Sarah Snook

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, so there was no, like...

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...

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 shot, each frame. 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.

Coming down the line, set up, set up, set up, changing the lights each shot, each frame. 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.

Coming down the line, set up, set up, set up, changing the lights each shot, each frame. 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.

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 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.

Yeah. I mean, sometimes it just came out of me as Sarah and feeling like I couldn't compete in the level of like comedy, humor or improv that Kieran at the level that he's able to deliver. So half the time it was like, I just keep my mouth shut and have an opinion that I'll keep to myself. The camera will pick it up.

Yeah. I mean, sometimes it just came out of me as Sarah and feeling like I couldn't compete in the level of like comedy, humor or improv that Kieran at the level that he's able to deliver. So half the time it was like, I just keep my mouth shut and have an opinion that I'll keep to myself. The camera will pick it up.

Yeah. I mean, sometimes it just came out of me as Sarah and feeling like I couldn't compete in the level of like comedy, humor or improv that Kieran at the level that he's able to deliver. So half the time it was like, I just keep my mouth shut and have an opinion that I'll keep to myself. The camera will pick it up.

And that sort of somewhat developed into a character choice as much as it was an acting choice, an actor's choice. But yeah, I think it's right for her, though, as the younger sister of oftentimes a room full of men. You're just kind of like, all right, let me watch my stupid older brother and my even stupider older brother and my even stupider older brother.

And that sort of somewhat developed into a character choice as much as it was an acting choice, an actor's choice. But yeah, I think it's right for her, though, as the younger sister of oftentimes a room full of men. You're just kind of like, all right, let me watch my stupid older brother and my even stupider older brother and my even stupider older brother.

And that sort of somewhat developed into a character choice as much as it was an acting choice, an actor's choice. But yeah, I think it's right for her, though, as the younger sister of oftentimes a room full of men. You're just kind of like, all right, let me watch my stupid older brother and my even stupider older brother and my even stupider older brother.

fight themselves out and tear themselves down and get themselves into a knot. And then here I am, Dad. You know, I've just been sitting here. You know, there's a cunningness and a cunning quality to Shiv and a part of that is just being the observer and waiting her turn.