Nicholas Britell knew very early on that Brian Cox’s Logan Roy was going to be killed off in the final season of HBO’s “Succession.” It was up to him to figure out what the passing of a titan of in…
.” It was up to him to figure out what the passing of a titan of industry would sound like musically.
“I’m usually writing pieces that are fully defined in their way, and almost, at times, can speak for themselves as much as for the characters,” says Britell. During the crucial scene — Logan lies unresponsive — Britell and Armstrong worked together on the music. “We tried out a lot of different things. At one point, it got down to asking if the music [should]even go away so it feels like an altered state of reality,” he says.
Britell is particular about how he uses hip-hop, Kendall’s music genre of choice. “It’s driven by Kendall and his love of it,” he explains of the Episode 6 cue. “The beats I used with him are very meta. I’m not just scoring Kendall. I’m underscoring. It is very self-consciously knowing how Kendall thinks about hip-hop.
“Kendall thinks maybe he can do this. As he’s walking onto that stage and he has that encounter with Karl, we are convinced this is going to be a total debacle,” says Britell. “The music on the beach says, ‘We are in one of those rare opposite moments, that perhaps this is a way forward.’ Given everything that’s happened in his life, perhaps he’s finally finding himself. He doesn’t know his future, and we don’t either —and for this moment, let’s embrace that.
“I think ‘Succession’ has provided this venue for us to feel things about the world today, perhaps collectively, about what’s going on in the world socioeconomically and with concentrations of power, but then also within families and how all families are complicated,” he says. “‘Succession’ is just a very complicated version of complicated.”
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