So, for me, it really was about how to tack on - or a better word probably is to weave throughout - another storyline that is a little bit different for him. I don't want to under-deliver on, "Oh, I thought it was gonna be a fun Liam Neeson action thriller where stuff blows up." Mark Williams: I wanted to give the audience what they expect from Liam Neeson movie and what they hope for when they go. How much did you want to lean into that? And how does your script really differentiate the character for the audience? Liam Neeson fits this role like a glove, and he has crafted a new persona after the success of the Taken series. Can we relate to the character? Can we root for the character? And I think that's really what I try to go for in all the things that I play with. But at the heart of it, we care about the character. If we can relate to you as a human being, and then you have stuff blow up and guns, fights, and shootouts and car chases - that's all fun fodder for us. We all can relate to people, even if we can't relate to a given world - whether it's the Ozarks or a guy with Asperger's or a bank robber - it's really about whether we can relate to you as a human being. I think it's really understanding that we're all human, and it's all about the human condition. You just swung for the fences on the first pitch. Mark Williams: That's not a big question or anything. What is the key to capturing the attention of a modern audience in 2020 and beyond? You've been the mind behind some of the best thrillers out there in contemporary times, whether we're talking about the under-appreciated The Accountant or the success of Ozark.
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