The three-time Emmy winner talks about the careful groundwork that led to the emotionally explosive season three finale and how it has set up season four.
sat down with Armstrong to talk about nailing those final crucial scenes, how production is currently going on season four and the best writing advice he’s ever received.
The writers room is long. We probably spend four months chatting it all through. The Tom idea I pitched very early, or it certainly emerged early. Before we start breaking the episodes, I like doing a month’s [long] chat of the whole season, what the ambitions would be for the season and where we might want to end up, so that by the time we’re breaking the episodes, the season’s shape is set.
Yeah, I guess that you start to have a tapestry of material that you’re drawing on. I think that’s just the profit you get from a long-running series, is that sometimes moments crystallize across not just one but several seasons. I think why it’s a satisfying moment [is] because it just feels true about somebody who you’ve seen over and over has struggled with something, over a long period of time.
Does it come down to the actors taking a certain note from the director and just figuring it out and playing around?
Norge Siste Nytt, Norge Overskrifter
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