Noah Wyle:
Well, this is a different animal entirely than usually a normal working experience. Telling a story in real time and shooting in real time and shooting in real time affords you a lot of interesting opportunities.
Oftentimes, you’re shooting out of sequence and you have to remember where you were and where you want to be in a certain moment. Shooting in sequence allows every moment to build on each other. Big open set, no marks on the floor, two cameras, no dolly, no dolly track, no lights, no flags, no C-stands.
Everything is preset. So we come in and we rehearse and then we shoot and we have a freedom to move that I have never experienced before working with a camera. So it feels more like doing a play. It feels very live.
On “E.R.,” it was a very egalitarian set. There was no foreground, background, cast, crew. We were just a sense of company trying to go and do really good hard work. And that’s what I wanted to build this time around too. And I think we were really successful on that front.
