I’m working on a script. What do you need to do?” And so I said, “Well, if I do start it—but you know I did it for one episode with you.” He said, “Why haven’t you done it now?” I said, “Well, I haven’t done it for about three years.” And he said, “Are you going to do it for three years?” I said, “Yeah. I’m doing it now.”
And to really understand what I was going for, and why I thought it was important to do it for this season, I needed to go back to Season 4 of Mad Men. I need to talk to them about what they did the last time they had a conversation—with Peggy, because that’s what I was trying to do. I was trying to see if I could get a chance to tell them my way into the story. I need to talk to them to ask them the question: How do you understand what the whole business was about with the death of the son and father? I got a very straightforward answer, and that’s why it worked out. We’re not going to do it all in the same way, but the way I do the last season of Mad Men is by reading the script. That’s why we have to do two episodes to get the season over. It’s hard to find a single thing to say in the script that’s as complex as I need to get done.
AVC: When you were writing you say that you write to explore what it’s like to have that conversation, and it’s sort of the ultimate episode of The Sopranos at the beginning of Season 9. Now you’re doing it all in one go. What
CH: I wanted the story to happen and not to have to explain the scene to the audience. The scene was so easy to make it complicated, but if you read the script and you read what it was doing and you ask yourself, Is that what it is? And you see it. It’s like you’re there in the moment. And that’s why we needed to have this thing on the show. There are two things I’ve done before. I did a pilot a couple of years ago and I just thought it would be silly if we shot it there. And you couldn’t get around the idea. I went to the showrunners for an outline of the scene, and they said they really wanted that scene. So I shot it
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