“There was a level of anxiety in every frame hopefully,” says lead “Homeland” director Lesli Linka Glatter in an exclusive interview with Gold Derby about the final season of the Showtime spy thriller starring Claire Danes (watch the video above). She notes about how she modified her directing style specifically for this eighth season, “We were constantly changing within the same scene, whether it’s handheld on a dolly and then, within the same scene, handheld. There was a lot of shifting within the same scene. Normally, we had done that scene by scene and it added another level of tension that you couldn’t quite put your finger on.”
Glatter is “very proud” that they “reinvented the show every season,” but some of this was accidental this time. She explains, “We were going to shoot our entire season in Morocco (except for the very end) and it turned out many of the things we were told we would be able to shoot in Morocco would be impossible to shoot there.” This contributed to a two-year hiatus between the broadcasts of the last two seasons. She continues, “We had never shot ‘Homeland’ in L.A., but we had to build a huge, forward operating base and shoot all of the military footage in Los Angeles, so that means we owed parts of 10 episodes. Usually, you complete an episode, you go on to the next episode. That was not the case, so we could not start airing because that footage could not be shot.”
Both for her advocacy for women behind the camera, as well as her work that of course appears on screen, Glatter is among the most respected names in the medium. The perennial awards nominee reveals about how she approaches directing, “For me, it all comes from story and character. That is where how you shoot it, how you see it — it all comes down to story. I’m very motivated by point of view. Who is taking us through the story? How are we seeing the world? I love the juxtaposition between huge, wide, global macro views and then faces. I want to juxtapose that political big view with a profound interpersonal story and the more complicated and layered and ambiguous, the better. ‘Homeland’ lives in all of those shades of grey.”
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