The point of view from Norman Buckley
Who can’t remember the scene when Ryan and Seth from The OC had to recover the egg from The Risky Business or when ‘A’ chased the girls from Pretty Little Liars when they were celebrating The Homecoming?
Both scenes and a lot more from Gossip Girl, 90210, Chuck and The Client List, among others, were directed by Norman Buckley.
He started as an editor, but then he realized he wanted to be a director. His first job was in The OC, when he had finished editing the pilot. He directed six episodes of that series and then moved onto several other shows, becoming a successful television director.
Buckley talked to The Outsider Argentina about his beginnings, the roles from the director and about his job.
How did you realize that you wanted to be a director?
I worked for many years as an editor, and realized I was well-equipped from my editing experience to be a director. It was a natural evolution.
Do you have any influences from other directors?
Alfred Hitchcock, Federico Fellini, George Stevens and Billy Wilder.
Which tv serie do you think that was the one in which you started to realize that things were going well? Which memories do you have about that tv serie?
I was with “The OC” from the very beginning until the very end. I edited the pilot, edited many episodes, and directed six of them, and did second-unit directing on two. I directed half the actors out of the series as second-unit director on the finale.
Which activities do you do as a director?
The director decides on the visual point of view of the story. The director determines the images and composition that will hopefully make the story more emotional for the audience.
How is it like working with young actors that may not have much experience? Do you give them some advice?
First and foremost, I try to put an actor at ease. Their job is to be as natural and authentic as possible. My job is to create the environment where they are able to do that.
How can you describe yourself as a director?
Attentive to the emotional needs of the story and the specific shot, sensitive to the actors, appreciative of the crew.
In Pretty Little Liars there is always mystery, surprise, tension, among others, how can you, from your job as a director, make that things happen and make the audience receive that kind of feelings?
Always put the camera where the story is. Track the psychological line of the story.
How can you combine the work from several directors on different episodes from the same show and create a unity?
Every director has his own style, but all of us try to remain within the style of the show.
What to do you love about your job?
The chance to collaborate with others.
What are your projects for next year?
The Client List in February, Rizzoli and Isles in March, and back to Pretty Little Liars in April, June and July.