Though it is still early in the process for Homeland co-creators Howard Gordon and Alex Gansa to be talking about season two (they have currently only broken five of the episode stories in their writer's room), they were eager and willing to humor LA TV Insider Examiner's questions and theories when we caught up with them at the Academy of Television Arts and Sciences' evening with the acclaimed Showtime drama. So while things might still be subject to change as they continue to flesh out the season, here is what we learned thus far.
In addition to its labyrinthine storylines, one of the most notable features of Homeland is its ambiguity, its refusal to paint Brody, Carrie Mathison (Claire Danes), Saul Berenson (Mandy Patinkin) and, to a lesser degree, a clique of shady government kingmakers in the background as simple goodies or baddies.
''One of the first things that occurred to us when the show was green-lit at Showtime was that we weren't bound by network TV convention - that is, we didn't need to make things as black and white as if you were on a major broadcast network in the US,'' Gansa says from Los Angeles, where he and a team of five have returned to the writing room to develop scripts for a second season.
''We were able to create these two ambiguous, damaged characters who were on a collision course with each other. That was the heart of Homeland, that's where we started, the story we wanted to tell was the collision of these two people and, in a way, I think you're right, they do have an idea of America in common but they do find themselves on different sides of how to go about protecting that idea.''
In addition to its labyrinthine storylines, one of the most notable features of Homeland is its ambiguity, its refusal to paint Brody, Carrie Mathison (Claire Danes), Saul Berenson (Mandy Patinkin) and, to a lesser degree, a clique of shady government kingmakers in the background as simple goodies or baddies.
''One of the first things that occurred to us when the show was green-lit at Showtime was that we weren't bound by network TV convention - that is, we didn't need to make things as black and white as if you were on a major broadcast network in the US,'' Gansa says from Los Angeles, where he and a team of five have returned to the writing room to develop scripts for a second season.
''We were able to create these two ambiguous, damaged characters who were on a collision course with each other. That was the heart of Homeland, that's where we started, the story we wanted to tell was the collision of these two people and, in a way, I think you're right, they do have an idea of America in common but they do find themselves on different sides of how to go about protecting that idea.''
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