IN CONVERSATION WITH ASHLEY ZUKERMAN

interview by JANA LETONJA

Ashley Zukerman has quietly built one of the most impressive résumés in television, moving seamlessly between prestige dramas, psychological thrillers, and genre-defining series. From his memorable turn as Nate in HBO’s Succession to standout roles in A Teacher, The Lost Symbol, City on Fire, and Netflix’s Fear Street trilogy, he has consistently gravitated toward complex, intelligent characters. This summer, he joined one of television’s most ambitious sci-fi worlds as Daniel, a young and ambitious congressman, in the highly anticipated new season of Apple TV+‘s Silo. Following a brief but intriguing introduction at the end of season two, his character is set to play a major role as the mystery behind humanity’s last remaining refuge continues to unfold. 

Silo has become one of the most acclaimed science-fiction series on television. What was your reaction when you were offered the opportunity to join the show?

This was a show I loved, with people I deeply respected. To get to help create a new world within that show was a really exciting idea. Graham Yost, the creator of the show, got on a call with me and told me the story of the character, but I was already sold.

Your character Daniel was teased at the end of season two but becomes a much bigger presence this season. What can you tell us about him without revealing too much for the viewers that haven’t watched the new season yet?

I’d say that when we meet him, while he seems aware that the world he lives in is somewhat compromised, he’s a little naive, optimistic, always hoping for the best. And then over the course of the series, that optimism is challenged. 

Daniel is described as a young and ambitious congressman. What interested you most about him as a character?

I’ve heard him be described that way, but to me he was always more of an engineer than anything else. He believes that most problems can be solved through effort and knowledge, that there’s a technical solution. And then when problems creep away from the rational, he can find himself unmoored. And the questions he’s faced with throughout the show are ideological, emotional, they’re complicated, they can’t be solved technically. 

One of the strengths of Silo is its exploration of power, control, and information. How does Daniel fit into those larger themes?

I’d say that all the characters in the show wrestle with those ideas. Daniel starts the show having faith in the system, and slowly that faith is eroded. 

Joining an already established hit series can be daunting. What was it like stepping into a world that already has such a passionate fanbase?

You know, that’s not too daunting for me, I find that quite energising, knowing that people will be interested. I’d say that it certainly makes me feel a responsibility. The work is the daunting part. 

Silo constantly keeps audiences questioning what is true and what is hidden. As a viewer, are you drawn to stories that leave room for ambiguity?

Absolutely. It’s a necessity. I think when dealing with human behaviour, there are very few absolutes. 

You’ve built a career playing intelligent, layered characters, from Succession to A Teacher and now Silo. What attracts you to these kinds of roles?

It’s the filmmakers. I’m drawn to people who try to explore stories in nuanced ways, who look for the complications, the ambiguity. Especially in television, where you often don’t know where the character will go, it’s important for me that I can trust the writers, the directors. And in those projects, all characters have their own intelligence. 

What excites you most about working in genre storytelling right now?

I grew up on sci-fi. It was the one night a week I was allowed to stay up late, when the new episode of Star Trek got to Australia. So, I love it. But as an actor, they’re just people to me. I sort of forget that it’s genre. There may be some technical things to be aware of, but that’s it. 

Is there a particular project in your career that you feel changed the way you think about acting?

I did an Australian series called The Code, which really taught me a lot. I had just finished a play that I wasn’t very happy with, nothing was working, and then I threw myself into that show, and maybe for the first time I felt what it was to really put myself on the line. A lot of jobs have changed the way I think about the work - Manhattan, A Teacher, Succession — but that was the first. 

When approaching a new role, what is the first thing you look for in a script?

I take it pretty slow. Just try to put myself in their shoes. I’ve learned to not rush that. 

Looking ahead, what kinds of stories or collaborators are you most eager to explore next?

I’m happy to not know, or try to control it. Just engage with everything that comes in, and see what feels right. 

TEAM CREDITS:

photography CLAY GARDNER