![]() ![]() But, I’m telling you, you’re never going to use it.” They were like, “I think we need your close-up.” I’m like, “I promise you. I remember going, “You’re never going to use that.”. I remember one scene we were covering last season, and I forget what happened, but they were like, “OK, now it’s time for Amy’s close-up.” ![]() I shoot for the edit, as opposed to shooting just to cover the scene. I always think in terms of editing, that’s how I direct. ![]() I said, “I don’t know how to direct television.” said, “That’s great.” Sometimes you forget you’re filming with a kid, because she’s so honest, so professional, and so hilarious. What was it like filming those scenes with Millie Bobbie Brown? I have to say, for me, your character Aunt Becky and Eleven were part of one of the most emotional episode arcs of the entire series. It’s like a treasure trove of walking into the Ives house, digging through, trying to figure out what is set design and what is not, especially since the house that we shot it in was one of the few that were not a set. I haven’t seen the most recent episodes, but what’s on the television in the house when I was shooting was 1980s Family Feud. Even down to the details in the set dressing that they all come up with are things that aren’t even in the script … sewing patterns from the ’80s, magazines from the ’80s. What about the set? What sort of nuanced attention to detail is taken to make sure viewers feel like they’re in the ’80s?Ĭhris, the production designer, I’ve known him for years - he’s just so good…. I definitely called upon childhood to bring forth Becky. So, as soon as I got in costume, I knew I had to do a Grandma Seimetz impersonation. Sometimes when you perform, you don’t know what path you’re going to take, or what character you want to portray.Īs soon as I got in the costume, I knew I was so doing an impersonation of my grandma … she was a very complicated lady, and not the warmest. How deep does it go on set? Do you ever feel like you’re actually in that era? You’re an ’80s baby.Īs soon as they put me in the costume and did my hair, I sent this photo to my entire family, and I’m like “Oh my god, I look like my aunt and my grandma,” specifically during this era. The Duffer Brothers and the costume designers do a great job of creating the ’80s aesthetic. One of the things that brings people deeper into the world of Stranger Things is the aesthetic. It’s so interesting to watch as it evolves and as the kids evolve. It’s so remarkable that everyone is responding to it in the way that they have. You can come in, and not have the weight of the entire production on your shoulders. When you write and direct, you have very little time.īut two, because you can do some weird things with supporting roles that you can’t really get away with when you have to carry the whole thing. Honestly, that’s kind of my favorite part to play is the supporting role. “ were like you are the only actor that would argue that she doesn’t want a close-up.” The professional hedonism of the infamous midwest city depicted by that show is a long way from the supernatural happenings of Stranger Things‘ Hawkins, Indiana, but Seimetz is an artist with many talents. But apart from her role there, Seimetz and Lodge Kerrigan also write and direct every episode of Starz series The Girlfriend Experience, a critically acclaimed, serialized reboot of the Steven Soderbergh film of the same name about the life of high-end escorts in Chicago. You may recognize Seimetz from her role as Becky Ives, Eleven’s estranged Aunt who holds the camera’s focus easily in her brief yet effective arcs across the show’s two seasons. ![]() One of the show’s standout supporting actors, Amy Seimetz, hides a similar cache of surprises up her sleeve. When a demure, unassuming young girl with a buzz cut has special powers that allow her to throw a van in the air or save someone who’s falling from a cliff with her mind, you know you’re up for almost anything. In the world of Stranger Things, nothing is ever as it seems. ![]()
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