Sarah Snook

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.

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.

Yeah, in some sense, yeah. We would do a director's rehearsal and we would know the approximate areas that we would need to be in. And then the camera operators with direction from...

Yeah, in some sense, yeah. We would do a director's rehearsal and we would know the approximate areas that we would need to be in. And then the camera operators with direction from...

Yeah, in some sense, yeah. We would do a director's rehearsal and we would know the approximate areas that we would need to be in. And then the camera operators with direction from...

the cinematographer and the director would be telling them, you know, be in this, okay, double down on that line, keep going, or, you know, do a crash zoom to here or there, like being in the right areas and the right spots. We would tend to light the room for the scene or light one side and then the other side.

the cinematographer and the director would be telling them, you know, be in this, okay, double down on that line, keep going, or, you know, do a crash zoom to here or there, like being in the right areas and the right spots. We would tend to light the room for the scene or light one side and then the other side.

the cinematographer and the director would be telling them, you know, be in this, okay, double down on that line, keep going, or, you know, do a crash zoom to here or there, like being in the right areas and the right spots. We would tend to light the room for the scene or light one side and then the other side.

So there was no like coming down the line, set up, set up, set up, changing the lights each, each shot, each frame. Um, It was very just... Yeah, a lot of freedom in that way of working, and I loved it. It was great. It meant that the scenes really had a lot of energy between the characters and that we, in that particular way of working, we had a lot of...

So there was no like coming down the line, set up, set up, set up, changing the lights each, each shot, each frame. Um, It was very just... Yeah, a lot of freedom in that way of working, and I loved it. It was great. It meant that the scenes really had a lot of energy between the characters and that we, in that particular way of working, we had a lot of...

So there was no like coming down the line, set up, set up, set up, changing the lights each, each shot, each frame. Um, It was very just... Yeah, a lot of freedom in that way of working, and I loved it. It was great. It meant that the scenes really had a lot of energy between the characters and that we, in that particular way of working, we had a lot of...

space to fill in the gaps I think and that was where you know the camera operators and the DP knew okay well we know that Sarah's in the corner on this in this setup but actually she's been told you know as is always the case in succession you're likely to be on camera so have an opinion on everything like you know just be acting you can't just sit back and relax for a moment.

space to fill in the gaps I think and that was where you know the camera operators and the DP knew okay well we know that Sarah's in the corner on this in this setup but actually she's been told you know as is always the case in succession you're likely to be on camera so have an opinion on everything like you know just be acting you can't just sit back and relax for a moment.

space to fill in the gaps I think and that was where you know the camera operators and the DP knew okay well we know that Sarah's in the corner on this in this setup but actually she's been told you know as is always the case in succession you're likely to be on camera so have an opinion on everything like you know just be acting you can't just sit back and relax for a moment.

And that kind of attention to what's happening in front of you is really fun to work with, but then also was really valuable for transitioning onto something like Dorian because you're never sitting back. You're never, oh, I'm not on camera so I can just switch off for a second. You're always on. You're on stage. You're always on.

And that kind of attention to what's happening in front of you is really fun to work with, but then also was really valuable for transitioning onto something like Dorian because you're never sitting back. You're never, oh, I'm not on camera so I can just switch off for a second. You're always on. You're on stage. You're always on.

And that kind of attention to what's happening in front of you is really fun to work with, but then also was really valuable for transitioning onto something like Dorian because you're never sitting back. You're never, oh, I'm not on camera so I can just switch off for a second. You're always on. You're on stage. You're always on.