Issue link: https://digital.copcomm.com/i/1480624
S E V E R A N C E | P E R S P E C T I V E 5 3 I've always wanted to do projects that were really different from each other. I loved that I did Zero Dark Thirty, a war movie, then Detroit, a period thriller, then Top Gun: Maverick, which was big. When I read Severance, it felt like Twin Peaks, something you could watch a million times and still try to figure it out. Severance is about the work/life balance. Ben and I laugh about fighting the work/life balance making this show. We started before COVID for five months, and then it shut down. I came home to Los Angeles, and I worked out of my house for four more months. I met Ben through the cinematographer, Jessica Lee Gagné. I did a quick look book for him, and we clicked together instantly. Dan Erickson's writing is amazing, but it didn't have a look, it was just an underground office that went forever. It felt like the underground had to be its own special world. I wanted to customize everything in the show, so the audience wouldn't have seen it before. It was really a Ben Stiller show. Me and Ben, Dan the writer and Jessica the DP, fleshed out the tone, the humor, the aesthetic, how to shoot it, the "innie" world versus the "outie" world. F u n , S t r a n g e , P o w e r f u l T H E W O R K / L I F E W O R L D O F S E V E R A N C E B Y J E R E M Y H I N D L E , P R O D U C T I O N D E S I G N E R A. MACRODATA REFINEMENT AREA BUILT ON STAGE. PRODUCTION STILL.