It works better if your lead character is complex and interesting and not perfect. — Michael Hirst Copy Share Image
The key for me with historical characters is they're interesting because they're human beings. A little bit of Hemingway goes a long way here,… — Michael Hirst Copy Share Image
For 'Vikings,' we have to do so much outside shooting, and it's normally - I think with American shows, it'll be 60 or 70… — Michael Hirst Copy Share Image
You have to create characters - certainly in series TV - who people engage with. They don't have to be nice; you don't have… — Michael Hirst Copy Share Image
'Downton Abbey' is just one cliche after another, and it is a really, really poor piece of drama. But that's only me talking. That's… — Michael Hirst Copy Share Image
People love cliches. If you can give people cliches, that's very good TV, then. — Michael Hirst Copy Share Image
With 'The Tudors,' I had a huge amount of material, I mean so many books and so much stuff about what they really said.… — Michael Hirst Copy Share Image
I couldn't give 'Vikings' away - I mean, I love these people. And I'm not sure anyone else writing it would necessarily have the… — Michael Hirst Copy Share Image
The Vikings certainly didn't write anything about themselves; it was not a literate, but rather a pagan, culture. So what we get was written… — Michael Hirst Copy Share Image
When I did 'The Tudors,' there was massive information available and a ready-made market. — Michael Hirst Copy Share Image
My instinct is to absolutely recoil when talking about writing in a mechanistic way. Nothing could be dumber than writing a film or TV… — Michael Hirst Copy Share Image
I've found that using historical material and being rooted in historical material is liberating because I always think to myself, 'Well, this actually happened,… — Michael Hirst Copy Share Image
People offer me loads of stuff, and some of it I like, but I just can't do it because I can't write it all.… — Michael Hirst Copy Share Image
