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.

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.

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 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.

Weirdly, some of the middle stuff of the descent into something going wrong were the hardest, tonally. You don't want to jump the gun and be instantly paranoid about the fact that she has made coffee wrong because that would be weird. It's the slow build and letting it sink in. If they say everything is okay, you believe your partner. You don't want to rattle the boat too much on your honeymoon.

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.