Let me be clear. 'The Good Father' isn't a handbook on how to assassinate the president.
You need a good James Clavell novel, I think, to make a good miniseries.
'Downton Abbey' didn't have the impact it had just because it was a good story about people. It was something about that period and that world that was fascinating to people on a level that wasn't just as an entertainment.
Having written for film and television, I had little interest in turning 'The Good Father' into a Hollywood thriller. I was writing a novel, and novels demand that the writer goes deeper, both emotionally and thematically.
There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.
I'm attracted to ensembles: you get a lot of really good moving pieces. It's sort of like a horse race in a way, especially when you know that everyone is on this collision course. It's like, 'Who's going to make it?' And you can put people together in unexpected pairings.