In ELLE.com’s monthly series Office Hours, we ask people in powerful positions to take us through their first jobs, worst jobs, and everything in between. This month, we spoke with Ita O’Brien, a pioneering intimacy coordinator who’s brought her expertise to groundbreaking shows like Sex Education, Normal People, I May Destroy You, Gentleman Jack, and, most recently, Conversations with Friends, out now on Hulu. O’Brien, a trained dancer and actor who received her Master of Arts in movement studies, was one of the first in the U.K. to develop guidelines for intimate scenes, creating best practices for working with any kind of nudity and sexual content.
In her role now, she helps to carefully choreograph scenes on set, ensuring all actors feel safe and comfortable, while also serving the vision of the project’s director and writers. “There’s a brilliant system in place for it,” Alison Oliver, who plays Frances on Conversations with Friends, told ELLE about working with O’Brien. “We’ll discuss the scene: What’s the trajectory, and what’s the quality of intimacy? And why is it happening? It’s a continuation of dialogue, in a sense.” Below, O’Brien discusses what it was like shooting the highly-anticipated show, how she first came into this line of work, and the way she copes with the psychological toll that comes with the profession.
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In her role now, she helps to carefully choreograph scenes on set, ensuring all actors feel safe and comfortable, while also serving the vision of the project’s director and writers. “There’s a brilliant system in place for it,” Alison Oliver, who plays Frances on Conversations with Friends, told ELLE about working with O’Brien. “We’ll discuss the scene: What’s the trajectory, and what’s the quality of intimacy? And why is it happening? It’s a continuation of dialogue, in a sense.” Below, O’Brien discusses what it was like shooting the highly-anticipated show, how she first came into this line of work, and the way she copes with the psychological toll that comes with the profession.
More . . .
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