlanta. And I believe you can also watch it online.

SPEAKER_02 34:13

That's awesome. Awesome, dude. I worked on a short film called Silence Equals Death. It has gotten into New Fest, Leeds International Film Festival, A Glyph slash Prism, the March On Festival, and the Real Pride Fresno LGBTQ Plus Festival. So hopefully that shows up somewhere in a way that you are able to watch it. Yay! Awesome. Love, love it. All right, great. Well, thank you so much for joining us. Catch faking it every other hump day wherever you listen to podcasts.

SPEAKER_00 34:50

And make sure to like, subscribe, tell your friends, and review us because it really does help.

SPEAKER_02 34:55

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SPEAKER_00 34:59

Join our Patreon to tell us what scenes you want us to talk about in future episodes.

SPEAKER_02 35:04

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SPEAKER_00 35:08

Until next time, keep it real, fakers.

SPEAKER_02 35:12

Yes! I love it! Faking it with Ariel and Morgan is produced independently by Ariel Lee Cohen and Morgan Smith, edited by Ariel and social media and branding by Morgan. Our theme song is faking it by Psudo AI until we get monetized. So feel free to send us a new one. Have questions, thoughts, or media recommendations? Hit us up at fakingthepod.com. Find us on all socials at faking the pod and head over to our Patreon for bonus content. Credits for the film or show we reacted to are in the episode caption. Keep it real, fakers.

unknown 35:47

Woo!