I think we're always trying to avoid tropes. And I think that "Game of Thrones" has almost made killing people a cliche. For us, it wasn't about that. For six episodes, it's hard to invest in people, and I think when you kill a main character on television it really needs to mean something. So we certainly had talked about that, and I think we managed to juggle the ball to make a gripping, interesting and compelling finale. We feel that we didn't have to go there at this point because we had such few episodes.

Also, when we did "Smallville," we didn't have an opportunity to interact with people who watched the show. And see what they had to say and listen to criticism and listen to praise at the same time. So a lot of this is a new experience and it's very interesting and rewarding for us. I think we get honest feedback. You get hate. You get a lot of love as well. And I'm actually very curious what people think of the show. For us, it's been a passion project of ours, and an incredibly challenging show to make.

We liked the idea of introducing the audience to the world, and to show how much they had accepted or were confused by it. It was gratifying to see the people who embraced it immediately and understood it and got into it. They have tracked the characters through the six episodes, so it felt that now we can launch into the journey element of it. And really explore more of the Badlands.

I think that people are really hungry for original content. I think there's a sense of reboots and remakes, and we're lacking in any sense of originality in media. So, I think the people who want something like this which has a graphic novel feel or comic book feel but that is designed and created for the medium of television, I think that is something is very appealing to a lot of people.

[Into the Badlands] wasn't going to be two days of a splinter unit at the end of the shoot. The action and the martial arts had to be integral to the show. That's what makes it unique, that's what makes it special and different and ground-breaking. No one has attempted this before on American television.

Another thing we wanted to do, a lot of shows or movies that are in the future or the post-apocalyptic are very bleached, desaturated desert environments and we wanted to do the opposite of that. There's always talk about Chernobyl and the world that environment has recovered has become this idyllic, bizarrely refuge for wildlife.

Also, having grown up in England, you walk around London, you're passing relics that are a thousand years old - the wall of London is a thousand years old. You don't talk about it, it's part of your everyday life. The idea that people are in these environments and talking about the past and what happened, it's irrelevant. It's all about living and in this world it was about surviving.