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Q. We heard from Jared Harris about how he dealt with his exit from the series. What was it like for you to have to let him go?
A. It’s a terrible thing to have to deal with. You want to make sure that it’s worth it, that they’re going out with a bang and you’re not sacrificing someone who’s a great actor and a great musician in the orchestra. But also I feel like there have to be stakes. This year was filled with foreboding of violence and death, and the connection of that early summer between the riots, which resulted and death, police killing innocent people, and the Richard Speck murders and the guy on the Texas tower [Charles Whitman]. The randomness and the nihilism that was born from that was something that permeated the story. Lane’s story I thought was about someone who has undervalued themselves and that was his only way out, he thought.
Q. His character arc this season sometimes suggested that he was gaining confidence. Was he ultimately someone who couldn’t be allowed to get what he wanted?
A. His rage to Don at the beginning of that scene where he’s caught – everything he says is true. And you look at it and say, it could drive you to it. It’s based on a true story. There was someone I don’t want to – suicide is a very private thing and it’s so very shameful, but there was a story about someone in an ad agency who had hung themselves in their office and they couldn’t get the door open. From the beginning, I was like, we’re probably going to end up using that.
¿ya habeis comentado lo de la muela podrida como metafora de la relación enquistada con Megan en la que duele hasta besarse?
sois buenos, pero yo más
¿ya habeis comentado lo de la muela podrida como metafora de la relación enquistada con Megan en la que duele hasta besarse?
Dato real: a mí me dolía una justamente ayer y el dentista me ha citado para una endodoncia.
METALENGUAJE DE CAGARSE.