#flashback press

Now for the sometimes tricky bit. Many actors struggle with the post-breakout period, but O’Brien is making it look easy so far. This year’s Netflix hit Love and Monsters proved he can carry an old-school family adventure, and new film Flashback (out next week) reveals an appetite for weirder, more cerebral work. He stars as Fred Fitzell, a young man reluctant to buckle down to life as a nine-to-fiver with a boring corporate job and a long-term girlfriend (Mindhunter‘s Hannah Gross). When he runs into a freaky-looking acquaintance from his teenage years, Fred becomes obsessed with finding an old high-school friend he used to drop a mind-bending experimental drug called Mercury with. It’s difficult to say any more without entering spoiler territory, but Flashback is a wild ride underpinned by the idea that we can exist in several realities at once. Even if you follow every plot twist, you might not fully understand the end. “Oh, it’s definitely a headfuck,” O’Brien agrees. “There’s not totally an answer to figure out. There’s a lot of different things that people can take from it.”

Speaking over Zoom from his LA home, O’Brien is bright, thoughtful and really good fun to talk to, especially when he relaxes into the interview, but he clearly knows where his line between public and private lies. When he first read the Flashback script, written by the film’s director Christopher MacBride, his “mind was blown” by just how much he related to Fred. “I felt like I was in this transitional phase of my life that was, you know, sort of close to a quarter-life crisis type thing,” he says. “For whatever reason, it was like me and this script were meant to be. I remember reading it and thinking: ‘I am this guy right now.'”

“There were a lot of things in my personal life that were neglected for a while”

When we ask why O’Brien felt as though he had reached a “transitional phase”, he gives an answer that’s vague but not exactly evasive. For understandable reasons, he doesn’t mention the incredibly traumatic motorcycle accident he sustained while shooting the final Maze Runner film in March 2016. O’Brien suffered severe trauma to the brain and said in 2017 that he underwent extensive facial reconstructive surgery after the accident “broke most of the right side of my face”. Tellingly, he’s never really revealed what happened on set or how it affected him.

Today, O’Brien dances around the details of the accident and other issues he was dealing with at the time, but doesn’t shy away from discussing his inner conflict. “You know, it was a lot of personal things combined with at-a-point-in-my-career things,” he says after a brief pause. He says he’d have been going through some of this stuff anyway, simply because of his age, but it sounds as though success intensified it all. “It was like this whole fucking storm of shit,” he continues. “I was simultaneously so fulfilled and happy about these, like, otherworldly and surreal things that I had experienced in terms of where my career had brought me. I had all this confidence and fulfilment and beautiful people [in my life] – such amazing things to experience at a young age. But at the same time, there were a lot of things in my personal life that were unchecked and sort of neglected for a while.”

O’Brien says that in time, he realised he had to “stop for a second” and “re-explore how I wanted my life to look going forward”. In fairness, you can see why he needed a breather: his career took off while he was still a teenager. After his family moved from New Jersey to Los Angeles County when he was 12, O’Brien contemplated a career as a sports broadcaster – his Twitter bio still bills him as a “no longer suffering Mets fan” – then began posting YouTube videos as moviekidd826. A funny, slickly edited skit titled ‘How to Prepare for the SAT in 45 seconds’, shared when he was just 17, shows he was a born performer and storyteller. YouTube success led to him getting a manager, but his breakthrough role in Teen Wolf still came out of the blue. At the time, he was treading water at a local community college and taking auditions on the side.

Still, he has since taken a rather fatalistic view of this career-making moment. “It’s totally weird because, when I think about it now, I don’t see how it could have happened any other way. I can’t picture myself doing anything else now,” he told Collider in 2011. “It was really sudden and a little random, and not provoked by anything. It was just out of nowhere. It wasn’t my intentional doing.” Today, O’Brien summarises his skyscraper career trajectory succinctly. “I guess I just graduated high school and started acting,” he says. “And then I felt like I was just flying by the seat of my pants and never got a chance to stop.” Thankfully, straight-out-the-blocks Hollywood success hasn’t taken away his sense of perspective. When I say how easy social media makes it to compare yourself unfavourably to others, O’Brien jumps in: “Yeah, that’s very true. I was watching the Billie Eilish doc the other day, and I was like, I’ve done nothing. I’m not an artist at all!”

“No one thought ‘Love and Monsters’ was going to be good!”

O’Brien is also self-deprecating when he talks about being cast in Flashback, suggesting it happened because he had such an intense connection with Fred. “I was honestly like, ‘Who is watching me right now?’ That is the best way I can describe how I was feeling when I came across this script,” he says. “Chris [MacBride, director] and I had this conversation that went so well in terms of [my] understanding this script that I think he’d sent around a lot and [that] very commonly wasn’t understood. I think Chris has even said that the night before shooting, he suddenly had this thought, like, ‘Wait, do I even think he’s a good actor?'”

Though O’Brien has firmly ring-fenced elements of his private life, he’s actually pretty frank about his acting vehicles. He readily admits he was expecting a snobbish response to Love and Monsters, a CGI-heavy hybrid of post-apocalyptic action and romcom that dropped on Netflix in April and topped the streamer’s daily most-watched list. “It means so much that Love and Monsters has gotten the response that it’s gotten,” O’Brien says. “No one thought this movie was going to be good.” His blunt honesty makes me laugh out loud. “No one did though!” he says in response. “And so, fuck that. You know, most of the people who say something to me about the movie, they’re like: ‘I watched Love and Monsters, and it was… good?’ And honestly, that just cracks me up.” For obvious reasons, we hastily decide not to share our response to the film – namely, that it was a whole lot better than expected.

In Love and Monsters, O’Brien plays Joel, a survivor of a so-called “monsterpocalypse” that has bumped humans to the bottom of the food chain. Though he’s known in his colony as a bit of a coward, Joel sets off on a treacherous 80-mile journey to find his high school sweetheart Aimee (Iron Fist‘s Jessica Henwick), which means evading the hungry clutches of various supersize grizzlies including a giant monster-frog hiding in a suburban pond. It’s a simple but pretty out-there premise that wouldn’t work if O’Brien’s performance was even slightly condescending. Instead, his unselfconscious sincerity really sells a film that has as much in common with the family-oriented Robin Williams movie Night at the Museum as darker fare like The Walking Dead.

His obvious affection for the project really comes across during our interview today. “When I read the script, I just thought it was so sweet and funny and smart and unique, but at the same time reminiscent of all these movies that don’t really get made any more,” he says. That’s a fair point: Love and Monsters is neither a fail-safe superhero movie nor a slice of classy Oscar bait. “And when they were talking about how to market this movie, it was so funny hearing all these conversations like, ‘How do we actually get people to watch it?'” he adds. “But that’s a big part of the reason I wanted to do this movie: because it felt like something I missed seeing.”

“I’m lucky to be surrounded by people who want to make something out of love”

So in a way, Love and Monsters was a risk for an actor seeking to establish himself outside of a bankable movie franchise and a hit TV show. O’Brien has only made four films since his final Maze Runner outing in 2018, and insists he hasn’t been tactical with his choices. “I don’t have anyone saying, ‘We need to get you in an Oscar vehicle’, or any of that kind of shit,” he says. “I’m really lucky to be surrounded by people who think like me: that you should do what you’re drawn to, and make something out of love.”

He’s recently finished shooting a mysterious crime thriller called The Outfit in London with Mark Rylance. Directed and co-written by Graham Moore, who won an Oscar for his screenplay to Alan Turing biopic The Imitation Game, O’Brien calls it “quite possibly one of the most special pieces of writing I’ve ever experienced”. He first read the script on a plane and says he “actually stood up and clapped” when he got to the end. Considering O’Brien probably wasn’t flying Ryanair, this reaction presumably attracted a few baffled glances.

Anyway, it must be pretty intimidating walking onto set with Rylance, a multi-award-winning actor revered by his peers – Al Pacino once said he “speaks Shakespeare as if it was written for him the night before” – but it sounds as though O’Brien took it all in stride. He says he’s confident in his abilities, but admits to having a slight wobble whenever he begins a new project. “I’m always sort of re-questioning everything – like, ‘Can I even act?'” he says. “But I think there’s something very natural about that. I think even Rylance could relate to that feeling. Acting is like starting a new year at school every single time.”

At this point in his career, O’Brien has made peace with the fact that some people will have preconceptions about him based on what he’s known for: Maze Runner and Teen Wolf. “People will put you in a box no matter what,” he says. “There was definitely a time when that would get to me, especially when it felt like somebody had a perspective on me that in my soul, I just felt wasn’t accurate.” Still, there’s no doubt he wants to show us what’s really in his soul with more films like Flashback. “If anything,” he adds bullishly, “it just makes me think: ‘Right, I’m really gonna show them now’.”

What the heck is going on with Fred?

This is probably Dylan's most psychological movie yet. And Evelyn is one of the few characters who really tether him to reality. So what was it like getting to watch Fred sort of spiral from a reluctant, moderately well-adjusted office employee to this drug spiral tinged with these fantastical layers?

Well, you know, like I said, a part of my draw to it was that the script was so complex and so complicated, but then having to actually go do that, to be able to achieve the time jumps was incredibly difficult and took a lot of scheduling. So we would ... Poor Dylan would have to change costumes or change whether or not he was broken down or if he was very put together. Because we shot in a very tight amount of time, we would flip back and forth between future to present to sort of some of his hallucinations all in a period of three hours. Dylan was a pro — I'll say that first and foremost. There were a couple of times we both accidentally changed into the wrong costume. We just had to run and change into something else.

And that was stressful. But the parts where he would sort of break down and really spiral were some of the best acting I've seen. There was one part where I almost called cut because I was like, "Is he okay?" Like not the character. Is Dylan okay? He really went for it. And Chris would let him sort of improv and let him roll takes and let him really get to the heart of where he needed to get. So it was exciting to watch. But if you care about your co-star, you are also concerned for their mental wellbeing.

Finding humor during intense scenes

Right, yeah. That was a rough progression. Can you remember anything specific that might've been ad-libbed or added in the moment?

I don't know how much of it I'm trying to think made it in. Just when he flips out in the office, and then he sort of flips out. He threw things. He moved furniture. He screamed at people. He ran about the room, and so every take was different. And so it was great. It was very helpful for my reaction and everyone else's reaction because I genuinely didn't know what Dylan, therefore the character, was going to do. So every reaction was authentic every time.There's a part where I jump, and I genuinely jumped because yeah, I didn't know what he was going to do.

Did you or Dylan do anything between takes to lighten the mood for these intense scenes?

Absolutely. We would go outside. We were shooting in, I think it was a hospital turned into a ... I'm not even sure what it was, but it was just a very cold, large sort of office building. And the two of us as artists, I don't spend a lot of time in offices, so we would go outside and gossip about — I can't tell you what we gossiped about, but we have a lot of friends in common or some friends in common. And so it was nice to sort of just be able to discuss stuff outside of the heavy material that was the movie and also bond and get to know one another and trust one another. So when he had to go to those places, he had a friendly face in the room.

Right. Can you think of anything that might be in the blooper reel or something like that?

Oh, my goodness sakes. No. For myself, when I got scared, I ran into a wall twice, but I don't think that made the blooper reel. I just tried to get out of his way and I ran directly into a wall. But I'm hoping that I didn't make the reel.

I would like to see that.

So would I, because I did it twice. Not once.

That's funny.

Twice and it was the same wall.

The next question contains significant spoilers for "Flashback."

The subtle subtext

So I was getting a bit of a "Game of Thrones" vibe at the end of the movie. Is Cindy supposed to be Mrs. Fitzel? Can you say? Do you have a theory?

I think so. Yes. I personally think so. I think that's why my mentioning the conversation with Chris just about like motherhood, and sort of that is a very strange cycle that has happened throughout his life that I personally think so. I'm not sure, but that's how I read it, and that's how I interpreted it. And when I watched it, that's what I was left with and happy with. Very good, though. I'm glad that you picked that up.

I had to go rewatch that scene three times, and I'm like, "Am I just hallucinating this? Or is this intentional?"