Intimacy coordinator Ita O’Brien on how she coached Daisy Edgar-Jones and Paul Mescal through NormalPeople’s most private moments
I’m always asking the director, “What’s your palette? What quality of intimate content are you going for?” And very often they’ll send me another film that has that sort of energy. [With] one of the main palettes—both of how to shoot the nakedness, the quality of the rawness, and the color palette—wasphotography. And then music as well. Both Daisy and Paul talked about the soundtracks they had for both characters. Music always gives you the rhythm of that character. And I had read the book.
your actors will have [on] is a genitalia patch or pouch. You could have more layers on top of that: a flesh-colored G-string, dance belt, pants, shorts, a bandana or a camisole top. Any of those scenes where you saw them completely naked in one take, well, it just will have been for that [shot]. I always say start with the close-ups, because they have more clothes on and they’re more comfortable. So some of the scenes you might have them both with tracksuit bottoms on….
What’s the difference between coordinating, let’s say, that first sex scene between Marianne and Connell versus the quick short bit of Marianne and Jamie having sex where she’s bent over and it’s more aggressive? What do you do when you see that actors have real chemistry? I know Paul and Daisy have absolute chemistry, but what I’m getting at is if they have a sex—People say the best-case scenario is that your actors get on with each other. It makes for a really lovely atmosphere on-set. But the best-case scenario is that you help everybody to be professional. If there [are] two people who really fancy each other, we see those are two people who aren’t these characters.
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