Aaron Korsh Interview

8/10/2019 Aaron Korsh Interview

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Moderator: Amanda Altschuler

07-10-12/12:00 pm CTConfirmation 21!"#"#$

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July 10, 2012

12:00 pm CT

'perator: (adies and &entlemen than) *ou for standin& +* and ,elcome to the uits

conference call ,ith Aaron .orsh

Aaron .orsh: ello

'perator: urin& the presentation all participants ,ill +e in a listen onl* modeAfter,ards ,e ,ill conduct a uestion and ans,er session At that time if *ou

hae a uestion please press star then the num+er 1 on *our telephone If

*ou4d li)e to ,ithdra, *our uestion press the pound )e*

As a reminder5 this conference is +ein& recorded5 ul* 10th I ,ould no, li)e

to hand the floor oer to Ms Car* %lease &o ahead

Amanda Car*: i eer*+od* Than) *ou so much for oinin& our call toda* for uits ,ith our

sho,4s creator5 ,riter and e8ecutie producer5 Aaron .orsh uits airs

Thursda*s at 10:00 pm on 9A e ,ill hae a transcript aaila+le for this

call



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o if *ou4d li)e that or if *ou hae an* uestions *ou can reach out to me at

Amanda dot Car*5 C-A-;-< at =->-C-9-=-Icom And ,ithout further ado

I4ll turn it oer to ?@ernell to &o ahead and &et our BA started

'perator: Than) *ou At this time if *ou ,ould li)e to re&ister for a uestion *ou ma*

do so +* pressin& star 1 on *our telephone If *our uestion has +een

ans,ered and *ou ,ould li)e to ,ithdra, *our re&istration press the pound

)e*

If *ou are usin& a spea)erphone please lift *our handset +efore enterin& *ourreuest 'ne moment for *our first uestion And our first uestion is from the

line of amie ;u+*

amie ;u+*: i Than)s so much for tal)in& to us toda*

Aaron .orsh: <ou4re ,elcome

amie ;u+*: o can *ou tal) a+out some of the chan&es this season5 especiall* since no,

that ardman4s +ac)D

Aaron .orsh: ure I ,ill sa* that5 *ou )no,5 last season ,e ended o+iousl* on the

cliffhan&er ,ith Treor and it ,as a challen&e to )ind of ma)e it5 *ou )no,5

the challen&e that ,e +asicall* had ,as ,e didn4t ,ant to run a,a* from it

and hae at the last second5 *ou )no,5 Treor ta)e his5 *ou )no,5 not sa*

,hat Mi)e did or5 *ou )no,5 +asicall* cheat the audience in some ,a*

o ,e ,anted to )ind of em+race5 *ou )no,5 ta)e it head on and em+race that

challen&e And ,e thou&ht the ,a* to do that ,ould +e to +rin& in ardman

+ecause all of us ,ondered li)e ,ho is this ardmanD e5 the ,riters



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,ondered it I ori&inall* put him in the pilot +ut the character )ind of chan&ed

a little +it

I )no, the fans ,ondered ,ho he ,as and it ust seemed li)e a perfect fit to

+rin& him in and let him +e the foil that )ind of5 *ou )no,5 soled the pro+lem

of ho, to )eep Mi)e in the firm and still hae essica find out a+out his

secrets o that ,as )ind of the impetus of +rin&in& ardman alon&

And the other thin& is I ust felt li)e a lot of sho,s that I4m a +i& fan of often

do some sort of - the* +rin& in an outside character as a foil and the* )ind ofdo a Ciil ar t*pe thin& and it ust appealed to me so that4s ,hat ,e did

And it allo,s5 *ou )no,5 +rin&in& ardman in allo,s the different characters

to shift their d*namics and test their lo*alties to each other and themseles

amie ;u+*: efinitel* Can *ou tal) a+out ho, ori&inall* *ou &ot the idea from the sho,

,hen it first startedD

Aaron .orsh: ure It ,as around the time of the ,riters4 stri)e It ,as ust endin& I thin) it

,as li)e 2007 And I4d +een some,hat of a stru&&lin& - I4d +een a ,riter4s

assistant5 I4d +een staffed a fe, times in the comed* ,orld +ut I ,as

stru&&lin& It ,as hard to ma)e it

And m* a&ent su&&ested to me that I ,rite a sho, a+out m* time - I ,or)ed

on all treet as an inestment +an)er for a+out - in =e, <or) for a+out fie

*ears

o he said I ,as al,a*s tellin& him stories a+out those times5 ,h* don4t I

,rite somethin& a+out thatD >asicall* ust to ,rite a spec pilot to tr* to &et a



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o+ I ori&inall* thou&ht it ,as &oin& to +e a half hour5 er* fun t*pe of thin&5

almost li)e Entoura&e on all treet

And ,hen I sat do,n to ,rite it5 it )ind of ust came out the ,a* it ,as as an

hour lon& sho, ,ith more dramatic +ent to it than comedic and that4s5 *ou

)no,5 that4s )ind of ,hat it ,as I don4t )no, if it4s ,idel* )no,n or not +ut

m* first +oss4s name ,as are*

I ,as 21 e ,as a+out 26 +ut he seemed li)e so much older than me <ou

)no,5 he ,as li)e )ind of ?unintelli&i+le o that4s ,here the impetus for thesho, came from

amie ;u+*: ')a*5 &reat Than)s so much

'perator: Than) *ou 'ur ne8t uestion is from the line of ?Ale8andra @eshetta ,ith

?Accidental ?9nintelli&i+lecom

?Ale8andra @eshetta: i It4s a pleasure to tal) ,ith *ou

Aaron .orsh: Than) *ou

?Ale8andra @eshetta: ince *ou mentioned ardman in the pilot5 I hae seen the uncut pilot5 so

,as it @ictor Far+er ,ho pla*ed him5 ri&htD

Aaron .orsh: It ,as It ,as

?Ale8andra @eshetta: <es o ho, did that not ,or) out5 +ecause I mean ,ell5 I4m a maor fan

of Alias so of course I4m a maor fan of @ictor Far+er and I thin) that if

there4s an*one ,ho can intimidate are* that is ac) >risto, I mean



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Aaron .orsh: A+solutel*

?Ale8andra @eshetta: and ,hat

Aaron .orsh: =o5 *ou4re a+solutel* ri&ht ell +asicall* ,e thou&ht he did an amaGin& o+

+ut ,e thou&ht he actuall* did ,or) out ,ell >ut the - ,e had some time

pro+lems ,ith the pilot The international ersion ,as a+le to +e much lon&er

+ut the ersion in the 9A5 *ou )no,5 in America

?Ale8andra @eshetta: <eah

Aaron .orsh: did not o ,e had to - it ,as +asicall* - ,hen *ou &et in the edit +a* *ou

hae to ma)e some hard choices often And sometimes5 *ou )no,5 sometimes

*ou can cut lines ,ithin scenes and that ,ill &et *ou do,n to time And

sometimes *ou ust need to cut ,hole scenes

<ou4re not &oin& to ma)e it ust +* cuttin& ,ithin scenes o ,e made the

tou&h decision to cut that character out +ecause - it ,as )ind of t,ofold I

mean it ,as all drien +* time +ecause I thou&ht those scenes ,ere &reat

>ut that character ,as )ind of ori&inall* thou&ht of - that ardman5 the

ersion of him ,as as essica4s mentor and the* ,ere friends And ,hen ,e

,ere - so ,e cut it out for time +ut then ,e thou&ht it adds a lot more to the

sho, if ardman is a +ad &u*

o +* that time - +* the time that5 *ou )no,5 ,e decided to +rin& him +ac)

@ictor Far+er - it ust ,asn4t &oin& to ,or) out to +rin& him +ac) in the ne,l*

constructed character e ust didn4t thin) he ,ould pro+a+l* +e interested in

that so ,e moed on from it



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?Ale8andra @eshetta: All ri&ht And the interestin& thin& a+out the ne, actor as ,ell is that

there4s a curious connection +ecause he ,as on %erson of Interest last season

,hich is a A+rams sho, And A+rams said that he thou&ht he ,as terrific

and the* ,anted to find a ,a* to +rin& him +ac) to the sho,

Aaron .orsh: 'h

?Ale8andra @eshetta: o *ou +asicall* - *eah5 so *ou +asicall* pic)ed the second +i& - *ou

actuall* pic)ed for aniel ardman ,ho is terrific +* the ,a*5 he4s a &reat5

&reat actor and there4s still this connection ,hich I found - the ,hole thin&,as ust curious +ecause it ,as a ,hole A+rams all oer it ,hich ,as )ind

of curious

Aaron .orsh: 'h5 ,ell I ,ill tell *ou I did not see him on %erson of Interest I4m sorr* to sa*

>ut ,hat I did see him on and ,hat I &ot to )no, him on ,as he ,as on

ama&es5 eason I thin) mainl* one +ut also t,o And he ,as such a

po,erful role

A er* - not a lar&e role +ut he had this uiet po,er that I neer for&ot And5

*ou )no,5 ,hen ,e ,ere loo)in& at ardmans5 *ou )no,5 ,e ,ere loo)in& at

a ton of different people

And he - ori&inall* ,e ,ere &oin& to ma)e ardman5 the second round of

ardman5 he ,as &oin& to +e almost li)e he had +een a *oun& - he had +een

are*-li)e ,hen he ,as *oun& in loo)s and demeanor And ,e couldn4t

reall* find the ri&ht person for that

And one of the ,riters repitched me aid Costa+le And I had neer

for&otten ust from his small role in ama&es And he came in5 in the audition

and he ,as so &ood ,e ust thou&ht this is the ,a* to &o



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?Ale8andra @eshetta: 'h *eah efinitel* &ood And he pla*ed a ud&e on %erson of Interest

Aaron .orsh: 'h

?Ale8andra @eshetta: <eah It ,as - ,hen I sa, him pla*in& aniel ardman - oh ,ait5 that

dude5 *ou )no,5 and it ,as - the ,hole thin& ,as ust - an*,a*5 spea)in& of

aniel ardman I )no, that there4s a character called Monica that ,e ,ill &et

to meet in - ,ithin a fe, episodes

Aaron .orsh: 'h

?Ale8andra @eshetta: ,ho has a maor past ,ith them Could *ou tell us a +it more a+out her

and this re,ind episodeD

Aaron .orsh: A+solutel* ell +asicall* the re,ind episode is )ind of5 *ou )no,5 it4s - the

purpose of it is - ,e thou&ht it ,ould +e interestin& to shed some li&ht on

these characters4 pasts o it4s a flash+ac) episode +ut also has implications

for toda*

e didn4t ust ,ant to &o into the past e ,anted to moe the stor* at least a

little +it for,ard in the present da* o *ou4re &oin& to find out a little +it

more a+out are*4s past <ou4re &oin& to find out a+out eer*+od*4s past

+ecause it flashes +ac) to

?Ale8andra @eshetta: <eah

Aaron .orsh: fie *ears a&o It tells the stor* of Mi)e and enn*5 ,hen the* first met and

Treor And Monica is some,hat of a )e* component Hirst of all5 there4s also



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oe5 another ,oman A couple of ,omen from are*4s past are prealent in

the episode5 +oth Monica

?Ale8andra @eshetta: oe is pla*ed +* Fa+riel Macht4s ,ife5 correctD

Aaron .orsh: E8actl* acinda

?Ale8andra @eshetta: ;i&ht

Aaron .orsh: acinda >arrett >ut Monica is5 *ou )no,5 I don4t ,ant to &ie too mucha,a* >ut Monica has a past at the firm he left the firm under )ind of cloud*

circumstances and she pla*s +oth a role in the past and in the present

And she interacts mainl* ,ith (ouis in the episode in the past and Mi)e in the

episode in the present >ut she4s &ot a histor* ,ith eer*one at the firm and

she left under - as I sa*5 under cloud* circumstances And she - her departure

affects ;achel5 (ouis5 aniel5 are*5 essica5 eer*one

And then Mi)e has to )ind of see) her out for some help in the present da*

?Ale8andra @eshetta: Than) *ou


'perator: Than) *ou 'ur ne8t uestion is from the line of ;e& eeton ,ith

,,,Theead+oltcom

;e& eeton: i Aaron Than)s for ta)in& the call


http://www.thedeadbolt.com/

http://www.thedeadbolt.com/



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;e& eeton: o the second season5 ,as it al,a*s planned to hae Mi)e4s secret reealed in

the premier or did *ou stru&&le to ma)e the ri&ht decision ,ith thatD

Aaron .orsh: ell I definitel* - so there4s no dou+t that I stru&&led It ,as durin& the finale

of - the shootin& of the finale last *ear ,here I ,as li)e are ,e5 *ou )no,5 up

until the last minute I ,as li)e are ,e reall* &oin& to do thisD Are ,e reall*

&oin& to hae Treor come in and tell essicaD

And I ,asn4t sure +ut ,e thou&ht ,e4d film it e could al,a*s cut it if ,edidn4t ,ant to put it in

And I ust ,anted to assure m*self that ,e4d +e a+le to resole it in a

satisfactor* ,a* +ecause it4s one of m*5 *ou )no,5 )ind of pet peees ,hen I

,atch a cliffhan&er and then *ou come +ac) and the* )ind of i&nore it or

chan&e it or somethin&

o I thin)5 *ou )no,5 I stru&&led ,ith the decision +ut I ,as confident that ,e

- for me that ,e made the ri&ht decision If I ,asn4t &oin& to reeal Mi)e4s

secret to essica I ,ould hae ta)en out Treor comin& into the firm +ecause

then I ,ould hae felt that *ou &ot ripped off

;e& eeton: ell ho, much of a challen&e is it to +alance ,hat4s &oin& to happen ,ith

Mi)e amid ,hat could happen to are* and essica ,ith ardman in the

pictureD

Aaron .orsh: It4s a +i& challen&e e are constantl*5 *ou )no,5 I hae to sa* the ,riters that

are in the room5 *ou )no,5 no, and much of the da* ust do an amaGin& o+

of comin& up ,ith ideas and thin&s to handle The* al,a*s come up ,ith

more ideas than it4s possi+le to fit into a season



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o ,e ust tr* to +alance li)e *ou sa*5 moin& for,ard in a satisfactor* ,a*

,ithout &oin& so far and so fast that *ou don4t still hae a place to &o o it4s a

+i& challen&e and the* &enerate5 *ou )no,5 the lion4s share of the ideas come

from them

And then I4ll respond to those ideas and tr* to shape them as +est I can ,hile

at the same time ,or)in& on5 *ou )no,5 the episodes that are )ind of a+out to

+e shot

;e& eeton: I ust hae one final uestion for *ou ith (ouis feelin& li)e he4ll neer ma)e

senior partner ho, important ,as it to sho, some sort of professional

aftermath from essica comin& do,n on himD

Aaron .orsh: Hrom essica comin& do,n on him in ,hich episodeD

;e& eeton: ell +asicall* ,hen he5 *ou )no,5 &ets the - it ,as ,hen he decided oh5

ma*+e I should leae the firm

Aaron .orsh: 'h5 from thatD 'h5 o)a* ell I mean that ,as a setup <ou )no,5 loo)

ardman comin& +ac) in our minds ,as li)e ardman in the past had had

)ind of a haG* moral compass And if an* of our characters had +een set up to

hae a haGier moral compass than the rest of them it4s (ouis

o ,e thou&ht it4s a natural fit for them to at least flirt ,ith5 *ou )no,5

+ondin& to&ether and (ouis &oin& oer to that side o it - ,e hae to - *eah5

*ou definitel* hae to pa* off some form of (ouis4s dissatisfaction ,ith

essica ,hich reall* &oes +ac)



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I mean it &oes +ac) to the pilot ,hen she promotes are* oer him And then

,e made sure to la* it in a&ain in the finale ,hen he demands to +e senior

partner And then here5 ardman comes +ac) and5 *ou )no,5 he a&ain ,ants

assurance from essica that he4s alued +* her

o it4s definitel* a theme throu&hout the season of (ouis5 *ou )no,5 ,hat side

is (ouis &oin& to come - ultimatel* come do,n onD

;e& eeton: Freat Than) *ou er* much


'perator: Than) *ou 'ur ne8t uestion is from the line of ?Me& Mamira ,ith

(i&hthouse

?Me& Mamira: i Mr .orsh It4s er* nice to meet *ou on the phone

Aaron .orsh: =ice to meet *ou too

?Me& Mamira: I ,ould li)e to find out ho, *ou created this Mi)e character +ecause he4s er*

+rilliant and he does his o+ ,ell +ut at the same time he has empath* for

people5 especiall* ictims and people ,ho are in a po,erless position

And in m* e8perience5 people of +rilliant minds5 the* usuall* don4t hae that

)ind of empath* for other people +ecause the* thin) the* are the smartest

people in the ,orld o I4m ust so curious +ecause I4e neer seen a character

li)e this

Aaron .orsh: o,



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?Me& Mamira: on T@ o I4m so attracted to this character5 intri&ued

Aaron .orsh: ')a* ell I don4t ,ant to - I ,ill ust +e candid I mean Mi)e is +ased on me

?Me& Mamira: ')a*

Aaron .orsh: I don4t )no, if I hae the empath* - o+iousl* he4s an e8a&&erated ersion5

o)a*D hen I ,as *oun&er

?Me& Mamira: ')a*

Aaron .orsh: I ,as a )id5 I &re, up I ust did ,ell academicall* I had an e8cellent

memor* I did not hae a photo&raphic memor* I couldn4t read and ?recite it

to *ou >ut I ,as a+le to do er* ,ell academicall* ,ith little to no effort and

it ,as +oth I ,ould sa* a +lessin& and a curse

(i)e in some ,a*s I could do reall* ,ell +ut it put this pressure on me to do

reall* ,ell ,ithout tr*in& 'r I )ind of put that pressure on m*self +ecause -

to impress people and sho, them ho, smart I ,as

>ut that4s ,here Mi)e4s thin)in&5 *ou )no,5 ,hen are* in the pilot sa*s

*ou4re not as smart as *ou thin) *ou are and that4s his +i&&est fear is that he4s

not reall* as smart as he thin)s he is o that )ind of comes from m* +i&&est

fear Fro,in& up I had that )ind of past

In addition to that I - since this call is +ein& taped I4m &oin& to sa* I ma* or

ma* not hae done a lot - smo)ed a lot of pot in m* life

And +ecause of that5 *ou )no,5 een thou&h I ended up5 *ou )no,5 &oin& to a

&ood school and I did ,or) on all treet and eer*+od* at that first firm that



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I ,or)ed at5 it ,asn4t li)e a dictate +ut eer*+od* either ,ent to arard5 <ale

or harton the arard &u*s hired arard &u*s5 the <ale &u*s hired <ale

&u*s and harton &u*s hired harton &u*s

>ut5 *ou )no,5 I ,as li)e smo)in& pot ,hile I ,as ,or)in& there and I al,a*s

felt - I felt li)e a fraud

=o, o+iousl* I ,ent to harton and I &raduated +ut the Mi)e character is

+ased on feelin&s that I had of feelin& li)e a fraud and usin& dru&s and ust

+ein& dissatisfied ,ith m* situation in spite of +ein& a+le out,ardl*5 to do,ell and )eep up the o+ so to spea)

o that4s ,here the Mi)e character ,as +orn =o, I feel li)e - I don4t )no,

that I hae the empath* that Mi)e does +ut5 *ou )no,5 ,e &re, up in a to,n

that had people of all different - it ,as ust outside %hiladelphia and it ,as all

different socioeconomic +ac)&rounds and all different ?)ids

And *ou ust - *ou ,eren4t allo,ed to &et a,a* ,ith +ein& too a+oe people5

ri&htD <ou ,ere ust liin& ,ith a lot of different people of all )inds And it

)ind of tau&ht me that ,hen *ou hae a person in front of them the*4re a

person The*4re not a+oe *ou The*4re not +eneath *ou

The*4re ust another person so *ou relate to them o I thin) that4s ,here

Mi)e4s empath* comes from >ut I - ,e amped that up +ecause5 *ou )no,5 it

made him - if *ou4re &oin& to hae someone that4s coc)* it helps that the*

also care a+out other people I thin)

o that4s ,here5 *ou )no,5 that4s

?Me& Mamira: ')a*



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Aaron .orsh: ,here it +asicall* came from And I4ll ust sa*5 to &o +ac) to someone else4s

uestion +efore5 ,hen I first started ,or)in& on all treet I ,as 21 I had

this mentor are*5 and to me eer*thin& ,as so important +ac) then (i)e I

,as onl* 21 +ut it4s *our first o+ and it seems so important

And that4s ,hat ,e tr* to im+ue5 *ou )no,5 this ,orld throu&h Mi)e4s e*es

,ith is that e8a&&erated sense of ho, important eer*thin& is

?Me& Mamira: ell *ou4e done so ,ell I loe this sho, I can4t &et enou&h of it o please)eep up the &ood ,or)

Aaron .orsh: ')a* Than) *ou er* much And loo)5 +* the ,a* I4ll sa* it so eer*one can

listen I read and ,atch a lot5 *ou )no,5 a lot of *our t,eets and *our ,rite-

ups and5 *ou )no,5 the response to the sho, is oer,helmin& to me

I reall* appreciate it and I neer thou&ht5 *ou )no,5 ,e4re ust tr*in& to do the

+est ,e can I neer thou&ht it ,ould hae the )ind of response that it does

And5 *ou )no,5 it4s reall* moin& for me

?Me& Mamira: It4s a ,onderfull* e8ecuted sho, I reall* loe it so than) *ou er* much

Aaron .orsh: Than)s

'perator: Than) *ou 'ur ne8t uestion is from the line of ?Ha+iola Aelo from

?Ha+iola Aelo: elloD

Aaron .orsh: elloD



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'perator: ?Elseier =e,spaper

?Ha+iola Aelo: i Mr .orsh o, are *ouD

Aaron .orsh: Food o, are *ouD

?Ha+iola Aelo: Hine Than) *ou M* uestion is5 is there an*thin& - ,e4re ,atchin& the sho,

in (atin America5 the first season o ,hat can +e said a+out the sho,D

Is there an*thin& that - is there a comparison +et,een ?unintelli&i+le I don4t)no,5 another sho, li)e Hran)lin >ash for the chemistr* that the characters

haeD

Aaron .orsh: ell I can tell *ou the sho, - I hae onl* seen the first episode of Hran)lin

>ash I actuall* interie,ed to ,rite on that sho, and I didn4t &et the o+ >ut

I thin) it is similar in the sense that it4s &ot t,o5 *ou )no,5 *oun& la,*ers that

&et alon& ,ell to&ether

I thin) the difference +et,een Hran)lin >ash5 this is accordin& to ,hat the*

told me ,hen I interie,ed5 ,as the* loo) at that sho, as thou&h it4s a

comed* And I thin)

?Ha+iola Aelo: <es

Aaron .orsh: ,e loo) at uits li)e it4s a drama e tr* to ma)e it funn* +ut ,e reall* do

thin) of it as a drama first and a comed* second And therefore I thin) our

stor* lines tend to +e a little +it more dramatic5 a little more serious and let the

comed* )ind of pla* ,here it can



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o that4s the main difference >ut I thin) it4s +asicall* a stor* a+out - to me

it4s a stor* a+out the redemption - the possi+ilit* of redemption in this *oun&

character5 Mi)e5 told throu&h this relationship mainl* ,ith are*5 especiall*

in the first season

It +ecomes more of an ensem+le I thin) in the second season And at the core

of the sho, to me is the lo*alt* these t,o &u*s hae and ho, it &ro,s

+et,een each other And then the - as thin&s chan&e it tests other people4s

lo*alties5 *ou )no,5 in and amon&st themseles

?Ha+iola Aelo: ')a* o is there an*thin& that *ou ta)e in realit* in order to ma)e the sho,

or li)e (a, 'rder - these or somethin&D

Aaron .orsh: I4m sorr* Can *ou sa* that one more timeD

?Ha+iola Aelo: <eah Is there an* chance that *ou put on the T@ some real cases that ,e4e

+een ,atchin&D

Aaron .orsh: 'h no e tr* not to use real cases ust +ecause5 *ou )no, ,hat5 ,e don4t -

our depiction of the la, - m* rule has al,a*s +een it doesn4t hae to +e real5 it

ust )ind of has to seem real +ecause sometimes the ,a* it ,ould +e5 *ou

)no,5 in realit* is ust not as interestin& or e8citin&

o ,e tr* to sta* a,a* from real cases ometimes o+iousl* ,e4ll )no,

a+out a case or a+out somethin& that ,ill inspire us to5 *ou )no,5 use a little

piece of somethin& >ut for the most part ,e ust ma)e them up

?Ha+iola Aelo: ')a* o finall* for me is ,hat do *ou thin) that the people can relate to in

those sho,sD hat do *ou thin) that the people li)e a+out these )inds of

sho,sD





360I



%a&e 1#

It ,asn4t &oin& to +e a case of the ,ee) t*pe sho, And it4s er* difficult to

ma)e sho,s li)e that on T@ these da*s and 9A at the time5 did not do that

The* needed a procedural element5 a case of the ,ee) that could +e closed

ended

o ,e made - that4s ,h* ,e made it - that ,as the impetus for ma)in& them

la,*ers And in the first season I thin) ,e ,ere5 *ou )no,5 encoura&ed to

pla* the procedural element and ,hat I4ll call the pupp* of the ,ee) That4s

)ind of ho, the* thin) a+out it sometimes

o ,e had - the outside cases ,ere much lar&er in scope and therefore each

episode had - it ,as more of a stand alone episode There ,ere certainl*

serialiGed elements to it +ut less so

And in the second season ,hat ,e ,anted to do and ,ith the net,or)4s

encoura&ement ,as to diminish the procedural aspect5 not to ma)e it &o a,a*5

+ut to ma)e it5 *ou )no,5 chan&e the percenta&e so to spea)5 of it And I thin)

,e4e5 *ou )no,5 +een a+le to do that5 done a &ood o+ ,ith doin& that

And therefore ,e4re a+le to )ind of d,ell on the character d*namics a little +it

more

>ill %elouin: <eah I thin) that4s somethin& that I reall* loed a+out the sho, so far is that

unli)e some other sho,s5 there4s not a ,hole time a+out the cases and it4s ust

a lot more focused on the characters And I ust thin) that that reall*5 *ou

)no,5 helps the sho, +e as &reat as it is

o I thin) that ,as reall* a &reat moe +* *ou &u*s o



360I



%a&e 1"

Aaron .orsh: I appreciate that And I4ll &ie the net,or) credit I mean the* )ind of

reco&niGed that and5 *ou )no,5 I had al,a*s initiall* ,anted to do that +ut ,e

had &one a,a* from that a little +it in the first season The* still reall*

allo,ed us to do a lot of character stuff

>ut in the second season the* actuall* said he*5 the* encoura&ed us to do it

and it ,as5 *ou )no,5 hopefull* it4ll +e successful

>ill %elouin: Freat And essica5 ;achel and onna are all reall* stron& female characters

o ,as it important to *ou to create a num+er of stron& female roles )ind of to +alance out the machismo of some of the5 *ou )no,5 la,*ers that %earson5

ardman in particular5 are* himselfD

Aaron .orsh: <ou )no,5 it4s funn*5 I hae +een told time and a&ain5 *ou )no,5 ho,

a,esome our female characters are And for me - and I loe them all I don4t

thin) in terms of do ,e need male characters and female characters I ust feel

li)e ,e lie in a - I ust feel li)e it4s a natural thin&

That *ou lie in a ,orld5 *ou interact ,ith men and ,ith ,omen and *ou ,ant

to hae a rounded out ,orld ,ith people of all &enders And I ,ant all of m*

characters to +e stron& and interestin& and funn* o I didn4t reall* sa* I need

to specificall* ma)e these5 *ou )no,5 &reat female characters

I ust ,anted to populate a realistic ,orld and these are the ,omen that came

out >ut the one e8ception I &uess no, that I4m thin)in& a+out that I ,ill sa*

to that5 is I don4t een )no, if Fina Torres )no,s this +ut ori&inall*5 in the

ori&inal pilot the essica character ,as a man



360I



%a&e 20

And the studio encoura&ed me to ma)e it a ,oman And at first I resisted onl*

+ecause I don4t li)e chan&e and the* ,ere tr*in& to dictate some chan&e to

me And I ,as li)e +ut this is ,ho it is And then I em+raced it and I loed it

And then at some point the* uestioned it and thou&ht ma*+e ,e should put it

+ac) to a man And +* then I loed it so much as a ,oman I thou&ht it ,as

such a &reat idea that I ,as li)e no5 ,e need this character to +e a ,oman

>ill %elouin: That4s reall* interestin&

Aaron .orsh: <eah

>ill %elouin: M* last uestion - I ust ,anted to tal) a+out m* faorite scene so far this

season5 ,as that scene +et,een are* and (ouis in ,hich are* actuall*

+ac)s (ouis up and5 *ou )no,5 tells him that he4s the hardest ,or)in& person

in the ,hole firm

Aaron .orsh: <eah

>ill %elouin: And I ust ,anted to )no, li)e ,hat ,ent into ,ritin& that sceneD hat made

*ou decide that *ou ,anted to put that scene in +ecause it ,as ust so ,ell

doneD I ust loed it so much

Aaron .orsh: <ou )no,5 it4s funn* that mi&ht +e one of m* faorite scenes There are so

man* of m* faorite scenes it4s hard for me to sa* >ut I can4t

>ill %elouin: Me too Me too

Aaron .orsh: <ou )no,5 ,e4re in the room (i)e the ,riters as I sa*5 the* come up ,ith so

man* &reat ideas and so man* &reat stories and the*4ll usuall* li)e )ind of



360I



%a&e 21

pitch me the +ones of the stor* And ,hen I &et in there I5 *ou )no,5 I4ll pic)

and choose the thin&s I li)e a+out it

And some,here I don4t 100J remem+er5 +ut in the discussion of all of us it

ust came out And ,e ,ere li)e this ,ould +e a &reat opportunit* for are*

to reall* &ie (ouis some loe

I mean ,hat I li)e a+out a lot of these characters and it4s true of people that

*ou ,or) ,ith5 sometimes the* piss *ou off and sometimes *ou don4t li)e

them And sometimes *ou li)e them It4s ust neer as simple as I do li)e themor I don4t li)e them

o it ust )ind of came out And then Erica (ipeG5 the ,riter of the episode5

*ou )no,5 ,hat usuall* happens is ,e4ll come up ,ith the stor* collectiel*

in the room and then the ,riter ,rites and outline e &ie them notes5 the*

re,rite and then the* ,rite it in draft and then the* re,rite

And then for the last ersion5 *ou )no,5 ,e4ll &o throu&h it and I ,ill do the

re,rite ,ith the ,riter o Erica and I ,rote that scene to&ether and ,e had so

much fun doin& it And it ,as ust a &reat time

And then I4ll sa* I remem+er tellin& ;ic) and Fa+riel a+out it ,hile ,e ,ere

shootin& the first episode of the season I told them it ,as comin& And I said I

loo)ed at it li)e - I pla* a lot of +as)et+all5 less no, that I4m so +us*

>ut I pla* a ton of +as)et+all and *ou can hae people that are *ou archenem*

on the court ri&ht5 and then sometimes *ou4ll run into them in a tar+uc)s and

*ou4ll see them in their da* clothes and ma*+e the*4re ,ith their ,ife and

child and *ou4re li)e oh5 this is a person5 and *ou4ll hae a pleasant interaction

,ith them and *ou4ll li)e them



360I



%a&e 22

And I said that4s to me ,hat this is It4s li)e *ou &u*s are some,hat enemies

on the court +ut this is li)e - it4s a moment ,here *our &uards are do,n and I

ust thou&ht it ,as fantastic

>ill %elouin: It ,as It ,as definitel* one of m* faorite scenes It ,as ust so ,ell +lended

li)e this drama +et,een the t,o characters and this &reat moment >ut then

there ,as also so much comed* in there too so it ,as ust - it ,as a &reat

scene

Aaron .orsh: <eah And I ,ill sa* it ,as directed e8cellentl* and performed e8cellentl*

The* did a &reat o+

>ill %elouin: All ri&ht ell than) *ou er* much

Aaron .orsh: Than)s >ill

'perator: 'ur ne8t uestion is from the line of ?andel Charles ,ith ?C@

emeticcom

?andel Charles: ello Aaron It4s &reat to spea) ,ith *ou this afternoon

Aaron .orsh: To spea) ,ith *ou

?andel Charles: I - m* uestions - actuall* some of m* faorite scenes are actuall* ,ith onna

this season5 particularl* one I can remem+er ,ith her and Mi)e in an office

he ,as reamin& him a+out ho, much are* )ind of stic)s his nec) out

And I reall* li)e )ind of the role that she pla*s



360I



%a&e 23

he )ind of )no,s eer*thin& id *ou hae someone )ind of in *our life that

)ind of ust )ne, eer*thin& and the* ,ere )ind of *our partner in thatD

Aaron .orsh: =o It4s - +* the ,a*5 it4s a &reat scene I loe that scene <ou )no,5 it4s funn*5

most of the people +ecause the* ust - ,hen *ou ,rite them the* ust come out

is all I can sa* hen I ,rote them the* ust came out I didn4t reall* +ase an*

of them on an*one that I )ne,

>ut as I sa*5 onna came out and emer&ed oer time he ust seemed to

)no, thin&s and )no, li)e *es5 a+solutel*5 she seems to )no, eer*one in thefirm

And she seems to )no, eer*thin& that4s &oin& on and she seems to ust hae5

*ou )no,5 ust a super sense a+out her een thou&h she isn4t necessaril*

ma*+e the intellectual5 *ou )no,5 euialent of some of the people that she

,or)s ,ith

>ut she has the emotional intelli&ence so to spea) that a lot of people don4t

hae I ,ill sa* the name onna I too) - there ,as a ,oman that I ,or)ed

,ith at m* first o+ ,hose name ,as onna so I pic)ed that name >ut she

,as not reall* +ased on an*one real

I do tell m* ,ife that sometimes onna reminds me of m* ,ife +ut I didn4t

thin) a+out it5 *ou )no,5 that ,ould hae +een a su+conscious thin& that came

out Althou&h in episode - I4ll tell *ou5 in Episode 20! *ou find out ,here

onna is from and I did end up pic)in& the to,n that m* ,ife is from

?andel Charles: 'h5 that4s &reat More stuff a+out onna - I - eer* time li)e she does - there4s

)ind of ma*+e an allusion to or possi+ilit* of or ma*+e not5 +ut ma*+e there



360I



%a&e 2$

,as somethin& in some,here in the past that ma*+e happened +et,een

are* and onna

Is that intentional or are *ou still decidin& ,hether or not *ou ,ant to ta)e that

relationship +ac) that ,a* or )ind of ,hat4s &oin& on thereD

Aaron .orsh: It4s interestin&5 *ou )no,5 *ou4re - ,e do )eep alludin& to it ere4s the thin&

I hae in m* head an idea of their past histor* if an* >ut li)e )ind of5 *ou

)no,5 I hae a stor* in m* head that happened ,ith them in the past that is

slo,l* +ein& reealed oer time

o,eer5 the stor* that I hae in m* head it4s li)e it eoles And sometimes

as I sa*5 ,e4re ust ,ritin& somethin& and somethin& comes out I4ll sa* for

e8ample ,e ,ere5 *ou )no,5 )ind of doin& the re,rite on Episode " ust a

couple of da*s a&o and some more alludin& to their past came out

And ,e )eep )ind of peelin& +ac) small la*ers of it >ut *ou4re ri&ht5 ,e hae

left open ,hat reall* happened I in m* head5 still hae a stor* that is

consistent ,ith eer*thin& ,e4e said so far

>ut it4s interestin& to me ho, ,hen ,e sa* somethin& different people ,ill

,atch it and +e positie that it means one thin& or another And I4ll sometimes

&et t,eets that sa*5 *ou )no,5 *ou can4t - *ou said this And I4ll &o +ac) and

I4ll ,atch it and I4ll sa* no5 ,e didn4t e8actl* sa* that

>ut *ou too) that meanin& from it ,hich I li)e >ut *eah5 in m* mind the* at

least s)irted ,ith the idea of hain& somethin& happen is the +est I can sa*

?andel Charles: id that stor* inole a can opener +ecause I4m still +affled +* the can opener



360I



%a&e 2!

Aaron .orsh: =o5 that is not - that stor* does not inole the can opener And I thin) I4e

said that - the stor* of the can opener ,as - I can4t remem+er last *ear5 *ou

)no,5 I ,as ,ritin& the finale and I said somethin& and it ,as &oin& to +e a

ritual

And the net,or) thou&ht that m* allusion - allusion ,ith an A not ,ith an I5

that I ,as alludin& to somethin& that ,as too oertl* se8ual +et,een the t,o

of them And I didn4t mean for it to +e +ecause I ,as li)e the*4re sa*in&

the*4re &oin& in an office

It4s a &lass door hat do *ou thin)4s happenin& in thereD >ut the* ,anted it

to +e less se8ual o I put in I4ll &et the can opener ust as a thro, a,a* line

And then eer*+od* on the cre, and the cast and the director is li)e *ou4e

&ot to sa* ,hat the* do ,ith the can opener

And I said5 are *ou craG*D If ,e sa* ,hat the* do ,ith the can opener it4s ust

&oin& to +e no one ,ill eer remem+er it If ,e don4t sa* ,hat the* do ,ith

the can opener eer*+od*4s &oin& to ,ant to )no, The* don4t reall* ,ant to

)no, The* ,ant to ,ant to )no,

And it turns out - I mean there4s a Hace+oo) pa&e called the Can 'pener5 it4s

craG* o +ut I don4t thin) that that ni&ht inoled a can opener

?andel Charles: ')a* ell than) *ou so much for *our time and I4ll loo) for,ard to findin&

out ,hat the can opener means sometime in the future

Aaron .orsh: All ri&ht5 &reat

'perator: Than) *ou 'ur ne8t uestion is from the line of ?(ucia Fodfre* from

?aron T@com



360I



%a&e 26

?(ucia Fodfre*: 'h5 hello Than) *ou

Aaron .orsh: i

?(ucia Fodfre*: i I actuall* ,as &oin& to as) *ou a uestion a+out onna +ut instead I4ll

eer to one of m* other uestions 'ne of the thin&s I reall* eno* a+out the

sho, is the pop culture references and not ust an* pop culture references +ut

lots of reall* &ee)* ones

o I ust li)e thin) the*4re so fun Is that somethin& that *ou put in

intentionall* or is that ust sort of *our +ac)&round of ,hat *ou4re interested

inD I mean ,here do those come fromD

Aaron .orsh: Tell me - *ou said lots of reall* - I didn4t5 I missed the ,ord

?(ucia Fodfre*: 'h5 sorr* %op culture references

Aaron .orsh: =o5 no I heard pop culture +ut *ou said lots of reall* - did *ou sa*

?(ucia Fodfre*: 'h Fee)* (i)e5 *ou )no,

Aaron .orsh: 'h5 &ee)* <es

?(ucia Fodfre*: sci-fi and

Aaron .orsh: 'h

?(ucia Fodfre*: that )ind of stuff



360I



%a&e 27

Aaron .orsh: <eah It4s +ecause I4m a &ee) is ,hat it is

?(ucia Fodfre*: ')a* A,esome

Aaron .orsh: I mean I4ll sa* this %ro+a+l* "0J of the references are - I )no, them

>ecause if a ,riter puts a reference in that I don4t )no, I tend not to li)e it so

I4ll replace it ,ith one that I do )no, 'nce in a ,hile I4ll put in one that I

don4t )no,

I can4t thin) of them off of the top of m* head +ut I thin) I hae done it onceor t,ice >ut most of them - I don4t &enerate them all +ut most of them are

somethin& that I at least ,ould )no, >ut man* of them come out in the

re,rite process ,hen I4m5 *ou )no,5 one on one ,ith the indiidual ,riter

And5 *ou )no,5 m* ,hole life I4e read a ton5 I4e ,atched a lot of moies5

I4e ,atched a lot of T@ And ,heneer I4m ,atchin& or thin)in& thin&s ma)e

me thin) of moies all the time

o that4s ,here the* come from5 is in m* life I4ll sa* he*5 that reminds me of

this moie or that moie so it ust comes out

I al,a*s ,ondered ,h* people don4t do that more in the thin&s the* ,rite

+ecause it4s ,hat5 *ou )no,5 me and all m* friends &ro,in& up that4s all ,e

did ,as uote moies and do thin&s li)e that o that4s ,here most of it comes

from

I can a+solutel* tell *ou that are* is a Captain .ir) fan +ecause I lied for

tar Tre) ,hen I ,as a )id



360I



%a&e 2#

?(ucia Fodfre*: 'h5 that4s a,esome If *ou had to sa* sort of ,hat *our - other than tar Tre)

or ma*+e tar Tre)4s *our ans,er hat4s *our faorite sort of sci-fi

propertiesD

Aaron .orsh: 'h ell5 *ou )no,5 the interestin& thin& is I don4t )no, that I4m li)e a sci-fi

- it4s funn* I don4t )no, that I ,ould sa* that I4m a fan of an* one &enre It4s

more li)e ,hen I find somethin& I loe I ust loe it o I loed tar Tre) I

did loe Hirefl* that m* ,ife introduced me to

?(ucia Fodfre*: And *ou &ot to cast Fina Torres That must +e a prett* a,esome in sci-fi

Aaron .orsh: That is - *es5 that is ho, I &re, to loe Fina Torres ,as from Hirefl* And5

*ou )no,5 I &uess I can sa* it4s not sci-fi it4s fantas* +ut in the course of m*

life I hae read the (ord of the ;in&s Trilo&* four times ,hich is a lot of

pa&es It4s pro+a+l* li)e 2!00 pa&es that I4e read four times

>ut other than that it4s funn* +ecause someone once told me I loed ,esterns

and I4m li)e I don4t loe ,esterns I ust loe (arr* McMurtr* and Elmore

(eonard (i)e I ust happen to loe them I4m a hu&e tephen .in& fan o

reall* I ust loe ,hateer - if I loe it I read it or I ,atch it o that4s it

?(ucia Fodfre*: Than) *ou so much


'perator: Than) *ou 'ur ne8t uestion is from the line of ?>randon ;oll ,ith

?9nintelli&i+le T@



360I



%a&e 2"

?>randon ;oll: i Aaron I ,as ,onderin&5 ,hat can ,e e8pect to see in terms of a +ac) stor*

of onna and are* and ho, does the relationship pla* in the &rand scheme

of thin&sD

Aaron .orsh: E8cellent uestion ell I4ll start ,ith the second part first5 the relationship

pla*in& into the &rand scheme of thin&s It4s a &ood uestion I mean for me I

don4t reall* hae - I4m assumin& *ou4re meanin& &oin& for,ard or *ou mean

ho, does it pla* into it &oin& +ac),ardD

?>randon ;oll: Foin& for,ard

Aaron .orsh: Foin& for,ard I don4t hae an ans,er for &oin& for,ard +ecause as of

currentl*5 *ou )no,5 ri&ht no, the*4re - I mean their relationship as are* to

onna5 +oss to secretar* o+iousl* is a piotal )e* &oin& for,ard

e don4t currentl* hae an* plans throu&h5 *ou )no,5 the end of the 16 this

*ear to ta)e them in a romantic direction moin& for,ard I thin) that ,ould -

that ,ill +e tou&h to do in the earl* seasons of this sho, +ecause I thin) it ust

,ould

I mean I ,as a hu&e fan of (A (a, and I )no, Arnie >ec)er5 *ou )no,5

,hen he &ot to&ether ,ith ;o8anne5 I thin) ,as her name5 it had to happen

late in the season +ecause ,hat did that &u* do once he4s ,ith herD It caused

pro+lems for me

o I don4t thin) in the near future the*4re &oin& to +e &ettin& to&ether >ut as

far as sheddin& li&ht on their past relationships ,e4e &ot a lot of e8ploration

of that in the ne8t fe, episodes comin& up Their past histor* is &oin& to +e at

least danced around



360I



%a&e 30

And their feelin&s to,ards each other are &oin& to +e e8plored in fie5 a little

+it si85 seen5 not too much ei&ht and then more in nine o *ou4ll definitel*

&et more li&ht shed on their relationship

hat tends to happen I ,ill sa*5 and I4m not sure if this is m* st*le +ecause I

don4t reall* consciousl* mean to do this +ut oftentimes the more ,e ans,er a

uestion the more it ust leads to more uestions and I li)e that ,e do that +ut

I don4t reall* mean to do that on purpose

And I4ll use for as an e8ample ,hen ;achel and onna are tal)in& in thefinale last *ear and onna &ies her cr*ptic ans,er5 *ou )no,5 +ecause *ou

can neer &o +ac)5 in - ,hen it ,as ori&inall* ,ritten it ,as ori&inall* ,ritten

to communicate the* neer fooled around

The* made a decision one time not to do it and this is ,h* >ut the ,a* she

pla*ed it5 it ust opened a lot of uestions It ,as li)e is she tellin& the truth or

,hat reall* happenedD o that tends to +e ho, the* pla* it and ho, it comes

out

?>randon ;oll: And do *ou thin) that affects are*4s opinion of Mi)e and ;achelD

Aaron .orsh: 'h5 that4s a &reat uestion <es5 no, that *ou mention it I don4t )no, that I

thou&ht of it in those terms +ut *eah5 it pro+a+l* does >ut the thin& is I mean

,hat I ,ould sa* a+out are* that I ,ill ust sa* on that matter is are* has

his o,n opinions on ,hat4s ri&ht and ,ron&

>ut ,hat I loe a+out are* is &enerall* he doesn4t ud&e other people4s

moral choices unless the* affect him o in m* mind I don4t thin) are*

,ould care if Mi)e ,ent out ,ith ;achel or not >ut the pro+lem is5 is that

Mi)e4s &ot a +i& secret and he4s &ot a +i& mouth



360I



%a&e 31

And he )no,s5 *ou )no,5 are* )no,s that to reeal that secret to ;achel at

,or) is a +i&5 *ou )no,5 is a +i& ris) for are*

o that5 *ou )no,5 are* mi&ht hae an opinion on Mi)e and ;achel is a

is his relationship ,ith onna +ut I don4t thin) that ,ould drie his5 *ou

)no,5 tellin& Mi)e he can4t +e ,ith ;achel

?>randon ;oll: Than) *ou er* much

'perator: Than) *ou 'ur ne8t uestion is from the line of ?;e+ecca (amarch from

?Interspasiacom

?;e+ecca (amarch: ello

Aaron .orsh: i ?;e+ecca

?;e+ecca (amarch: i there orr* a+out that I couldn4t tell if I had to clic) throu&h o I ,as

,onderin&5 as a ,riter *ou must hae +illions of ideas &oin& throu&h *our

head all the time and this is more in re&ard to *our ,ritin& process o, do

*ou decide - ho, and ,hen do *ou decide ,hich stories are ,orth pursuin&D

Aaron .orsh: Food uestion ell I mean the +est ,a* I can ans,er that is I mean it4s reall*

ust a &ut feel t*pe of thin& <ou tr* to thin) it throu&h +ut most of the time -

at the +e&innin& of the *ear I4m in the ,riters4 room ,ith the ,riters and

,e4re all thin)in& to&ether

And I4ll &o home and I4ll literall* ust close m* e*es and ust start ima&inin&

thin&s and I4ll come - at some point somethin& ,ill hit me and I4ll sa* this is



360I



%a&e 32

,hat ,e4re &oin& to do for the +e&innin& of the *ear And then ,e4ll5 *ou

)no,5 ,e4ll )ind of arc out the season to&ether

>ut it4s usuall* li)e people are pitchin& me ideas and I ust tr* to s*nthesiGe

them and )ind of sa* this is ,hat feels ri&ht to me >ut then as the *ear &oes

+* I am a+le to spend less and less time in the ,riters4 room +ecause I4m

re,ritin& the current episode or castin& or editin& or ,hateer

And then the ,riters ta)e oer and the* reall* pitch me5 *ou )no,5 the

current5 *ou )no,5 the*4ll pitch me a fe, episodes in a ro, And then I4llrespond ust ,ith a &ut feel to ,hich of the thin&s I li)e and ,hich of the

thin&s I don4t

Most of the time I li)e it all It4s more a matter of ust5 *ou )no,5 ,e can4t do

it all so ,e ust hae to pic) and choose And then I4ll &ie them feed+ac) and

then the*4ll5 *ou )no,5 ,or) ,ith that And I4ll come +ac) in and that4s

usuall* ho, it ,or)s

And then I4ll ust sa* once ,e &et into the re,ritin& of the indiidual episodes

,e sometimes5 *ou )no,5 reall* ma)e - ,e don4t ma)e hu&e chan&es +ut

,e4ll sometimes sa* loo)5 I don4t li)e the endin& of this I don4t ,ant it to +e

li)e this I ,ant to chan&e it

o that can al,a*s happen and then that4ll hae to ripple throu&h to the ne8t5

*ou )no,5 seeral episodes

?;e+ecca (amarch: o hain& uits +ein& *our +a+*5 *our o,n idea and eer*thin&5 do *ou

find it difficult to hand oer to the creatie teamD



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Aaron .orsh: <es >ut there are onl* so man* hours in the da* And it4s not possi+le5 *ou

)no,5 one of the thin&s - I ,ent to a sho, runner trainin& pro&ram that the

riters4 Fuild has It4s an e8cellent thin& I ,ent to it last *ear And *ou - it is

not possi+le to maintain control oer eer* aspect of a sho,

It4s ust - it4s not humanl* possi+le Editin&5 ,ritin&5 castin&5 *ou )no,5 it4s no

,a* o *ou hae to pic) and choose ,here *ou4re &oin& to +e at an* &ien

time And the &ood ne,s is5 is that the ,riters are amaGin&

(i)e ,hen I &o in there the thin&s the* pitch me I4m ust li)e that4s amaGin&(et4s do that o5 *ou )no,5 o+iousl* ,ould I loe to +e a+le to hae more of

an impact on eer*thin&D I ,ould

>ut ,hat I tr* to do is the final ,rite of eer* script5 *ou )no,5 )ind of - I

hae a +i& impact on that o+iousl*5 ,hich impacts dialo& and o)es and

uotes and thin&s li)e that And then in the edit phase I ma)e a lot of choices

a+out ,hat ,e4re &oin& to do

>ut the5 *ou )no,5 the ,riters ust &enerate so much and I need them

?;e+ecca (amarch: That4s fa+ulous And finall*5 if I could trou+le *ou ,ith another uestion5 I

,as ust ,onderin&5 in the middle of ,or)in& on uits has it inspired *ou for

an* future proectsD

Aaron .orsh: ome+od* ust as)ed me that on T,itter the other da* M* ans,er ,as I can

+arel* )eep m* shit to&ether ,ith uits <ou )no,5 I hae a lot of ideas for

other thin&s +ut the truth is5 *ou )no,5 I hae a t,o - a ust oer t,o *ear old

son e ust had a +a+* dau&hter a+out three ,ee)s a&o And

?;e+ecca (amarch: 'h ,o, Con&ratulations



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%a&e 3$

Aaron .orsh: Than) *ou Than) *ou And that com+ined ,ith uits5 I &et a+out fie hours

sleep a ni&ht and I cannot thin) at this time of doin& an*thin& else

?;e+ecca (amarch: Hair enou&h Than) *ou so much


'perator: Than) *ou 'ur ne8t uestion is from the line of ?Carla Fiddles ,ith Turner

>roadcastin&

?Carla Fiddles: M* - the ournalist ,hose line &ot cut off5 that ,as ?umada Corada from

Colum+ia I4m sorr* a+out that

Aaron .orsh: ')a*

Amanda Car*: I thin) ,e hae time for one final uestion ?@ernell

'perator: ')a* 'ur ne8t uestion is from the line of ?Anne >aile* ,ith - I4m not

sure

?Anne >aile*: i Aaron

'perator: a+out the compan*

Aaron .orsh: i ?Anne

'perator: ?AnneD



360I



%a&e 3!

?Anne >aile*: i <eah The ?ense M* first uestion is5 is there a chance for Michael and

;achel at allD

Aaron .orsh: There4s al,a*s a chance 'f course <ou )no,5 this is one of those thin&s

,here I ,ill sa* ,e hae a plan for them throu&h episode 16 of this *ear

,hich I thin) ,ill air sometime in the ,inter I don4t )no, - *ou neer )no,

until ,e &et there if ,e4re actuall* &oin& to e8ecute that plan

This is one of those thin&s (i)e last *ear ,e definitel* had a lot of thin&s that

,e ,anted to do ome thin&s ,e thou&ht ,e ,ere &oin& to do at the end ,eended up moin& them up to the +e&innin& And then some thin&s ,e thou&ht

,e ,ere &oin& to do and neer &ot to do

o ,e hae a plan for )ind of ,hat - a road for their5 *ou )no,5 tumultuous5

*ou )no,5 )ind of come to&ether5 &o apart t*pe of thin& that ta)es us throu&h

16 >ut until ,e &et there I4m not sure if ,e4re &oin& to actuall* e8ecute that

plan

?Anne >aile*: Fot *ou

Aaron .orsh: >ut there4s al,a*s hope I ,ould sa* 'f course

?Anne >aile*: ;i&ht And m* second uestion and hopefull* this is ust a h*pothetical and

not somethin& that4s actuall* &oin& to happen >ut ,hat ,ould happen if

(ouis found out Mi)e4s secretD

Aaron .orsh: I don4t thin) &ood thin&s ,ould happen I can sa* that

?Anne >aile*: =o



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Aaron .orsh: <ou )no,5 ,e had - it4s funn*5 I ,ill sa* ,e had a plan last *ear This is a

perfect e8ample e had a plan for (ouis findin& out a+out Mi)e4s secret last

*ear and ,e didn4t do it It ust ended up - ,e didn4t - it ,asn4t that ,e

dismissed it e ust +asicall* didn4t &et to it

>ut then this *ear that )ind of ,ent a,a* >ut that4s one of those thin&s that

can al,a*s come up e had a t,ist such that - ,hich I ,on4t &ie a,a* +ut

,heneer *ou4re &oin& to do somethin& li)e that *ou hae to t,ist it

o+iousl* <ou can4t ust hae (ouis ruin Mi)e4s career o *ou hae to

?Anne >aile*: ;i&ht

Aaron .orsh: t,ist it in a certain ,a* And I thou&ht ,e had a &ood t,ist and I reall* li)ed

it >ut for ,hateer reason ,hen ardman came in it ust neer materialiGed

>ut it4s - ,e hae one It4s in our poc)et

?Anne >aile*: Cool Cool I li)e (ouis I li)e that actor is name slipped m* mind ri&ht this

second

Aaron .orsh: ;ic) offman is name is ;ic) offman

?Anne >aile*: <es <es e5 *ou )no,5 he pla*s such a &reat illain e reall* does

Aaron .orsh: I ,ill sa* - I mean ;ic)5 and he4s the nicest &u* in the ,orld so it4s so funn*

<ou )no,5 people I thin) sometimes mista)e his character for the actor >ut

?Anne >aile*: ;i&ht

Aaron .orsh: I thin) he4s so &ood I mean I ,ill ta)e a moment I tal) a+out ho, much I

loe the ,riters I thin) our entire cast is amaGin& and the* all eleate these



360I



%a&e 37

characters so much And that the same dialo& in the hands of lesser actors

,ould seem li)e +ad ,ritin&

o it4s almost li)e I can &et a,a* ,ith not &reat ,ritin& ,ith ,hat the* do

,ith the ,ords >ut ;ic) in particular li)e he ust +rin&s the humanit* I thin)

to this character And this *ear ,e4re tr*in& to flesh him out so that he4s more

complicated

And +ased on episode three and the response I seem to hae &otten people

,ere li)e oh5 ,e actuall* li)e (ouis (i)e5 *ou )no,5 I thin) some+od*mentioned that are*/(ouis scene earlier o this *ear (ouis is &oin& to

+ecome to m* mind5 more human

It doesn4t mean he4s &oin& to +e +etter or ,orse e4s ust &oin& to +e more

fleshed out and I thin) people ,ill +e dra,n to him all the more

?Anne >aile*: I4m sorr* 'h I ,anted to tell *ou too +efore I sa* &ood+*e5 I ,atched the

eep End and I reall* li)ed it and I ,ished it ,ould hae stuc) around lon&er

Aaron .orsh: 'h ell than) *ou I mean I ,as ust

?Anne >aile*: It ,as a &ood sho,

Aaron .orsh: <eah I eno*ed m* time there All those people ,ere terrific I ,as - I didn4t

hae5 *ou )no,5 the same impact on that sho, as I do on this one >ut I reall*

loed it and *eah5 it ,as &reat

?Anne >aile*: Cool ell than) *ou for tal)in& to us toda*




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%a&e 3#

Amanda Car*: Freat I thin) that can conclude our call for toda* Than) *ou eer*one for

oinin& and if *ou hae an* uestions *ou can email me at

AmandaCar*K=>C9=Icom And than) *ou Aaron for doin& the call toda*

Aaron .orsh: M* pleasure I4m sorr* ,e didn4t &et to &et to eer*one

Amanda Car*: That4s all ri&ht Than) *ou

Aaron .orsh: Than)s

Amanda Car*: >*e-+*e

'perator: (adies and &entlemen that does conclude the conference call for toda* e

than) *ou for *our participation and as) that *ou please disconnect *our lines

E=

mailto:[email protected]

mailto:[email protected]

Documents

Aaron Korsh Interview