{"id":1745,"date":"2025-08-20T18:51:50","date_gmt":"2025-08-20T18:51:50","guid":{"rendered":"https:\/\/filmfreeway.com\/articles\/?p=1745"},"modified":"2025-08-20T18:52:32","modified_gmt":"2025-08-20T18:52:32","slug":"sirens-director-nicole-kassell-interview","status":"publish","type":"post","link":"https:\/\/filmfreeway.com\/articles\/sirens-director-nicole-kassell-interview\/","title":{"rendered":"\u2018Sirens\u2019 Director Nicole Kassell Is Always Searching for the \u2018Weird\u2019"},"content":{"rendered":"\n

If there\u2019s one thing Nicole Kassell takes pride in, it\u2019s the fact that she can\u2019t be put in a box.<\/p>\n\n\n\n

In 2004, Kassell made her feature directorial debut with the well-received independent Sundance drama \u201cThe Woodsman,\u201d which she adapted alongside playwright Steven Fechter. And while she directed a second film in 2011, the romantic dramedy \u201cA Little Bit of Heaven,\u201d she\u2019s since transformed into a go-to director for prestige television series. Over the last 15 years, Kassell has helmed episodes of AMC\u2019s \u201cThe Killing\u201d and \u201cBetter Call Saul\u201d; FX\u2019s \u201cThe Americans\u201d; and HBO\u2019s <\/em>\u201cThe Leftovers,\u201d \u201cWestworld,\u201d and \u201cWatchmen.\u201d For \u201cWatchmen,\u201d she won an Emmy Award for her producorial work on the miniseries and earned a nomination for directing the first episode.<\/p>\n\n\n\n

She\u2019s recently gained awards recognition again, this time for Netflix\u2019s dark comedy \u201cSirens.\u201d Created by playwright Molly Smith Metzler and produced by Margot Robbie\u2019s LuckyChap Entertainment, the five-episode limited series takes viewers inside the quirky world of a luxurious beach estate owned by billionaire Peter Kell (\u201cThe Woodsman\u201d star Kevin Bacon) and his enigmatic wife, Kiki (Julianne Moore). Set over one weekend, the story follows the struggling Devon DeWitt (Meghann Fahy) who arrives at the estate to confront her younger sister, Kiki\u2019s assistant Simone (Milly Alcock), only to become entangled in the manipulative dynamics at play.<\/p>\n\n\n\n

Here, Kassell details her influences for the \u201cweird\u201d and \u201cwacky\u201d miniseries.<\/p>\n\n\n

\n
\"\"
Nicole Kassell Credit: Eugene Powers\/Shutterstock<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

When you reflect on the experience of \u201cSirens,\u201d where does your mind go first?<\/strong><\/h4>\n\n\n\n

To this incredible team we had, from Molly Smith Metzler to LuckyChap [to] our department heads, our crew, [and] the cast. It\u2019s exactly a year ago that we were on location, swimming in the ocean on lunch. It was pretty magical. It\u2019s one of those dream shoots where everyone was all in\u2014good people [who] worked hard and played hard.<\/p>\n\n\n\n

What initially drew you to the show?<\/strong><\/h4>\n\n\n\n

Molly and LuckyChap, and knowing that I\u2019d be working with these incredible women. Being one of three sisters, I could personally connect with Molly\u2019s script. And then, that it was wildly entertaining and weird and wacky, but also grappling with serious issues\u2014that\u2019s kind of my sweet spot. I love the word \u201cweird\u201d when it comes to the stories I\u2019m working on, and it\u2019s really important to me that it leaves you with something to chew on. This had that incredible combination.<\/p>\n\n\n\n

As both the director of the first two episodes and an executive producer, what were your early conversations with the team about, regarding the goals for the show, both narratively and visually?<\/strong><\/h4>\n\n\n\n

In my second meeting with Molly, I put together images, because I want everybody to see what I\u2019m seeing\u2014just making sure they know that, if they\u2019re going with me, this is the vision that will be onscreen. So that look book becomes the starting point for conversations with every department head, and I share it with the entire cast and crew; I like everyone to be in on what we\u2019re doing and invested in it.<\/p>\n\n\n\n

We were creating a fictional island, but how and where do we do that? We were location scouting in Boston and New York, and the last location we saw was the one with the staircase to that house<\/mark><\/a>. And that\u2019s a hard location to find and shoot on, and so, in a very early conversation with Molly, I was like, \u201cHow important is the staircase?\u201d She said, \u201cZero to 10, it\u2019s a 12.\u201d And that became shorthand for everything. There are things that were 10s to me, and there are things that are 10s to her. But the minute anything\u2019s a 10 to her, I know to do everything I can to make that come to life.<\/p>\n\n\n\n

\"Sirens.
Julianne Moore and Kevin Bacon on \u201cSirens.\u201d Credit: Macall Polay\/Netflix<\/em><\/figcaption><\/figure>\n\n\n\n

I can\u2019t even imagine the show without those stairs.<\/strong><\/h4>\n\n\n\n

No, they\u2019re everything. And if you\u2019re going to do it, you have to lean into it. They\u2019re obviously the metaphor. As much as it\u2019s a contemporary piece, it is world building. We push the envelope on realism, whether it\u2019s the palette of the costumes or the design of this billionaire estate. And it was really fun to lean into the comedy, uncanniness, and exaggeration of this world.<\/p>\n\n\n\n

What were some of your specific inspirations or influences for the show\u2019s visual language?<\/strong><\/h4>\n\n\n\n

One aesthetic was the extreme closeup that we do between multiple characters. The first time [we did it] was with Julianne and Milly, and we called that \u201cthe \u2018Siren\u2019 shot.\u201d You\u2019re standing in Simone\u2019s shoes and you feel what it\u2019s like to be seduced by Kiki. The director of photography, Greg Middleton, and I came up with that aesthetic in homage to Jonathan Demme, who was infamous for [it], especially with \u201cSilence of the Lambs.\u201d\u00a0<\/p>\n\n\n\n

And then Alfred Hitchcock. I borrowed from \u201cThe Birds\u201d when [on the first episode] we jump cut from Devon looking through the telescope and seeing Kiki, and that kind of psychological zoom in. The parade to the bird funeral was an homage to Federico Fellini\u2019s\u00a0 \u201c8\u00bd.\u201d Some very different tonal references, depending on the scene, but they all glue together under the writing.<\/p>\n\n\n\n

You got your start as an indie filmmaker before transitioning to TV procedurals, and now you\u2019re working in this \u201cprestige television\u201d world. What\u2019s it been like navigating those ever-changing waters of the industry?<\/strong><\/h4>\n\n\n\n

TV allowed me to play in so many different sandboxes. And I\u2019ve managed to not get put in a box, from \u201cThe Woodsman\u201d to \u201cClaws\u201d to \u201cWatchmen\u201d to \u201cSirens.\u201d If I have a signature move, it\u2019s not doing the same thing twice. And each time I have to prove myself. Like, \u201cCan she do comedy? Can she do horror? Can she do sci-fi?\u201d\u00a0<\/p>\n\n\n\n

I have my projects that I\u2019m always working on or developing, whether it\u2019s with other writers or writing myself. And then I\u2019ll be in development and start to get the production itch, and something will come in and I\u2019m off on that tangent. So it\u2019s been a really thrilling ride. It\u2019s kind of two sides of the same coin, where I don\u2019t know what I\u2019m gonna do next\u2014\u201cOh, shit!\u201d\u2014and on the other side of the coin, where I don\u2019t know what I\u2019m gonna do next\u2014\u201cBut look what this is!\u201d And I love it, as much as it is a little anxiety-provoking.<\/p>\n\n\n\n

Is there any particular piece of advice you\u2019d give to aspiring filmmakers?<\/strong><\/h4>\n\n\n\n

How to get a movie hasn\u2019t changed; it\u2019s equally as hard and mysterious. But you have to do anything and everything you can to get it made. It\u2019s finding your way to show your voice, and the short film still works as a calling card. And write, write, write. Create your own content and just really sink into who you are, because the only thing that\u2019ll set you apart is who you are.<\/p>\n\n\n\n

This interview has been edited for clarity and length.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

If there\u2019s one thing Nicole Kassell takes pride in, it\u2019s the fact that she can\u2019t be put in a box. In 2004, Kassell made her feature directorial debut with the well-received independent Sundance drama \u201cThe Woodsman,\u201d which she adapted alongside playwright Steven Fechter. And while she directed a second film in 2011, the romantic dramedy \u201cA Little Bit of Heaven,\u201d she\u2019s since transformed into a go-to director for prestige television series. Over the last 15 years, Kassell has helmed episodes of AMC\u2019s \u201cThe Killing\u201d and \u201cBetter Call Saul\u201d; FX\u2019s \u201cThe Americans\u201d; and HBO\u2019s \u201cThe Leftovers,\u201d \u201cWestworld,\u201d and \u201cWatchmen.\u201d For \u201cWatchmen,\u201d […]<\/p>\n","protected":false},"author":75,"featured_media":1747,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-1745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\n'Sirens' Director Nicole Kassell on Her Cinematic Influences<\/title>\n<meta name=\"description\" content=\"The Emmy-nominated director explains her visual approach to the Julianne Moore\u2013led limited series, from extreme close-ups to psychological zooms.\" \/>\n<meta name=\"robots\" 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