Alex Goldman

Oh, yes. It is a three-minute-long close-up on Nicole Kidman's face. It's pretty remarkable. They take their time. Congratulations. Yes, that scene is very intense, and deliberately so. It was actually the last day of shooting, they saved it for the end, and when I talked to Helena, she wanted to wait until everyone trusted each other, they knew what they were about.

Oh, yes. It is a three-minute-long close-up on Nicole Kidman's face. It's pretty remarkable. They take their time. Congratulations. Yes, that scene is very intense, and deliberately so. It was actually the last day of shooting, they saved it for the end, and when I talked to Helena, she wanted to wait until everyone trusted each other, they knew what they were about.

Oh, yes. It is a three-minute-long close-up on Nicole Kidman's face. It's pretty remarkable. They take their time. Congratulations. Yes, that scene is very intense, and deliberately so. It was actually the last day of shooting, they saved it for the end, and when I talked to Helena, she wanted to wait until everyone trusted each other, they knew what they were about.

The scene itself is kind of funny and awkward, deliberately, they're defining this dynamic, they're figuring out what the other person likes, they're testing these boundaries, and then something clicks. And the take is unflinching. It is three minutes long, and originally she wanted it to be even longer. She had hoped for an 18-minute orgasm scene, although she was quickly called back to reality.

The scene itself is kind of funny and awkward, deliberately, they're defining this dynamic, they're figuring out what the other person likes, they're testing these boundaries, and then something clicks. And the take is unflinching. It is three minutes long, and originally she wanted it to be even longer. She had hoped for an 18-minute orgasm scene, although she was quickly called back to reality.

The scene itself is kind of funny and awkward, deliberately, they're defining this dynamic, they're figuring out what the other person likes, they're testing these boundaries, and then something clicks. And the take is unflinching. It is three minutes long, and originally she wanted it to be even longer. She had hoped for an 18-minute orgasm scene, although she was quickly called back to reality.

Very. I mean, you know, Glenn Close was nominated for Fatal Attraction back in the day, but she didn't win, and that was sort of at the peak of the genre's power and popularity. But as you said, this role really is a showcase for Nicole Kidman's range, and she won Best Actress at the Venice Film Festival. She has some momentum behind her, so we'll see if voters are ready for it now.

Very. I mean, you know, Glenn Close was nominated for Fatal Attraction back in the day, but she didn't win, and that was sort of at the peak of the genre's power and popularity. But as you said, this role really is a showcase for Nicole Kidman's range, and she won Best Actress at the Venice Film Festival. She has some momentum behind her, so we'll see if voters are ready for it now.

Very. I mean, you know, Glenn Close was nominated for Fatal Attraction back in the day, but she didn't win, and that was sort of at the peak of the genre's power and popularity. But as you said, this role really is a showcase for Nicole Kidman's range, and she won Best Actress at the Venice Film Festival. She has some momentum behind her, so we'll see if voters are ready for it now.

Now, what makes an erotic thriller as opposed to a movie that just has a sex scene or two? I mean, if you look at the ones that came out in the 80s, 90s, early 2000s, I feel like the hallmarks are these very Baroque, over-the-top plots, mostly to justify the sex. And also the idea that the danger and the sex are inextricable from each other.

Now, what makes an erotic thriller as opposed to a movie that just has a sex scene or two? I mean, if you look at the ones that came out in the 80s, 90s, early 2000s, I feel like the hallmarks are these very Baroque, over-the-top plots, mostly to justify the sex. And also the idea that the danger and the sex are inextricable from each other.

Now, what makes an erotic thriller as opposed to a movie that just has a sex scene or two? I mean, if you look at the ones that came out in the 80s, 90s, early 2000s, I feel like the hallmarks are these very Baroque, over-the-top plots, mostly to justify the sex. And also the idea that the danger and the sex are inextricable from each other.

You know, the erotic and the thriller have to go hand in hand. The point is that that's why it's exciting until it decidedly is not.

You know, the erotic and the thriller have to go hand in hand. The point is that that's why it's exciting until it decidedly is not.

You know, the erotic and the thriller have to go hand in hand. The point is that that's why it's exciting until it decidedly is not.

Yes, exactly. I mean, Michael Douglas, who had the kind of erotic thriller hat trick of disclosure, fatal attraction, and basic instinct. He was the man for the job, they decided. And he said at the time that the ideal audience reaction is, I laughed, I got turned on by the sex scenes, and I got scared.

Yes, exactly. I mean, Michael Douglas, who had the kind of erotic thriller hat trick of disclosure, fatal attraction, and basic instinct. He was the man for the job, they decided. And he said at the time that the ideal audience reaction is, I laughed, I got turned on by the sex scenes, and I got scared.

Yes, exactly. I mean, Michael Douglas, who had the kind of erotic thriller hat trick of disclosure, fatal attraction, and basic instinct. He was the man for the job, they decided. And he said at the time that the ideal audience reaction is, I laughed, I got turned on by the sex scenes, and I got scared.

Basic instinct. We have to go there. It's sort of the apex of the genre. It was released in 1992. It's directed by Paul Verhoeven, who's really the master at this. And he has Sharon Stone and Michael Douglas, so great cast. She plays a novelist whose boyfriend is stabbed to death with an ice pick in circumstances that are very similar to a novel she herself has written.

Basic instinct. We have to go there. It's sort of the apex of the genre. It was released in 1992. It's directed by Paul Verhoeven, who's really the master at this. And he has Sharon Stone and Michael Douglas, so great cast. She plays a novelist whose boyfriend is stabbed to death with an ice pick in circumstances that are very similar to a novel she herself has written.