The different variables involved in anything creative, really, are massive. When it comes together, it just clicks, I suppose.

I was lucky, I had support from Mum and Dad - they said as long as you work hard, anything is possible. I never thought past those two things - that I liked living in imaginary worlds and that it is possible to do that for a living.

Tone is always such an important thing, and that's achieved through a multitude of people. It comes through the writing, it comes through the way it's shot, and it comes through the production design and the sound design.

None of us really know where we're going.

Personally, I just want to work on stuff that challenges me, that excites me, and that I think is original. You want to do something that does to other people what films do to you. It's the most wonderful thing in the world when you can lose yourself from reality and go into a story, and believe it and go on that journey with people, and you have to work that will somehow do that. It won't always, but hopefully sometimes.

The Victorian world is extremely dark and extremely bright.

The strength of the script, for me, was that you're really left, right till the end, to know what's happening. This seemingly perfect, happy, kooky real relationship slowly turns into something horrifying, but you get there through a filter of reality with all of it.