CBS' Person of Interest

Christopher's younger brother and writer of several of his films.
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As good a time as any to say it: This. Fucking. Show.

Part TV episode, part meditation on life and love. Perhaps because it started near the end, I was never really worried about the end. I was just in the moment, the message was clear, and it was beautiful. Great work by all involved. A smaller thing I love is the flashes at the beginning, a specter of 6,741 still present.

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Pratham wrote:
ChrisTilford wrote:
riddick-danish wrote:Perfection. :clap:
Look who finally decided to show up! :D

TV Line piece with the bosses.
Spoiler tag it
Done. Thanks.

The guys were right: this was very satisfying. Glad I stuck around with the show since it started, & met all of you guys here. See you all in the Westworld board!

This segment from the IGN interview is just too damn much.
IGN: You have a really great, powerful moment there with Root appearing on the roof with Harold and with Reese, but going in, it could be seen as a risky move for a show like yours, because it's an unusual mixture of the metaphysical and the AI idea. But did it just seem like at that point, especially given that there's a lot of things happening, including Finch’s blood loss and whatnot, to see that actually happen, in some sense, this would be the right moment?

Plageman: When Jonah suggested it, I was like, "Wait a second, dude." You know, I wrote a lot of episodes of Cold Case, and that ghost appearing at the end was always a little fraught with peril. So I was a little dubious, I have to say. When it came to it, I was like, "Oh, that's perfect." I don't know, Jonah, how did you feel about it?

Nolan: Yeah, you know what it is? On the one hand, Michael Emerson and Jim Caviezel and Amy Acker and the rest of our cast have all been magnificent at emoting with a character that does not exist. The sort of climax of that was in the Season 4 finale, in which we got more than a few tears out of our audience and potentially our executive producing ranks, out of a conversation between Finch and 34-point Geneva on a laptop, right? So amazing what these actors have been able to do in conjuring the spirit of the Machine. One of the things I loved about our show was that we didn't anthropomorphize the Machine. The Machine was allowed to be what AI probably will be, which is a f**king rack of servers somewhere and a notion, a whim. And God bless Warners and CBS for not forcing us to cast someone as the Machine from day one.

That said, if the journey of the whole series had been from the Machine as a notion to a thing, a person, an intelligence, you really wanted to crystalize that. You really wanted to bring that moment to the fore. So there's no better actor to present that and no better character on our show, potentially with the exception of Finch himself, which I guess is another way the narrative could have gone, than Amy Acker, to have someone to convey all that complexity and all those multitudes contained within the Machine. And to give Michael an acting partner for the most emotional moments at the end of that series… We talked about having Amy stand just off-camera, and then we just thought, "No, f**k it." Yeah, he's in extremis. He's been talking to this thing like it's his child for 15 years. At a certain point he's going to start personifying it to a point, and now it's elected to personify itself and adopt, in a slightly creepy, slightly protean, slippery, AI way, it's decided to adopt the full persona of one of his closest friends in death. It gives them an opportunity to really talk mano a mano, right? To really engage in a last, fleeting conversation before they have to part company. So for us, it was the most emotional… No, it was really just an excuse to continue working with the amazing Amy Acker. [Laughs] But also, those scenes, yeah, it's a little risky, but I'm so happy with those scenes and so proud to have been a part of them.
Other news: David Slack's in the running for one of the Board of Directors, for the Writers Guild of America West (WGAW).

http://click.email.wgaw.org/cp/onlinePr ... I2ODc3OQ==
Last edited by ChrisTilford on June 22nd, 2016, 8:10 am, edited 2 times in total.

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This. Fucking. Show.

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I'm still not over it. I was hoping that i won't feel empty after the episode; I was hoping Life is Strange was the only medium that'll leave me feeling empty for this year. But dammit, i did feel empty after this episode; still feeling it now. Ugh, i hate that feeling. I have to slap myself many times to stop feeling empty lol.

Anyway, my thoughts: Perfection. This. Fucking. Show. :clap: :clap: :clap:

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There's a kind of odd parallel between the two best episodes of this season (return 0 and The Day The World Went Away). Namely, if we ignore the non-linear structure of the finale, events proceed in quite a similar fashion, i.e. massive buildup to a character death. However, where Callahan & Melissa ratchet up the tension even further, Nolan and Thé almost go to a denouement of sorts, which is fitting since it is the series finale. And oh does it work. I think this is the season with the most 10s from IGN, and deservedly so. Fisher's direction, in the two part premiere to 6, 741 to this has remained immaculate. Seriously, he has really, really stepped up this season. The blocking, the lighting, the acting...it's all so smooth and so professional and just perfect.
Thank you to all involved with this fantastic show. Thank you to all you guys here; as I said earlier, it's been a true pleasure.

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Just beautiful. Also Ramin Djawadi man, take a bow. I have been following this show since it was first announced so this is very bittersweet. Thanks Jonah Nolan. Also a bit selfish on my part but I loved that Reese got to have his big damn hero moment in this episode. And I thought JC was really very good here.

Oh and great to see you back Riddick.

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Though the writing has been for the most part very strong over the past 2 seasons, this one made me realize just how much better & intense it can get, when an episode's personally scripted by Jonathan Nolan himself. The sheer amount of callbacks, book ends, structuring, the whole nine yards. This is a guy who knows his characters & the world he built very well, & treats them with absolute respect. Put him up with Denise Thé, another powerful storyteller, & the results are nothing short of extra-ordinary. Let Chris Fisher execute their vision, & you pretty much reach the television equivalent of an orgasm.

Can only imagine how much this gets elevated with Westworld (& eventually, Foundation), where Nolan scripted more than half of the season (6 episodes, if I'm correct). The series finale, besides giving me tons of feels, amped up my excitement for just how much Jonah can do with the subject of AI (that rooftop scene completely surpassed my expectations; major props to Amy, Michael, & Jim) when he's not bogged down by commercial restraints.

The score from Reese's final scene.



An interview Emerson did before the finale aired.

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Fisher had this to say about
the death of Jeff Blackwell
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