PRODUCTION


DIRECTING CRAFT


FIVE TOP SCRIPTED DIRECTORS TELL JON CREAMER ABOUT THE ART AND CRAFT OF HIGH-END TELEVISION AND FILM DIRECTING


The art of LOUISE HOOPER


CREDITS The Lord of the Rings: The Rings of Power; The Sandman; Inside No.9; Treason; The Witcher; Flesh and Blood; Cheat; Lucky Man; Cold Feet; Vera


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I’m attracted to a project by a brilliant writer and producers with great taste. There has to be a click or connection. It might be the scope and scale of the world building that tantalises my tastebuds or the script’s central premise. Does it dive deep into the human condition? Is it a story I want to read, direct and watch myself? You have to feel excited and desperate to make it, already starting to imagine the cast, the locations and see the images play in your head - if not, run a mile!


My father, John Hooper, was a brilliant DoP and


74 televisual.com Summer 2023


inspired me to get into this glorious industry. For me, the DoP is my partner in crime, my lynchpin, my favourite ally. I relish creating a new visual grammar and aesthetic together, pushing each other creatively and enjoying the process of the day - blocking, choosing lenses, getting excited as the shot comes together. It’s a really satisfying partnership.


I love working with actors. I have no filter, so I won’t say one thing and mean another. It means people trust your honesty and you can build a great working relationship. I enjoy discussing


character and story beats and encourage an actor try out different approaches to a scene. I will always have a suggestion up my sleeve for the choreography of the scene to reflect emotional gear changes, power shifts, and that uses the set or location to best effect. I reiterate that this is just an idea and they are free to find their own blocking, but I find actors enjoy this jumping off point, so that we can then develop the shape of the scene together on the floor.


I am super hands on. Some directors stay by their monitor which is fine, but I have to engage


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