PRODUCTION. HARRY WILD
need something straight at me. Mercifully, I can take a lot of light.” Seymour stands and positions herself as if she’s in character, placing her hands above and below her eyes to demonstrate. “I generally find myself doing this without even realising it, because I know having that light here and that dark above me is going to be OK – even if they didn’t light it, I would survive,” she says. “We figure out how it’s going to play for the different angles, if we can get it in time, getting through eight or nine pages a day. I’ve done so many films where I understand the light for me. I’m also an artist and like to do photography as well, so I understand what makes good and bad light for myself – what will and won’t work. I never have to ask, though. They figure it out, usually on the first day.” Actors are not supposed to look at the monitor after a shot, so how does she know it has worked? “I can look at the monitor, as I’m a producer – but I can just tell,” she adds. “I preface this by saying that when we start our day’s work, it’s the DOP Ciaran Kavanagh, director Rob Quinn, the script supervisor and the actors. Nobody else. Whether it’s interior or exterior, we figure out with the DOP what’s going to be the best angle for the camera and whether the camera can physically fit. But I have a habit now, and they laugh at me, because
SMOOTH OPERATORS Seymour says that the sound techs on Harry Wild are among the best she has ever worked with
12. DEFINITIONMAGAZINE.COM
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