Posted 15 March 2017 - 09:40 PM
You can end up needing really enormous amounts of light to compensate exteriors like that. Plan B is to add neutral density filters to the windows, which costs a bit in gels and has to be done carefully or it's visible, but may be easier than lighting the interior to match. This wasn't done in that clip you cite, though, as we see her through the glass door at close range and she doesn't look dark.
If you don't have windows to contend with, things become easier. The style of lighting you seem to be liking is big soft sources, which is pretty much the style of the moment. Bounce your light off a large white object, which on a big production might mean an eight by eight foot white bounce, but can be approximated with a bedsheet hung over something, or just bounce it off a white painted wall. You can do this with either artificial or natural light.
Controlling soft light is difficult as it goes everywhere, as you can probably imagine. You might want to have some black objects available to shade the spill from places you don't want it. Bits of polystyrene insulating foam painted black are often used because they're cheap, large, and light.
Configuring all this stuff can take a lot of space and time, which is why shooting day interiors is hard and why big productions tend to exist in a forest of stands and clamps.
Sorry if this is too basic an overview; it'd help to know what resources you have and what your shots look like now, so we can suggest adjustments. Especially, it's useful to know what the layout of the location is, and roughly where the actors will be.