How was 'Love In The Time of Corona' filmed? Know more details about the show

Freeform’s Love in the Time of Corona is one of the first shows created during the lockdown. The four-part miniseries was released on Freeform on August 22, 2020. Love In The Time Of Corona has been shot in a similar style as the 2003 film Love Actually. The show features the stories’ of four couples who are quarantining together. Although the four stories are happening physically far away and different locations, they are intertwined. Read on to know, “How was Love In The Time Of Corona filmed?”

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Why was Love In The Time Of Corona made?

In a recent interview with The Washington Post, creator Joanna Johnson revealed that he had pitched the idea for the show in April 2020, when she realised that social distancing and isolation was changing relationships. Johnson is best known for her work on Freeform’s The Fosters and its spinoff, Good Trouble. Johnson further revealed that she wanted the show to release at a time when its story would be relevant. The production team was aiming to create something more relatable and uplifting. Johnsons claimed that she had realised that one good thing that came out of the COVID-19 pandemic was that many couples had to slow down and reassess their relationships. 

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How was Love In The Of Corona written?

After getting a green light in May, the production team spent a month casting actors. Apparently, for filming Love In The Time Of Corona, its makers had to face Herculean challenges. One of them is to find couples whose quarantine setups fit the storylines. Following the casting, two weeks were spent writing the episodes. In her interview, Johnson said that one of the most challenging tasks was writing scripts for the series while the safety protocols of COVID-19 still kept changing and evolving.

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How was Love In The Of Corona filmed?

Joanna Johnson revealed that she had spent the 15-day shoot living a van outside the actors’ homes. She was directing them with a walkie talkie and watching them act on wireless monitors fixed in her van. Guidelines from the central government had limited the size of her crew to around seven people. 

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One of her crew members was photographer Marco Fargnoli, who had set up cameras on dollies. These cameras were operated by actors or production assistants. Sometimes even neighbours, a sister-in-law or anyone who was already within their quarantine circles would operate the cameras. When it had become indispensable, only one crew member could enter each house at a time. The crew member was only allowed to enter provided the actors weren’t in the room.