Jessica Lee Gagné
speaker
82 appearances
1 recordings
1 series
first heard Feb 2025
last heard Feb 2025
Jessica Lee Gagné’s voice in public audio — every appearance, attributed to the second.
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Appearances
I wanted it to be really simple because of all the technical stuff we were doing.
Yeah.
So we were questioning a lot at the beginning, should we do something very new, something very different, or should it still be in the aesthetic of Lumen? And we were going down the route of keeping it in the Lumen aesthetic.
And I think the only thing I knew very clearly, which was very much like a cinematographer thing, I knew I wanted it to be lit because the end sequence of her running away, I knew that I wanted it to be lit by these this type of lighting.
Yeah, so that kind of like inched it in a direction. But then we wanted to do a set that was very confusing in its own way and we had a very new kind of language. And we went with these diagonals and triangles, which is interesting, you know, the triangle of Heli, Gemma, and Mark.
But one thing that was a total synchronicity that we found out later with this set, and I think Jeremy and I, our minds were blown with this. And Severance is a show that has been blessed with many, many synchronicities. But when we went back to that college... Gans College, which is Nassau Community College in New York. And when we went back there, we had to find an office.
And then when we went to look at the offices that were available there in this big tower, we take the elevator and the doors open to this floor. And this was after we knew we wanted to do a triangular set. But as soon as the doors open, Jeremy and I walk in and we have this moment where we look at each other and we're speechless again. All the angles were triangular in this building.
So Gemma's office, you know, you'd have to, I tried to show it in that one-er shot of him coming out of the elevator, but it was very, very challenging optically to see it. But those hallways are all based on a triangle form. That's when you kind of know like things are done right, you know, and I think Jeremy's great at following his intuition and just seeing where things go.
He's very open, kind of like you, you guys both have a very similar process with that where you're just open-minded, right? For me, it's been a big lesson on severance and working with you in general is your open mindedness to seeing how things can move with their own force.
I guess I'm not afraid of doing bold, bold, bold things for sure. But when I don't have to own them, it's a lot easier, you know? And like the biggest fear of directing is like, well, you have to own these choices. So it's very easy to like comment on other directors as a cinematographer, as a critic, you know?
But like the act of directing and putting something out in the world that you're signing is,
is very courageous I find and it's I think is like the most stressful thing about it I have to learn to be okay with the fact that not everyone likes everything and that's fine but it definitely had been blocking me for a long time and I feel like to get to that level of craftsmanship you do have to be open to go there right so how is the experience of directing for you coming out of it and will you ever be a cinematographer again or you know just a director
Um, the experience was very scary. I didn't really want to do it at first. You know, it's funny because you had asked me years ago, like, Hey, you know, would you ever direct? And I was like, no, I would not do that. And then in my mind, I was like, but I feel like I'd be interested in like something kind of like Nolan-esque, you know, I don't know why like that if I were to direct.
And then this came around and I realized that there would be no better opportunity for me to try this. And I went through a lot of personal experiences and personal growth. And I realized that I needed to face this fear of mine. And there was just not a better place. Being supported by you in this environment, having a crew that knew me on a show that I knew and understood, knew the writers,
There was just never going to be this. This was not going to happen again. So I'm like, okay, we're going to do it. And we're going to, we're going to see what happens. But I, um, I felt very sick the first couple of weeks. I didn't feel good at all. Um, I just kind of moved through that feeling and I tried to be as present as I could. And you really helped me with actors.
And I feel like you were slowly coaching me like throughout the season, you know, kind of like sometimes saying, you know, you know, with actors like this, this and that. And I'm like, okay, I'm holding onto that. Cause I feel like he's trying to tell me something I need to, cause
Not really, no. I feel like you helped me understand that it doesn't need to be complicated, you know? And it's really just about being present and accompanying them because they're going to find it, you know? Antonize is just a little push in one way or another and exploring. And, like, I think what the beauty of Severance as a show is there's room for exploration and there's room for intuition.
And I think it's what makes Severance Severance.
I do not remember that.
You know, I've learned in my life to never say never, but I fell in love again with directing because I guess I had done it in film school, you know, but it brought a new happiness for me that I had kind of lost and it brought kind of light to my life again, ironically.
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