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.

The Victorian world is extremely dark and extremely bright.

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.

I think it's amazing to have one writer write every episode of a series. It's very rare, I think. You get a voice that continues.

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.

You just want to find a story that grabs you and that you've never seen before, but somehow you can't imagine it not existing. It's like a good book. What makes a good book is hard to say. I don't know. I just look for something that grabs me. I don't have a way of looking for a project, and I don't know many people that do. It's just year to year, and what's going around and what's there.

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