There's something about the evolution of television where it evolved from to the things that we're now watching and loving. It evolved from film writers, film actors, and I think gradually people are easing themselves into the amount of time they have.

With FX in particular, they've been fantastic and were really hands off. I mean, it helps that you've got Ridley Scott on your side.

I like to create a character where you believe, deep down, that they don't really care if they live or die. That's very liberating for the character because, if the character is prepared to die, then they can do anything. It's impossible to stop them.

I think people are drawn to characters that break the rules. I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.

There [in Allied] was depicting London in the war, as well, and doing that in a way where you see something that you don't normally see, which is how hedonistic it was. In reality, that's what was going on. But, all of it worked.

When Brad [Pitt] responded [to Allied], suddenly what was impossible became possible, which was great. But along the way, whenever I told the story, it had an affect on people. At its core, this was an effective story.

I think once those friendships, if you use that as an analogy, the friendships between the audience and the character is established, then you can start to take liberties. I believe that as this unfolds people will find the time invested worthwhile.