I'm not suggesting that ours [series] is unique in that, but they can begin to have that depth, that gravity, they can spend some time, so it's a bit more like reading a good novel, if you like.
I love that we've chipped away at the celluloid closet and have wonderful programs that feature gay and lesbian characters in really rich, fully developed ways.
My notion of a great novel is something like a five-hundred-page shaggy-dog story, with only the punch line omitted.
THE HEIR OF NIGHT by Helen Lowe is a richly told tale of strange magic, dark treachery and conflicting loyalties, set in a well realized world.
Nobody cooks using just one ingredient. Why would you write using just one flavor of story?
Those are the kinds of roles you can really sink your teeth into. Characters with an edge. When you're playing someone who's sort of seedy, there's less limitation, there's so much space you can travel. There's room to move in.
The sixty-minute drama form has become very rich.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
No characters in 'Stay Close,' including the leads, are black and white. I want them to be grey. I think that makes for a much more interesting reading experience, something that will stay with you a little bit longer.
