HARRY WILD PRODUCTION.
“I understand what makes good and bad light for myself – what will and won’t work. But I never have to ask for it” and say: ‘Peripheral vision – where’s that plant? Where are you? Where is he, where’s that chair? Go away, come back and don’t look for the mark – find it with your peripheral vision. When you think you’re there, look down.’” I know where my light source is, even before they set the lights up.” EXECUTIVE DECISION As an exec, Seymour’s remit includes being ‘the person in the ring’ who can see close up how the actor opposite looks. She explains that this helps the cast and crew with continuity. “I can see if something like hair or costume is out of place,” she explains. “A lot of the young actors don’t know about lighting. They go to acting school and come out as good actors, but don’t always know where to stand. I’ll take them aside
Loved and other great actresses of their time, and they were always insistent on light – and would be quite bullish about it, refusing to shoot a scene unless the light was in a particular way,” she recalls. “I wondered why they were so stroppy about it and why they couldn’t just accept that the DOP has their vision. Now I’m older, I’m realising that they came from the era where lighting could take forever to mould around you – and they were protective because they were having to be glamorous before being suddenly written off – like most of us are. When actresses hit 40, it’s decided that you are past your sell-by date.” Then, of course, there’s sound. Having appeared in a number of big-budget films, Seymour has understandably worked with some of the best audio technicians out there. Still, she compliments the team on Harry Wild , describing it to be as good as any show that she’s ever worked on in the past.
Seymour also says that more should be done at acting school to help lighting technicians from the outset. “They never teach: ‘you’re here and the light source is there’,” she adds. “The person opposite moves and they’re in your light source. If they do that in the middle of a take, you just gently move your weight. That way you still have the light you need because it’s over the other person. The back of the other person’s head is being lit. We don’t have time to stop and start again. My 26-year-old co- star said he’s learnt much more working with me; he said the drama schools don’t teach the technical side of filmmaking.” LEADING LIGHTS Seymour started in the industry long enough ago to have worked with some of Hollywood’s Golden Age, which taught her plenty about filming techniques. “I always remember working with Olivia de Havilland on The Woman He
13. APRIL 2023
Powered by FlippingBook