![]() I mean I literally, partway through the editing process, I went to Whole Foods and just bought like five different vitamins that said they make you smarter and make your brain function better. ![]() So that was very much like a feature.ĭid you find it challenging to create an engaging end to each episode that would make viewers want to watch the next one? So like if we had three days to shoot at the school we’d film all the school scenes there. And then we could film it like block shooting, so every scene at the school was filmed in one block at the school. They knew where they were going, thank God, because there was so much back and forth playing with time, we had to know what seeds had been planted, where they were going. The characters and the actors knew where their character was going, they wouldn't be surprised like, "Hey, here's a new script this week and, guess what, you're falling in love with a woman," or whatever. One thing that was kind of cool, like the ins and outs, the beginnings and endings of episodes would be more like television but… one thing that was great is that all the episodes were written when we started, so we could film it like a film. Of course the whole theme is about memory, and so we are doing some flashbacks but we're also starting at one point and then moving backwards and forwards, so that was just liberating and inspiring to me to get out of a normal box that I might have been in in linear storytelling.ĭid you find you had to approach this more like a film or was it more like a TV show? And also, it was written in a such an interesting way that it's kind of like there's a lot of possibilities of nonlinear storytelling too…. So they're going to have these moments, that you have moments in time to intrigue people, capture their imagination, and so how do you do that quickly, rapidly, powerful, openings and closings of episodes. Yeah, I think it did because, first of all, it was just very challenging and inspiring to work in this 10 minutes or less format, and to feel like people are going to be watching this when they're - we hope - commuting to work or whatever. So it just seemed like it explored so many fascinating aspects.Īnd then of course, Emily Mortimer's character is also - all the characters have this kind of intense relationship with technology and passion and artistic freedom - but is it good, what she's done? What are the human ramifications of what done? So I just loved all the different layers, very complicated layers.ĭid the fact that it was being made for Quibi alter your approach at all? We all have a push-pull, love-hate relationship with technology, but this person has a very deep connection to technology, and how can she deal with it and make sense of it in this world. It's like self-discovery on steroids, "Wow, that’s who I am?" I thought it was so fascinating…. In this case it really took it up a notch, when you're discovering who you are. RELATED: The Fugitive: Quibi Drops First Teaser for Kiefer Sutherland's New ShowĬBR: What appealed to you about Don’t Look Deeper?Ĭatherine Hardwicke: Well I love… the coming-of-age story, where a person, a teenager or whatever, is discovering who they are. In an exclusive interview, Hardwicke spoke to CBR about bringing the future world of Don't Look Deeper to life, the challenges of making a show for Quibi and working with the series' starry cast.
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