The Roys are on their way to Norway.
The new season of HBO‘s “SuccessionYou’ll find tech mogul Lucas Matson of Alexander Skarsgård attracting the Roy dynasty to the Norwegian mountains.
Filming in Norway is overseen by producer Scott Ferguson (“The Night Of”, “Brokeback Mountain”), who confirms that production and stars including Skarsgård, Nicholas Braun and Sarah Snook filmed the new season across a number of locations in western Norway, such as The Atlantic Ocean (recently seen in the recent Bond movie “No Time to Die”), the luxurious Romsdalen Gondola and Juvet Landscape Hotel (used in the sci-fi thriller “Ex Machina”), located near Geiranger Gorge, a UNESCO World Heritage Site.
Ferguson reveals that the upcoming season will delve deeper into the world of Matson, which was first introduced in Season 3. With the sale of media group Waystar Royco to Matsson ever so close—and the Roys wondering what their future will look like—the family is invited to visit the home of the GoJo founder.
“Last season, we had an important new character and a new story, a potential merger with Alexander Skarsgård’s tech company,” Ferguson says. diverse On site in Norway.
“We were really excited when Alexander came – he’s a great actor. And right from the start [showrunner Jesse Armstrong’s] The idea was that the tech company would be led by someone from a Scandinavian country. In the writer’s room, around February, Jesse came up with an idea for an episode they wanted to participate in [Matsson’s] part of the world.”
Ferguson is one of the most experienced producers in the field, having filmed all over the world. Although he has been working in television in recent years, his previous film credits include collaborations with directors such as Jim Jarmusch, Stephen Zillayan, James Mangold, Milos Forman, Sidney Pollack and Ang Lee. Ferguson has worked on the Emmy-winning “Succession” for the past four years.
He maintains that dramatic scenes set against the dramatic landscapes of Norway await the new season, which will air next year.
“When we saw the pictures of the amazing architecture and the settings for Jouvet, we were really excited,” Ferguson says. “Norway is a wonderful natural place. It immediately seemed like a perfect place for a family gathering in the series. We studied different countries, but we realized that Norway has this extraordinary scene – unlike anywhere else in the world.”
The production team was excited about the powerful blend of attractive architecture and natural elements within the landscape.
“Mark and I traveled in May, took a look at the area around Andalesnes, and looked at the gondolas with the restaurant on top of the mountains. They also had an airport in the area we were looking for in the story. Norway had everything we were looking for – in absolutely wonderful places. Then We had to figure out how to do shooting at these locations in practice. We’ve had a lot of support from HBO, and we’ve spent the past several months making a plan and then putting it into action.”
Ferguson explains that he participated in the writers’ room from the early stages of development in order to get a taste of the storylines.
“I talk to them after they spend [some time] In the clerk’s room until I understand where they’re going. Then I will come to London a few times and spend some time with them during the course of development, and start hearing what they have in mind and the kinds of locations we are looking for – what the story is about.”
Ferguson, who worked with Lee on “Brokeback Mountain,” also notes the benefits of working with local crews on the ground. “People are really good at shooting where they live, and I always wanted to take advantage of this great local experience,” he says. “This is how we approach Norway and other distant travel episodes around the ‘Caliphate’.
Looking forward to the fourth season, the producer promises that “what the audience loves in ‘Succession,’ they will get more.”
“This starts with HBO’s support, supporting us and creating an environment in which Jesse and the writing team have the ability to creatively take risks,” Ferguson explains. “We use the production side to help them, where everyone is given the freedom to do their job to the fullest. And I think that’s part of why the show works on so many levels – writing, directing, and crew. Nobody is afraid to try something they haven’t tried before.”
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