And when you're in such a gorgeous setting, it would be criminal not to be outside as much as possible. And we were just trying to find the beauty in the everyday.
We were always looking for lens flares whenever we could. It was always, from the beginning, aesthetically, part of my approach was to show these people and contextualize them within nature.Īnd so, we did a lot of outdoor stuff. And that made it very easy for us to pivot, to be a COVID-safe production.īut we were outside because it's such a big part of the themes of the show and something that was just reconnecting with nature and leaving behind the trappings of modern life. It was a very small cast, not a lot of extras. But when COVID hit, we did quickly realize that we actually had a very COVID-friendly situation. Honestly, our show was not invented for COVID. I think that it was very important to me. Was that a COVID-related decision, or was that story-regenerated? I never read the book. And I noticed that there's a lot of outdoor scenes. So I had to remember stylistically what I would be doing in episode six versus episode two, for example. Some of the reveals allow you to shoot things and stage things in completely different, unique ways.
But also because really, not to give anything away, but the fundamental sort of storytelling mechanisms change in this show. And it was complicated, not just because of what happened in between as far as story goes.
That's just really hard, both for an actor and for a director, to keep track of, like, "Wait a minute, what's my person doing here? What just happened?"īut we did. So we didn't really have to go from one to eight. A lot of times when you have to schedule like that, it's because of location availability and stuff like that. The good news was we were in the same place for most of it. We would try not to do that, but we could film episodes four and three or two at the same time. So I did accidentally get to that place, and it was pretty amazing.ĭid you film it episodically, or did you film maybe part for episode eight while you were also filming episode one? What was your linear approach? As things start to get crazy, we're giving it a visual progression.Īnd then, that said, there's something about just the sheer amount of content you're creating that enables you as a creator to get a little less precious, a little less heavy about it.Īnd you get to a place where you're really operating on instinct, and you're really operating almost as though you're that 25-year-old kid who was at film school, except at the same time, you have another 20 years of experience. Episode one probably doesn't look much like episode eight, as far as things start to fall apart, as things start to get weird. On the one hand, I gave it a visual progression. And I think that I try to be sort of flexible and agile in how I'm viewing things. So on that level, I tried to sort of keep it very similar to my approach on other things.īut then the truth is, the sheer length of it, your approach evolves. I think the benefit of having one vision throughout all of them is that you can execute on that vision, and you can treat it as one long movie. Well, I think when you're doing all of them, it's not that different. Now I am convinced there IS such a thing as “Love at first sight.How did you change your directing approach to fit the longer format? I mean, obviously, a movie is one thing, but on episodic television, I would think you have to have a different approach. The scenery is wonderful, taking the viewer through Florence. In fact, I purchased it before watching it and haven’t regretted it. This is one of my favorite romantic movies – lighthearted, sweet, and definitely worth watching again. She’s made no plans to fall in love, but by accident, meets Hugo and her life won’t ever be the same. Marilu Henner is wonderful as Victoria, a widow who now treats her very successful business like a marriage to minimize her loneliness. At first, he comes across as a “kook” but as the movie progresses, he emerges as quite the romantic leading man. He also speaks Italian with such ease that the viewer wonders if he truly knows the language (no stutters or simple phrases – we’re talking complicated dialogue w/flawless accent). Daniel Massey delivers most of the humor in this movie, and he does it well. From the moment I saw Hugo De Lacey (Daniel Massey), I loved him. Love with a Perfect Stranger, I saw this movie and I LOVED it.
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