Kieran Culkin discusses acting and Succession experience in a candid conversation with fellow actor Jason Schwartzman, delving into behind-the-scenes moments, the transition from stage to screen, and how newcomers are welcomed on intense ensemble sets. The discussion offers an honest look at the realities of high-pressure productions, the emotional energy of iconic scenes, and practical advice for actors joining established teams.
Actors Reflect on Fast-Paced Productions and Unexpected Experiences
During their conversation, Kieran Culkin and Jason Schwartzman revisit their experiences on different sets, focusing first on the rapid production cycle of the new HBO film Mountainhead, directed by Jesse Armstrong. Schwartzman, who is known for his nuanced portrayals, recounts how suddenly he was cast: one evening in Texas, he was informed he needed to send in an audition tape for Armstrong’s movie by the following afternoon, interrupting a movie night with musician Ben Kweller to get it done. He recalls the shock of shooting soon after, as the entire project moved from casting to filming and release within a few short months, all taking place at an elaborate, strikingly constructed house set in the mountains.
Schwartzman describes the Mountainhead set as a unique space that quickly began to feel like home, even though its glass-heavy, ultra-modern design at first seemed artificial. The crew, composed largely of veterans from the acclaimed series Succession, added to the set’s sense of cohesion and professionalism. Recalling his earlier days working on Scott Pilgrim vs. The World, Schwartzman notes how the arrival of new cast members can completely revitalize a lengthy shoot—a sentiment echoed by Culkin, who brings up the long-lasting energy that fresh faces introduce to ongoing projects.
The Dynamics Behind Ensemble Success
The conversation often returns to the inner workings of ensemble-driven sets like Succession, emphasizing the trust, rhythm, and adaptability required of every participant. Both actors agree that departments such as camera and sound on well-oiled productions behave like bands, communicating almost musically to capture authentic performances. Schwartzman points out the distinct habits of crew members—for instance, camera operator Gregor’s quirky mint-eating routine—highlighting the camaraderie and routines that develop behind the scenes.
On Succession, Culkin describes how the show’s notorious pace often meant changes to the shooting schedule at the last minute, instilling a culture of “just show up and go.” When welcoming new actors onto the set, Culkin explains,
“You’re not a fish out of water, we’re all like this. Just go with the flow, keep up, and trust the process.”
—Kieran Culkin, Actor. He notes that even seasoned performers can feel anxiety when introduced to a set with such established momentum, but that the support of both cast and crew makes adaptation possible. Schwartzman, drawing from his own experience as a newcomer to an already established group, admits to feeling intimidated but shares that Culkin’s work on Succession “showed me what’s possible.”
Inside Iconic Scenes: Creating Realism and Emotional Resonance
Perhaps one of the most revealing portions of their exchange is Culkin’s detailed dissection of the process behind Succession’s memorable funeral sequence. Under the direction of Mark Mylod, the cast and crew approached the scene not with the usual piecemeal method of TV production, but by running the entire funeral event in real-time, using multiple cameras and consulting true-life funeral directors for authenticity. This immersive approach meant that background actors, principal cast, and even camera operators all participated as though it were a real event, allowing for uninterrupted emotional build-up and natural reactions.
Culkin explains,
“We actually just did the funeral, and he made sure to cover it really well. It’s oversimplifying. But why don’t films shoot that way all the time?”
By reliving this process, both actors reflect on what it means to perform without knowledge of which moments the camera will capture, with Schwartzman stating of Culkin’s performance,
“That’s like walking on a tightrope without a net.”
—Jason Schwartzman, Actor. The approach left room for powerful, unpredictable moments, encouraging actors to lose themselves in the scene without concern for coverage.
The funeral scene’s methodology influenced the broader conversation around ensemble drama and increased appreciation for innovative directing. Schwartzman admits to frequently pausing the show during home viewings, marveling,
“How would you even think to do that?”
—Jason Schwartzman, Actor.
Parenthood, Performance, and Real-Life Pressures
Their dialogue also touches on the intersection of career and family. Both Culkin and Schwartzman reflect on how having children changes one’s priorities as actors. Culkin discusses the desire to take on projects that would make his future children proud, only to learn that kids are rarely engaged with their parents’ work regardless of its quality or significance. Schwartzman talks about the unique joy of seeing his own kids react to his projects, though he recognizes that children’s understanding of their parents’ fame is limited.
Culkin shares the honest pressure of maintaining professional obligations while managing personal health, relating the story of nearly missing a Broadway show due to food poisoning, and the anxiety it caused him. As Schwartzman listens, he expresses a fascination with this aspect of live theater—a world he hasn’t entered himself but is eager to try, prompting Culkin to encourage expanding into stage work.
The Evolution of Characters and the Influence of Collaboration
The pair delve into character development, especially within collaborative, writer-driven environments. Schwartzman details his process of building the persona of Lucky Flickerman in The Hunger Games: The Ballad of Songbirds and Snakes, highlighting how a minor reference to amateur magic in the source novel became a defining characteristic on screen. He explains his strategy: whenever his character returned from a traumatic event, he’d deflect from discussing violence, focusing instead on something benign—a coping device he translated from a few book lines into a full on-screen routine.
Culkin expresses both admiration and apprehension as he prepares to portray Lucky’s grandson in the upcoming Hunger Games prequel, Sunrise on the Reaping, directed by Francis Lawrence. Culkin admits,
“Let’s just fucking go. Let’s figure it out while we’re doing it.”
—Kieran Culkin, Actor. Schwartzman reassures him, emphasizing the importance of authenticity and trusting one’s instincts, which echoes the trust-based atmosphere both experienced on past sets.
Writers, Directors, and the Creation of Set Culture
As the discussion explores the role of writers and directors, Culkin and Schwartzman share stories about Jesse Armstrong, Tony Roche, Lucy Prebble, Jon Brown, and Will Smith, who shaped the tone of both Mountainhead and Succession. Schwartzman compliments Armstrong’s intelligence and adaptability, sharing moments when he would have to search definitions for Armstrong’s elaborate vocabulary. He also recalls the directors’ collaborative attitude, inviting input from actors and fostering a creative partnership rather than a top-down directive environment.
Culkin brings up the quirks of Jon Brown, recognizing how personal attributes like a hair-twirling habit add personality to the set and build a sense of familiarity and comfort among the cast. Schwartzman reflects on the shared experience of being surrounded by talented, often English, collaborators who contribute distinct perspectives to the work, explaining,
“Do you want to try this idea?…Yeah, what time’s your sound check?”
—Jason Schwartzman, Actor.
The duo recall practical jokes and the informal rituals that build camaraderie, such as teasing about footwear choices or making gentle fun of the set’s architecture, exemplifying how even on high-stakes jobs, humor and casual exchanges play important roles.
Ongoing Impact and Looking to the Future
The conversation concludes with mutual encouragement and a reaffirmation of the lasting bonds forged on set. Schwartzman reveals his anticipation for seeing Culkin’s take on Flickerman in the new Hunger Games installment, stating,
“I can’t wait to see that.”
—Jason Schwartzman, Actor. Both actors recognize the emotional weight of leaving a mark within such a strong creative ensemble, with Culkin acknowledging the blend of pressure and excitement that comes with high-profile roles. Schwartzman, for his part, emphasizes the importance of trusting directors and support crews, especially when navigating unfamiliar creative processes. He notes,
“Francis is all about trust. He’s a great guy. He can run a big production, but it doesn’t feel big.”
The exchange underscores the unpredictability, emotional highs and lows, and deep camaraderie that define collaborative film and television work. It also highlights the significance of guidance and open-handed advice between peers, even as both navigate ongoing changes in both parenthood and professional expectations. Culkin and Schwartzman’s open reflections provide an authentic look into the processes and pressures of contemporary acting, while reinforcing the enduring impact of shows like Succession and the collaborative successes they inspire.
As they part ways, the intensity and supportive spirit of the conversation linger, encapsulating the overwhelming emotional charge that drives these artists forward—on stage, on screen, and in life.
