Lazarus project fnv series#

There was a scene where George and Sarah were in the cafe, and Rebrov turned up and he killed everyone in the cafe. Originally, Rebrov comes back, and he wanted George to steal the serum that they give people to wake them up. GQ: There are so many variables of what you could have done in the finale with those time loops. He doesn't really listen to anyone, he just does what he wants. And he never got to say goodbye, and, and George is realising, I'm sending you straight back to that again. George asked him what he was doing in July, and he describes how his dad was dying of cancer. There was a bit that we cut out as well, where George and Rudy have a long talk.

Lazarus project fnv series#

George gets all of these warnings in the series about why you shouldn't just mess around with time travel, and all of the really awful consequences. Breaking Bad is always the comp, you know, someone that you sympathise with that slowly becomes a bit of a monster. In my head, George has always been slightly the antagonist. On this occasion, that wasn’t necessarily in his plans. He had killed people before but always with the explicit intention to bring them back. GQ: George’s snap decision to kill Shiv feels like a game-changer. So it’s really interesting being like, how much can you recover from a gunshot wound in three weeks, like, just kind of enough to sort of be able to like, you know, walk around and start to get your health back? And then he's suddenly back there again at the beginning? What strain does that have on him as a very active person? I just find all that stuff really fascinating. We're doing scripts for series two now, whether we'll get it or not, but they've commissioned some just to see.

And what always interests me like that thing that would drive you literally insane after a while, and it does in Groundhog Day – Bill Murray actually does try to kill himself. JB: That was really fun to play with, where it becomes a different type of time loop show, right? At the end, it almost becomes a Groundhog Day thing, because it's never been. How will this end up affecting the characters? GQ : The three-week time loop in the finale really puts everyone through the wringer – particularly Shiv, who ends up reliving his own death over and over again before he’s eventually saved. So, you know, when we've done so much kind of chasing and gunfire and all that stuff that I just didn't want to get into another big action scene at that point. I was interested in how their relationship would last or wouldn't last. I love the idea of her sort of dumping him and his quiet blinkered belief that like, 'Oh, we're meant to be together'. That's such an interesting thing to play with. But for her, it's like one second has passed. The thing that really interested me was, how does George feel and how does Sarah feel and what does it do to the relationship? Obviously, she has no idea any of this has happened, and he has changed fundamentally as a human being. JB: I considered it, but I wanted at that point to be able to sort of sit with the characters a little bit more. Did you ever want to drag that out a bit more? It sets up this amazing cat and mouse game between George and Shiv, but then you pretty much immediately pull the rug out from under us at the beginning of episode seven and move that whole thing on very quickly. GQ : I loved the ending of episode six, where the clock resets and everyone wakes up at the checkpoint while Tame Impala’s “Feels Like We Only Go Backwards” plays. We changed it to the singularity thing because we could tie that into the plot, and it was just less random than a fucking asteroid. And originally was supposed to be an asteroid hitting the planet. And then it got to like episode five or six, and there just wasn't enough story. The whole series was just supposed to be about George trying to reset time to save Sarah. That was our idea for a second series if we got it. Originally, all the stuff in episodes seven and eight wasn't supposed to be in this series. Then when it got greenlit I definitely had a sense of “Oh fuck, how is that going to happen?” I just had this one-page document with a paragraph on each episode really vaguely outlining what was going to happen.

“ Breaking Bad meets Groundhog Day” was the condensed pitch. Joe Barton: When I pitched it, I just had the premise of, this guy has to end the world to save his partner.