Late November, post-election, found Jesse Armstrong hesitating to pen another tale about affluent titans. It had barely been two years since his Emmy-winning, influential series “Succession” – which depicted the destructive dynasty behind a colossal media conglomerate – wrapped up its flawless finale on HBO. Re-immersing himself in the sphere of excessive wealth seemed imprudent. However, after writing a review for The Times Literary Supplement about Sam Bankman-Fried, a crypto swindler, at the end of 2023, Armstrong became increasingly engrossed in investigating the enigmatic world of tech billionaires.
He mentions that he finds it challenging to compose about individuals until he has heard their voice. He explains that entering into this world is easier due to the frequent appearances of tech professionals on each other’s podcasts, allowing a direct listen to CEOs of these corporations. The tone of voice they use left an indelible impression on him.
Armstrong planned a storyline for “Mountainhead,” a TV movie about four wealthy friends who meet for a secluded poker weekend amidst global chaos caused by an AI release from one of their companies. He presented this concept to HBO executive Casey Bloys the following month, and in January, Steve Carell agreed to star. This was followed by Jason Schwartzman (“Asteroid City”), Ramy Youssef (“Poor Things”), and Cory Michael Smith (“Saturday Night”) also joining the cast. Filming began in Park City, Utah in March, and the movie – Armstrong’s first as a feature director – will premiere on HBO and Max on May 31. From the initial idea to its completion, the entire project took approximately six months.
For tech advancements, it’s a rapid speed compared even to the slow-paced industry of Hollywood. Yet, for Armstrong, entering into the lives of the nation’s wealthiest and influential figures wasn’t just about documenting their actions; it was also about portraying the impact they are currently having on our country.
He expresses his hope that in a few years, this will remain an entertaining watch for viewers. However, what he truly desired was to write it at the same time as people were viewing it, with everyone sharing the same awareness of current events. Time moves swiftly and trends tend to fade quickly.
Exploring the absurdities of contemporary society is something that Armstrong, known for writing on British political satire “The Thick of It” and its American counterpart, “Veep,” as well as the lives of media moguls in “Succession,” is well-versed in. However, the powerful impact of Silicon Valley inspired him to aim for a film production schedule that was as current as possible to best reflect this influence.
Frank Rich, an executive producer, remarks that this story revolves around a growing number of influential men who significantly shape America and the global landscape during tumultuous times. Given Jesse’s previous writing style, it appears highly relevant and fitting for him,” says Frank Rich.
Armstrong appeared somewhat uncertain when questioned about how President Trump’s potential re-election might influence his sense of urgency.
As a film enthusiast, I find myself pondering over this: “Even if he hadn’t triumphed, it might not have held the same significance. Yet, I strongly believe that I would have tackled the issue regardless. The rapid progress of AI and the increasing influence of social media on our data – these are phenomena that would have continued unfolding, either way.
Rich remarks that they hadn’t discussed the Trump influence in that particular manner. He suggests that a particular kind of astute writer can sense societal, political, and media developments before they become reality. In this case, the news events mirrored what Jesse had envisioned within this world and these characters, but they weren’t following those news stories. Instead, it seemed as though the news headlines were catching up to them while they were filming.
Despite Armstrong’s agreement with HBO to complete “Mountainhead”, including writing, casting, filming, and editing within a six-month timeframe, he admitted that he was unsure if such a tight schedule was feasible, he confessed. Later on, the filmmaker, his cast, and production team – primarily composed of veterans from “Succession” – shared with EbMaster how they managed to accomplish this seemingly impossible task.
Jesse Armstrong (writer, director): Instead of just wanting to direct, I wasn’t thinking about how I could make it happen. It was more like a desire to take on this task. Then, I realized that perhaps I might be able to do a good job if I directed it myself.
Jill Footlick (executive producer): The initial call I received from HBO was something like, “I’d like to discuss a potential project, but feel free to end this conversation whenever you want.” Jesse had a similar tone when we first spoke. We shared a chuckle and replied, “This might be challenging, but let’s give it a shot!” Despite the fact that it initially seemed absurd, and even now, a bit unbelievable.
Stephen Carter (production designer) shared: “I believe it was around Christmas time when Jesse initially contacted me. In my mind, I pondered, ‘Under normal circumstances, this might be unattainable. But it’s Jesse, and I sense that our shared experience from ‘Succession’ will provide a common language that could just tip the scales in our favor.’ At that moment, we hadn’t yet determined where we would be filming, but the prospect sounded exciting. So, without hesitation, I replied, ‘Yes. Sounds great, let’s do it!’
Susan Lyall (costume designer): I believe the proposal was delivered on a Tuesday, I met Jesse on a Wednesday, got hired on a Thursday, and started working on Monday. I wasn’t concerned about the duration as it’s common for costume work that the final four to five weeks are when most of the work gets completed. Plus, it’s not a large team. The story is set over 36 hours. I wasn’t certain if it was set in Park City or Vancouver, but either way, I enjoy skiing.
Bill Henry (editor): I let out a huge whoop when I received the email as I was overjoyed. I believe I was selected for the position sometime in February. The main challenge was keeping my nerves in check, knowing that the post schedule would be incredibly tight. However, when I spoke with Jesse early on, we both eased our worries by saying, “It’s just like a lengthy ‘Succession’ episode.” In other words, we’ve tackled bigger challenges. He is known for writing extensively. When I saw the 124-page script, I thought, “This falls within my usual range. We can handle it.
Marcel Zyskind (cinematographer): Although I was a novice within this group, Jesse posed the question if I was ready to take on the task. I’d be willing to journey to the farthest reaches of the earth with individuals I feel at ease around. From first impressions, these people appeared so kind, which made me eager to join them without hesitation.
Easy-In: Mentioning Jesse Armstrong’s name in connection with this project was like a magic word; people were eager to join the team. It was surprisingly simple to rally support because he’s highly respected. And I think that’s justified. We didn’t have a completed script at that point, but we did have a comprehensive plan outlined, though I’m not sure if it’s appropriate for me to disclose that detail.
Armstrong: Initially, the main composition phase took approximately 10 days. Following this, I proposed the concept, took a Christmas break, returned, collaborated with executive producer writers from “Succession” – Lucy Prebble, Jon Brown, Tony Roche, and Will Tracy – shared my idea, refined it, developed the characters, and so forth. Despite my attempts to resist, Jill motivated me to explore locations while I was still writing, which involved me jotting down ideas in a van as we traveled.
Footlick: Yes, I have lots of pictures of Jesse writing in the van on his laptop.
Armstrong: Subsequently, I completed the challenging part of writing within a span of ten days upon my return to London. After that, I spent approximately three or four weeks revising it. In some aspects, it resembled a television play. To ensure the actors had sufficient time to memorize their lines, we finalized the script around two weeks before filming began. However, it may have ultimately taken about ten days.
Working with casting director Francine Maisler, another “Succession” alum, Armstrong scrambled to find the right foursome of actors.
Armstrong: It was all a big mess. Well, what’s a better word for a mess? Process.
Footlick: It was not a mess. It was complicated.
Armstrong: Essentially, it was either chaotic or intricate. Most of the actors agreed to join before the script was finalized. Without a doubt, Steve Carell was one of them. I recall presenting the movie idea to him during our exploration in Vancouver, around mid-January. He was incredibly gracious when he agreed to be part of the project even though we hadn’t secured a location or completed the script – just Jill on her phone and me talking up the project. His kindness and faith in joining us gave us a significant push forward, making us feel like this project could become a reality.
Carell signed on to play Randall, the elder statesman of the group who the other three see as a kind of father figure.
Steve Carell described the proposition as: “He didn’t have a script; he had an idea. He’s never directed before. Would you be interested?” And my immediate response was, “Yes, absolutely! I’m on board.” I didn’t even hesitate because it was him, and I knew it would be fantastic. By mid-February, I received the script, and we began filming in March. The entire process was remarkably swift.
Schwartzman plays Hugo, the foursome’s host and owner of the eponymous mansion resting atop a snowy peak in the Rockies — and the only one of the group who hasn’t quite reached billionaire status.
Jason Schwartzman explained: When the project was offered to me, Steve was already involved, there was mostly a completed script, we planned to start filming within the next fortnight, and it was set for release at the end of May. I’ve never experienced anything moving so swiftly before, which made it thrilling since it felt like everyone was working collaboratively with no time for second thoughts.
Youssef plays Jeff, CEO of a bleeding-edge AI company, and Smith plays Venis, who runs a Facebook-like social media platform whose separate launch of AI visualization tools sparks violent, destabilizing upheavals across the globe. Their prickly relationship drives much of the story.
Ramy Youssef became energized when he heard, “Tech bros on a mountain,” as he recognized it meant Jesse had something insightful to share.
As a movie enthusiast with an undying love for “Succession,” especially its gifted cast, when Jesse shared a sneak peek of the script’s first act, it felt like striking gold. My response? A resounding “Sign me up!
Schwartzman exclaimed, “Jesse, he didn’t make things simple for himself. ‘I’ll be the director,’ he said, ‘and it will be ready in just six weeks!’
Smith: I’m struggling to grasp why they cut this process short by having everyone work together at once. Many of these people are collaborators, so there’s a sort of short-hand and understanding among them about the goal and how to work together effectively.
Youssef: At first, I wasn’t aware of how rapidly things were moving along. I didn’t realize the pressure they were dealing with. To be honest, we were just part of it. So, I was essentially wishing good fortune to the editors and production team. We had the simpler aspects of it.
Armstrong and HBO settled on a May 31 release date — and it isn’t a coincidence that that’s the final day of eligibility for Emmy consideration.
Armstrong: The idea was present in Casey’s thoughts. It wasn’t the primary factor, but it was certainly a factor. All of us – Jill, Casey, and I – had our fingers on an emergency cord. Whenever we felt that things might go wrong because of how quickly we were moving, we would suggest to stop and resume later. As the tension grew with each pull of that emergency cord, if we hadn’t discovered the house or if Steve hadn’t agreed to participate, one of us might have pulled the cord and said, “This isn’t working out. We can’t make it happen now.” And that would have been acceptable. We could have tried again later.
Following the Plan: There were certain milestones I needed to reach. So, I devised a timeline with conditions like “If we fail to achieve this by this time, if we don’t hit that target by then…” I chose not to share these deadlines with Jesse initially.
Armstrong: I imagine we missed them all wildly. Well, not wildly.
Footlick: There was a lot of shifting for sure. The house was the biggest one.
Hugo’s home is effectively the fifth character in the film — it is, literally, the titular role — but there was no time to design and build one on a soundstage. So the production scoured listings of potential real-world candidates in rarefied mountain communities in Jackson Hole, Wyoming and various locales in Colorado, before looking at possibilities in Whistler, British Columbia.
Carter: Whistler was undeniably appealing due to the presence of skilled teams in the area. Many individuals who had recently completed filming for “The Last of Us” were readily available, and given the numerous uncertainties surrounding the script and casting, it seemed advantageous to have an accomplished team already assembled and ready for us. We explored several locations, but some fell short as they were marred by new construction nearby and other features that weren’t apparent in the pictures we had previously examined.
The production then shifted to the palatial ski villas dotting the peaks around Park City, Utah, but Armstrong and Carter had to leave town before they’d found any viable options.
Carter: Just when it seemed like all hope was lost, another potential location popped up at the last second. Unfortunately, Jesse and I weren’t able to check it out, but from the pictures and the positive feedback everyone shared, we had high hopes that the house affectionately dubbed “Rockstar” could be the one. Upon my return to Park City, the Rockstar house was no longer an option, leaving us empty-handed. However, by the end of the day, we managed to find the perfect house.
Armstrong: Unfortunately, I couldn’t make it to see the house myself, so I had to entrust Jill, Stephen, and Marcel with the task instead.
As a film enthusiast, I wouldn’t choose to dwell in this house personally. However, for confining the characters within a compact weekend frame, it provided ample resources to develop the narrative. Usually, when I receive a script, I meticulously analyze it and if it lacks certain elements, we employ creative solutions to rectify those issues. In this scenario, I was essentially asking myself, “Is there enough diversity to maintain our interest for 90-120 minutes of content?” There were houses that matched the demographics, but they didn’t offer the necessary range. This was the first house that I stepped into and I instantly felt, “Yes, there’s enough intrigue here.”>
Carell: I can’t envision this being any other house. It significantly expanded the film’s possibilities. The selection of scenes altered due to this particular house. This house includes a basketball court, a bowling alley, a rock climbing wall, a bar, an outdoor swimming pool, and it’s positioned atop a cliff, 8,000 feet high. When we first entered, everyone was captivated by its unique ambiance.
Apart from other factors, what drew us to this house was a noticeable emotional response in Marcel, which seemed almost physiological. His words were something along the lines of, “It’s ideal. I feel like ending my life.
Footlick: I remember seeing his face. When we walked in there, Marcel almost threw up.
Zyskind: The very structure of that house left me feeling rather irritable. It seemed to have some sort of impact on me. It was as if it invaded the tranquility of the mountain, that house.
Armstrong: That was the gut feeling we were looking for.
Schwartzman: That house serves as my character’s possession, and when I initially stepped inside for the first time, it felt like completing my character in a sense. This is the debut of this house within the film’s narrative, so my character is also equally amazed by it – and jotting down observations about details that might not have aligned with his original expectations.
Movie Buff: That house isn’t somewhere I’d choose to reside, yet it holds a strange charm for me. It’s as if I’ve developed an unusual affection for it, like a case of Stockholm Syndrome.
Carter: In terms of decoration, we made quite an effort. However, architecturally, not much was changed. We simply added some elements to make the space more visually appealing for photos. I believe Marcel faced the toughest challenges with lighting due to all the glass. We adored the views and the seclusion, but controlling the light was challenging, to put it mildly.
“Mountainhead” adopted the filming process famously employed on “Succession,” with the actors performing through full scenes while camera operators capture it on the fly.
Translated: I’m a big fan of “Succession,” so I had no issues at all with staying true to its essence. I wasn’t going to come in and completely overhaul everything. We worked for 10-hour shifts, taking breaks only during lunchtime. This meant we didn’t stop working for an hour, which allowed us to avoid the sun moving to a different position when we resumed shooting. Many of our scenes were quite lengthy – some were even six, eight, or ten pages long. We managed to shoot them incredibly efficiently – indeed, it was record time.
Armstrong: Marcel is usually modest, but I was already an admirer of his talent. It’s quite intriguing because I gained knowledge from Armando Iannucci, who created “The Thick of It,” “In the Loop,” and “Veep,” and Adam McKay, who directed the pilot for “Succession” and was a big fan of Michael Winterbottom and his movies, many of which were cinematographed by Marcel. Essentially, I had already been influenced beforehand. As a nervous new director, he was incredibly patient in guiding me on what would work and what wouldn’t. There were significant technical hurdles when we shot this rapidly in a house with constantly changing light conditions.
Movie Reviewer: Filming each scene in a single take adds an authenticity that truly immerses viewers. Thankfully, advanced planning tools allow for such seamless execution, despite the occasional unexpected snowstorms that necessitated numerous reshoots. Remarkably, the exceptional writing, directing, and acting talents on set make these alterations virtually unnoticeable, even in scenes where inclement weather is a factor. The actors were nothing short of phenomenal, delivering flawless performances as if they had memorized every line by heart. Reading the script, I couldn’t help but marvel at the sheer volume of dialogue and wonder how they managed to remember it all so effortlessly. A remarkable production that showcases the best in cinematic storytelling.
Fans of “Succession” are familiar with Armstrong’s facility with the comically impenetrable vocabulary employed by C-suite executives, which is only amplified in “Mountainhead.”
Youssef: Every time we film, there’s never enough time, and we’re constantly under pressure to complete a day’s work. That’s why I didn’t find it too surprising, except for the sheer density of the script.
Smith: I find it fascinating to delve into dialects, and it’s almost as if we’re dealing with one ourselves. It’s intriguing to navigate the mental gymnastics required to comprehend their conversations, as they hold significant influence over our daily lives. They are shaping technology that directly impacts us, and there are aspects of their work that our government struggles to grasp or regulate. So, it’s like hopping on a speeding train and trying to decipher the whirlwind they’re creating in real time.
Schwartzman: I used index cards on a ring to store words I wasn’t familiar with. I learned quite a bit, although now I’ve forgotten most of it. At times while reading the script, I wasn’t sure if what I encountered was a grammatical error or simply a different spelling. For example, you might already be aware of this, but in this context, instead of saying “That’s four times bigger,” they would say “That’s 4x.” I remember thinking, who uses such phrasing? Upon further investigation, I discovered there is an entirely separate language. I can hardly wait to see how native speakers of this dialect react to it.
Shooting in a single location did afford the production some perks.
The costume and hair & makeup departments were situated uphill, in a charming, albeit smaller, house. Each actor had their own room, several with panoramic views of the valley. Without a doubt, this was the most picturesque workspace I’ve ever encountered. It was a significant upgrade from spending time in a 50-foot trailer parked in a lot.
Speaker: There are several benefits to being all in one place, like me dashing to Susan to check out the costumes and then rushing back up to see Stephen. This chaotic, hectic routine seems to spark creativity too, along with the restless nights some people endured. I’m curious to know who had it toughest with this schedule. I suspect it was Bill.
Henry: One major benefit from having our editing team based in the U.K. was that they would work on the project while I was asleep, following its release from Utah. This meant that by morning, some of the scenes were already compiled for me to review. On Saturdays, Jesse and editor Mark Davies, who was also in London, would gather to screen the previous week’s work. This way, we could provide Jesse with an overview of the project’s progress and direction.
Armstrong: Despite everything moving so swiftly, I never felt as though it was spinning out of control for me, nor did it seem creatively that we’ve made any compromises. However, there were a couple of instances where I experienced anxiety. The first was when Steve joined us and we secured the house, and we were definitely on track, but the script was still unfinished. That moment brought up doubts: “Have I taken on more than I can handle?” The second occurred at the start of editing, when we were only in London and had a 2 hours and 45 minutes cut. Looking at the calendar, it seemed as though the project might not come to fruition. I was worried about whether we could reduce that time, make all the right choices, and stay focused.
They did, indeed, keep their heads, cutting the film down to 109 minutes (including credits). Remarkably, everyone who spoke to EbMaster about making “Mountainhead” said they would work this ridiculously fast again — though some are more enthusiastic about that than others.
Lyall: Watching that movie was absolutely one of the best cinematic experiences I’ve ever had. A benefit of the tight production schedule was that I never felt the need to leave, as if I was always just getting started. In fact, I found myself regretting its end, feeling like there was still more to explore and enjoy. I didn’t feel like my time with it had come to an end.
Simplified Version: It was truly amazing, I must say. Given another chance, I’d love to have more time for it. Without hesitation, I’d gladly repeat the experience all over again.
What made it enjoyable for me was that there wasn’t much room for second thoughts or doubts, everyone had to trust their instincts. You can sense it while you’re working on it, and I believe the end result shows that all the decisions were based on gut feelings.
Carter: In the course of our discussions, I mentioned to some team members that Jesse has given us a task that seems almost impossible to succeed. If we don’t pull it off or if it goes wrong, there’s no denying we messed up and fell short. However, if we manage to achieve success, they might ask us to repeat this feat in a different format. Yet, I would be ready to take on the challenge again. I’m thankful it wasn’t a project spanning 55 locations.
Henry: When we finished mixing, I suggested to Jesse that an extra month would have been pleasant. However, I must admit that I appreciate how swift the process is. Initially, I worked on features and found myself growing restless and annoyed with the petty details of constant revisions, second-guessing, and experimenting with numerous options. It seemed to cloud my judgement.
Armstrong: I’m unsure how the public will receive the movie. It might not resonate with them as deeply as it did for us during production, and there could still be challenges ahead. However, I must admit that I thrive under these conditions. It fuels my creative energy. You send an email, receive a response, make a decision, and move on. This project is a testament to the team behind it, as they never pressured me into making hasty decisions. Jill set up the schedule, Marcel managed the shoot, Stephen provided the options, Susan handled the costumes, Bill made a hundred excellent decisions to allow us to focus on the remaining ten. In essence, this is a risky endeavor, but I find such work invigorating.
These interviews have been edited and condensed.
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2025-05-30 23:49