Sarah Snook
speaker
137 appearances
3 recordings
2 series
first heard May 2025
last heard 22 Feb
Sarah Snook’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Feb 2026 with 1.
Appearances
sequence in the dinner party scene where there's seven and you're playing all those seven other guests yeah how many is it dorian two three four five six six i think um yeah i'm all of the it's all me you're playing all the other guests yes but you know like i don't I don't think of them as me at all.
Yeah, I mean, it is a lot of fun to do. And the narrator really is, in a sense, Oscar Wilde. You know, I'm not playing him as a character, but there is his energy and his wit is definitely infused naturally into that role because it is the character based on the prose of the book. You know, Kip's turned a Victorian novel into... a play and a Victorian novel that wasn't meant to be read out loud.
It wasn't like a Dickens or anything like that. It was meant to be read and in episodic form in a way. So it's somewhat difficult to turn that into dialogue as well as into something that is accessible to an audience now. And part of creating that has been to keep the wit that Oscar Wilde has inherently in that text.
I think because I personally don't have any experience by association or proximity with wealth at that level. But I also didn't understand the show so much. And I didn't at that time want to be a secondary kind of handbag character to the men in the show who were going to be I think billions had just come out and I was like, oh yeah, I can see that.
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. 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.
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.
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...
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...
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.
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.
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.
Well, I was pregnant at the time. And I think I was like seven months or something. And, you know, my first baby. And so that kind of
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