I absolutely love the story of Demerzel and I know there were some problems with the rights at the beginning of how many guys could adapt. What was the original approach to the character before sorting it, and how did you start weaving in more than Danel's story and more than the stories of "robots" as much as you can? How did that plan change in what we see now?

Well, the access really didn't change. Initially, it was Oshosh Friedman who started developing the show with me. When we first approached the "Foundation", we were given a document showing the characters we had exclusive rights and it turned out - because later in his career, Asimov took the stories "Foundation" and the stories "I, the Robot" and a kind of retroactively. They were in separate universes to begin with, and then he mixed them and had one of the characters of "I, the robot" appeared in the later books "Foundation". So, we were given a document saying: "These characters, you can exploit them exclusively. These are characters that appear in both universes that, in this case, Fox had the rights of the books" I, the Robot "and these are characters you can't use at all, because they are exclusive to books.

So they said we could reference Dermzel's backstation as a generalization, but we couldn't use the character Danel and we couldn't name some of the characters of "I, the Robot" by name. And so, I said, "That's good. Being little to be with some of these referrals in the past." But then what happened was I produced a movie about Fox, "The First Omen", which is foretelling "Omen", And Fox's head, Steve Asbel, is a great fan of science fiction and specifically a big fan of Asimov, and he was a big fan of the show.

So, we were in a sound mix of the movie, and he talked about the show and how much he liked the show and asked me questions about it preferably, and I said, "You know, you can help me here. You can give us a one -time accessory to mention Danel's character in Season 3."

So, he had the business department in Fox did just that and gave us permission to do so. But it was a happy coincidence, because it literally happened to me to be in a room with Fox's head, and he was a fan of the show, and sometimes that synchronousness in Hollywood works in your favor.

Well, did that happen before you start working on season 3?

At that time we wrote Season 3. We were in the middle to write it.

Right. So, you didn't have an alternative plan on how to ... because it's a very big aspect of both the story of Demerzel and the brother the day this season.

Yes. That plan still existed, but we couldn't mention Danel by name. We could be unclear about it, but we couldn't mention Danel by name.

With or without the specificity of the names, how was it to explore this this season and not only give us as much of the full story of Demerzel as you could, but also tied to the story of the day this season, which I think is one of the best things for the season as a whole?

Well, I knew that when we start every season, usually before gathering the writers' room, I write a document, a five or six -page document, which is just a kind of information landfill about everything I think about the season, for all big, large plots. During the first three seasons, the latest version of the season ended relatively close (to that). 80%.

And, after the writers' room is called, I would tell other writers: "Do you have any thoughts on this? Should we change this? Should we change that?" And sometimes one of my fellow writers will come up with a better idea or a better way to do it, so we will change that. But the wide strokes, I knew I wanted the season to be, from the king's story, I wanted it to be about the real decline in Empire and Demerzel's freedom, and I also wanted to be a day -to -day ransom.

The irony is, he goes from being a truly selfish person to be a very unselfish person, to have empathy towards Demerzel, which is a character that he grew up to hate, because he felt that she was, in a way, their guard and they were all prisoners of her. But what he realizes is the emperors himself, Clion I, was the one who did Her One prisoner, and thus closed them all. So, it wasn't by choice.

And the irony is that although the day comes in that realization and the day has the opportunity to release it by bringing the robotic skull and escaping mycogenic, it is stripped of the two, because the twilight intervenes and kills it, so that the act that actually releases it is the twilight that destroys the tank. Since the clone tanks and that baby are dead, there is no more genetic dynasty. There is nothing to protect yourself.

So, the irony is that it would also be free there, but the twilight does not believe, once she is released, that it will be on his side, necessarily. So he came up with this idea to both ruin And The clone tanks. I just like the tragic irony of the day to change as a character and become unselfish and Demerzel is free, but the moment she is free is also the moment when she dies.