In order to appeal to a wider audience on network in order to survive, generally your characters need to be, at a base level, a little bit more likable. ↗
Series finales have that responsibility to leave you feeling good about entire series. You want to feel like the viewer closes the book satisfied. And if you strike out on the finale it skews how you feel about the entire series. ↗
There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually. ↗
There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can. ↗
He was a psychotic. He was a borderline psychotic. He was a terrific, sensational actor, with a magical screen presence, you couldn't keep your eyes off him, but he was paranoid. He was sure everybody was out to get him. ↗
He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture. ↗
It always amazed me that he was able to do it, and that Orson Welles was able to do it. I never understood it because the talents are absolutely opposite - polar opposites. ↗
It's sad - it's sad for us old enough to remember when directors ruled, and films were substantially better than they are today. But it's hard to argue with those kinds of grosses. ↗
