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
Yeah, and the show, I feel, I mean, you tell me if you feel this way, but I feel like we are seeing this show through the perspective or the way Mark's character views life is like the visual tone of this show. And in the timeline where we are when we're in this story, we're living it with him in a way. Now we're in season two.
What's amazing is we get to go out broader and we see other people's perspective, but it does kind of taint the whole show. And this was a moment where it's like, okay, this is before the decision to sever. So this is life before. What did life feel like? How do we evoke that? There were so many things.
Every department brought something special where it's like just the plants, the colors, the lighting, everything was tweaked in a different world. And we introduced things that we had never really done in severance, but that was intentional. And the meaning was just to evoke a completely different feeling.
Yeah, the transitions were to kind of evoke sometimes like transitioning from an emotional state to another. Sometimes the emotional states match and sometimes they don't, you know, depending on the transition.
But this specifically for both of them, there's this like heart dropping knowingness that happens for both of them in different, they're in different timelines, but they're shown at the same time.
There's a lot to say about that and about how we view life depending on the things that happen to us and how we choose to see things. And I think that this episode, for me, one of the reasons it found me is because I love all of these crazy things about consciousness and time and space. I'm a sucker for this stuff. And I was like, oh, I get to explore this in a cinematic language.
And that to me was like, I was like a kid in a candy store being able to do that. Because we have these three different timelines and there was this idea of a whirlwind of things just all happening all at once. And I don't actually believe in the concept of time. I use it as a word in the English language, but to me, it's not really...
It's relevant in my personal experience and your personal experience, but you can see above it in this episode, it showcases that, that everything is happening kind of all at once. So we are constantly affected by everything. And in this moment, they join at the end of the episode in that emotion, in that vibration.
And you see them move through space in this like opposite way, but they're feeling the same feeling of having lost each other.
like I sometimes would know things like that but then also some of this was like purely intuitive and I feel like as filmmakers that's what happens right you just try and follow your intuition and what feels right yeah um because it got really technical and that was always one of my fears as a director that I would not be a good director because I would be the technical one you know it was something that was in my head for a long time and I feared this but then doing this
episode, at first, I didn't think it was going to be as emotional as it was. And the writing kept getting more and more sensitive and more and more emotional. And I just stuck with it, you know, even though I was really afraid of it. But I was actually able to go there, which surprised me. And I feel like that technical and emotional aspect together is also what makes seven strong.
Side projects, as you call them. Yeah, it was like Scott McGuire's side project.
Yeah. And I mean, everyone in the camera department participated in this shot in their own way. You know, Mike Guthrie was always a big part of like technical development stuff with us as well. He was the AC on the other camera.
I mean, shout out to Adam for that though, because like we were talking about like really technical things and emotional things at the same time. Those two scenes were very strange to put back to back.
you know the very sensitive scene about this miscarriage and then going into this scene in mdr and i remember there was like questioning about that like is that the right thing to do but in my mind it's like that's life you are sometimes living a moment in your life and there's a part of you that's reliving a very traumatic experience at the same time
I had to explain that to Adam. And I think there's probably like a point where Adam's like, I'm okay. Like he had to let go of the technical thing and do his own thing, I think, because it was so... I'm like, at the beginning of the shot, you are in MDR and then you have to imagine that you end up in the shower with Gemma, but we're going to play it back in reverse in the edit.
And then there's like rain and a bolt arm and all these things.
Yeah, I felt bad almost asking Adam to do that. There was a part of me that was like, why are we doing this? This is horrible to ask this.
Well, thank God for him for that because I feel like... Both of them were like amazing technical actors, Deetchan and Adam. And I feel like for this episode, you needed that. You needed people who were like, I'm in it. Let's do it. I've got this. I can hit that. I can be there and then still perform at the same time. So it was quite challenging, but they both, I think, showed up brilliantly.
And then. Being able to do these flashbacks, these memories, to me, I just want it to be as simple as possible to just like let the story, the story tells itself. You just didn't want the technicality to get in the way of that part of the filmmaking. So we really stripped it down. Honestly, if you look at it, it's shot, counter shot.
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