‘Full Circle’ Writer Ed Solomon Explains the Bittersweet Finale and the Dennis Quaid Subplot That Didn’t Make the Final Cut

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‘Full Circle’ Writer Ed Solomon Explains the Bittersweet Finale and the Dennis Quaid Subplot That Didn’t Make the Final Cut
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SPOILER ALERT: This interview discusses the final episode of “Full Circle,” now streaming on Max. It’s fitting that everyone ends up back where they started at the conclusion of “Full Circle” – wel…

It’s fitting that everyone ends up back where they started at the conclusion of “Full Circle” – well, everyone that’s not dead or in police custody.

Solomon and Soderbergh have forged one of the most reliable creative partnerships in crime fiction over recent years. Their collaboration began with “Mosaic,” a murder mystery that was released as both an HBO series and a mobile app that allowed users to track various characters’ subjective interpretations. The two followed with the feature “No Sudden Move,” a slick ‘50s-set noir led by selfish rogues unraveling a conspiracy by car manufacturers.

The Harmony story originally had a higher comic tone. She was much more brazen and obnoxious. It was the same boundaryless version that Zazie plays — but utterly self-defeating. Now, Zazie is a very naturalistic actress with really strong instincts. On the page, Mel was much bawdier, much louder — that’s not who she is as an actress. She was more slippy-slidey. She preferred to play her fumbling about, surprising herself with the words she’s saying.

His life goes on, except his appearance was suspicious to the kids. They look up the tomatillo sauce. They hire a lawyer to go after him. That becomes part of the restitution at the end that Sam has to make — to do right by this other family.Exactly, rich people stealing and appropriating it as their own. But it was one too many storylines. It was a hard darling to kill. I remember showing up in the editing room one morning — I had it as a harsh realization overnight that we had to lose it.

Oh, man. It was designed so that none of the characters figured out what was happening, but the viewer, if they followed enough of the different pathways, would know the whole story. We knew that we were going to do both a branching narrative and a linear one. In “Mosaic,” we just thought we were going to do a branching narrative. We shot it that way, and then repurposed it into a linear show.

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