Fresh from their SXSW premiere, where their debut feature documentary Make It Look Real drew critical acclaim and lively festival buzz, filmmakers Kate Blackmore and Bethany Bruce are making serious waves.
More topical than ever, with far-right conservatives such as Joe Rogan and Candice Owen throwing their weight behind Harvey Weinstein, their documentary is an exploration of consent, intimacy coordination, and care in modern cinema. Now, with momentum behind them, Make It Look Real will be featuring at the Sydney Film Festival, where it promises to spark vital conversations.
We caught up with Blackmore and Bruce to talk about the future of they’re helping shape, that goes beyond film.
B&T: Let’s dive straight in. What inspired you to explore intimacy coordination as the subject for your latest documentary?
Blackmore: I primarily make documentaries, so I hadn’t worked much with actors before. I first learned about Maria Schneider’s experience on Last Tango in Paris — the infamous “butter scene” — and I was horrified. Maria wasn’t prepared for what happened. What you see on screen is real humiliation and real tears. Learning about that made me wonder: how could there be no support for actors in these situations? Shortly after, intimacy coordinators began to emerge, and we realised this could be a fascinating lens through which to explore the history of sex scenes in cinema — and how to do them ethically and safely.
B&T: We read that Toni Collette rejected intimacy coordinators — it seems complicated.
Blackmore: It is. Some actors, like Gwyneth Paltrow too, have said they don’t feel they need them. But what we learned making this film is that intimacy coordination is not just choreography. It’s working with writers to ensure scenes aren’t gratuitous, with directors to align with their vision, and with crew to create a safe environment for everyone. It’s misunderstood because most of the work happens on closed sets. Our film tries to demystify it — and show how it elevates the entire production.
B&T: It’s an evolution. Feelings about scenes can change over time, too, can’t they?
Blackmore: Exactly. Sometimes it takes years to process emotions. That’s why safe practices are critical from the start.
B&T: The documentary seems to be making real noise already. What impact do you hope it has?
Blackmore: We want intimacy coordination to become as standard as having a stunt coordinator. It’s about creating safer sets — for everyone. You never know what unseen histories people bring onto a set, not just actors but crew too. Having proper support is critical.
B&T: Are intimacy coordinators trained psychologists?
Blackmore: Some come from psychology, others from acting, dance, or social work. It’s a multidisciplinary field. Our film’s protagonist, Claire, runs one of the key international accreditation programs. It’s serious, multi-year training.
B&T: We have a lot of young creatives in our audience. What advice would you give to those starting out?
Blackmore: Find mentors. Build relationships — they can sometimes matter more than the projects themselves. And develop resilience. The rejections will far outweigh the wins, but you need to keep going.
Bruce: Also, never underestimate the power of a short film. It’s still one of the best calling cards you can create.
B&T: Short films are such a vital form. So, what’s next for you both post-festival?
Blackmore: We want to broaden the conversation around consent beyond just film. The younger generation, especially Gen Z women, have really connected with the language and ideas presented in the film. It’s about helping people think deeply about their own boundaries — something many haven’t done before. We hope the film normalises conversations about consent.
Bruce: For me, it’s also about care — a value I see women in leadership naturally bringing to sets and workplaces. Care, safety, and collaboration should underpin creative industries.
B&T: You had a successful start at South by Southwest. How was that experience?
Blackmore: Incredible! It was our first time there, and the audience was so broad — Gen Z right through to people in their 50s. It’s a real festival about the future — conversations, VR experiences, cinema, everything. We’re now in conversations with several broadcasters through our sales agent, A Look Film Sales.
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