Do you think, you know, for business, for everything,
can we maybe get Jeryd to turn the volume down a little?
It's discord, man. Discord makes my dick-hord.
Sure, just... I mean, it is the funeral.
♪ (GRAVE MUSIC PLAYS) ♪
MARK MYLOD:
you start the episode with Kendall here and Roman here,
and then by the end of the episode,
it's see-sawed completely.
Glasses, that's smart. You can cry in secret.
Hide all your emotions,
and thus emerge victorious as the winner of the funeral.
I thought that structure was so intriguing
and so emotionally fraught.
With those hyper emotional scenes,
there's just a trust that's evolved.
The challenge was getting the right combination
in the church of the epic and the intimate,
and a very real logistical challenge
of just getting it all shot.
We had a huge page count in the church,
and a very, very limited availability,
but it meant that we had to shoot,
even by our standards, and we can shoot quite fast sometimes.
But with our new normal two-camera way of shooting,
there was just no way we could get through this vast page count
with so many incredibly important beats,
unless we did something extreme.
The solution was for me to return
to my early directing days.
I would do multi-camera, you know, sketch shows,
and even a big live variety show,
and it was eight cameras with lots of outside broadcast feeds.
And the training for that, for me, was being able to shoot
with a lot of cameras to cover a lot of ground very quickly.
So we devised a four-film camera system
so that the cameras wouldn't be shooting into each other,
so that one camera could be on whoever was eulogizing,
one camera could be on the siblings,
one camera could be picking up reactions.
And again, we did that "roll and reload" system
that I spoke about earlier in episode three
so that I could effectively run, as we did with that scene
of Logan's death and the siblings finding out.
We ran a continuous take multiple times.
From the moment the casket is brought into the church,
right through its procession, through all the eulogies,
we ran that all as one big chunk.
That was an attempt to give the cast
as much motional flow as possible,
which they, in my opinion, they always benefit from.
Our uncle, he sent Logan away
to a better school, and he wasn't well.
He was sick.
And he got out, but when he got back
our little sister, she was a baby,
but she was there by then,
he always believed that he brought home the polio with him,
which took her.
I don't even know if that's true.
But our aunt and uncle certainly did nothing
to disabuse him of that notion.
They let it lie with him.
I always knew that story of what had happened with her.
People have occasionally mentioned it in the show,
and I've heard people-- people have asked me, like,
"What was that thing?"
And it just felt like a natural place
that a story like that would come out.
It's not the key to him, but it's one of those things.
I think it's not untypical of a funeral, right,
where you see a person in a new light,
suddenly someone who you've not met from their past comes up,
and you discover something new.
Not necessarily something that completely alters
your sense of them, but just another angle.
My father, Logan Roy, um...
Is he in there?
SIOBHAN ROY: Yeah.
Can we get him out?
JESSE ARMSTRONG:
right after the death of his father,
and some people do feel that way, like, they feel numb,
and they don't feel the wave of grief that they're expecting.
And that can be a sort of guilty relief.
Oftentimes, it does come at an unexpected time,
and it's not funny at all,
but it has the structure of a joke really, of like,
"I'm not feeling anything," and then a huge wave of feeling.
We're all here, and we're doing okay.
We're doing okay.
So goodbye...
my dear, dear world of a father.
MYLOD:
a very emotional moment beforehand.
It doesn't benefit them.
They have their process where it's built up
and prepped in their heads,
and I don't want to interfere with that.
Once a take starts, it becomes its own animal,
and you're responding to what you're seeing.
I'm completely led by the performance.
It's raw, and that's our whole modus operandi,
is to harness that raw as much as we can.
Roman, he has a sort of ecstasy of nihilism at the-- at the end,
which is scary and masochistic,
and felt like what he might do.
(SIRENS WAILING)
Idiot. Moron.
I'm gonna-- Oh, shit!