Jesse Armstrong, one of the UK's most successful screenwriters, is not one to rest on his laurels. Hot off the back of his hit showSuccession, which followed the twists and turns in the lives of media mogul Logan Roy, played by Brian Cox, and his four children, Armstrong is back with his first feature-length film,Mountainhead. It's a satire film about a group of four tech billionaire friends who go away to a mountain resort for the weekend but find themselves and their social media companies under scrutiny as social unrest spreads across the globe. Speaking at the Hay Festival, Armstrong says: "People start by saying, 'Why are you doing these rich people again? And it's a fair question. They're tech billionaires. Succession was about a big media family. And I think it's because I'm interested in power, I don't think it's about just wealth. "Succession was very clearly about why is the world like it is, who has power?" HBO's Mountainhead, starring Steve Carrell and Ramy Youssef, was made very quickly. "We did it at great speed. I pitched it in December and wrote it in January... carried on re-writing it through pre-production and then shot it in 22 days, then edited it. "We only finished (editing) about a week ago and it's on TV this weekend!" Armstrong, 54, wanted to do a quick turnaround on the film to try to capture the feeling and pace of technological developments and society's fear about keeping up. "The anxieties that we have about technology, especially AI, feel very present and move quite fast. And I wanted to try and write it in the same mood as you might be when you're watching it, so I was keen to do it quickly," he says. "Another attraction for me was that I've never directed anything before and it made me feel less anxious to run at it and do it really, really quickly." Armstrong, who cut his teeth in children's TV before writing for shows such as The Thick of It and going on to co-create series like Peep Show and Fresh Meat, said the inspiration for Mountainhead came from listening to podcasts. "I wrotea book review about Sam-Bankman-Fried, the crypto fraudster, and then I read more and more about tech, and I started listening to podcasts of senior tech figures, from Elon Musk and Mark Zuckerberg and Sam Altman, but also the mid-level people and even lower level - it's an ecosphere. "I couldn't stop thinking about the voice of these people. I do love getting the vocabulary right. For me, that opens the door, once I can hear them talking. And since it seems like the AI companies are scraping so much of our hard work to train their models, I thought I would scrape them back [using their podcasts]!" Armstrong told the Hay audience that while he knew his job was to engage viewers, writing the film "was a way of expressing a load of feelings about that world and about those men - they're almost all men in that world - and it's cathartic". His shows are known for their dark humour and Armstrong says if he had to write his job description in his passport application, he would put down "comedy writer", adding that he doesn't think of himself as a storyteller. "I'm trying to make a story engaging that will probably involve people laughing. And the bit that I find most challenging is finding a story because people remember jokes, but you just won't make it through that half hour or hour unless that story is is compelling enough to make an audience follow along." Many writers and showrunners end up directing episodes of the series that they have created but Armstrong says he couldn't do that on Succession, which won multiple awards including 14 primetime Emmys. "I always felt like the people who did it were so good at it that it was rather rude of me to suggest I could just come in and do it just as well." Armstrong doesn't appear to be your stereotypical confident showrunner, coming across as quite shy and humble, despite his success. "Sometimes very creative people have a real 'screw you' attitude to authority, and I don't have that. Maybe I'm a bit more fearful, a bit more amenable. I like everyone to be happy. I want to to give people what they want in quite a decent and humane way. "I don't have a confrontational attitude to people I work with, unless someone's a jerk - I hope I can stand up for myself and the work." Mountainhead is released on HBO and Max on 31 May
Why Succession creator Jesse Armstrong is writing about rich people again
TruthLens AI Suggested Headline:
"Jesse Armstrong Returns to Screenwriting with Satirical Film Mountainhead"
Bbc News
7.3
TruthLens AI Summary
Jesse Armstrong, renowned for his work on the acclaimed series Succession, is venturing into feature films with his latest project, Mountainhead. This satirical film focuses on four tech billionaire friends who retreat to a mountain resort, only to find their lives and businesses scrutinized amidst global social unrest. In a recent discussion at the Hay Festival, Armstrong addressed the question of why he continues to write about affluent characters, clarifying that his interest lies in the dynamics of power rather than wealth alone. He remarked that Succession was fundamentally about understanding the world and the distribution of power within it, and he aims to explore similar themes in Mountainhead. The film, featuring actors Steve Carell and Ramy Youssef, was produced rapidly, with a timeline that saw the idea pitched in December, written in January, and filmed within a mere 22 days, culminating in a quick editing process that concluded shortly before its release on HBO and Max.
Armstrong's decision to expedite the production was driven by the desire to capture the current anxieties surrounding technology, particularly in relation to artificial intelligence. He expressed that the fast-paced nature of technological advancements necessitated a similar speed in storytelling. Drawing inspiration from various tech figures through podcasts and literature, Armstrong sought to accurately portray their voices and the cultural environment surrounding them. Although he is primarily known as a comedy writer, he emphasized the importance of storytelling and engagement in his work. Despite his success, Armstrong remains humble about his craft, acknowledging that he does not see himself as a traditional storyteller but rather as someone who aims to craft engaging narratives infused with humor. He also reflected on his reluctance to direct episodes of Succession, believing that the expertise of his colleagues in that area warranted respect. Mountainhead, which showcases Armstrong's unique perspective on the tech landscape, is set to premiere on May 31.
TruthLens AI Analysis
The article provides insight into Jesse Armstrong's transition from television success with "Succession" to his new film "Mountainhead." It explores themes of power and wealth, particularly among the elite, while reflecting on contemporary issues surrounding technology and societal unrest. The discussion reveals Armstrong's motivations and artistic choices, as well as the rapid production pace of the film.
Intent Behind the Publication
The piece seeks to highlight Armstrong's continued exploration of themes related to wealth and power, addressing potential criticism of focusing on affluent characters. By framing the narrative around the anxieties of modern society, particularly regarding technology and social media, the article aims to position Armstrong's work as relevant and timely. This suggests an intention to engage audiences who are concerned about the implications of wealth and power dynamics in today's world.
Perception and Public Sentiment
The article may cultivate a sense of intrigue regarding the lives of the wealthy, especially in the context of current societal issues. It portrays Armstrong as an astute observer of power structures, potentially appealing to viewers who are critical of the elite. The framing of the film's rapid production might also generate excitement about its relevance to ongoing technological advancements.
Information Omitted or Concealed
While the article focuses on Armstrong's creative process, it does not delve into the critical reception of "Mountainhead" or its potential impact on viewers' perceptions of technology and wealth. This omission could lead to an incomplete understanding of the film's implications.
Manipulative Elements
The article may contain a manipulative aspect by emphasizing the urgency and relevance of the film to current societal issues without providing a comprehensive view of its thematic depth. The language used suggests a positive outlook on Armstrong's work, potentially overshadowing criticisms of the portrayal of wealth.
Reliability of the Information
The information appears credible, as it reflects Armstrong's own statements and insights related to his work. However, the lack of external critique or varying perspectives may limit its objectivity.
Underlying Narrative
The underlying narrative promotes the idea that understanding power dynamics is crucial in contemporary society. By focusing on the wealthy elite, the article suggests that their actions significantly influence broader societal issues.
Connection to Broader Themes
This article may resonate with ongoing discussions about wealth inequality, technological advancements, and societal unrest. It reflects a growing concern about the influence of technology and affluent individuals on societal well-being.
Audience Appeal
The article seems to cater to audiences interested in the intersection of culture, technology, and social issues—particularly those who engage critically with media portrayals of wealth.
Market and Economic Implications
While the article primarily focuses on a film and its themes, the underlying issues of wealth and technology could resonate in financial markets, especially in sectors related to technology and entertainment. Companies involved in tech or media may be indirectly affected by public sentiment surrounding these themes.
Geopolitical Context
The article does not directly address geopolitical issues but touches on themes that relate to global unrest and the role of technology in society, which are pertinent in today's world.
Use of AI in Writing
There is no explicit indication that AI was used in writing the article. However, if AI were involved, it might have shaped the narrative to emphasize urgency and relevance through data-driven insights into public sentiment regarding wealth and power.
The article effectively conveys Armstrong's artistic vision and the themes he explores, though it could benefit from a more balanced perspective. The focus on both wealth and technology reflects broader societal concerns, making this piece relevant to ongoing discussions in various contexts.