Sarah Snook

It's straight white men in business and there's no room for me there. So I don't think I'll have a very interesting through line and maybe I don't think I'm going to get this role anyway. So I don't want to audition. And my friend, I was auditioning for something else and already had hair and makeup on, which is such an effort when you're doing self-tapes.

It's straight white men in business and there's no room for me there. So I don't think I'll have a very interesting through line and maybe I don't think I'm going to get this role anyway. So I don't want to audition. And my friend, I was auditioning for something else and already had hair and makeup on, which is such an effort when you're doing self-tapes.

It's straight white men in business and there's no room for me there. So I don't think I'll have a very interesting through line and maybe I don't think I'm going to get this role anyway. So I don't want to audition. And my friend, I was auditioning for something else and already had hair and makeup on, which is such an effort when you're doing self-tapes.

I don't know, other people might not think it is, but I find it a real effort doing a self-tape in the first place. But I was doing a self-tape for something else. And so my friend did just, just read the lines, just, let's just have fun. Let's just try and do it. And I am forever grateful for her.

I don't know, other people might not think it is, but I find it a real effort doing a self-tape in the first place. But I was doing a self-tape for something else. And so my friend did just, just read the lines, just, let's just have fun. Let's just try and do it. And I am forever grateful for her.

I don't know, other people might not think it is, but I find it a real effort doing a self-tape in the first place. But I was doing a self-tape for something else. And so my friend did just, just read the lines, just, let's just have fun. Let's just try and do it. And I am forever grateful for her.

I don't know. I mean, there probably was a level of insouciance or attitude about not feeling right for this and like, you know, without using it as a succession word, F you for making me audition for this when I, you know, I'm not right for this. Like that's a bit shiv to be honest.

I don't know. I mean, there probably was a level of insouciance or attitude about not feeling right for this and like, you know, without using it as a succession word, F you for making me audition for this when I, you know, I'm not right for this. Like that's a bit shiv to be honest.

I don't know. I mean, there probably was a level of insouciance or attitude about not feeling right for this and like, you know, without using it as a succession word, F you for making me audition for this when I, you know, I'm not right for this. Like that's a bit shiv to be honest.

As Tom says.

As Tom says.

As Tom says.

Are there similarities? Yeah. Yeah, there are similarities. I mean, very different in terms of the specificity required for Dorian and the fluidity allowed in succession. But something about the proximity of cameras and the kind of subtextual or subconscious awareness of them as a character is in both Succession and Dorian has been really useful to have experienced that in Succession.

Are there similarities? Yeah. Yeah, there are similarities. I mean, very different in terms of the specificity required for Dorian and the fluidity allowed in succession. But something about the proximity of cameras and the kind of subtextual or subconscious awareness of them as a character is in both Succession and Dorian has been really useful to have experienced that in Succession.

Are there similarities? Yeah. Yeah, there are similarities. I mean, very different in terms of the specificity required for Dorian and the fluidity allowed in succession. But something about the proximity of cameras and the kind of subtextual or subconscious awareness of them as a character is in both Succession and Dorian has been really useful to have experienced that in Succession.

It was never like they are definitely a character and we're going to dramaturgically make them feel like that. But just the presence of, you know, like Gregor, one of the camera operators, at one point he was on the other side of the couch I was doing the scene. He's behind my back on the other side of the couch. I look over. Yep, he's still behind me on the other side of the couch.

It was never like they are definitely a character and we're going to dramaturgically make them feel like that. But just the presence of, you know, like Gregor, one of the camera operators, at one point he was on the other side of the couch I was doing the scene. He's behind my back on the other side of the couch. I look over. Yep, he's still behind me on the other side of the couch.

It was never like they are definitely a character and we're going to dramaturgically make them feel like that. But just the presence of, you know, like Gregor, one of the camera operators, at one point he was on the other side of the couch I was doing the scene. He's behind my back on the other side of the couch. I look over. Yep, he's still behind me on the other side of the couch.

And within three seconds, I turn and throw another line back over my shoulder and he's right behind me. He has crossed the couch somehow. He's like leapt over it with a camera in hand. And that kind of agility from the camera operators, both in Dorian and Succession, is very similar.

And within three seconds, I turn and throw another line back over my shoulder and he's right behind me. He has crossed the couch somehow. He's like leapt over it with a camera in hand. And that kind of agility from the camera operators, both in Dorian and Succession, is very similar.