Jennifer Lawrence recently offered insight into the making of her upcoming film Die, My Love, sharing how her working relationship with co‑star Robert Pattinson helped shape their on‑screen intimacy. The actress explained that the presence of an intimacy coordinator on set may have been minimal in practice because she felt naturally secure with Pattinson: “I felt really safe with Rob,” she said, noting that his behavior never triggered the kind of unease many actors fear around sex scenes.
Lawrence went further, crediting her pregnancy during production for removing layers of vanity and making nudity feel less fraught. Rather than guarding her body, she embraced it, declining offers to retouch cellulite and rejecting any suggestion that her pregnant form be treated as a liability. The result is a performance that leans into authenticity rather than artifice.
Directed by Lynne Ramsay, Die, My Love explores the deterioration of a marriage, located in Montana, between Lawrence’s character Grace and Pattinson’s Jackson. The film combines psychological turmoil, dark humor and raw physicality. In such a charged environment, establishing trust between actors becomes vital—and according to Lawrence, that trust was already present. She attributed it in part to open conversations about relationships and life beyond the film, framing Pattinson not as a “male actor” predator stereotype but as someone entirely grounded.
The industry’s growing emphasis on intimacy coordinators stems from past abuses, but Lawrence’s remarks underscore that even in films with explicit content, the actor dynamic can meaningfully alter how such scenes are handled. In this case, she suggests that extreme comfort reduced the need for formal layers of oversight. That said, her comments raise broader questions: should the optional nature of intimacy coordination place responsibility for safety on the actors rather than on production frameworks designed for all participants?
As Die, My Love approaches its release, the behind‑the‑scenes narrative becomes as compelling as the film itself—a high‑profile example of how physical exposure on‑screen is intertwined with off‑screen trust, agency and the changing norms of film production.