It’s very important to me, as much as possible, not to have to work with a cross of yellow tape stuck to a tennis ball on a stick. , people do try to stick around so that at least I’m able to hear the actors reading their own dialogue, which makes a world of difference. For something that ends up coming off very fun, I have a great deal of respect for all of the concentration that has gone into it. There’s lots of little details like that that people are having to think about all the time. For example, when one of the guys sits down on a bed, so that they’re not physically leaving an imprint, which we normally would do, they put a board of wood underneath the sheets. Like, we can’t have a piece of furniture move that they’ve been sitting on. And it’s not just for me that it’s a technical project - it’s very technical for our crew as well. And because we’re filming in Montreal and it’s French Canadian, we call it “fantômes” and “sans fantômes” - with ghosts, and without ghosts. So scenes are typically shot with the ghosts before removing them, instead of the other way around?Īlmost always. That’s what works so well: It’s a very generous cast. Making sure that we make room for everybody all the time, and that we’re all serving each other and setting each other up to knock it down. There’s 10 of us too, and it’s a huge exercise in listening, this whole project. I try to take a photo imprint of what they’re doing when they are in the scene, and then when they’ve left, I have these frames that I put them in. We do have a lot of fun on set, but it’s definitely some of the most focus that I’ve had on a project - trying to remember physically where people are located, whose voice was coming from where, the energies that they were each giving in each take, I want to be matching. It’s definitely more technical than I ever would have expected a half-hour sitcom to be.
How does that alter your process and performance compared to other roles you’ve had? Any opportunities we had to ground in our own truths and ideas were just going to help us feel creative ownership over the characters.īecause your character is the only living person who’s able to see the ghosts, there are many scenes that have to be shot twice - with and without the ghosts. We have the same premise, some of the same characters. I’m a huge fan of the first few that I’ve seen, but I just didn’t want to psych myself out too much by watching Charlotte absolutely nail the performance the way she does. At some point I’m going to dive in and finish it, but I really wanted to have some good momentum going with what we were creating, without feeling like we were just trying to do an imitation. I’ve watched the first few episodes of the original British series.
#Rose mciver series#
How much or how little of the original British series did you watch to prepare for this role? While actively shooting Season 2, McIver spoke to Variety about finding her place within an adaptation and how playing Rose has touched her own life.
0 kommentar(er)
