How ‘Severance’ DP Jessica Lee Gagné Turned the Series’ Most Ambitious Episode Into Her Directorial Debut

by

[This story contains spoilers for Severance season two.]

Director Jessica Lee Gagné, who had previously worked as a cinematographer on the popular Apple TV+ show “Severance”, was planning to part ways with the series before its second season began.

Indeed, she deeply valued her time on one of the newest and scarcely surviving water-cooler TV series from 2022, particularly her lengthy creative partnership with in-house director/EP Ben Stiller (they had previously collaborated on “Escape at Dannemora”). As a Quebec native, she had explored Lumon Industries’ Severed Floor and its iconic white corridors in numerous perspectives, leading her to feel ready to establish a fresh visual language elsewhere. She even declined the opportunity to make her directorial debut during season two, but everything shifted when she encountered a synopsis of the series’ most daring episode, “Chikhai Bardo.

[Gagné] was initially declined when offered to continue directing,” Gagné tells The Hollywood Reporter. “However, upon reading the summary of season two, episode seven in particular caught my interest. I felt compelled to reconsider this opportunity that I had subconsciously avoided since film school. So, I took a long, hard look at myself and decided, ‘If not now, then when?’

Written by Mark Friedman and creator Dan Erickson, Gagné’s episode delves into various timeframes. One narrative line explores the beginnings of the romance between Mark (Adam Scott) and Gemma (Dichen Lachman), their difficulties in starting a family, followed by Lumon fabricating Gemma’s death in a car accident. Concurrently, another storyline reveals Gemma’s harrowing ordeal as a lab rat under Lumon’s testing on the Testing Floor. She endures frequent experiments to gauge the potency of her 25 inner personas.

In this recently acclaimed episode, everything that Gagné had been aiming for was achieved. This is because the terrifying ordeal of Gemma in the Testing Floor and the Scouts’ cinematic recollections provided her with the opportunity to create fresh storylines for the series. Furthermore, since a significant part of the episode focused on Gemma’s past struggles with infertility and current imprisonment, Gagné found herself strongly invested in the female-centric narrative.

In her role as the show’s cinematographer, Gagné expresses a strong desire to have creative control over the language used. Personally, she didn’t feel comfortable delegating this task to someone else. Moreover, being a woman herself, she felt a profound need for a female director to be at the helm of this project. This intuitive feeling was deeply rooted, and she was determined to advocate for this episode to be directed by a woman.

In their latest FYC chat with The Hollywood Reporter, Gagné elaborates on the sense of destiny she feels about her filmmaking journey and shares insights into her upcoming directorial projects.

***

Growing up, I was practically immersed in a video haven – my dad ran a local video store chain in Quebec. With such a background, does it feel like my filmmaking career was somehow destined or fated?

Reflecting upon it now, I must admit that those environments played a significant role in shaping my identity. There were challenges to overcome, but looking back, they seemed destined to be part of the journey that molded me into who I am today.

In the series Severance, Christopher Walken caused quite a stir by revealing that Apple sends him DVDs since his setup can’t stream content. Does your father receive DVDs for a somewhat comparable but distinct reason instead of streaming online?

It’s quite amusing that we’re discussing those shows. He hasn’t watched “Escape at Dannemora” or “Severance” yet, as he’s had trouble with Netflix in the past. Netflix was a game-changer for video stores, but he deliberately avoided their service. However, he has recently signed up for Apple TV+ and is learning how to use it on his new television. Therefore, the old video store clerk will be catching up on “Severance” soon.

Given that in film school, you likely sampled numerous roles on a movie set, I’m curious: What was it that initially led you to pursue cinematography over other options?

In Quebec, there exists an educational system known as CEGEP – a two-year college program that bridges high school and university studies. While you’ll find classes tailored to your chosen field of study, you’ll also encounter subjects like philosophy and French, among others. However, I didn’t know anyone at this institution; it represented uncharted ground for me as I embarked on my French-language educational journey for the first time. To break the ice, I approached fellow film enthusiasts in each class with the invitation, “Who’s interested in making movies with me?” This sparked the creation of a club, and together we began producing films.

After transitioning to working within the film industry, I, as a DP, collaborated with Chloé Robichaud on my initial feature film: “Sarah Prefers to Run“. Her production was showcased at Cannes, and this shared venture sparked an interest in many of my acquaintances for me to capture their projects. I found this recognition both gratifying and reassuring, fostering a sense of security as I navigated this new path. Fearful of the uncertainties inherent in directing, I was unsure if opportunities or compensation would ever materialize. Consequently, I felt drawn towards shooting other people’s projects, which served as my initial introduction to this realm.

In 2017, Ben Stiller took notice of your work in “Sweet Virginia”, which subsequently led to him hiring you for the photography of “Escape at Dannemora” in 2018. After the positive reception of the latter, did the collaboration ignite a sense of anticipation within you that you would collaborate with him again in the future?

As a gamer diving into a shared world, we found our rhythm; our passions aligned perfectly. In my gaming career, I’ve sought a connection like this with Canadian and French game developers. I’ve collaborated with independent creators whose unique visions I admired greatly, but it never quite felt right. They had their specific style, and it didn’t resonate with the way I envisioned moving the camera or manipulating lighting. It always seemed just a bit off the mark.

When Ben and I collided, our goal was to develop a similar language for our project. However, I had originated from a more modest filmmaking realm. Prior to our production, Dannemora, I wasn’t familiar with the concept of a Libra head, which is a remote camera mount with digital stabilization. Due to my limited resources in the past, I hadn’t had access to such tools. The experience on Dannemora was eye-opening as we discovered, “This is what can happen when anything is possible.

As a gamer, I’m more into virtual worlds than actual filmmaking, but let me try to rephrase this in a way that might fit a gamer’s perspective:

“Hey there! So, the game ‘Severance’ was supposed to start production in 2019, but got delayed until late 2020. Now, I was the one behind the camera for the entire first season. But when did discussions about me potentially directing some scenes begin?

The event transpired as we discussed the commencement of season two. To be frank, the prospect of returning for season two didn’t excite me due to my passion for inventing new languages and constructing unique worlds. For me, embarking on something fresh serves as a motivator, and following season one, I was uncertain about what season two would bring. If you had navigated those corridors and been immersed in that world, it’s challenging to envision returning there once more. I made every effort to ensure each visual representation was distinct, but I was ready to progress and undertake something new.

Initially, they inquired if I might be keen on taking up direction – a suggestion frequently extended to cinematographers for future projects. At first, my response was a firm “no.” However, when I delved into the narrative of season two, particularly episode seven, I felt an overwhelming urge to take on this challenge. So, I posed the question, “Do I wish to direct?” It required some introspection, as I had subconsciously shelved this aspiration since my film school days. My focus within cinematography had become so intense that it blurred other opportunities.

It wasn’t until I gained the necessary experience in cinematography and faced some personal challenges that I felt prepared to take on directing. Directing Severance, a show with a passionate fanbase, wasn’t going to be easy, but I had the advantage of knowing the crew and cast, and being supported by Ben and the studio. With that backing, I decided it was now or never – if this was my destiny as a director, everything would fall into place; if not, I could always continue with cinematography. So, in the end, making the decision to direct felt like an obvious choice.

Among all the available episodes to take charge of, you opted for one that is arguably the most complex from a storytelling perspective, “Chikhai Bardo.” What was it about this particular episode that made you plunge headfirst into the most challenging waters on your debut?

Initially, it wasn’t apparent what the outcome would be. I had only a brief description to work from, but the concept was fresh and captivating, which ignited my imagination. This wasn’t just a new level in Lumon, but it was also the past. As a cinematographer for the series, I felt compelled to shape its visual narrative. Frankly, I didn’t want anyone else shaping that language. Additionally, as a woman, I strongly believed that this episode should be directed by a woman. It was an intuitive decision, and I was determined to protect this installment.

As the cinematographer for the series, I’m present from the very beginning during pre-production. The consistency of my presence makes a significant difference. It allows me to protect each episode and ensure it gets the attention it requires. This particular episode was particularly delicate, which is why I felt it needed constant care throughout its production. If I had only joined for a month or two during pre-production as a guest director, I wouldn’t have been able to carry out the work that ultimately transpired.

One of the perks of producing one of the rare water-cooler shows, Severance, is that the team was essentially granted full creative freedom for season two. This allowed them to shoot on film and dedicate extended periods to intricate shots. Could you have accomplished this same episode during season one?

Perhaps not a film, but instead… Initially, it might have been more challenging. However, I sense that season one benefited significantly from Apple. In a peculiar manner, COVID-19 almost safeguarded it. We were on the verge of starting production, and then everything came to a standstill. This pause provided us with a chance to reevaluate our material and ponder over our decisions. At times, even Ben and I would question, “What exactly is this thing that’s unfolding?” It seemed to be developing on its own.

The reason why the seventh episode of season two turned out as it did was because I had a permanent role on the show. Since I was already filming six episodes, I could gradually work on it. There wasn’t much scheduled preparation time for it. Instead, we managed to find moments here and there to work on it – sometimes that meant working on weekends or scheduling meetings during other days. It was these flexible arrangements that made it possible to bring the episode to life.

Previously, you mentioned that if you ever took up directing, you’d aim for a project resembling Christopher Nolan’s work. Considering the intricate timelines, the choice of celluloid film, and the central tragic romance, do you believe this production reflects that ambition?

Out of the blue on the set of Dannemora, Ben posed an unexpected question: “Ever consider directing?” To which I replied, “Not really, but if I did, it would have a Nolan-like feel.” Indeed, there are similarities between episode seven and his work. For instance, much like Memento, there’s the manipulation of time and the way events are unveiled in a non-traditional manner. This intrigues me because I perceive time uniquely. I believe we’ve designed time to help us understand and absorb what’s unfolding on screen. So, there’s a resemblance, but it’s challenging for me to admit that.

In your role as director, you handled the cinematography duties for most scenes, but not during the filmed flashbacks involving Mark and Gemma Scout. Can you explain why you chose to hand over this task in those instances?

Previously, I’ve worked as a Director of Photography (DP) using film, and it was an honor to do so again. I understood the complexity of tasks we were undertaking, such as the time-lapse sequences, which meant I couldn’t be both with the actors and the cinematography. It was more than I could manage simultaneously. Initially, I questioned whether I should continue in the role of DP for this episode. There was a moment of self-doubt: “Should I or shouldn’t I? Is it wise to direct my own work as a first-time director?” However, due to the unique structure of episode seven, which wasn’t shot in a continuous block like most episodes, finding a suitable collaborator for the entire project was challenging. In the end, being my own cinematographer turned out to be more practical under these circumstances.

Since the flashbacks in the film were in a different language, I didn’t feel the obligation to clarify or guide the understanding of that language, as I often have to with other cinematographers. Instead, we were starting fresh and it was natural to collaborate with someone else. In fact, I welcomed another perspective on our project.

In making the decisions during the production of episode 207, were you considering or planning ahead for the shots that would appear in episode 210, specifically focusing on the scout scenes involving Mark and Gemma?

Throughout the season’s progression, several key discussions took place. During this time, seven significant changes were implemented to enhance the narrative. Regarding the tenth episode’s filming, I don’t believe my decisions were deliberate at the time, but an interesting detail emerged: the final shot in episode ten was preserved on film. They later rescaned that shot onto film, and surprisingly, it resulted in a red border featuring Helly R and Mark S. In episode seven, I had to argue for the inclusion of red, as it wasn’t part of our usual color scheme. However, instinctively, I wanted Gemma to wear a red dress, and she also has a red robe in the Christmas room.

In the seventh installment, we delved into the vibrant spectrum of life’s feelings that Mark Scout encountered, and this resonated in episode ten when we returned to the realm of film. This character is opting to experience emotions once more. It might not be Mark and Gemma Scout, but there’s a striking resemblance between Mark S and Helly R that I find captivating. Ben and I never explicitly discussed this connection, but as I mentioned earlier, Severance occasionally crafts its own narrative threads, flowing through us in an almost autonomous manner. To me, it’s like nurturing a small creature or a mystical beast.

In the official podcast of “Severance”, there are frequent mentions about Ben’s obsession with his own hair. Did this character, Ben, perhaps pay extra attention to how actor Adam Scott’s hairstyle and false beard appeared in episode 207?

(Chuckles.) I must admit, he’s quite picky about certain aspects – including Adam’s haircut! The idea of him styling Adam’s hair sounded intriguing, but turned out to be trickier due to scheduling and production complexities. We were extremely careful with the timeline for when he had a beard or not, which sometimes caused us some unexpected hurdles. However, once Ben laid eyes on Judy Chin’s beard tests, he was genuinely impressed! Judy is truly top-notch in her craft, and working with film provides more leniency too.

“In the world of ‘Breaking Bad,’ Walter White resided in a condo owned by its creator, Vince Gilligan. Similarly, when it came to finding a home for Mark and Gemma’s dwelling, didn’t I step in and make that happen?”

Indeed, I have a deep passion for locations. Sometimes I become so immersed that I feel compelled to investigate if something seems amiss. During a chat with the production designer, Jeremy Hindle, I found myself painting a vivid picture of the house’s atmosphere. He unexpectedly interrupted our discussion to reveal, “You might find it interesting to know we’ll be filming in your rental property.” At which point, I exclaimed, “Oh my goodness, you’re absolutely right!

That house, where scenes from my imagination seemed strangely vivid, was familiar to me after two years. I knew it was the time for the cherry blossoms to bloom in April. Desiring to capture a magical moment, I planned to film a love scene at that time. My gaffer presented me with a small Bolex camera, allowing me to record various short timelapses that enhanced the timelapse flash-forward sequence.

During filming, I resided on the third floor, an experience I doubt I’ll repeat. Living in a house under production is quite peculiar, as every morning brings the sound of construction. While working on episode ten, I’d descend the stairs only to find that the art department and painters (who were prepping for episode seven) were busy at work below me.

Managing performances with actors who each portray multiple characters, such as Dichen Lachman’s impressive 26 roles, presents an additional hurdle in the production of our show. Could you tell us how you navigated this complex process?

As a gamer, tackling that aspect was the toughest challenge for me. You see, I’ve always found myself dodging encounters with NPCs (Non-Player Characters) in games, and now I understand why. Just like them, actors appear daily, adapting their actions to fit each scene. That’s something I’ve often found difficult to do in real life too. So, facing this, I was forced to delve deep into my own self, trying to grasp the reasons behind our behaviors and reactions – or lack thereof.

Collaborating with Dichen involved many discussions about life, observing how she resonated with certain themes. Although we may not share identical experiences as women, we could relate or comprehend the struggles faced by the character Gemma. In our unique ways, we found connections to her journey.

Every [Testing Floor] room was equally enjoyable, serving as mini explorations of life as discussed frequently in ‘Severance’. The most challenging aspect was defining Gemma’s character within her own quarters. Given her captivity, it was difficult to imagine how she could ever find the will to rise each day. Enduring such torment seems almost unbearable. To make sense of this predicament, we explored various scenarios and delved into the emotional stages one experiences during imprisonment.

After Ben’s interview with you on the show’s official podcast, it seemed like he might have accepted the reality of your move away from the role as DP. Are you planning to continue with directing from now on?

It seems like I’m leaning towards directing… Every time I promise not to take on a certain role, I find myself doing it anyway. It feels like a constant challenge in my career. Therefore, although I’m eager to commit to directing, there’s a part of me that still wants to continue as a Director of Photography (DP) for myself. The thrill I get from working with other cinematographers is something I can’t resist. Right now, I’m working on my first feature film, and the experience has given me an unparalleled sense of joy that I’ve never felt before. I yearn to seize this opportunity, but at the same time, I find it hard to completely rule out other possibilities.

***
Severance season two is now streaming on Apple TV+.

Read More

2025-06-04 22:26