After more than a decade in the shadows, the iconic Splinter Cell series is making a stealthy return! While fans eagerly await the game remake, Sam Fisher is back in action with the highly anticipated Netflix animated series, Splinter Cell: Deathwatch.
Recently, GameSpot’s Tom Caswell sat down for an exclusive chat with showrunner Derek Kolstad, the brilliant mind behind the first three John Wick films. They delved into everything Splinter Cell, from honoring its rich legacy to meeting the high expectations set by Michael Ironside’s original portrayal of Sam Fisher.
Let’s kick things off, Derek: how familiar are you with the Splinter Cell franchise and video games in general? Were you a gamer, and how much Splinter Cell did you play before diving into this project?
Kolstad: Nowadays, I’m more of a casual gamer – mostly thanks to my eight-year-old twins and a demanding career! My last deep dive was probably Skyrim, where I sank hundreds of hours, though I also put a significant dent in Diablo 3 and 4. I grew up devouring Tom Clancy’s books in the ’80s, so when Splinter Cell arrived, bearing his name, it was an instant ‘hell yes!’ moment for me.
I wasn’t great at Splinter Cell initially because I tried playing it like a typical shooter. You can’t just barge in; you have to sneak. I played the first couple of titles before life took over, but I always adored Sam Fisher and the game itself. When this project landed on my desk, it felt like an opportunity to honor one of the ‘old gods’ of gaming, Tom Clancy, and I’m determined to do it justice.
With so many entries in the Splinter Cell franchise, Deathwatch seems to draw heavily from Chaos Theory, a fan favorite. Was this a conscious decision for you and the team to use it as a foundation, and if so, what made Chaos Theory the right choice?
Kolstad: Adapting an IP is always a balancing act. You have to consider the dedicated gaming fanbase, the broader general audience, and in this case, the established Tom Clancy enthusiasts. It’s three distinct groups to please. When I first approached Deathwatch, my immediate inspirations were films like Clint Eastwood’s Unforgiven and the Old Man Logan comic storyline. I wanted to treat the entire game series as Sam Fisher’s personal history, his canon. We incorporate some flashbacks and take a few creative liberties, but the core essence remains intact.
The goal was to avoid being overly constrained by existing lore, as adaptation thrives on creative freedom. That’s why I especially appreciate Liev Schreiber’s voice work as Sam. He conveys so much not just through dialogue, but also through what’s left unsaid, pushing the character and narrative forward. It feels like a natural evolution: we haven’t had a Splinter Cell game in years, so we haven’t seen Sam in a while. When Deathwatch picks up, he’s a retired ‘old man’ on a secluded farm, almost surprised he made it. But when trouble inevitably finds its way to his doorstep, he’s ready to jump back into action.
Michael Ironside’s portrayal of Sam Fisher is iconic. With Liev Schreiber stepping into the role for Deathwatch, what differences do you see in his interpretation of Sam, and how much of Ironside’s original performance influenced this new rendition?
Kolstad: I’m a huge fan of Michael Ironside. There’s a scene in Starship Troopers that I constantly reference as his best – where he peers over a wall at a swarm of bugs, then subtly wipes his lips with his metal hand. It’s pure brilliance. I even had the pleasure of meeting him when he was in Nobody, a film I wrote. Liev Schreiber brings a unique quality to Sam; ‘warmth’ isn’t quite the right word, but it’s a profound sense of stability. It suggests that even a master like Sam understands he still has room to grow, yet in critical moments, he processes information and makes decisions swiftly, always guided by his strong moral compass.
Characters like John Wick, Hutch from Nobody, Rambo, or John McClane aren’t necessarily portrayed as the absolute ‘best’ at what they do. Instead, they embody sheer willpower, resilience, and surprisingly, a deep sense of empathy. Liev masterfully infuses Sam Fisher with this same empathetic core, which I find incredibly compelling.
Given your previous work, Splinter Cell seems like a perfect fit. However, it’s a legendary franchise with fans clamoring for a new game. Did you feel any apprehension taking on this project, or did it instantly feel like home?
Kolstad: I had zero experience with animation or animated series before this. But when it’s Splinter Cell and it’s Tom Clancy, there’s no hesitation, just pure excitement. It was more like, ‘Alright, let’s back ourselves into a creative corner and figure out an amazing way to escape!’
You’ve introduced a new character, McKenna, to the Splinter Cell universe. Her dynamic almost feels like an interesting contrast between how some might play a Splinter Cell game versus Sam Fisher’s intended style. Can you tell us more about her?
Kolstad: What drew us to McKenna is that in many ways, she embodies who Sam Fisher was at her age. He observes her at a crucial ‘sliding door’ moment in her life, wondering if she’ll follow his path or forge her own. Sam isn’t one to force her hand; he mentors her, offering guidance. He’ll encourage her, even ‘slap her down’ if needed – but always to protect her life. McKenna isn’t just raw aggression; she’s highly skilled, but her emotions are definitely a factor.
Sam’s wisdom to her is simple: ‘Emotions will always surface, but you must learn to coordinate them. Don’t suppress them; let them work. Just remember, it’s one thing if your emotions get you killed, but I’ll be furious if they get me killed.’ As the series unfolds, McKenna views Sam less as an adoptive father and more as a trusted uncle. She learns from his strengths, even when she disagrees, and ultimately makes her own choices – a very human element that was a lot of fun to explore. She’s a fantastic character.
I’m genuinely excited to see more of McKenna and curious if she might appear in future Splinter Cell games… once the remake finally arrives, of course!
Kolstad: Exactly, exactly.
So, that might be quite a long wait then.
Kolstad: I’ll probably see you again in another 11 years, my friend!
I couldn’t let you go without asking about John Wick. I know you’ve moved on from writing the films, but beyond simply championing the franchise, how do you feel about its current direction?
Kolstad: It’s quite amusing, actually. I vividly remember Keanu pulling me aside during the first John Wick and asking, ‘How many of these do you have in your head?’ I told him, ‘Seven!’ Of course, the franchise took a different path after the third film than I might have envisioned, and ‘stepping away’ is a very polite way to put it. Yet, despite that, I genuinely love Chad Stahelski, Keanu, and Dave Leitch, who directed the first and then went on to his own projects. It’s a surreal experience to be on a plane and see people watching John Wick. My family was close with Lance Reddick, so every time I see his face, I can’t help but smile and feel a little emotional. And Ian McShane and the rest of the cast are phenomenal. This whole thing grew into something much bigger than me, and I’ll always champion it. It bears my grandfather’s name, after all, and I’ll forever root for everyone involved.
My creative challenge came when the franchise became so massive. My personal preference always leaned towards more intimate action, much like the martial arts films of Ip Man or classic Jet Li movies. However, Chad has truly become a master, brilliantly incorporating elements from Buster Keaton, like the incredible stairwell sequence in John Wick 4, or even the visual language of 2D video games, as seen in the fantastic shotgun sequence. I don’t approach action choreography in quite the same way, but he does, and it’s spectacular. My style is more aligned with moments like John McClane facing off against dirty cops in the elevator scene in Die Hard 3, which is where I found a lot of joy creating Hutch. But looking back at John Wick, it’s the film that brought my childhood dream of being a screenwriter to life, and it’s still beloved by so many. Honestly, I’m just incredibly giddy about it. It’s truly awesome.