I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

You know, it's hard as a writer to lose characters (and actors) you like. You really don't want them to die because you're not going to get to see them anymore.

The beauty behind killing someone who no one thinks you're willing to kill is, of course, that you throw people out of their comfort zone. And that's good because you want people to be on the edge of their seats.

The idea that you could stitch together every detail episode to episode and preserve continuity for the length of a season and tell a story while using no time cuts, no flashbacks, nothing but pure real time just seemed too difficult.

To create a situation where each new episode has to start in the exact same place as the previous one, with the actors' hair in the exact same place, seemed crazy.

Ultimately people don't watch shows because of how realistic they are. They watch them because of the same dramatic elements that have always made stories interesting. And fundamentally if those elements don't work, no amount of reality is going to be enough to keep people watching a show.