HBO의 인기 드라마 섹센션 Succession

HBO의 인기 드라마 섹센션 Succession 은 후계자를 찾기 위한 노력에서 한 걸음 더 나아갔습니다. HBO의 인기 드라마 'Succession'은 가족간의 권력 다툼과 뒤숭박하는 회사 경영을 그린 작품으로 로건 로이와 그의 자녀들이 주인공입니다. 최근 방영된 시즌 2의 마지막 에피소드에서는 로건이 건강한 척하며 회사와 가족을 이끌면서도 실제로는 위험한 건강 상태를 맞이하게 됩니다.

최근 발표된 추리소설 'Kill the Father'의 작가 Sandrone Dazieri가 섹센션 Succession의 다음 시즌에 참여할 것으로 알려졌습니다.

Dazieri는 섹센션 Succession에 참여하여 인상적인 작품과 전설적인 케이스를 검토하고 놀라운 상상력으로 가득한 세계를 만드는 기회입니다.

그는 "나의 서사시로 더 많은 재미와 위험, 스릴을 줄 수 있도록 노력할 것입니다." 라고 말했습니다.

섹센션 Succession은 로이 가족의 상속 과정을 위해 싸우는 이야기로 알려져 있습니다. 이 드라마는 제이슨 새체크, 제레미 스트롱, 사무엘 라자, 케이런 컬킨, 알런 던 등 인기 배우들이 출연하고 있습니다.

후속 시즌에 대한 자세한 내용은 아직 공개되지 않았지만, Dazieri의 참여로 인해 팬들은 더욱 놀라운 이야기와 케릭터를 기대하고 있습니다.

Armstrong은 또한 시즌 3에서 로건과 로이 가족의 이야기를 계속해서 그려갈 것이라며 "여전히 제가 팬이 되어있는 작품입니다. 예상치 못한 일들이 발생할 것이며, 그것은 굉장히 흥미로울 것입니다."라고 밝혔습니다.
The plot twist was preordained from the first episode of the series, and even built into the title: At some point, surely, Waystar Royco’s cruel and ruthless patriarch would die on Succession. But even the most studious fans of the HBO series didn’t expect him to perish in episode three of the show’s fourth and last season. The innocuous title, “Connor’s Wedding,” led viewers to expect another variant of one of the show’s recurring, always crowd-pleasing set pieces: a family gathering that becomes a black hole of ill will. They did not anticipate a wedding episode that would become a death episode, finally forcing succession on Succession.

Unfolding more or less in real time, “Connor’s Wedding” alternates party scenes on a yacht where the eldest Roy sibling, Connor (Alan Ruck), prepares to marry his reluctant fiancée, Willa (Justine Lupe), with frantic backstage communications between the other Roy siblings and the company executives on a private jet where Logan has collapsed. Mark Mylod, who has honed the anxious, tactically ragged visuals that underscore the Roy empire’s instability by directing of 13 of the series’ 32 episodes, put an already tense and consequential story into a production vise by documenting nearly half the drama on the yacht in one continuous, unbroken take. Using multiple 35-mm. film cameras with magazines that could hold a maximum of ten minutes of footage before reloading, Succession’s “documentary” aesthetic became more than a conceit, resulting in a filmed record of actors performing some of the most emotionally and logistically taxing work of their lives and a camera crew capturing it all while remaining invisible.

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How did you decide to kill off Logan and, specifically, have it happen halfway through episode three of the final season?
The original intention was to kill off Logan in season one, but it quickly became apparent that the dramatic conflict between Brian and the kids was so strong — in that lovely Darwinian way that television can evolve in a series — that there was so much to mine from. So the character stayed alive.

Around the beginning of production on season three, Jesse spoke about this idea that, probably in the beginning of season four, the character of Logan should die and we’d have a paradigm shift in the way we told our story. He spoke of this idea of, “What if it was the least dramatic, most mundane, most inconvenient death, really, in the way that sudden death in our age tends to happen? It’s a phone call, a text message. There’s a confusion.”

And in that mundanity — from the uncertainty that comes from having two parties, one on a plane and one stuck on a boat, with just a phone-call connection between them — what felt like it would be really interesting, if it happened early in the episode, was the tension that goes with the uncertainty that immediately follows the news. That seeking of relief, of clarity, and it never happens.

So the principal locations of a plane and a boat were selected after the decision was made to create a scenario where the siblings had a hard time getting information and communicating?
Exactly. The first instinct was to say, “Let’s have it happen early in the episode, and early in the season” — in a place where, within television grammar, it would seem least likely to be expected.

The scenes on the boat, the chain of information, the literal game of telephone that occurs: How did you shoot that? Is it true that you devised a way to film it in one continuous burst, like a three-dimensional stage play?
Yes, that’s exactly right. Because we shoot on film, we need to reload every ten minutes because the camera roll runs out. But there was this one particular section right after the intense news comes in, when Kendall walks outside and speaks to Frank and gets confirmation, where it felt like it needed to be an unbroken performance. That’s just the way we work — we needed to look at the actors continuously for that half-hour, or I needed to. There’s a whole subsequent post-production editing process that goes into it, but we typically shoot with two cameras, and it felt almost frustrating to have to break that sequence up. Having shot it in eight-page increments, I spoke to the production team and the cast and said, “Can we work out a way to do it all in one?”

So we did. We gave the actors some prep time, and cinematographer Patrick Capone worked with the operators, and we hid magazines and reloads and camera bodies around the set that they could pick up so that one camera could be running at all times. And then we went for it for a 28- or 29-minute take.



From top: Photo: HBOPhoto: HBO
So if I were to Zapruder this entire episode, might I spot a camera operator or a film magazine or camera body hidden behind a door frame or an item of furniture?
I hope we got them all out! We’ve gotten pretty good at shooting this way. There’s a lovely dance that we do on the show, the messy choreography between the actors and camera operators. This was taking it to a new level, doing it over a nearly half-hour period. Everybody rose to the occasion, and it felt like the right thing to do. The results we got in terms of the intensity and flow of performance back that up. Afterward, we all felt both exhausted and like we’d gotten something really great in the can.


Much of the episode is shot on the boat where Connor’s wedding is supposed to take place. You have all of these people playing extras. They all have phones. Even if you make them sign NDAs, there still might be people texting their friends to coyly say, “I’m filming an episode of Succession, I’m on a boat, and a really big event is happening!” How do you control the flow of information?
In retrospect, I consider it damn near miraculous that we got this done without a big exposé. I’m massively grateful to HBO security for giving us good advice on how to set up our store when we were shooting not just this episode but subsequent episodes throughout the season. And mainly, I suppose, I’m grateful to the 250 extras that we had on that boat for a week or two, because they could have said something and they didn’t.

The extras knew?
Yeah. Even if they didn’t know explicitly — the hard, very explicit dialogue was happening in a separate room — it wouldn’t have been difficult to glean from the atmosphere on set. As you say, NDAs — there are ways you can get around those, I’m sure. We spoke to the extras and asked them for their cooperation, and on that occasion as well as on subsequent episodes, everybody kept themselves zipped.

All the scenes on the plane where they’re trying to revive Logan and talking about drafting the memo in the event of his death — was that all done on a soundstage?
We shoot the interior of the plane on a soundstage. When it became obvious in season one or two that we would be spending a lot of time on WayStar jets, we built a fuselage on a soundstage in Queens with green screens outside of the windows so that we could add skies in post-production. We shot all the aircraft fuselage stuff for this episode after the scenes on the boat, the intention being that we would need to see very little of it because so much would be conveyed by hearing Tom over the phones used by the characters on the boat.


But Matthew’s performance ended up being so strong that we used a load more of that than we had intended. He was just so damned good, so compelling, that it was difficult not to keep cutting to him.