I loved every challenge what could the other robots look like-the school robots that were supposed to be robots, not cross the uncanny valley, so that people felt comfortable around them-how do you create those characters. I really loved any time that we were trying to get inside memories, her brain, how to make her feel like she was in that altered state-not wanting to spoil-in her “other” state. We had a big board on the wall-all of the episodes, all of the scenes, how could we make this work better.ĭid you have a favorite or most challenging episode or sequence to shoot? We did have to shift it around and find new endpoints and new out-points. The writing was very detailed however, the writers didn’t know at that time that had to be 10 minutes they didn’t know how many there would have to be. The episodes were very far along when I came on the project. Did you collaborate with the writers to decide what those moments would be? Of course, and each episode of Don’t Look Deeper has an opening that’s just a few seconds, with a very thriller-y tone. It was fun for me because I suddenly broke up storytelling-became more nonlinear and more innovative how to start an opening of an episode or how to end it where to find that heightened, dramatic moment, that pivotal moment that would make you hopefully want to come back and say, “How is this going to end? How is that gonna be resolved?” It really sharpened my storytelling skills in a new way. I often have just five minutes and I can’t spend the whole day, but I want something to feed my brain. The Thirteen and Twilight director has brought her considerable experience helming formative tales of teenage girls’ self-discovery to this unconventional (yet retro) serialized storytelling format, and to a heroine who is othered twice over, yet who Hardwicke hopes will inspire viewers to greater recognition of our shared humanity.ĭen of Geek spoke with Hardwicke in June about envisioning the future in little touches instead of broad strokes, watching Evan Rachel Wood in Westworld, and how Don’t Look Deeper takes on an unexpected dimension in light of the current #BlackLivesMatter protests.ĭEN OF GEEK: What was it like directing for 7-to-10-minute episodes, as opposed to a feature film?ĬATHERINE HARDWICKE: was challenging, but I love this format, because I do think it’s how we live now. However, that change of plans hasn’t discouraged director Catherine Hardwicke she calls it “beautiful” that Don’t Look Deeper can be watched in bits and pieces or binged all at once. This short-form serialized storytelling is a hallmark of the new streaming service, originally intended for commuters and other on-the-go viewers, which had the awkward timing of debuting in the middle of a pandemic. It’s a grisly sequence that mirrors a scene in Alex Garland’s 2014 film Ex Machina, except that Aisha is a biracial young woman, doubting her own personhood, not a white man and her story takes place in 7-to-10-minute chunks totaling the length of a feature film. For a series called Don’t Look Deeper, Quibi’s sci-fi offering challenges its own title in the opening scene, in which teenager Aisha ( Madeline’s Madeline’s Helena Howard) digs into her arm to find the truth beneath her skin.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |