Editor̵7;s note: This interview was conducted outside the FYC event as there was no cast or creative panel as part of the event,
“It was just a lovely collective feeling of really pushing ourselves and pushing ourselves,” says the director. mark mylod The magic behind the scenes is over succession, Speaking as part of Deadline’s FYC House+, the Emmy winner said, “For me, having a cold clinical eye and sticking to the truth has become even more important.” hbo max event series.
with the acclaimed Jesse Armstrong satire after completing its 10-episode fourth and final season on 28 maythe death of media mogul Logan Roy (Brian Cox) and the death of siblings Kendall Roy (jeremy strong), Siobhan “Shiv” Roy (Sarah Snook), and Roman Roy (Kieran Culkin) still exist as a new fraternity.
is a major part of succession Team since Season 1, royal family, shameless And game of Thrones Veit Mylod was behind the camera to bring the HBO series to its end, as it does in each season finale. From that perch, directed 16 Succession’After 39 episodes, Mylod has seen the show and its audience grow. Among the many facets of our conversation, executive producer Mylod revealed that’s when he learned of the almost inevitable path to the CEO chair for Shiva’s ever-estranged husband Tom Wambsgans (Matthew McFadden).
deadline: Now that succession Is over and done, why do you think it works so well?
myload: Jesse’s passion for American politics and American power dynamics is such that his vast wealth of knowledge and his passion for that subject matter puts him in a unique position to be the best person to really tell this story.
At the center of this, you should have a character who represents an incredibly strong Dark Star. And that’s Brian’s genius. He has it all, simply because it is in his nature, and his skill as an actor. He has that incredibly believable presence. That was the whole pace of how the show worked. If we didn’t have that gravitational force, it wouldn’t work.
deadline: In that context, what do you think you’ve brought into the mix?
myload: I’m not an intellectual like Jessie. Any smarts that I have is emotional intelligence. So, I come at it from a completely different place, in terms of the tone and visual landscape of the show.
My attraction to doing the show, apart from this sense of this kind of brutal Zeitgeist that I thought it inhabited, was really a feeling. These are really interesting characters to try and unmask. To find that vulnerability, to find the child, and then find a way to really connect with these people. I found that a fantastic directorial challenge, and a fantastic opportunity to spend four seasons really exploring and connecting and getting under the skin of those characters — if not forgiving them, then at least calling them to account for their behavior. Give reference for
deadline: you directed each succession season finale, and every season opener except the first season, as well as several episodes throughout the show’s run. Besides Adam McKay, who directed the pilot, the visual style of Succession was shaped largely by your work, so how do you feel now that it’s finished?
myload: Now that it’s done, I feel really sad, sad and proud, what a strange cocktail.
It’s been a few months since we wrapped up shooting and we just finished post, but I’ve never found it so difficult to separate from a particular group of people. Besides family actually, obviously. But those actors, that crew was special. It really was. It was probably a once-in-a-lifetime alchemy between all of us, and I’m really proud of it, and I really missed him.
deadline: Let’s talk about the series finale, “With Eyes Open,” which Jesse wrote. There were clearly too many threads to tie up, setting up Tom as CEO, which seems so obvious now, and effectively leaving so much untold, because Succession has done so well over the years. In terms of timing, the hype and response that the finale got, how do you view that conclusion now?
myload: I am very proud of the finale. I think it’s a lovely thing.
It worked because it did what I think we’ve done well in the past, and that’s deliver. What in retrospect seems like a pretty obvious ending, the only ending that may end up being the true ending. But we hid it till the last second. I think it worked because we stayed true to our creed, and we came up with a whole lot of emotional truth about what those characters would do and what would happen.
deadline: what do you mean?
myload: That they won’t be able to escape the gravity of Logan, that they must be self-sabotaging on some level. So, we’re just being honest. In terms of the actual specifics of how the season finale would end, I didn’t know until the beginning of season 4 that Tom would become CEO by the end of the run. I knew that the brothers and sisters would lose, but I had not searched for information for a long time. I didn’t ask
myload: because it’s like Aaron Sorkin used to say about West Wing, and i know this because i used to ask John Wells But shameless. Welles said that Aaron Sorkin was always concerned about giving actors scenes too quickly because he was concerned that they would be playing into the future.
that an unconscious premonition would actually manifest within a scene. I myself have this fear if I have precognition, I am unconsciously worried, somehow winking at the audience. So, I avoid the temptation to learn what I don’t need to know.
deadline: Funny you bring up Sorkin, because surely there was such a swift and some would say, predictable, political edge in succession. There was great timing involved…
myload: I know others have said this, but the fact is the first day of shooting of the original pilot was the day Trump won the 2016 election. Therefore, there is a clear correlation between the right-wing media and the power dynamics of these types of super families. So, but I think there’s more to it than that. It’s beyond the element of its timing, and maybe it’s just in the f*ck-up act, you know, through some high-class sense, sort of soapy…
deadline: Hey, no need to wait, sir. I am a lover of pop music and high class soaps. So sure, there’s no shame in admitting it dynasty in your legacy.
myload: Absolutely. there is dynasty and there is Dallas and they were a lot of fun, but they didn’t go that dark succession Did. We know at this age that there is an appetite for feuding families. game of Thrones It did it on an epic scale, but managed at its best to be incredibly intimate as well. And it was another way of really exploring family dynamics, and power dynamics, with a fresh and timely perspective.
deadline: one of the most distinctive and at the same time subtle elements of succession The production design was intended to be an accurate portrayal of the billionaire class, often down to the smallest gestures and symbols. How did you manage not to let it dominate the story, as it often does?
myload: It was a balance between showing that world as accurately as the budget would allow, while not making it sexualised. It was a question of objectivity without falling into the trap of it.
There’s a very simple tool I use, which is the kinetic movement of actors to reveal a landscape in order to reveal the world. So, the character will always lead us through it, so the camera is there very, very loosely. The camera never discovers or drools over a beautiful place or a beautiful watch – I’ll find a way to stage it so I can see and reflect on that world, but without the expectation that it’s the hypocrite who really says oh Look at these awesome people, but wow, look at that gorgeous Rolex.
deadline: Feels like succession in one shot…
myload: (laughs) I think Jeremy put it very well when he said in a conversation that we all felt pulled by our ambitions and the challenge of writing in places we didn’t know we were. can achieve. It was just a really lovely collective feeling of really pushing ourselves and pushing ourselves. For me, keeping a cold clinical eye and sticking to the truth became even more important.
deadline: The final shots of the siblings in the series finale were a silent coda to themselves…
myload: Tom and Shiva were a gift in the car.
myload: I staged it in such a way that they could go from dark to light as a kind of irony. With that last drive into Manhattan. I think Shiva is still in play as a sort of Lady Macbeth, potentially starting to pull strings behind Tom.
deadline: And Roman at the bar?
With Kieran’s character, Roman, I think his tragedy is forever trapped somewhere in that bar. Yes, it is better to be rich, at least in terms of human existence, but there is something sad about that. It’s a way of seeing where the last two years we spent with the character were just fever dreams. He went to that bar. Imagine that two whole years have passed between his father’s birthday and now he is back in that bar and nothing has changed. There is a kind of happiness and a tragedy simultaneously. So, they are beautifully ambiguous.
deadline: Jeremy Strong has talked about this being an unused shot at the end of the series. The show leaves him staring into the water, his motive a broken moron in many ways. But Jeremy says there was also a shot of him going over the fence into the water, an attempted suicide…
myload: I totally understand why Jeremy decided to move to the fence. I think the character is thinking about that and considering that and whether he actually goes through with it is another question. Jesse and I realized that perhaps leaving the character with an unfulfilled destiny in the middle of those top cold spots, the cold waters of New York Harbor, or the cold horrors of the future is somewhere in the middle of those. Two, two or four places. It’s the cruelest and probably the most honest way we can leave that character. It seems pretty full circle.
deadline: Sounds like succession in a bottle…
myload: Yes, I mean, it’s the central tragedy of the show, isn’t it? Everything comes full circle, and those characters can never escape.