In the same feature, you also said, “The more compromised storytelling is to keep [Brody] alive and to keep him bubbling along somehow. It’s the executives who write that version.” Do you still feel that way? Do you want to clarify?
Lewis: No, I think I was pretty clear. There were so many surprising elements in the writing of Brody, and I think it surprised the writers, the executives, me, the audience. I think they didn’t anticipate or expect that Homeland was going to be a love story. I think Homeland is a CIA show and I think the love story was so compelling, and they wrote it so brilliantly, and people became so engaged in it, that it just slightly ambushed everybody. Suddenly, they had this really surprising, unexpected, complex, difficult character in Brody, and he is interesting and unpredictable. It made him exciting. I think they just loved writing for him. At the same time I think it wasn’t always necessarily the plan. So it just illustrates to you how brilliant the writers are because of the spontaneity of some of the decision making. You don’t always know how people are going to respond to your show, what kind of show it’s going to be, and we have a brilliant, brilliant show that works on so many different levels. I don’t think Brody’s being alive still has compromised the show at all. I think it’s added to it.