To a certain degree, with a TV show, people are looking for a certain amount of familiarity. You don't want to pull the rug out, but you also want to keep things fresh and keep changing it up.

We're gonna play a little bit of a game here [Person of Interest movie]. Greg and I felt like we had responsibility when we wrapped up the pilot, to have a roadmap for where the show went. When we pitched the pilot, we knew what we wanted the last episode to be, the last image, I think we even know what the last song is.

None of us like violence in the real world, but we're fascinated with it onscreen.

You know, we certainly have a great budget on the show, but the expansions to world of the show really arise because, and this is kind of the idea of the premise of the show, where is each week you're kind of meeting . . . It's random access.

For me, the attraction of TV is that you continue to get to tell those stories and refine those characters. The other thing is that TV, in the last years, got really, really, really good.

How can you forgive if you can’t remember to forget?

You'd have a quality insurance department, where they're making sure there aren't any glitches or weird things, and that the guests have a great experience and seamless experience. You'd also have security. So, we laid out the corporate structure, and then we cherry-picked from that the people who would be brought into the most conflict and the most day-to-day relationship with each other and with the hosts.