1
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The process of moving a novel
from the page to the screen

2
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is one, essentially, of transformation.

3
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What you're trying to do is articulate the
theme of the novel as much as the plot.

4
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-No phones.
-This is some Jim Jones bullshit!

5
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I think I've read everything
Paul Theroux's written.

6
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And he's been
an incredibly important voice in my life.

7
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In my own prose writing I kind of
try to borrow his timbre, his tone.

8
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So I was excited to set about
the process of how you would adapt

9
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that extant text into a television show.

10
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I'm delighted, actually,
to see that someone took the book,

11
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in this case Neil Cross, and he's saying,

12
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"I wanna preserve the spirit of this book.

13
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The same Allie, the same Charlie,
but 40 years later."

14
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Computers, circuit boards, SIM card ports.
There's gold in all of that.

15
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I saw Neil's work immediately
in the way that I could make it.

16
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I saw where the camera would go.

17
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He came into scenes
where I would wanna come into a scene.

18
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He's a really
visual cinematic storyteller.

19
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Rupert really set the tone,

20
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sort of that poetic cinematic look
for the first couple of episodes.

21
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He did this incredible

22
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flying shot that just keeps
going and going and going,

23
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and you just see all this action unfold
and then it ends up on Allie.

24
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It's just beautiful.

25
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He saw my hair,

26
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and it was chopped too perfectly.

27
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He said, "We need to make your
hair look like your mom does it."

28
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Why are you doing this to us?

29
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What we're seeing is a family
that has secrets,

30
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and has problems, but instead of
leaning further into that family drama...

31
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we explode it.

32
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And the show thereafter is,

33
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"Where do they go now?
What do they do? How do they manage it?"