Succession’s Jeremy Strong on Kendall’s elusive moment of triumph — and what it’s cost him.
— it was Bumblebee, this yellow car. I went off with costume designer Michelle Matland and designed the flight suit and put these patches on it — we wanted to make, like, a Maverick jacket, and that element really unlocked something for me. The wayLorene Scafaria, the episode’s director.and the wake episode have been my favorite things to work on. Episode three of this season was incredibly hard and deeply fulfilling.
That’s true. And he’s an enthusiast. He gets excited about these things. We shot a lot more than ended up in the episode. One other thing we discussed was this translucent, polycarbonate sun that James Turell was going to design. There were going to be bird songs. We got into the details of what kind of brickwork there would be. When Kendall finally gets a chance to deliver, he answers that call, and often over-delivers or under-delivers. But I felt that he met this particular moment.
He is cynically using — and in a mercenary way, even weaponizing — this loss. And monetizing his grief. For business., how this season is that line: “Plots I have laid, inductions dangerous.” He’s taking a play out of his father’s book. What Kendall says to his brother in Norway is, “Dad would have done whatever the fuck he wanted.” And so I feel heady and empowered. It’s not often that Kendall feels that sense of self possession and largess and grandiosity. I felt it, with the “L to the OG.
There is a real sense of triumph the character experiences, one that has eluded him to this point. I don’t think I’ve ever felt triumphant, ever, in this series. It’s always been about not meeting the moment, or missing the moment. And while that triumphant moment in this episode might seem delusive from the outside, Kendall feels like he knocked it out of the park.
I remember reading in Chekhov’s letters, “Tell me what a person wants and I’ll tell you what you are.” Kendall told us what he wanted from the first episode of the first season. The show has explored the ways in which the thing he wants shapes and mis-shapes and deforms him. What is amazing and painful about episode six is that he’s sort of lost. When they’re watching him and I say, “Big shoes,” and they say, “Big hat, big nervous breakdown,” they’re not entirely wrong.
And I think he does fill those big shoes. He’s very aware of what he’s doing if he pushes the number above 193, making the deal impossible. There’s all kinds of skullduggery involved in creating a media empire, and this is something his father would have done: “Let’s Hollywood this thing, dress it up and find a way to present it, because then it will become a self-fulfilling thing and the ends will justify the means.
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