[This interview contains spoilers from the season three finale of FX’s Fargo.]
So what do you think, Fargo fans?
Was malevolent V.M. Varga (David Thewlis) correct that he was on the verge of being freed from a DHS holding facility by somebody with more power than plucky agent Gloria Burgle could resist?
Or was Gloria (Carrie Coon) right that, after years of trying to get answers about Varga and solve an assortment of murders and financial crimes, she finally was about to get something resembling delayed justice?
The third season ended Wednesday with a ticking clock, an increasingly dark interrogation room and an enigmatic smile from Gloria.
The finale also saw several key Fargo characters meet unpleasant ends, some through vengeance and some through tragic happenstance. That’s just the Fargo way.
One week after sitting down with Fargo creator Noah Hawley on the show’s panel at the ATX TV Festival in Austin, The Hollywood Reporter discussed the topsy-turvy season that has been at times dark and violent and political and, in other moments, emotional and touching and rather beautiful.
In this third season postmortem, Hawley discusses Gloria’s smile, Varga’s almost supernatural evil and some fun little character and production design details that viewers may not have noticed. He also talked about the emotion of Gloria and Winnie’s hug in the penultimate episode and gave the latest non-committal update on a possible fourth season.
I’m interested in this as a season of interrogation rooms, starting with the East German scene and ending in the DHS facilities. Was the bookending structure always on your mind?
Yeah, I knew very early on that the season was gonna end in that room and it was gonna end with us looking at a clock and the door and it was gonna end with the audience having to make a choice as to whether they believed this was gonna end well or badly. Then, as it came time to design that final room, we did design that final interview room to have the exact same dimensions as the opening room. Obviously it’s a very different room, but there was a sense, an echo, that we were looking for.
How much fun is it for you to do things like that, where you know that the audience may not have any awareness, if they don’t read exit interviews, of this thing that you’ve done, but you still being always aware of having done it?
It’s very important. I think that’s my job, is to tell this story in three dimensions. It’s not just to write a script, but to be a filmmaker and to work with great partners. We talk a lot, before production and then around each episode, about the ideas and the themes and the meaning and color palette and what it represents, down to what the spaces are like. Nobody probably noticed, but if you go back to the Stussy Lots Limited offices, outside of everybody’s door, there are these two yellow lines on the floor that look like parking place. It’s the sort of jokey thing where you can imagine them going, “Oh it’s funny! This is my parking space office and this is your parking space office” and nobody probably notices, but it’s there, for me, because I think that’s my job is to put it into the show so that it’s part of the story.
More Details @ The Hollywood Reporter