HARRY WILD PRODUCTION.
“We’re always lavalier-ed – and I barely remember doing any additional sound,” Seymour asserts. “Whatever I did was when a line was changed, or additional huffs and puffs or laughs. I am quite good at ADR. When I first went to the US at age 26, I worked for Universal – and it was so cheap that when you did ADR there, they never showed you a visual, so you had to do it from sound only. You would hear it and then repeat it. Because I had to do that so much, I got a reputation for being good at ADR. I’ve discovered I can put other words into my own mouth, too. It depends on whether my lips are too pursed or not.” She also reserves special praise for boom mic operators. “I do know back in the day it would be very irritating if the boom came in the shot and you’d just done a very emotional scene,” she recalls. “You wanted to kill the person. But I’ve held a boom and I know how hard the job is. I have great respect for anyone who works with a boom – especially if they are women as a lot of operators are female.” BLOCK FILMING To facilitate the production of back-to- back series, the producers decided on
“For a camera operator, block shooting can be a challenge. You want to maintain continuity of style from scene to scene within an episode”
block shooting the next two seasons of Harry Wild . “It’s purely economics,” Seymour explains. “The Gardaí (Irish police force) features prominently, so it would make no sense to keep going back and forth to shoot scenes with them. The same goes for shooting at my house. It means you’re over and done with when it comes to those locations.” However, that’s not to say that block shooting is always straightforward, as it can put a lot of pressure on continuity. “Because we shoot six episodes at the same time, I can’t change my hairstyle too much because of consistency,” she states. “In an ideal world, there might be more changes than that, but sometimes I’m doing up to three episodes a day in the same location.” Kavanagh agrees, describing how the challenges were driven by many factors.
The crew would have one session to shoot a single location for use in six episodes, and only had limited access to certain cast members. “There are so many locations on a series like this – often three or four a day – that it would be impossible to keep returning for each episode,” he says. “For a camera operator, block shooting can
ONE AND DONE Block shooting allows the crew to film a season’s worth of a recurring location all in one day – but it makes life hard for the continuity supervisor!
15. APRIL 2023
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