By Robert Goldrich

With the guild awards season fast approaching, we can expect as in years past a series of currently Emmy-nominated TV shows, telefilms and limited series to gain recognition as they retain eligibility for the ACE Eddie, Art Directors Guild Excellence in Production Design, ASC, VES, Golden Reel, Writers Guild and DGA Awards, among other competitions.

But there will also be new content in the running for guild honors–and next season’s Emmy derby for that matter. And one of the high-profile entries in that mix is All the Light We Cannot See, a limited series which debuted on Netflix last month. Based on Anthony Doerr’s Pulitzer Prize-winning book of the same title (adapted by writer Steven Knight), All the Light We Cannot See follows the story of a blind French girl named Marie-Laure (portrayed by newcomer Aria Mia Loberti, a first-time performer with limited eyesight in real life), and her father, Daniel LeBlanc (Mark Ruffalo), who flee German-occupied Paris with a legendary diamond to keep it from falling into the hands of the Nazis during World War II. The series explores the worlds of Marie-Laure and Werner (Louis Hofmann), a German solider, whose paths cross in occupied France. We find that these two characters on opposite sides of the war have a unifying bond–radio broadcasts they listened to as children featuring a professor who inspired them and provided a sort of sanctuary for their hearts and minds during tumultuous times.

Tobias Schliessler, ASC lensed All the Light We Cannot See. Last month at Camerimage, he and EP Shawn Levy. who directed all the episodes, earned a Golden Frog nomination in the TV series competition for their work on the show. All the Light We Cannot See marked Schliessler's second time working with Levy–their first collaboration being on the film The Adam Project. 

Schliessler said that his collaborative process with Levy “starts by gathering and sharing visual references which help us get on the same page and acts as a guide for the project. On a location scout or walking through of the sets, Shawn is amazing at knowing exactly what key shots he wants, which helps us early on in planning the lighting and where will be the best place for the camera.”

From a technical standpoint, Schliessler said that the biggest challenge posed by All the Light We Cannot See was “matching the lighting and interactive lighting in the scene where Werner runs through Saint-Malo to get to Marie as a night bombing is taking place. We shot this scene in three different places and two countries- first, in Budapest on an exterior stage set, part on location in Saint-Malo, and lastly in Villefranche-de-rouergue. Making it feel like it’s all happening in one place and in one running sequence was definitely a challenge, but I think it turned out nicely and the audience can’t tell.” 

Schliessler added that being on the set of All the Light We Cannot See proved inspiring while underscoring the importance of learning from history. He cited working with actor Loberti as “a true inspiration,” noting that it was astonishing to see someone who never acted before “coming onto such a big project with so much poise and an incredible work ethic. It was impressive to see how she worked with limited sight, and also made me think about lighting in a different way, for example keeping my lights always as low as possible as her eyes are extremely sensitive. It was these little things that I never had to think about before which were a good lesson for me in adapting my work to meet the needs of others. 

“Another takeaway,” continued Schliessler, “was just how important it is that we, as a society, continue to work towards peace. You’d think we’d learn from the horrific lessons of the past, and yet there is still so much conflict and suffering in our world. I hope audiences will take away from this film a little more compassion for people, and specifically children, who are victims of war.”

Beef
Another Netflix limited series, Beef, may also figure prominently in the guild awards proceedings. Created by Lee Sung Jin (aka Sonny), Beef garnered 13 Emmy nominations. The series follows an epic, ever escalating feud–triggered by a single, off-the-charts road rage incident–between two strangers, Amy Lau portrayed by Ali Wong, and Danny Cho played by Steven Yeun. The twists and turns, while darkly entertaining, say a lot about our society, laying bare the rage, angst, ugliness and insecurities that have become so prevalent–but still managing to cast a cathartic ray of hope somehow reflecting the better side of human nature. Wong and Yeun are nominated for Leading Actress and Actor primetime Emmys.

Also among the Emmy nominees for Beef are editors Laura Zempel, ACE and Nat Fuller. They earned the nod for “Figures of Light," the series finale. Zempel did the first assembly but had to leave to take on another project, with Fuller then coming in to take the episode over the finish line. The editors got to know each other during the course of the series, having a productive give-and-take during the entire season even though they only formally teamed on “Figures of Light.”

Fuller said that by the time the last episode rolled around, he, Zempel and Sonny had done “so much work to get these characters to this place” that it seemed natural “to punch this ticket and drive this thing home in a meaningful way.” 

Fuller added that by the time Amy and Danny are put in the wilderness in episode 10, viewers had seen “a crazy, zany drama” unfold between the characters. With “Figures of Light,” he said, it was time to “see what their connection really is,” to experience “the culmination of these two characters’ motivations.” Amy and Danny come together “in the middle of nowhere,” noted Fuller, and finally “have to face each other and themselves.”

Zempel shared that on occasion she is a bit “nervous” when working with writers/directors who can be “strict with the script sometimes.” But Sonny was open to new ideas, to building upon the script.” He was “very collaborative” throughout, including on “Figures of Light” which was the lone episode of Beef that he directed. Zempel felt that Sonny trusted her and Fuller to help tell this story.

For the duration of the series, Zempel and Fuller noted that they had to walk a fine line spanning action, drama, humor and emotions, with one beat informing the next. The finale, though, had a different variable, said Zempel, citing a surreal element as reflected in two crows talking to each other at the outset, setting the tone for what viewers are in for as our protagonists end up hallucinating. Brought on by the ingestion of some very wild elderberries, their drug trip brings a new dimension, lending what Zempel described as a “subtextual feeling that the world around them is shifting,” setting the stage for when they seemingly swap bodies, with each in the other’s shoes for the first time, perhaps better understanding each other’s vulnerabilities–spanning the good, the bad and the ugly.

Barry
Another pair of editors who are current Emmy nominees find themselves in guild awards season contention–Ali Greer, ACE and Franky Guttman, ACE. Greer won an editing Emmy last year for the Barry (HBO) episode titled “starting now.” 

Fast forward to the new “now” and Greer and Guttman find themselves jointly nominated for an Emmy on the strength of the Barry series finale, “wow.” It’s one of 11 Emmy nominations captured by Barry in its final season–including for Outstanding Comedy Series and direction (for Hader on “wow”).

The editors felt a mix of professional and personal pressure during the fourth and final season of Barry. On the professional score, Greer shared, “There was a lot of pressure to wrap it up in a way that is satisfying, fun and engaging all at once.” Specifically for “wow,” Greer added that she and Guttman wanted to make “sure that the string of dramatic tension held tight throughout the whole episode” and that “the characters were still learning, growing, progressing even though it’s the last time we see them.”

Guttman concurred, acknowledging there was immense pressure to do everything possible so that the audience would be “really satisfied with that last time.”

On the personal score, Guttman was dealing that season with a roller coaster of emotion marked by the passing of his father, two months later the joyous occasion of having a baby, then two months after that the death of a beloved family dog. He characterized the season as a bit of a struggle but his saving grace was Greer. He found solace in their “collaborative process,” the trust they have in each other, and her selfless willingness “to be there for me in that moment.”

Greer and Guttman also greatly value their collaborative bond with Hader as the series co-creator (with Alex Berg), star, director, writer and exec producer. “What Bill does that I don’t see often in directors is that he thinks about the shots in a dramatic way that I think is really helpful in the edit and for the storytelling in general,” observed Greer. “How does the shot convey an emotion that makes sense? He does it in such a simple way that is often overlooked. I love that he directs in that way, very emotion forward.” Thus Greer said that when culling through the footage, she often finds herself with “an emotional shot for an emotional moment.”

Guttman added that when he and Greer sit with Hader in the edit room, their process is centered on “What’s the story we’re trying to tell?” The level of commitment to that is intense, described by Guttman as “almost a meditative-like focus on the story.” That's the priority, even if at times it means not including “great, funny scenes” and “moments that are really charismatic,” related Guttman. Everything has to serve the story.

On the Guild awards front, Greer and Guttman were individually nominated earlier this year for ACE Eddie Awards in recognition of their work on Barry–for the “starting now” and “710N” episodes, respectively. Greer additionally has two prior Eddie nods–for episodes of Portlandia in 2018 and ‘19. Greer’s current Emmy nomination is her third–the first coming in 2021 for an episode of Hacks.

Somebody Somewhere
With Peabody and Humanitas Prize nominations, Somebody Somewhere (Max) had made its mark–yet somehow it seems to have a lower profile than other acclaimed shows. On the Peabody website, the series is described as one that “can get easily lost in the flashy HBO landscape populated by the likes of Succession, Barry, The Last of Us and White Lotus.” But Peabody refers to Somebody Somewhere as “a quiet gem.” The show’s focus is seemingly mundane, centered on the life of Sam (portrayed by Bridget Everett) who has returned to her small Kansas hometown as she grieves her sister’s death and works at an unfulfilling job, yet also finds salvation in a new friendship with a fellow outcast (Joel played by Jeff Hiller), in the music they make together and in the community they find.

The series has attracted such talent as cinematographer Shana Hagan, ASC who has been on board from season one on, and Lennon Parham who directed a pair of season two episodes. Season three is in the offing for both.

Hagan first established herself in the documentary realm, shooting such projects as Generation Wealth and The Kingmaker for director Lauren Greenfield; 63 Up for Michael Apted; and Breathing Lessons: The Life & Work of Mark O’Brien, the Best Documentary Short Oscar winner directed by Jessica Yu. 

Hagan then diversified into scripted work, becoming a camera operator on Parks and Recreation where she met director Paul Feig who reached out to her years later for Welcome To Flatch, needing a documentary-style operator to help do justice to the project’s mockumentary vibe. One of that show’s episodes co-starred Murray Hill, who went on to play Fred Rococo, soil scientist, professor and cabaret emcee in Somebody Somewhere. 

Hagan credited Hill with putting her name in the mix for Somebody Somewhere, for which a portion of the pilot was shot by Jim Frohna prior to the COVID pandemic. When the prospect of resuming production eventually emerged, Frohna wasn’t available and a search was on for a DP. Hagan got the gig and has continued on ever since. 

Hagan’s documentary sensibilities have served her well on Somebody Somewhere. She shared that the shooting approach is to let the acting performances dictate coverage. “We wanted to stay out of our own way,” she explained, the priority being to “let the performances shine.” Toward that end, smaller crews are deployed along with naturalistic lighting, and nimble handheld camerawork leaving room for potential improv. Hagan noted that Somebody Somewhere does not have a documentary look but rather is very observational, very present with the actors. The look is made “as inviting and intimate as possible” so as to help strip down scenes to their “emotional essence,” letting “the emotion and the characters play out.”

Perhaps best exemplifying the value of this approach–and a docu-honed instinct–is a moment in season one, episode three, when Sam gets on stage and lets loose. We witness a woman trying to rediscover her voice, then finding her voice and in a sense her place in the world. Her love of singing is rekindled. She then leaves the stage, kind of leans on a post and exhales. This wasn’t a planned moment but rather Everett continuing her portrayal of Sam and what she felt after exiting the stage. She was still in the moment, swept up in emotion. Instinctively, Hagan kept the camera rolling though she should have already stopped. “It was natural for me to follow and feel. She is performing and I am performing.” The moment that was so real and authentic made the final cut.

Hagan recalled Everett coming over to her right after and thanking her for “staying in the moment with me.” The chances are that many if not most DPs would have ended the scene on stage. 

When Parham later came aboard to direct two episodes, she embraced Hagan’s work, admiring her sense of drama and comedy, a talent for facilitating improv and her knowing knack for having the camera “stay after the words were finished.” Upon meeting Hagan for season two, Parham realized that they worked together before when she was a day player in an episode of Parks and Recreation and Hagan served as a camera operator.

That was among several ties Parham had to Somebody Somewhere before joining the series. As an actor she had worked with Everett on Lady Dynamite. That show marked one of Everett’s first regular roles and Parham recalled feeling that they had a solid relationship from the get-go. From that point on, Parham followed Everett’s exploits and was excited to see that she had a new show on Max. Meanwhile Parham also had a bond with other Somebody Somewhere cast members–Hiller who plays Joel, and Mary Catherine Garrison who portrays Tricia. Parham and Hiller were improv buddies in New York. And Parham and Garrison were undergrad classmates in acting school.

Parham was also struck in season one by a particular camera move made through a window with a pan to find a character. Parham recalled wanting to get a shot like that for an episode of Bless This Mess that she had directed. The proverbial “light bulb” went on for Parham who began to think that she was destined–or at least supposed–to direct Somebody Somewhere. So she reached out via email and within a week had a Zoom meeting with the Somebody Somewhere team, the only participant she knew being Everett. “The meeting felt like a homecoming, a reunion of sorts,” remembered Parham who wound up helming episodes five and six of season two last summer.

“This is the first thing I directed that I’m not in [as an actor] which feels kind of decadent–not having to worry about my own performance and lines.” While she hopes in the big picture to continue directing, Parham remains enamored with acting and writing, quipping that she’s open to “all job requests.”

Somebody Somewhere meanwhile has answered a prime request for Parham who related that the show’s creative environment has been set by Everett, series creators Hannah Bos and Paul Thureen, and executive producer Carolyn Strauss. “They have crafted a safe place where people are free to do their best work,” said Parham, adding that “everybody is great at what they do. Everybody is there for the right reasons. It all follows Bridget’s lead, the amount she gives of herself in this performance.” Everett’s work, concluded Parham, inspires everyone to “really feel like I better be on my ‘A’ game.”

Still, this idyllic place is not immune from stark reality. Hagan shared that the death of Mike Hagerty, who portrayed Ed, Sam’s dad, took an emotional toll on everyone. He passed away shortly before production on season two got underway. Hagan recalled how generous and collaborative Hagerty was as an actor. She in particular remembers a rehearsal for a therapy scene in which Hagerty was playing with his wedding ring. It was a fidgety action that he didn’t continue during the take. Hagan asked the director, Robert Cohen, if she could talk to Hagerty about “doing this amazing thing with your ring” when the camera was rolling. He did and it ended up in the final cut. Later Hagan said that Hagerty thanked her for the suggestion relative to something he was doing without thinking. He was grateful for the attention to little details that are part of the collaborative process.

Hagan added that little details–nods to Hagerty–were part of season two. Sometimes they were hard to shoot emotionally but Hagan is grateful for how the writers handled Hagerty’s passing.

Like Parham, Hagan regards working on Somebody Somewhere as a privilege. In the big pictures, she observed, “There is so much darkness in television now. This show is a little bit of sunshine. It’s not about a lot. It’s about the little moments in life that are special and that make life great–the friendships and family stuff, the fun little things that make life, life.”

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