Sarah Snook

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.

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.

Like, it's so cringy and heartfelt and gross and wonderful. Like, it's just like, what? It's, yeah. Wow.

Like, it's so cringy and heartfelt and gross and wonderful. Like, it's just like, what? It's, yeah. Wow.

Like, it's so cringy and heartfelt and gross and wonderful. Like, it's just like, what? It's, yeah. Wow.

Yeah, definitely. I mean, that's the sort of the funny thing about this show and the writing in the show. I would be hard pressed to know which parts were improvised and which parts weren't. But I would suggest that most of the like the oofs and the no's and the interstitial kind of moments, I always felt that those were improvised.

Yeah, definitely. I mean, that's the sort of the funny thing about this show and the writing in the show. I would be hard pressed to know which parts were improvised and which parts weren't. But I would suggest that most of the like the oofs and the no's and the interstitial kind of moments, I always felt that those were improvised.

Yeah, definitely. I mean, that's the sort of the funny thing about this show and the writing in the show. I would be hard pressed to know which parts were improvised and which parts weren't. But I would suggest that most of the like the oofs and the no's and the interstitial kind of moments, I always felt that those were improvised.

And that was the beauty of it, where we could be live and real and expressive without worrying about going over someone else's line for sound or for stitching them up for reacting too loud or whatever it was, which gave everything a lot of aliveness and energy.

And that was the beauty of it, where we could be live and real and expressive without worrying about going over someone else's line for sound or for stitching them up for reacting too loud or whatever it was, which gave everything a lot of aliveness and energy.

And that was the beauty of it, where we could be live and real and expressive without worrying about going over someone else's line for sound or for stitching them up for reacting too loud or whatever it was, which gave everything a lot of aliveness and energy.

It was challenging in its expectations, but rewarding because of that. I think the challenges were we were all on a boat in the East River. I can't remember if that was docked at that point. I think we were docked at that point. But you know, you're on a boat, you're at close quarters. Mark had decided as a group with Jesse and everybody to shoot that sequence as like a one take.

It was challenging in its expectations, but rewarding because of that. I think the challenges were we were all on a boat in the East River. I can't remember if that was docked at that point. I think we were docked at that point. But you know, you're on a boat, you're at close quarters. Mark had decided as a group with Jesse and everybody to shoot that sequence as like a one take.

It was challenging in its expectations, but rewarding because of that. I think the challenges were we were all on a boat in the East River. I can't remember if that was docked at that point. I think we were docked at that point. But you know, you're on a boat, you're at close quarters. Mark had decided as a group with Jesse and everybody to shoot that sequence as like a one take.

And so each time we did that scene, it was a 29 minute take from that room and then up onto the next level, following Jeremy up, Kendall up, and then coming back down. And then we would go up into the top level room and Yeah, it was hard. It was hard. We shot it over two days, though, that sort of sequence.

And so each time we did that scene, it was a 29 minute take from that room and then up onto the next level, following Jeremy up, Kendall up, and then coming back down. And then we would go up into the top level room and Yeah, it was hard. It was hard. We shot it over two days, though, that sort of sequence.

And so each time we did that scene, it was a 29 minute take from that room and then up onto the next level, following Jeremy up, Kendall up, and then coming back down. And then we would go up into the top level room and Yeah, it was hard. It was hard. We shot it over two days, though, that sort of sequence.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.