Severance pay has been richly rewarding for cast and crew on the awards front this year. Among its many achievements, the second season of the Apple TV+ series recently finished first in the Emmy tally with a whopping 27 nominations.
And within that haul–which included a nomination for Outstanding Drama Series–are breakthrough accomplishments, perhaps most notably that of Jessica Lee Gagné who recently earned a pair of Emmy nods for her work on Severance–one for her directorial debut on the “Chikhai Bardo” episode, and the other for her cinematography on “Hello, Ms. Cobel.”
Gagné established a visual language for Severance with the lensing of its first season and then built upon that foundation during season 2 not only as a cinematographer but also by extending her creative reach with an auspicious first turn as a director.
The two Emmy nominations have been most gratifying for Gagné who related that not giving in to apprehension or fear about tackling something new like directing opened up a new creative vista–ultimately yielding prized recognition from her peers in a marquee directing category. “It encourages me to keep believing in myself,” underscoring the importance of always trying to “open new doors.”
Having said that, Gagné noted that “even before the nominations happened, I realized I wanted to pursue directing seriously.” She enjoyed helming “Chikhai Bardo,” a pivotal episode in season 2. So much so that she’s decided to move out of cinematography and “give directing a real shot.” Describing herself as being a 100 percent, “all-in kind of person,” Gagné is looking to push herself on another level.
“Chikhai Bardo” represented a perfect storm in terms of her embracing a directing opportunity. When she was initially offered the chance to direct an episode of Severance, “the answer wasn’t an immediate ‘yes,’” she recalled. But when she read the “spectacular” episode 7 (“Chikhai Bardo”), Gagné knew right then and there that this was the ideal platform for her to take on the directorial challenge. As a cinematographer, she had a deep understanding of the Severance world, and episode 7 had the allure of enabling her to create a new world within that world.
The episode–for which Gagné served as both director and DP–garnered praise for its storytelling, character development and a stirring one-shot scene that was realized with very little visual effects. For the sequence, the camera twists and turns prior to moving from the Macrodata Refinement (MDR) room through a length of cable into a basement control room, and then panning across and upwards to a man tapping his foot. The scene unfolds to stunning effect, facilitated in part by a custom-made cable and an intricately designed rig. Gagné coordinated with a team of operators, grips and VFX talent, shooting all elements in camera, keeping and weaving them together with a visual eloquence.
Gagné recollected that she had dreams of directing as a teenager. However in film school, opportunities arose for her as a cinematographer and she focused on that pursuit. She grew to love cinematography and her directorial aspirations waned. “Chikhai Bardo,” though, resurrected her original ambition–and Gagné’s extensive experience and expertise as a cinematographer facilitated her first foray into directing. “The fact that I shot the entire first season [of Severance] made the transition to directing easier. I knew the language of Severance. That wasn’t something I needed to focus on. It was there already. I could focus on the actors and the storytelling.”
Gagné foresees her next directing experience to be different in one key respect in that she plans to bring in a cinematographer with whom to collaborate. For “Chikhai Bardo” she decided to both direct and shoot the episode. Gagné explained she felt that it would “be easier for me to work for myself than bring in another cinematographer.” Training a DP new to Severance regarding its aesthetics might have been more diverting for Gagné than shooting the episode herself. She connected with Max Goldman to take on some additional cinematography, primarily flashbacks and some support work.
Initially, Gagné recalled that it was “weird” not to have those conversations that the director and DP have on set. Gagné filled that void in part by chatting with script supervisor Sam Evoy who at times would be a pretend cinematographer. It was a way for Gagné to reflect on what she was doing without literally having to talk to herself.
Gagné’s priority entailed story, character development and actor performances for episode 7. So much of the story centered on what Gemma (portrayed by Dichen Lachman) had to endure as viewers learn what her life has been like over the past few years, continually tested, subject to experimentation of one tortuous sort or another, almost in a prison-like state as she’s bounced from one room to the next. Gagné shared that she wanted viewers to feel for Gemma, “to care about her, to love her,” to connect with “what she was going through as a woman.” The process was “bittersweet.”
Gagné meanwhile had a sweet experience directing, embracing the counterintuitive desire to give herself “a chance to fail.” By taking a chance to do something–directing–that she unconsciously desired, by not being obsessed with control and needing to be in a safe place, Gagné said she grew as an artist and extended her creative and artistic reach.
At press time, Gagné was focused on prospective new directing projects, seeking out stories she wants to tell. Included in this mix is an erotic thriller she’s trying to put into motion. But she’s not yet at liberty to publicly discuss that feature film in detail.
Kim Rosenstock
It’s been an eventful awards season for Kim Rosenstock who garnered her first two career Emmy nominations on the strength of Dying for Sex (FX)–in the Outstanding Limited or Anthology Series and the Outstanding Writing for a Limited or Anthology Series or Movie categories. Rosenstock served as co-creator and co-showrunner of Dying for Sex as well as an executive producer and writer. She and co-creator/co-showrunner Elizabeth Meriwether earned the writing nod for the “Good Value Diet Soda” episode. Dying for Sex scored a total of nine Emmy nominations.
Making the recognition from Television Academy voters all the more special is that Dying for Sex marked Rosenstock’s debut as a showrunner. Furthermore, Rosenstock noted that the limited series spoke with an atypical frankness about sex and death, intertwining the two often taboo subjects as inspired by the true story of Molly Kochan who, after being diagnosed with stage IV metastatic breast cancer, embarked on a journey of sexual exploration. Dying for Sex delved into Kochan’s life as documented in a Wondery podcast and shared by her best friend, Nikki Boyer.
Rosenstock said that she, Meriwether and an ensemble of writers delved into sex and death, coming away with varied revelations. Rosenstock shared that she was “truly surprised with how inspiring it was to learn about death across cultures and time–what the human body does as it shuts down.” She tapped into hospice workers who have “heroically recorded experiences and detailed accounts with patients as they help them transition out of this life.”
Most unexpected about the lessons she learned was that it helped “make death less scary. It took away the mystery of it, made it just another part of life.” Many, if not most people, continued Rosenstock, would elect not to read books about death. But due to the nature of this limited series, Rosenstock had to immerse herself in the subject matter. And she hopes some of the insights and wisdom gained can be felt by the Dying for Sex viewers as they eventually deal with their own mortality or the passing of a loved one. It’s an inescapable bond among us all.
Going on this journey with Meriwether, a friend of nearly 20 years, was especially gratifying, said Rosenstock. These two old friends thus had a hand in bringing to life the relationship of two other dear friends–Kochan and Boyer, portrayed by Michelle Williams and Jenny Slate in Emmy-nominated performances for lead and supporting actress in a limited series, respectively.
The contributions of many, continued Rosenstock, served as a reminder that as co-creators and co-showrunners, she and Meriwether may have been in charge but were never alone. Rosenstock cited the work of Emmy-nominated director Shannon Murphy, for example, and a team of writers who were “brilliant, hilarious and diverse” while representing different aspects of the show with backgrounds as cancer survivors, caregivers for terminal lived ones, and their own takes on sexuality and relationships. To deal with sex and death in a candid way, all these collaborators had to feel safe with and trust one another, to not be embarrassed if they didn’t know the answer, seeking out help, expertise and voices of experience as needed.
The deep bond between Rosenstock and Meriwether helped to create that culture. Dying for Sex, observed Rosenstock, is a love story between two friends and how they get through arguably the most painful parts of their lives through trust and humor. Rosenstock could relate, valuing Meriwether’s observations and perspectives on the world, calling her “hands down, one of the funniest people I’ve ever met.” Early on in her 20s, Rosenstock wrote her first play–in which Meriwether starred. Meriwether, who also became a successful playwright, encouraged Rosenstock to persevere as a playwright. Their friendship continued even when Meriwether moved across the country to Los Angeles. One day Meriwether called Rosenstock to ask if she would consider coming to L.A. to write for a show called New Girl. “I had never written a TV script,” said Rosenstock but Meriwether “believed in me” and they worked together for most of that show’s run.
Meriwether built a pedigree as a creator and showrunner over multiple hit shows, then optioned the aforementioned Wondery podcast and reached out to Rosenstock to see if she would be interested in helping bring the project to fruition. The invite came during the early days of the pandemic, a dark time when it seemed strange, observed Rosenstock, to be asked if a story about a woman dying of cancer would hold some creative allure. But the thought of using the deep friendship between two characters to deal with the pain made perfect sense to Meriwether and Rosenstock who saw the merit of Kochan and Boyer searching for “connection and humor as a way through the darkness.”
A stroke of good fortune came when Williams expressed interest in taking on the role of Kochan. Rosenstock marvels at Williams’ tour de force performance, noting its high degree of difficulty–physically demanding, the vulnerability of the sex scenes, dealing with death through humor and stark honesty. Rosenstock recalled first talking to Williams about the part. “You could tell from that moment that she fell in love with Molly and the podcast the same way we had–not being able to shake it or get it out of her head, feeling the pull toward it, wanting to be part of telling this story. Being on set and watching her work was a highlight of my career. She is such a wonderful leader as number one on the call sheet. She’s fearless, rigorous with an incredible work ethic.”
Rosenstock added that Williams’ “chemistry with Jenny was another gift we couldn’t have imagined.”
The gift of being a showrunner for the first time also wasn’t lost on Rosenstock. In some respects it had her hearkening back to her roots some 20 years ago working in live theater when she was a jack of all trades–producing, checking the lighting, trying to get audience into the venue, casting actors, taking on assorted behind-the-scenes tasks, even delivering scripts while pretending to be a messenger–not letting on that she was a producer. “I loved knowing what everyone was doing and being in the thick of it. I loved being a playwright but it was hard to sit in a room with no one around me. I loved being in a room with 50 people to rehearse. Running a show [like Dying for Sex] feels a lot like that, being on the ship with everyone pulling in the same direction. Showrunning is something I want to do a lot more of.”
Daniel Selon
For costume designer Daniel Selon, the miniseries Agatha All Along (Disney+) drew him in personally. And he believes that personal dynamic–how he related to the story and its characters, particularly Billy Maximoff–helped him land the gig to begin with. Portrayed by Joe Locke, Maximoff was raised essentially by and came into his own among a group of “powerful witchy women,” observed Selon. It’s an upbringing that in some respects parallels that of Selon whose mother’s talent as an artist and noted professor of art impacted him. “I was raised around a lot of very creative and magical women. And in my profession as a costume designer, I work primarily with women. I felt particularly suited to tell the story of a young queer character who finds himself in a covenant of magical witches.”
That was among the angles he shared in his original pitch to work on Agatha All Along. Also helpful was his earlier experience as an assistant costume designer on WandaVision , the hit series which introduced us to Agatha Harkness–the witch everyone loves to hate–portrayed by Kathryn Hahn. For Agatha All Along, Hahn adds further dimension to that character in a story that picks up after WandaVision. The title character in Agatha All Along forms a coven of sorts to travel down the mythical Witches’ Road in a bid to regain her magical powers.
“Working with Kathryn Hahn again to bring new layers forward in the character of Agatha was such a joy and a golden opportunity,” related Selon who built upon a wardrobe for Harkness that was first established in WandaVision. A woman of extremes, strong and complex, Harkness’ garb in WandaVision included graphic patterns, black and white, light and dark. Selon took that all further in Agatha All Along, adding complexity in attire such as pleating in her blouse, refinement in the tailoring of her jacket, reflecting a sense of her prowess and personal pride.
And then Selon had the delicious opportunity to create costumes for all the other witches. His costume design for Agatha All Along was influenced by powerful, influential women, artists and political rabble rousers who were celebrated or ostracized in real life. For example, the real woman who influenced his design for Lilia Calderu, played by Patti LuPone, was Louise Nevelson, a Ukrainian-American sculptor. Selon’s creations for Calderu included voluminous, quilted garments, chunky jewelry which adorned her wrists and hands, which we saw as the character was working with tarot cards and/or reaching across a table to read someone’s palm.
Selon’s work on Agatha All Along has garnered recognition from his peers, including two Costume Designers Guild Award nominations this year (for the episodes “Seekest Thou the Road” and “If I Can’t Reach You/Let My Song Teach You”), as well as a primetime Emmy nod in the Outstanding Fantasy/Sci-Fi Costumes category for the episode “Follow Me My Friend/To Glory at The End.”
The latter is Selon’s second career Emmy nomination–the first coming as part of the team on WandaVision in 2021.
Agatha All Along has received a total of three nominations this year–the other two being for sound editing and original music & lyrics. Selon shares the Emmy nod for costume design with costume supervisor Ambre Wrigley, assistant costume designers Christine Casaus and Maddison Carroll, head of workroom Marilyn Madsen and costume illustrator Greg Hopwood.
In taking the costume-making helm of Agatha All Along, Selon said he “put a lot of energy into the collaborative nature of how I ran my team, how we did our ideation, creating visual ideas.” Selon held his team really close, leaned on them as they collectively put so much effort into dialing into each character with intricate costume details acted upon in laborious ways. “Everyone gave it their all and it really paid off” in terms of contributing to the storytelling.
Those contributions, added Selon, at times aren’t widely seen. In some instances only the actors are aware of them. But that awareness can prove invaluable for helping actors to delve more deeply into their characters, getting them to where and how they need to feel. In that vein, Selon noted that he likes to have conversations early on with the cast, giving actors the chance to feel that they’ve had a hand in crafting their look. “Great detail and painstaking effort is put into little things that only they will notice when they are wearing the garments,” said Selon. But that helps talented actors attain a depth of character they might not have been able to reach otherwise. Costumes, affirmed Selon, are integral to character development and advancing the story.
Seamus Tierney
On the strength of the season 4 “Masquerade” episode of Emily in Paris (Netflix), cinematographer Seamus Tierney scored his first career Emmy and ASC Award nominations. His Emmy nod was one of three earned this year by Emily in Paris, the other two being for contemporary costumes and contemporary hairstyling.
Tierney shared, “I never expected to be nominated for anything, so receiving both an ASC Award and an Emmy nomination for the ‘Masquerade’ episode is honestly surreal. It means a lot, both personally and professionally, to have this kind of recognition for something I put so much of myself into. That episode was technically and emotionally ambitious, and I’m proud of what we accomplished–especially as a crew. It’s a moment I’ll carry with me for a long time.”
In terms of backstory, Tierney noted that early on Emily in Paris wasn’t on his radar. “But I was brought in during season 3 as an additional DP to help cover a few episodes. I had worked with Andy Fleming, one of the producing directors, and [series creator] Darren Star, so there was already a level of trust and familiarity there, which I think helped open that door.
“Once I was on set, I really connected with the crew and the pace of the show. It moves fast, but there’s room for visual storytelling, and I appreciated that. After season 3 wrapped, they asked me to return as the main cinematographer for season 4–and I ended up shooting all 10 episodes. It’s been a unique experience — taking something that already had an established style and finding ways to evolve it visually while still honoring what people love about the show.”
Tierney observed that the cinematography definitely evolved from season 3 to season 4. “In season 3,” he related, “I came in to shoot a handful of episodes, so my focus was on respecting the established visual language while adding subtle touches where I could. But coming into season 4 knowing I’d be lensing the entire season gave me the opportunity to think more holistically and build an approach from the ground up.
“There are,” he continued, “certainly visual throughlines between the seasons — the show has a distinct tone and energy that needed to be preserved: vibrant, stylish, and romantic. But for season 4, I wanted to push it a little further toward a more cinematic look — a touch more contrast, richer blacks, and a slightly more grounded color palette, while still keeping it true to the world of Emily in Paris.”
Among the biggest challenges of the “Masquerade” episode was lighting the ballroom, according to Tierney. “It was a large, beautiful space–but also a very old and fragile one. Because of the building’s age and historical significance, we had very limited permission to rig anything, which made things tricky. We had to respect the constraints of the location, and the art department was a huge help in hiding the ground-based rigging, allowing us to maintain the look without compromising the space.
“The goal was to make the lighting feel elegant and immersive while staying within those limits — and in the end, the restraint actually suited the tone of the episode really well.”
As for choice of camera and lenses, the former remained steadfast on Emily in Paris through season 4 while lenses were another story altogether. “For season 4, we continued using the ARRI Alexa LF, which had been the established camera system since season 1,” related Tierney. “It’s a great match for the show–offering a clean, cinematic image with enough flexibility to handle the fast-paced filming of this show, as well as the variety of environments we shoot in.
“The big shift I made was in the lenses. I chose to shoot with the Cooke S8 Full Frame primes, paired with the Cooke Varotal zooms [19–40mm, 30–95mm, and 85–215mm]. I was drawn to the way the S8s render faces — there’s a softness and roundness to the way they handle skin and depth that feels very natural and human. That character helped bring a subtle warmth and intimacy to the overall look of the season, which felt like the right evolution for the show, and my taste.”
Reflecting on his Emily in Paris experience, Tierney said, “One of the biggest takeaways from season 4 was just how much you can accomplish when you have a strong crew and a shared sense of purpose. The pace of the show is intense–we shot 10 episodes in 75 days–and there’s very little room for hesitation. It really forced me to trust my instincts and make creative decisions quickly and confidently.
“What stuck with me most, though, is the collaboration. We were constantly adapting–new locations, shifting weather, tight timelines–but there was a real sense of everyone pushing in the same direction. That energy is rare, and I don’t take it for granted.
“More than anything, I walk away with a deep respect for the people I worked alongside–and a reminder that beautiful, ambitious work can still happen under pressure if you’re surrounded by the right team.”
At press time, Tierney was in production on season 5 of Emily in Paris, leaving him “still very much in the world of the show.” He added, “It’s been exciting to keep building on the visual language we developed–and this season, we’ve pushed the envelope even further toward the ideas and visual seeds I planted in season 4. I’m always trying to challenge myself, and I’m learning something new every day I’m on set–that’s one of the things I love most about this work.”
This is the 14th installment of SHOOT’s 16-part weekly The Road To Emmy Series of feature stories that explores the field of Emmy contenders, and then nominees spanning such disciplines as directing, cinematography, producing, editing, production design, casting, costume design and visual effects. The series will then be followed up by coverage of the Creative Arts Emmy winners and the Primetime Emmy Awards ceremony in September.
