Mundy also dishes on his most challenging episode and why the final season of the Emmy-nominated drama was split into two parts.
about the pressures of writing the final episode of a show, whether it was always going to end like it did and what was most challenging this season.I was talking to both Laura [Linney] and Jason [Bateman] about it — it makes us all a little bit more reflective in a way because it’s over. We don’t get to keep going back and doing it. So I think we’re all just a tiny bit more appreciative because it’s one last chance to all be together.
For every season except season one, you wrote the first episode and the last episode. Is that challenging, needing to rope people back in after a season but also finishing the season — and, now, the show’s finale? I actually think there’s more pressure in a strange way, or it’s harder to write the first one than the last one, just because you don’t want everyone to feel all the setup of everything you’re doing, but it also has to set up everything you’re doing. That’s a little tricky. You don’t want to have your work be so visible, almost. When you’re writing a last one, hopefully if we’ve done our job right, everything’s kind of rolling downhill, so there’s an inevitability to it.
This season, you also had to write Jonah’s arc as a money launderer. Was that process different from writing Marty’s? No. It was the same. And, in fact, we tried to make Jonah’s language as on par with Marty’s as possible. It’s essentially a child doing this talking that’s really adult, and we liked the weird juxtaposition of all of it, and Jonah is a little mini Marty, so we wanted to play it hyper-straight in that way. Marty’s oddly proud of it because he’s smart and industrious. We are just trying to write to the family part of it more than we are trying to write about the money laundering part of it.
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