Jessica Lee Gagné

But then I went through several phases. And I think the films that brought us together are the ones that really kind of define the aesthetic that I gravitate to the most. And those are those like American 70s pictures, you know, that we bonded over Serpico and Dog Day Afternoon. And for me, Clute is always a big one. I think any cinematographer knows.

But then I went through several phases. And I think the films that brought us together are the ones that really kind of define the aesthetic that I gravitate to the most. And those are those like American 70s pictures, you know, that we bonded over Serpico and Dog Day Afternoon. And for me, Clute is always a big one. I think any cinematographer knows.

But then I went through several phases. And I think the films that brought us together are the ones that really kind of define the aesthetic that I gravitate to the most. And those are those like American 70s pictures, you know, that we bonded over Serpico and Dog Day Afternoon. And for me, Clute is always a big one. I think any cinematographer knows.

Tends to gravitate towards that film because to me, it's almost like cinematography perfection. For me, like I gravitate towards a heightened realism style. And I think that's what spoke to you a little bit. It's a very gritty style, but at the same time, it's really aesthetic and it's really specific, which I think, you know, resonated with you. It's like it's intentional.

Tends to gravitate towards that film because to me, it's almost like cinematography perfection. For me, like I gravitate towards a heightened realism style. And I think that's what spoke to you a little bit. It's a very gritty style, but at the same time, it's really aesthetic and it's really specific, which I think, you know, resonated with you. It's like it's intentional.

Tends to gravitate towards that film because to me, it's almost like cinematography perfection. For me, like I gravitate towards a heightened realism style. And I think that's what spoke to you a little bit. It's a very gritty style, but at the same time, it's really aesthetic and it's really specific, which I think, you know, resonated with you. It's like it's intentional.

That was fun because I feel like when you see these things for the first time, it's magical. You know, the experience of seeing like something like Stalker. And, you know, I do work with a lot of images. So my intention usually with directors is to just make sure we're speaking the same language. So the easiest way to do that is photography and references.

That was fun because I feel like when you see these things for the first time, it's magical. You know, the experience of seeing like something like Stalker. And, you know, I do work with a lot of images. So my intention usually with directors is to just make sure we're speaking the same language. So the easiest way to do that is photography and references.

That was fun because I feel like when you see these things for the first time, it's magical. You know, the experience of seeing like something like Stalker. And, you know, I do work with a lot of images. So my intention usually with directors is to just make sure we're speaking the same language. So the easiest way to do that is photography and references.

And photography is very fast and I can just make sure. Okay.

And photography is very fast and I can just make sure. Okay.

And photography is very fast and I can just make sure. Okay.

this we like we're okay great this you like this okay great i know i can go there and to me the most important thing is that when we're on set you don't have to stress about the cinematography that you can like let go and you know i always say that you kind of could be your own cinematographer so i but i'm very very serious about that and i heard that in 60 you're talking about you and the camera well i fell over yeah that was your fault because you encouraged me to operate the camera

this we like we're okay great this you like this okay great i know i can go there and to me the most important thing is that when we're on set you don't have to stress about the cinematography that you can like let go and you know i always say that you kind of could be your own cinematographer so i but i'm very very serious about that and i heard that in 60 you're talking about you and the camera well i fell over yeah that was your fault because you encouraged me to operate the camera

this we like we're okay great this you like this okay great i know i can go there and to me the most important thing is that when we're on set you don't have to stress about the cinematography that you can like let go and you know i always say that you kind of could be your own cinematographer so i but i'm very very serious about that and i heard that in 60 you're talking about you and the camera well i fell over yeah that was your fault because you encouraged me to operate the camera

I just think you're a great operator. Not when you have to do like really complicated camera operating, but maybe the air mattress threw you off.

I just think you're a great operator. Not when you have to do like really complicated camera operating, but maybe the air mattress threw you off.

I just think you're a great operator. Not when you have to do like really complicated camera operating, but maybe the air mattress threw you off.

Here's the thing. We can also talk about how focused I am on set. And I'm so curious to hear like an actor's perspective also about how I get really in a flow state and in tunnel vision. And sometimes it kind of gets the best of me. But I learned a lot throughout this process.

Here's the thing. We can also talk about how focused I am on set. And I'm so curious to hear like an actor's perspective also about how I get really in a flow state and in tunnel vision. And sometimes it kind of gets the best of me. But I learned a lot throughout this process.