I wanted Claire to be the last one to die because Claire is the artist, Claire is the one who sees story. She sees the bigger picture. And because the series started with somebody in a car ending their life, I wanted to do somebody in a car driving off into their new life, into their new horizon. - Alan Ball
You think of it as this death montage. But, in fact, there are so many life-affirming moments that are integrated into it — there’s a gay marriage, there’s David teaching his son about embalming, there’s Ruth and Bettina and the dogs, there’s a birthday party. And it all happened; it’s all real. Initially it could be like she’s wondering, What’s happening with mom? What’s happening with David? Then it migrates into what really did happen.
Krause: It was strange for me filming those last episodes, having closed the book on his life. I felt like a ghost.
Ambrose: I remember him saying that to me, that he felt like a ghost. I love that man, the character and the actor. [When asked about the porch scene, when Claire takes one last picture of the family, Ambrose goes silent and takes a long pause.] I’m crying [audibly sobs]. It’s still in me.
"Nate was a guy who was running from his own mortality from day one. It’s tragic because he never was able to get past his own shit to sort of be fully alive. Whereas Claire could do that. The fact that she saw him in the rearview mirror — it’s in the past, it’s behind her. He’s still running. He’s in the same running outfit he wore in the pilot.” - Alan Ball
Alan Ball, Lauren Ambrose, Michael C. Hall, and others reminisce about one of TV’s best finishes.
This brought up all the feels all over again.