“Succession” series creator Jesse Armstrong writes characters who aren’t equipped for their times – either their inflated egos make them see small slights as momentous personal challenges or their stunted emotional maturity and intellect make them exactly the wrong people to deal with an actual crisis. In the case of “Succession,” it’s often both, and the camera responds accordingly.
Director Mark Mylod and director of photography Patrick Capone have together helmed over 10 episodes of the series together — including Season 4’s Episode 1, “The Munsters,” Episode 3, “Connor’s Wedding,” and Episode 9, “Church and State” — and like to keep the audience just a couple seconds behind and constantly re-finding the characters and the shifting power dynamics of individual scenes. It makes “Succession” look the way it must feel for the Roy siblings: one giant clusterfuck after another.
The series’s 90-minute finale is nigh, and the boardroom battle between “the Roy boys...
Director Mark Mylod and director of photography Patrick Capone have together helmed over 10 episodes of the series together — including Season 4’s Episode 1, “The Munsters,” Episode 3, “Connor’s Wedding,” and Episode 9, “Church and State” — and like to keep the audience just a couple seconds behind and constantly re-finding the characters and the shifting power dynamics of individual scenes. It makes “Succession” look the way it must feel for the Roy siblings: one giant clusterfuck after another.
The series’s 90-minute finale is nigh, and the boardroom battle between “the Roy boys...
- 5/27/2023
- by Sarah Shachat
- Indiewire
It feels weird to spoiler warn something “Succession” has built towards and hinted at since the pilot. But spoilers abound!
Death comes for us all, even for Logan Roy (Brian Cox). The inescapability of that truth, as much as any tears, denial, guilt, and/or panic, is what makes Episode 3, “Connor’s Wedding,” so affecting. The rhythm of the edit and, as director Mark Mylod put it, the “sadism” of the camera reinforces that reality, refusing to let the Roys beg, browbeat, or weasel their way past the one force even Logan couldn’t cow: time.
Mylod and cinematographer Patrick Capone hammer home the helplessness of this moment and the illogical gravity of grief by delivering maybe the fullest version of the visual and dramatic approach that has made “Succession” so remarkable. They, veteran camera operators Gregor Tavenner and Ethan Borsuk, and the shows’ actors stress-tested the series’ preference for...
Death comes for us all, even for Logan Roy (Brian Cox). The inescapability of that truth, as much as any tears, denial, guilt, and/or panic, is what makes Episode 3, “Connor’s Wedding,” so affecting. The rhythm of the edit and, as director Mark Mylod put it, the “sadism” of the camera reinforces that reality, refusing to let the Roys beg, browbeat, or weasel their way past the one force even Logan couldn’t cow: time.
Mylod and cinematographer Patrick Capone hammer home the helplessness of this moment and the illogical gravity of grief by delivering maybe the fullest version of the visual and dramatic approach that has made “Succession” so remarkable. They, veteran camera operators Gregor Tavenner and Ethan Borsuk, and the shows’ actors stress-tested the series’ preference for...
- 4/10/2023
- by Sarah Shachat
- Indiewire
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