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Typically with HBO shows, the ninth episode often winds up being a big one and when lots of exciting stuff happens. And then the tenth one is the more placid, character-based one.

Jonathan Nolan

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Jonathan Nolan
Age: 48
Born: 1976
Born: June 6
Director
Executive Producer
Film Director
Film Producer
Screenwriter
Showrunner
Television Producer
Television Writer
Writer
London
England
Stuff
Winds
Shows
Episodes
Happens
Lots
Hbo
Character
Exciting
Placid
Based
Ninth
Wind
Tenth
Bigs
Typically
Often
Episode

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The thing about working on a TV show is that it becomes, very quickly, all consuming.
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We used to look up at the sky and wonder at our place in the stars. Now we just look down, and worry about our place in the dirt.
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Even if you're not a parent, you have parents and you've been in those situations where there's a certain kind of goodbye - nothing this extreme exists, but I think that's what everyone holds onto, that common denominator that runs through this that everyone can understand.
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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.
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Because he's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him. Because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight.
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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.
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I was definitely looking for a reason to impose rules in the story during the writing process... a set of reasons that you could graph for why it's not chaos and anarchy - for why it has to be order, and why you need architects and an architectural brain to create the world of the dream for the subject to enter.
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Time eventually convinces most of us that forgiveness is a virtue. Conveniently, cowardice and forgiveness look identical at a certain distance.
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I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.
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I thought it would be an enormous amount of fun to make a movie that heads out into space, which is something that we had never done before.
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I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, What can we shoot that looks fantastic?, rather than trying to do the kinds of thing that you would be able to accomplish in a movie.
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None of us like violence in the real world, but we're fascinated with it onscreen.
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Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
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I remember when I was a kid my first real confrontation with space travel was when the Challenger exploded and I remember how traumatic that was for me, because I remember watching that on the news and all the children in our class were watching.
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One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.
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One of the things with our show is posing a lot of questions, but getting a lot of answers too.
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Believing the lie that time will heal all wounds is just a nice way of saying that time deadens us.
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Mankind's expectations have to be greater than ourselves and that the further out there we go, the more we find out that it's about you and me.
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For a few minutes of every day, every man becomes a genius. This is the tragedy of life.
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