I got into writing to become a 'Star Trek' writer. I was a rabid fan. I had shelves and shelves and shelves of action figures in my bedroom that scared away more dates than I care to admit to.
I'm incredibly proud of 'Hannibal' and the cast - I feel like we're doing really good television.
I think one of the things that was a huge surprise to everyone with 'Silence of the Lambs' was that that was an Oscar-winning horror movie. It struck such a nerve with audiences that it was a very particular, special experience.
I read 'Red Dragon' back in high school. I love Thomas Harris' approach to the crime thriller that crossed over into horror in a way that nobody really tapped into.
When you are developing something, you have to look at it individually. You can't compare and contrast it to the projects around it, because that way madness lies.
I only eat meat if I go to a nice restaurant and there is an exceptional dish, or if I'm at somebody's home for a dinner, I'll eat whatever is in front of me. Otherwise, I don't eat anything that walks around and has a face.
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them? If you don't get them, and you don't like them, then don't watch them.
I felt, selfishly, that if there was going to be a TV show about 'Hannibal Lecter' whether I was going to be involved or not, I'd rather be involved. I wanted to make sure it was something I wanted to watch.
One of the things that's important for anybody adapting source material that is primarily a male buddy picture is to find ways to latch on to strong female characters in the piece and bring them to the forefront and celebrate their point of view alongside the men; otherwise, it becomes a sausage party, and it's a singular point of view.
With land-roaming animals, I've just read so much about the sophistication of their emotional lives and their intelligence and the way they process information that betrays a greater intelligence.