就像《年夜追捕》中所描写的那样，林正忠其实不在意破案，只在意本相。

另外一处成心思的片断，是在早晨的纽约，开宝贵跑车逾越哈德逊河回公司的路上，一个华尔街老兵教育新人的话："If you really want to do this with your life you have to believe that youre necessary. And you are. People want to live like this in their cars and their big fucking houses that they cant even pay for? Then youre necessary. The only reason they all get to continue living like kings is because weve got our fingers on the scales in their favor. I take my hand off and the whole world gets really fucking fair really fucking quickly and nobody actually wants that. They say they do but they dont. They want what we have to give them, but they also want to play innocent and pretend they have no idea where it came from. Thats more hypocrisy than Im willing to swallow. Fuck them. Fuck normal people."短短几句话，绝不传教，刹时让这部片子和inside job之流的文艺青年说教片高低立现。

可是我在写作《风和日丽》时并没到过里昂，我是凭对欧洲其他城市的印象及查找相关的资料描述的

这部剧突破了以往军旅剧创作的瓶颈，为观众呈现了一个别样的军旅，开创了军旅剧的新时代...