Emmy-winning producer and director Mark Mylod has been with Succession for all four seasons, as has composer Nicholas Britell, who won an Emmy for the iconic theme of the series marking the three-time Oscar nominee’s first TV show. However, it was the stunner of a Episode 3 in the series’ final season, “Connor’s Wedding,” that was unlike anything they had tackled before on the show, and it presented unique challenges.
It also has presented them with their latest Emmy nominations as the episode each submitted (as did creator Jesse Armstrong in the writing category). Succession has received 27 nominations this season overall.
Appearing on the HBO | Max panel for the show at Deadline’s Contenders Television: The Nominees awards-season event, both Mylod and Britell said that while Logan Roy’s death in the episode was a shocker for the audience, it was always the plan to have Brian Cox’s character exit in this way. In fact, the character stayed around a lot longer than they originally thought.
“The script (for the episode) originated this idea of putting those siblings that seek to control everything in their life … have no control really, and to see them struggle with that,” Mylod said. “From my point of view, the clip (of the siblings learning of their father’s grave condition while he was on a plane to Europe) … represents what became a half-hour, 20-minute unbroken take so that we could really send the actors as deep into that experience of hearing that news and the frustrations of having to go through that broken phone line with with Tom (in the plane) over 35,000 feet, and so that became just a half-hour deep-dive into this experience for the characters, which was really exhilarating and emotionally all-consuming for all of us over a period of days.”
Mylod who also complimented Britell on the perfect use of music in the episode. For Britell, it required a different way of thinking musically altogether.
“I was so profoundly moved by what you all created on set,” Britell told Mylod. “I mean those moments were so effective and I remember watching them the first time when I got the cut and it felt immediately to me like it required a totally different approach from a musical perspective than really I’ve ever utilized in the series at any other point.”
Britell has received his fourth Emmy nomination for Succession, and third in the Original Score for Series category where this year he finds himself competing with himself — he is also nominated for his Andor score as well as its main title theme. Mylod’s two Emmys have come as an executive producer on the series, and he been nominated again for directing this year — one of three the series received in the Directing for a Drama Series category.
Check back Monday for the panel video.