Is it a conscious decision to develop very black and white, good guy/bad guy characters?
CH: Yeah, you sort of do make a conscious decision. It’s like equal armies. There has to be constant, equal conflict. If the good guy has no opposition, it would quickly get boring. In Jimmy Reardon’s case, he’s got domestic issues with his daughter and his ex-wife. They’re both Everyman situations, and I try to get conflicts going with every character in every way that I can, so that you can turn on a dime and develop a moment for a character that really enriches their world. TVG: You’ve kept Ian Tracey in the fold – what’s it been like working with new talent like Klea Scott? CH: It’s extremely satisfying. It’s like being in a whole new band. You love the old band you were in, but you’re not selling any more albums, so you make a new band. That’s not how it was with DaVinci, but I look at it as this is the music that I make, and these are the people that I want to play it. When you get new players like Klea you think, “Wow, what can she give me?” And you try to write stuff that will
