“Anger is an emotion we are all too familiar with but one that is most raw and concentrated during the formative years of our lives,” explains Niall O’Brien on his new series of eponymously titled short films and the focus of his latest exhibition.
“Anger is an emotion we are all too familiar with but one that is most raw and concentrated during the formative years of our lives,” explains Niall O’Brien on his new series of eponymously titled short films and the focus of his latest exhibition. Based in the estate below his apartment, O’Brien disturbingly captured eight youths in this strong and uncomfortable state. Filmed in black and white against a concrete backdrop, each outburst of anger is exaggerated by the use of slow motion – reducing the feeling to its essence. Explicit and raw the films are accompanied by an equally distressing and stirring soundtrack by Jonathan Shakhovskoy, which perfectly reflects anger in audio form.
Whilst O’Brien is busy preparing the installation of his eight films – which will be projected on loop all over the large gallery space of Block T from this Thursday – AnOther caught up with the photographer and filmmaker to discuss his latest, provocative project.
Why anger?
I loved the idea of recording really pissed off kids. I suppose we all were pissed off at one stage so it was an observation of that act. I usually make things that interest me with out thinking of where it might go or what it might turn into.
How did you first come up with the concept behind this series?
Initially, it was an art commission that fell through leaving the work to exhibit for myself. The idea was simple: I wanted to show anger in a concentrated form by capturing a split second of the act. I felt it needed to be presented like a photograph only slightly moving, so every movement, however subtle, is important and considered.
Where did you base these films and why did you cast this particular set of four people?
The film is about frustration and an emotion that I felt needed a concrete surrounding to frame the subject. The estate below my apartment was perfect. I look at it every day from my kitchen on the 10th floor so it worked well and felt right. The kids needed to be diverse and I also wanted them to be from the local area. I cast them from a nearby community acting school. They were real kids that had it in them to help me project an honest looking display.
How did you go about inducing anger in them?
I had to “go there” with them. It was funny to look back on but I went pretty demented at times. I wanted them to push it so I shouted alot and freaked out the crew. My cinematographer caught me pulling a few faces on my own at stages, maybe getting too into it. There is no point just telling someone what you want when it comes to being specific, sometimes you have to physically show them. There was such a tight schedule too that we couldn’t afford the time and the takes.
The sound is an extremely powerful element in the films, what effect did you want it to give off?
Initially sound wasn’t part of it at all. As the work progressed it almost took over. The change came from the want to make the installation a physical experience. I wanted to make a sound that expressed the feeling inside. It is totally subjective but I imagine this is what it might feel and sound like. I was introduced to Jonathan Shakhovskoy at Pitch and Sync and he got it right away. We went very dark and it’s really uncomfortable to witness. I almost like the idea of people having to leave the space because of it. It is comprised of a BretonLabs track slowed down 800 times and an array of warped, reversed and stretched sounds.
What makes you angry?
Predictability. I think that is what causes most people in the street to get angry at each other. Not surprisingly stupid acts but foreseen ones. Kids on the other hand get riled up over anything. I think that was my point in all this, a relatively common emotion in youth. I think it can be therapeutic to let it out. In your own time though.
Anger by Niall O'Brien runs at Block T, Dublin as part of Photo Ireland Festival from Thursday July 7.
Text by Lucia Davies
A Laura Holmes Production and Spun Films collaboration
Cinematographer: Ula Pontikos
Editor: BretonLabsSound
Design: Jonathan Shakhovskoy at Pitch And SyncAudio
Sample: BretonLabsGrade: Alex Arce @ DTouch New York
Featuring: Sophia Ingar, Landry Adelard, Charlie Clarke & Francesca Mann
Wardrobe: Katie Shillingford
Wardrobe assistant: Nell Kalonji
Make-up artist: Niamh Quinn
1st AD: James Fuller
Phantom Technical Operator: John HadfieldFocus
Puller: Dom Cheung
Key grip: Edgar Zubrovsky
Lighting assistants: Ronan Gallagher & Jacob Lillis
Production runner: Ros Jenkins
With thanks to Hoxton Street Casting, The Young Actors Theatre, Green Door Films & Take 2 Film.
