Jessica Lee Gagné

I wanted it to be really simple because of all the technical stuff we were doing.

I wanted it to be really simple because of all the technical stuff we were doing.

I wanted it to be really simple because of all the technical stuff we were doing.

Yeah.

Yeah.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.