That's just me wanting that supernatural tool to tell a story and also not wanting to be restricted by reality, with how we're telling a tale, because we are a heightened reality on Hannibal. There is a larger-than-life quality to the storytelling when it gets into particulars. I like the idea of being able to dismiss reality, depending on if we can sell it as part of the story.

I do love animals so much, and have a great respect for them emotionally and intellectually, because they are so different from human beings.

I, as the writer, can be very clear that I am writing a work of heightened fiction, as opposed to documenting horrible things that happen every day in the world. Which I have no interest in doing.

Looking back, it's funny how the lighter family-friendly version of these classic Universal movie monsters that were satirized in The Munsters seduced me like a gateway drug into the genre.

What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.

I've never been one of those to kind of like, 'I want somebody to do something against their nature to titillate me.' That never holds any interest. And I always want people to be who they are and if they're being not who they are I feel like it's false and, therefore, less easy to connect to. I don't need them to kiss or to display physical intimacy. I think that almost becomes too obvious. I love playing in the suggestive.

Molly Shannon such an interesting actress that portrays vulnerability and danger at the same time, because she seems brittle in that role.