For instance, in one of the drafts of the sex scene, the Wachowskis had written that Violet would take off Corkyâs shirt and admire her breasts. âI said, âOh no, not with these two,ââ Bright recalled. âCorky is very butch and kind of shy, and sheâs not going to have her shirt ripped off and her nipples hanging out. She would rather die. Violet is more knowing than that, so she needs to sneak up on her and disarm her. A femme would never make a frontal assault on your tits.â
With Brightâs advice, that choreography was gone, and was replaced instead by moments like when Violet traces her fingers on Corky and takes her hand and puts it on her breast. Bright also suggested we see Violetâs hand moving in between Corkyâs thighs, and Corkyâs belly trembling at the moment of orgasm, so we understand whatâs happening without seeing it explicitly.
âYou should think of the womanâs hands as her genitals,â Bright said. âYou need really erotic close-ups of the hands. And not just in the sex scene. For instance, when Corky fixes the plumbling, and thereâs water pouring all over her hands, itâs obviously a symbol for the sex that theyâre soon to have. The whole movie was wet with with water and blood, all sorts of juicy, squishy associations. And luckily Gina Gershon had such good hands, you could imagine what was going to happen next.â
As a consequence, âthere wasnât a single pinky move that wasnât in the script,â Bright said. All the white spaces of the coupleâs embrace were filled in and choreographed. âI didnât write it word for word the way they did it in the end,â she said, âbut I gave them the elements, and the Wachowskis did all the storyboards from there.â
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