By Jennifer O'Connell
Sue Mythen
Role: Deputy intimacy co-ordinator
Sue Mythen joined the Lir Academy in 2011, the year after it opened, and is its director of movement. She was brought in by intimacy coach, Ita O’Brien, to work on some of the later scenes in the series.
“My biggest pride is that we had nine Lir Academy graduates in it, and to be able to move from being their teacher into being their colleague was a lovely progression,” she says.
The challenge for everyone working on the series was “how to tell an entire physical story through the movement work, and intimacy work has always been part of that.”
The importance of movement in acting can be seen, she says, in everything Paul Mescal does, “in every scene where we see him not being able to articulate, he has had to convey the inner life of the character through very subtle breathing patterns, or movement of the eyes. His face is always alive with who he is on the inside.”
More . . .
Sue Mythen
Role: Deputy intimacy co-ordinator
Sue Mythen joined the Lir Academy in 2011, the year after it opened, and is its director of movement. She was brought in by intimacy coach, Ita O’Brien, to work on some of the later scenes in the series.
“My biggest pride is that we had nine Lir Academy graduates in it, and to be able to move from being their teacher into being their colleague was a lovely progression,” she says.
The challenge for everyone working on the series was “how to tell an entire physical story through the movement work, and intimacy work has always been part of that.”
The importance of movement in acting can be seen, she says, in everything Paul Mescal does, “in every scene where we see him not being able to articulate, he has had to convey the inner life of the character through very subtle breathing patterns, or movement of the eyes. His face is always alive with who he is on the inside.”
More . . .
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