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When the show returns, Rose tells us all the usual stuff about what season the show is in, that the finale is coming up the following night, and all the Emmys the show won last year. He then introduces Sorkin and all the actors, along with the names of their characters and the characters' positions. Rose asks Sorkin what he thinks "makes" this series, mentioning the suggestion of some people that TWW invests politics with a certain nobility. Sorkin thinks there's some of that -- some wish fulfillment -- but that it's not the idea that makes something successful, but the execution. He states that he thinks the cast is the best that has been on television in a long time (can't argue with that), and talks about how hard everyone associated with the show works to make it so good. He says that they "really swing for the fences." Being sports-impaired, I only have the vaguest idea what that means (just enough to figure it's a sports metaphor), but fortunately Rose asks Sorkin what he means by that. Sorkin points out that they've done forty-four episodes and that they never phone it in just because it's television -- that it's just the opposite: their sweep of the 2000 Emmys makes them feel like, "Now we have to be as good as everybody just said we were." They take it very seriously, and he likens each Wednesday night to a Broadway opening. Rose points out that writing twenty-two episodes a year is a lot of writing; Sorkin agrees that the pace is "ferocious," and adds that they are very wordy scripts. The cast members all smile knowingly, and Rose points to Martin Sheen, who's chuckling quietly about this. Sorkin adds that the words aren't always in English: "They're sometimes in Latin, sometimes in French..." Janney, Whitford, Sheen, Spencer, and Schiff are all still laughing and trading knowing glances and little comments amongst themselves. Unfortunately, a lot of it is too quiet to catch, and there's no closed-captioning. Rose asks whether the fact that the show is all done with language makes it an actor's show. Spencer says that it's a great vehicle for actors, and mentions that sometimes they get to speak pages of dialogue, which doesn't happen much in film or television. In that way, it's like stage work. Schiff says, "Here's the thing about Aaron's writing, which is, it's not just incredibly beautifully metered and poetic and substantive, but it correlates with things so that you can connect with things that are emotional. So very often, even though you have this volume of things to say, the moments reside between the words, which only a great writer can pull off." Rose asks for elaboration on the idea of the moments residing between the words, and Schiff suggests that the moments the character might not want to reveal happen in between the language, and that the language almost covers them. We are shown a clip from "In Excelsis Deo"; it's the scene in which Toby discusses funeral arrangements with the homeless man whose brother died.