Sarah Snook and The Freedom of Not Performing for the Camera
We sat down with Sarah Snook to talk about her Emmy nominated performance in Season 3 of Succession and how it was important for her to disrupt her script study with questions that interrupt her groove. With how nuanced the writing is, rather than trying to pin down one specific interpretation of the script, she will try things the day of and work with more time and direction to find the right noes. She also uses her husband as a resource and a different perspective that’s not part of the day to day production to help challenge her decisions.
She also talked about having great chemistry with both the crew and the cast and the freedom of trusting the camera to pick up all her "looks" and choices. Since the show shoots with multiple cameras, Sarah said she was less worried about the director or the audience catching her movements. This way, rather than performing for the camera and worrying about the angles or how her face looks, she can play with her blocking. Sarah mentioned also that she at first less confident improvising due to her character’s American accent and how this resulted in her character waiting and observing before she speaks.
Watch the full conversation below.
Q&A on the HBO series Succession with actor Sarah Snook. Moderated by Mara Webster, In Creative Company.
Although he has no plans to step aside as the head of Waystar Royco, the international media conglomerate controlled by his family, aging patriarch Logan Roy is contemplating what the future holds. He has lingered in the limelight longer than even he thought he would, and now family members want to run the company as they see fit. Despite a best-laid succession plan, tempers flare over Logan's intentions. Kendall Roy, Logan's eldest son from his second marriage and a division president at the firm, is the heir apparent. As Kendall attempts to solidify his eventual takeover, he and the three other Roy children face a difficult choice as company control and family loyalties collide.
