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.
Trend
recordings per month · last 12 monthsNo recordings in the last 12 months.Older appearances are listed below; set an alert to hear about the next one.
Appearances
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.
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.
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.
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.
So I DP'd any part of the episode.
Yeah. I think I have to just go back to the decision of shooting my own episode. Why did I allow myself to do that? A lot of people asked me, are you sure you can handle this? It's the first time you're directing. Do you actually really want to shoot it? I knew where it would become a problem and that was going to be these flashbacks. I needed someone else. And it was also interesting to work.
with someone who had a new eye as well because it's a new world so all of that I thought made a lot of sense and working with Max was great but working with myself was very weird I did not understand what it really meant but there was this one moment on set and I had this feeling of everything's moving so fast everything's happening really really fast and I don't feel like I can breathe and
I realized at that moment I was standing in Gemma's suite and I realized that conversation that happens between a cinematographer and a director wasn't happening for me. And that kind of was giving me anxiety. At one point I looked at Sam Evoy, our script supervisor, and I'm like, Sam, I'm going to talk to you like you're my cinematographer. I'm sorry.
I just, I need that time because I needed to breathe and I needed to know that like, that it was okay. Right. You know, because that relationship is important.
Yeah. And those shots came in handy. Like they say it does.
Well, the thought about shooting it on film to me, it's funny because originally I am the cinematographer of this show. And, you know, when it comes to like choosing cameras and lenses, I'm like a huge, I mean, I'm a huge part of that process. You know, I'll show you different things and then I'll see how you react from them. And then ultimately we're like making this decision.
But we had chosen not to shoot on film. And I don't know if you remember, I was always adamant that I never thought Severance should be shot on film.
Yeah. I mean, so many directors want to shoot on film. I understand that. And so many DPs do as well. But then when this idea of flashbacks came up, I was like, oh, crap. I'm the one who has to bring up the fact that I think this should be shot on film. Now I get to be like that person. But there's, you know, I don't like in post adding a look to something to make it look like a flashback.
I was like, what's the most natural and simple way to do this? And basically shooting on film evokes nostalgia right away now for us and for where we are in society now. So I was like, well, this is the simple answer. Let's try and do this. And then we ended up doing it.
Doing what people say you never, you know, any filmmaker will say no one will ever get to shoot in my house. You don't let anyone touch your house.
But this house was made for it. And I say, do you know about how it happened originally? Like I was describing what I thought this place, I thought it was an apartment at first. I was like, oh, I think they should live like in an apartment with moldings and there's libraries and that's an old place. And it has like the time is like on the walls. And I'm talking about this space.
And Jeremy had been to the house I was living in, which is an amazing, beautiful home. I was renting it. And he was like, you realize, Jessica, we're going to be shooting this in your house. And I was like, oh, I had never thought about it. I just was speechless for like a minute. I'm like, oh my God, he's right. We're shooting this in this house.
Showing 21–40 of 82 · page 2 of 5
← Previous
Next →