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.

The Victorian world is extremely dark and extremely bright.

I hope I'm always lucky enough to be able to work in theater, TV, and big films and small films. I think there's advantages and disadvantages to all of them. The fact that this was a small film without much money and without much time made it rich in energy and momentum and drive when we were actually making it 'cause that's all you've got. You've just got the story and the people.

None of us really know where we're going.

The story revolved around this universal identifiable fear that we must all have, at some point, when you commit yourself to being with another person, to have and to hold until death do us part. It's a huge thing. I just felt like it was a brilliant examination of what would happen, if the person that you trusted implicitly and thought you knew every follicle and pour of, inside and out, started to not be that person anymore, inside. Physically, they're still there, but they're not there mentally.

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.

I love playing a character that has more than 90 minutes, and that keeps going.