A poor white woman from the South is different than a poor black woman from the South, and has a completely different experience.

Anything that happens on any show is a plot contrivance because that's just storytelling.

Silence Of The Lambs is a fantastic film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

It's such a surreal experience, being shot out of the cannon for any kind of first season show. It all seems very dreamlike.

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.

We're looking at a lot of race cars as inspiration for our starships. It's wonderful. It's surreal. I didn't want to be a writer. I wanted to be a Star Trek writer, so to be able to craft a new iteration of the show with new characters and a whole new adventure and whole new way of telling stories that you haven't been able to tell on Star Trek is honorable and it's a dream come true. It's hard to articulate that.

As an insecure writer, I'll finish a scene and worry there's a better version of it. Or it could be elevated somehow.