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

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.

The Victorian world is extremely dark and extremely bright.

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

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

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

There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.