DEADLINE: You were going to write the series finale but instead Jonathan Collier, Michael Peterson and Karine Rosenthal did, based on a story by Stephen Nathan. With all that, the blowing up of the lab was a big part of the end. Why did you like the idea so much?
HANSON: It’s a good ending to the series, and it made us laugh, basically because it was funny and because for the next dozen years every time he stepped in there as Booth and played as David, he’d know that one day he would have his revenge on this place.
DEADLINE: Are you good with the overall ending that was Episode 12 of Season 12?
HANSON: I am, I’m good with that. Stephen and Michael and John and Karine wrote it, and I thought they did a great job. I thought their decisions were all very solid, especially given that they had a sure hand on the tiller for two years. They knew exactly what they were doing.
HANSON: It’s a good ending to the series, and it made us laugh, basically because it was funny and because for the next dozen years every time he stepped in there as Booth and played as David, he’d know that one day he would have his revenge on this place.
DEADLINE: Are you good with the overall ending that was Episode 12 of Season 12?
HANSON: I am, I’m good with that. Stephen and Michael and John and Karine wrote it, and I thought they did a great job. I thought their decisions were all very solid, especially given that they had a sure hand on the tiller for two years. They knew exactly what they were doing.
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Is there any chance Cam is not going to come back to the Jeffersonian after her six months away?
Yeah, I think that’s very much a real chance. I think she and Arastoo will make the tough choices as they look at their careers together. But you know, that’s life. People do move on, but it doesn’t mean that friendships die out.
Angela, on the other hand, has always talked about leaving. What was the thought process behind keeping her settled at the Jeffersonian?
First of all, it just felt like territory that had been mined, to be honest. And she’s also changed so much. She’s not just wanting to go off and be in Paris and be this famous artist. Her priorities have changed as a mom and as a friend and everything else. She’s already made that conscious choice in her mind that things aren’t going to work out exactly as you want it, and that’s good. I think the strongest people have the ability to change who they are, and they change their ambitions as they go along, and Angela is definitely one of those people. She’s not going to just hold on to an old dream. She’s going to make new dreams every single day.
Yeah, I think that’s very much a real chance. I think she and Arastoo will make the tough choices as they look at their careers together. But you know, that’s life. People do move on, but it doesn’t mean that friendships die out.
Angela, on the other hand, has always talked about leaving. What was the thought process behind keeping her settled at the Jeffersonian?
First of all, it just felt like territory that had been mined, to be honest. And she’s also changed so much. She’s not just wanting to go off and be in Paris and be this famous artist. Her priorities have changed as a mom and as a friend and everything else. She’s already made that conscious choice in her mind that things aren’t going to work out exactly as you want it, and that’s good. I think the strongest people have the ability to change who they are, and they change their ambitions as they go along, and Angela is definitely one of those people. She’s not going to just hold on to an old dream. She’s going to make new dreams every single day.
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Unlike some finales, we don’t get a special last line of dialogue — it’s more akin to the end of a regular episode. When did you decide that was what you wanted to do?
It’s way tough. I was so honored when they were like, “You and Jonathan get to be responsible for the finale.” That’s great. But then you think, “Oh, we’re responsible for the last line of dialogue for the series, maybe I shouldn’t have said yes.”
But in the end, we felt it would be best to do one those fade outs where they’re doing their back and forth. Sometimes it’s scripted, and sometimes it’s David [Boreanaz] and Emily [Deschanel] doing their thing. David asked for some room for him and her to do their thing, in the finale, and we said absolutely.
It’s way tough. I was so honored when they were like, “You and Jonathan get to be responsible for the finale.” That’s great. But then you think, “Oh, we’re responsible for the last line of dialogue for the series, maybe I shouldn’t have said yes.”
But in the end, we felt it would be best to do one those fade outs where they’re doing their back and forth. Sometimes it’s scripted, and sometimes it’s David [Boreanaz] and Emily [Deschanel] doing their thing. David asked for some room for him and her to do their thing, in the finale, and we said absolutely.
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How did you walk the line with making sure Brennan is not totally defined by her intelligence but that it is honored as a huge part of who she is as a character?
That’s the trick. It forces her to look at herself and know who she is without her brain and her mind working the same way that she’s used to. I think that ultimately, you want people to recognize that a person is not just the sum of all of their brain cells — they are more than that, hopefully. Brennan would always say there’s no such thing as a soul, so this is all stuff she has to grapple with when she loses what she has identified as a big part of who she is.
That’s the trick. It forces her to look at herself and know who she is without her brain and her mind working the same way that she’s used to. I think that ultimately, you want people to recognize that a person is not just the sum of all of their brain cells — they are more than that, hopefully. Brennan would always say there’s no such thing as a soul, so this is all stuff she has to grapple with when she loses what she has identified as a big part of who she is.
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