And it was a really hard scene for the crew to watch, because Tatiana really went there. It was scary. She was scaring the whole crew. And then you yell “Cut!” and everyone just has this ball in the pit of their stomach and Tatiana recovers immediately and is immediately smiling and laughing.
—  Graeme Manson on Tatiana in the zip-tie scene.
So Tatiana takes Tatiana’s identity and soon meets two more Tatianas. Another Tatiana is hunting them, so Tatiana shoots Tatiana. But Tatiana doesn’t die. Tatiana turns out to be the  sister of Tatiana. Another evil Tatiana wants to control all the Tatianas. Tatiana ass-kicks Tatiana. Then Tatiana has to kick a lot of ass to keep her daughter, Kira, safe.
—  Graeme Manson, A summary of orphanblack via Newsweek
It’s Tat and then Kathryn’s arm is attached to Cosima. Tat playing Sarah is her real hand. Sarah is intertwining hands with Kathryn’s arm, which is cut off Kathryn’s body and attached to Cosima’s body. … Sometimes the visual effects, you struggle with them a little bit. And then sometimes, they just come together beautifully.
—  John Fawcett and Graeme Manson explain the technicalities of Sarah and Cosima’s hand holding (x)

“At some point in 2003, this one took place: ‘Wouldn't it be cool if … you got off a train, and standing on the platform, you looked across the tracks and saw yourself. Then, in that moment, yourself committed suicide.’

Yes, that would be cool. But what’s the story? We didn’t know, but that opening was so pregnant with possibility we couldn’t put it down. Who was that other suicidal self? The question led us to our main character Sarah, and then to her clones, rather than the concept of clones leading us to a premise. But clones were rich, made for complex storytelling, covering all the bases for a genre loving writer/director team. Clones offer great visuals, tricky switcheroos, and technical production challenges. Psychologically, clones are a thematic gold mine, where identity crises are exponential and the nature versus nurture debate is writ large. Who am I? Where did I come from? Who is the original? A character facing these kinds of existential dilemmas works great in a paranoid thriller mystery. I think the genre basically demands it.

For a couple years we tried to make Orphan Black work as a feature, but I don’t think we ever got through a draft. We couldn’t contain Sarah’s story in two hours. It was network shows like X Files and Alias that got us thinking about genre TV, then cable shows like True Blood, Dexter, and Breaking Bad convinced us where Orphan Black belonged was in the TV landscape.

'Wouldn’t it be cool if… we actually got to make a crazy-ass clone show with a bunch of our sketchy friends and colleagues, starring super talented Tatiana Maslany?’

10 years later, the answer is: 'Hells, ya!’”

- Graeme Manson (Writer, Co-Creator) [x]