She also is planning to use the coronavirus-enforced down time to shoot her second short film. You need to flesh it out with real human connection and stories and do it in a condensed amount of time, which is exceedingly difficult and is exactly what my brain likes. All of the small details need to be thought about, and everything needs to be grounded in the reality of the show. “You have to be so much aware of everyone else’s story and all of the technical aspects of putting a story together. “Being behind the lens is a very different experience to acting,” she said. She stars in Starz’s upcoming drama series Hightown, which launches in May. Raymund, who also starred as Dana Lodge on CBS’ The Good Wife, hopes to direct more episodic television, balancing that with being in front of the camera. ‘The writing is different, the tone is different, the group dynamic is totally different, so that’s what’s really great about working in his world.” “Every Dick Wolf show is different,” she says. I’m very attuned to their style and tone,” she tells Deadline.īut without revealing the specifics of the crossover, she hints at one of the challenges brought forth in the format. “I know the Dick Wolf pack very well I’m very comfortable working in that world. It was an ideal opportunity for Raymund, having spent so much time in Wolf World, to direct. ![]() The crossover was set up on the March 25 episode of Chicago P.D. on NBC, in which Upton was dispatched by her commanding officer Hank Voight (Jason Beghe) to serve a temporary assignment at the New York bureau of the FBI. Upton is helping out, but her usual investigative methods clash with the bureau’s more buttoned-up environment It follows the FBI team investigating a drug deal gone bad after the body of a college student is found. star Tracy Spiridakos, who plays Detective Hailey Upton, with the FBI cast. Written by Rick Eid and Joe Halpin, tonight’s eposide, titled “Emotional Rescue,” is notable for the fact that it brings together Chicago P.D. ![]() But then on the last day of editing, we found out that they’d canceled the rest of the season, so now my episode is the season finale.” We’d already developed a shorthand, so we were able to communicate over the phone. Being in person on any kind of collaboration is better, for me, than being on the phone. I can jibe with the editors and bounce ideas back and forth. “I like to be in person as much as possible, that’s my process. A lot of directors work remotely on television shows when they’re editing, but I don’t like doing it,” she said. I didn’t go into post because I had to stay inside a few of the editors were older and I don’t know their pre-existing health conditions, so I needed to stay home and worked remotely with my editor to finish the episode that way.”Įditing the episode remotely also was a challenge for Raymund. By the end of the second day of post-production, that was when everything was starting to shut down. ![]() I was in post the first day, right as everything was starting to go down. “Right as the sh*t hit the fan, I had just got back to L.A. “Me and the rest of the world have been curtailed by this virus,” she said. Raymund tells Deadline she had no idea that this episode – Episode 19 – would be the season finale when she was directing it. Wolf Entertainment Opens 8 Writers Rooms, Sets 'Chicago Fire' & 'FBI: International' Showrunners
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