
Emmerdale star had to repeat filming death due to being 'emotional wreck'
Emmerdale star Natalie Ann Jamieson says she had to repeat filming her death scenes due to crying and being an 'emotional wreck'.
Following a limo crashing into a frozen lake on the Yorkshire-set ITV soap, Jamieson's character Amy Barton dies on Thursday after briefly regaining consciousness.
She manages to say goodbye to her son Kyle (Huey Quinn), along with attempting to explain to her husband Matty Barton, played by Ash Palmisciano, that she saw a body in the water when she was trapped under the ice.
Jamieson told the PA news agency that her character dying in hospital was 'just so sad', as she recalled what it was like to film those scenes.
She said: 'Then once she has died, she's got scenes with Matty and (mother) Kerry (Wyatt, played by Laura Norton), and they're like, lying with them on the bed, like chatting away to her.
'And I was just an emotional wreck. And then I'm supposed to be dead. At this point, I just was doing the worst dead acting ever.
'I was tears going down, and was trying not to vibrate. I was like, oh goodness, we'll go again on that one, please.'
Jamieson added that the episode is more of a 'tearjerker' than Wednesday's instalment, which saw Amy having a fit in hospital, and left her partner 'inconsolable' watching it.
'I mean, obviously there's the mix of emotions of leaving and stuff like that, because six years is a long time to be somewhere,' she said, on departing the soap.
'So just knowing that.. I'm obviously not losing my friends. I get to keep them but to lose… going in and seeing them at work every day, those bits of it are really sad.'
Jamieson said that she spent a day filming the scenes underwater in a swimming pool, which meant she had to hold her breath, wear a wetsuit with weights and clothes while swimming after she falls through the ice in the soap.
To prepare for it, she did 'quick training', which involved 'learning to dive down three metres, in my clothes and my shoes and back up and how to equalise for the pressure in your ears and all that kind of stuff'.
Jamieson said she worried about 'panicking', before adding that she should not have worried.
She said: 'When we started to film it, because I was thinking more about, what the character was doing and stuff like that.
'I think I did just naturally start to stay down there for longer.'
Jamieson said that she was able to get some oxygen from the divers when the shot was focussing elsewhere as an arm appeared in the lake, which is speculated to belong to Nate Robinson's (Jurell Carter) – who previously left the soap.
She also said the rehearsal set up was giving 'Titanic vibes', pointing to the 1997 Oscar-winning film.
Jamieson said: 'One whole day, filming with the pool that was dressed (for the scene) and so that was just the underwater stuff. So that was just me and there that day.
'And then for all of the stuff that was on top, which was the ice that was made out of wax and everything like that.. I'd say, for all the different shots, we were probably there about a week.'
She said they would start filming around 6pm, and finish at 2am, and 'every single shot' she did when coming out of the lake, she had to be covered with water.
Jamieson also called it 'sad', and 'had that like extra level of emotion to it, because it was what the characters were feeling there and then, but it was also what all of us were feeling just being there all together'.
The crash also saw the death of Suzy Merton, played by Martelle Edinborough, and Leyla Harding, portrayed by Roxy Shahidi.
Jamieson has also been in ITV detective show Vera and BBC soap Doctors, as well as being nominated in 2019 for best newcomer at the TV Choice awards.
She had played Amy since 2019, after taking over the character from Chelsea Halfpenny.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


BBC News
32 minutes ago
- BBC News
Light and sound show planned at Museum Gardens in York
A light and sound installation will be held amid the ruins of an abbey in York later this Museum Gardens are home to the Yorkshire Museum and include the remains of St Mary's installation by Luxmuralis will tell the story of the historic site from Roman times with contemporary light and music, with shows taking place from 24 October to 2 Walker, artistic director of Luxmuralis, said: "By drawing inspiration from the museum's collections, this light installation will reimagine the architecture and landscape in an entirely new and transformative way." Luxmuralis has previously put on events at the Tower of London and St Paul's Walker said they had collaborated with the Yorkshire Museum to deliver a "truly distinctive experience". Siona Mackelworth, from York Museums Trust, said it would be a "special and bespoke" show."This is a celebration of all that the Yorkshire Museum brings to the city, its history and the location as the repository of great discoveries and stories."Echoes of Yorkshire will last one hour and will be shown on 10 nights with tickets available to book soon, according to the York Museums show is on a constant loop and once inside viewers can take their own time to journey through the experience, organisers said. Listen to highlights from North Yorkshire on BBC Sounds, catch up with the latest episode of Look North.


Spectator
6 hours ago
- Spectator
Ingenious: the Globe's Romeo & Juliet reviewed
Cul-de-Sac feels like an ersatz sitcom of a kind that's increasingly common on the fringe. Audiences are eager to see an unpretentious domestic comedy set in a kitchen or a sitting-room where the characters gossip, argue, fall in love, break up and so on. TV broadcasters can't produce this sort of vernacular entertainment and they treat audiences as atomised members of racial ghettos or social tribes. And they assume that every viewer is an irascible brat who can't bear to hear uncensored language without having a tantrum. The result is that TV comedy often feels like appeasement rather than entertainment. Theatre producers are keen to fill the gap, and the latest effort by writer-director David Shopland declares its ambitions in its title. Cul-de-Sac is set on a housing estate where Frank and Ruth are busy destroying their marriage. Ruth lounges on the sofa all day drinking sherry and mourning the loss of her career as a therapist. Frank is a depressed salaryman who rants and raves obsessively about a mysterious Mercedes parked by his kerb. The couple make friends with a timid bisexual neighbour, Simon, whose wife has just run off with his brother. More characters arrive. Marie is a beautiful, nerdy evangelical who recruits worshippers for her husband's church by knocking on strangers' doors. Her latest disciple, Hamza, is a Kurdish businessman who owns the Mercedes that blocks Frank's drive. Thus the messy social circle is complete. The characters are quirky, likeable and easy to relate to. And the show is full of awkward comic moments and latent sexual conflict. The best character, Simon, is perhaps too obviously based on Alan Bennett. He has a squashed blond hairdo and geeky black-rimmed glasses, and he speaks in a lugubrious, wheedling Yorkshire accent. The show is good fun for 90 minutes but after the interval, disaster strikes. The script morphs into an anguished memory play and the characters become self-pitying bores. They take it in turns to describe the most grisly moment of their lives. Ruth explains the crisis that terminated her therapy career. Marie reveals the difficult truth about her missionary work. The men recount tales of loss and bereavement caused by lethal explosions and murderous terrorist attacks. These distressing back-stories have no shape or dramatic direction and the show becomes an interminable group-therapy session. At the climax, a suitcase is opened to reveal a blood-stained item of clothing, and the script delivers 'messages' about the virtues of tolerance. We're warned not to indulge in xenophobia or to lay blame on a particular faith for the crimes of a few extremists. In other words, it feels like a TV show. Perhaps Netflix will pick it up. At the Globe, Sean Holmes offers an ingenious new take on Romeo and Juliet. His inspiration? Set the show in the Wild West. It makes sense, just about, to plonk the story into a frontier town where two murderous families are locked in a deadly feud. The Victorian age was a time of stylish and dignified fashions so the show looks terrific. The women swish around in sumptuous full-length gowns while the men sport frockcoats, hip-hugging trousers and chic leather boots. The cowboy hats are a bit of a problem. Thesps hate wearing headgear that conceals their faces, and in this production the actors wear their hats shoved well back on their heads so that their handsome mugs can be seen at all times. Perhaps the hats could be ditched altogether. This feels like a TV show. Perhaps Netflix will pick it up Most of the cast are pretty good, some are exceptional. Michael Elcock's Mercutio is a mischievous, charming street hustler who turns the tricky Queen Mab monologue into a tour de force by pretending that it's the most hilarious joke he's ever heard. (On the page, the speech reads like a bad dream about a spider improvised by a stoned poet.) Elcock's playful, fleet-footed Mercutio makes Romeo seem like an angry dullard by comparison, but that's always a risk with this play. At least Rawaed Asde (Romeo) has the dreamy good looks of a movie star. His Juliet (Lola Shalam) plays the part as a cheery Essex blonde with a heart of steel. When her father threatens to force her out of the house, he looks more scared than she does. Jamie Rose-Monk's Nurse is too young to perform the role as a venerable lady's maid and she plays it like Juliet's best mate from school. Dharmesh Patel works wonders with the small role of Peter by adding balletic little hand gestures and other physical absurdities. None of his play-acting is in the script but it comes across beautifully in the festive, carefree atmosphere of the Globe. This is an object lesson in how to reconceptualise Shakespeare. The idea of the Wild West is lightly handled and it offers witty suggestions rather than imposing ugly restrictions.


Press and Journal
7 hours ago
- Press and Journal
Fraserburgh Junior Arts Society: The group backed by Judi Dench that 'means so much to so many'
Driven by a unified passion for theatre Fraserburgh Junior Arts Society has been at the heart of the local community for more than 70 years. With the youngest member only six-years-old and the oldest 93, generations combine to bring the magic of stage to the Broch. Supporters of Fraserburgh Junior Arts Society (FJAS) include King Charles, legendary Oscar winning actor Dame Judi Dench and Joanna Lumley. Dame Judi's donation helped fund a sign that shines a beacon for arts and creativity through the streets of Fraserburgh town centre. Their latest production is an ambitious performance of Charlie and the Chocolate Factory at Fraserburgh Leisure Centre – complete with stunning glass elevator. Their rendition of the classic Roald Dahl novel also contains unique Oompa-Loompa's. Show producer Lewis Platt said: 'Fraserburgh Junior Arts Society means so much to so many people and we are very proud of the organisation. 'We are fully self-funded and rely on the goodness of people buying tickets for our shows. 'We have support from the King, Dame Judi Dench, Joanna Lumley and the Lord Lieutenant of Aberdeenshire. 'A donation from Dame Judi was used to buy a big Junior Arts logo for our 70th jubilee. 'Our logo sits above the Leisure Centre building and when it is on at night it lights up and shines right up the Broch. 'When you come down from Broadgate you can see our sign which is amazing.' Rising talent Caleb Patterson plays Charlie Bucket who visits the wonderful factory of eccentric chocolatier Willy Wonka, played by Craig Roger. First published in 1964 Charlie and the Chocolate Factory focuses on the adventure of 10-year-old Charlie and his grandpa Joe (Joss Duthie). In the irreverent, darkly comic children's novel Charlie wins a golden ticket to tour the magical chocolate factory. Timeless characters also include Augustus Gloop (Joss Maclaren), Veruca Salt (Eden Park), Violet Beauregarde (Zoe Burnett) and Mike Teavee (Ethan Doutre). FJAS's production also has unique Oompa-Loompas that are the result of tireless work from the costume design team. Lewis, who is also president of FJAS, said: 'We have a cast of 48 with our youngest member Caleb Patterson who is 12-years-old and plays Charlie Bucket. 'Caleb had never done anything with junior arts before but came to auditions in January and blew us away. 'He is great to work with and his singing voice is beautiful. 'We purchased a unique glass elevator that has come up from London and glows. 'It will fly about the stage. 'Our Oompa-Loompas are quite unique as they all have specialised costumes made for them. 'All the costumes are made of foam and are boxed out to make them look smaller and dumpier than they are . 'Our costume ladies Wendy Simpson and Doreen Gibson sat for many hours with their team cutting out foam, lining it and putting costumes into it. 'There are four different types of Oompas for different parts of the factory. 'When you see the workers in the chocolate room they are completely different from the ones in the nut room, mixing room and television room.' The origins of the Fraserburgh Junior Arts Society trace back to 1952. A pantomime was staged by Fraserburgh Photographic Society that year to raise funds for equipment. Inspired by the success of the production the following year some of the members formed the Fraserburgh Junior Arts Society. The society represented Aberdeenshire in 2000 at the Millennium Dome, taking 200 youngsters to London to perform 'Our Town Story'. Lewis said: 'We sit 600 people per night with 4,200 people a week coming to see our show. 'We have 548 members that range from the age of six-years-old to 93. 'Our oldest member is Elma Goodlad who is 93 and makes our costumes. 'She has been making costumes for 50 years. 'Everything in Fraserburgh Junior Arts Society is built by us… all the sets, costumes and props. 'The only thing we take in is the script and light and sound where we use a company from Dundee. 'Even though it is amateur we try to make it as professional as we can. 'I have been in junior arts since I was eight and I'm 34 now. 'Many of us have been here for 20, 30 or 40 years. 'Doreen Gibson has been in our society for 50 years. 'Everything we do from the committee to front of house has a passion, from everyone.'