violently beaten in Caesar's bathroom. Gina Gershon was also injured. In a scene between Corky and Caesar, near the end of the film, Gershon struck a gun from Joe Pantoliano's hand so violently, that she required stitches. Sex scenes The sex scenes were choreographed by feminist writer and sex educator Susie Bright. The Wachowskis were fans of Bright and sent her a copy of the script with a letter asking her to be an extra in the film. Bright loved the script, particularly as it was about women unapologetically having and enjoying sex. Disappointed by the lack of description in the sex scenes, she offered to be a sex consultant for the film, and they accepted. The main sex scene, set in Corky's apartment, was filmed in one long shot. The Wachowskis believed that the continuous shot would be more realistic than several shots edited together. Although it was intended to be a closed set, there were actually many people present, moving the walls of the set in order to allow full movement of the camera around the actors. Bright appeared as Jesse, the woman Corky tries to talk to in the bar. Comedian Margaret Smith played Jesse's girlfriend and the extras in the bar scene were Bright's friends—"real life San Francisco dykes". Themes The Wachowskis describe several themes present in Bound. They say that the film is about "the boxes people make of their lives", that it is not only gay people who "live in closets". They wanted to define all of Bound characters by the "sort of trap that they were making out of their lives". Violet is trapped in her life with Caesar, and in the first scene, Corky is literally inside Violet's closet, bound and gagged by Caesar. This scene is echoed later in the film when Violet says "I had this image of you inside of me..." This theme of being trapped is exacerbated by the claustrophobic feeling created by the fact that most of the film takes place in Violet and Casear's apartment, or the apartment next door where Corky is working. Susie Bright described some of the specifically lesbian themes of the film. One is the concept of the hand as a sex organ, highlighted by lingering camera shots of Corky and Violet's hands. Another is the repeated use of water as a symbolic motif to represent women, present for example when Corky