“I love this current season. I think the story and the message are great, and I thought the performances were excellent. I just thought everybody every department, every person was functioning at such a high level this season.”
“The dialogue drives the story and moves the narratives, but these empty spaces let us feel more intimate to their brain space and their experience. Also, allow the audience to connect to their experience or their thoughts more.”
“The music is a character in and of itself, so it’s not as character-driven. It’s thematically-driven. With Fargo, we’re given this gift of being able to comment in a way that other stories can’t.”
“The first scene of chapter five, it definitely sets up the show, right? You’re introducing the character, you’re with Dot and her daughter, the Midwest, the Minnesota nice of it all, or not nice of it all.”
“I’m first and foremost a cinephile, our aspirations are always cinematic and all of our references are always cinematic. And I think the beauty of Noah and the show as he manufactures it year by year is its containment and that it is, in this case, a 10-episode movie, and I don’t treat it any differently.”
“We try to be as authentic as possible to the period, but in the end, we’re doing Fargo, so we’re always going to want to default towards what’s recognizable as Fargo.”
“We always knew that the sun set right behind the mountains in front of Hiro.”
“It feels like Ritchie is in Dune going down the hallways, like he’s in some battleship from Star Wars when he is in the kitchen. It really started having this sci-fi feeling.”
“Anybody who is creative or has a creative pursuit has thought about, what are all the little things that made me the artist I am or the person I am?”
“We talked about a lot with this episode that it was all about routine and how Tina is just somebody who likes to know where she’s going.”