When we set out to do this show, Jen Salke, who’s the Inspiration, especially with the extreme degree of violence? Have you run into Of television inspired by “The Hunger.” How does NBC allow that kind of Those things stick in myĬraw and then find a way to get shaken out of my noggin onto the screen. Into the basement and sees the mural on the ceiling. Susan Sarandon and takes it to a kaleidoscopic level of beauty in the femaleĮarlier I was inspired by such diverse things as BusbyĪll of those people were dead? And also “Jeepers Creepers” when he falls Sex scene in episode six that’s absolutely inspired by Catherine Deneuve and That film that made my brain go bonkers when I was 13 or 14. So, that was a huge influence coming into season three in the ItalyĬhapter-the symphony of abstract images intercut to tell a story that I saw in It is this wonderfully decadent exploration of a European couple up to no Three.one of my favorite movies from the ‘80s is “ The Hunger,” the Tony Scottįilm. They were very influential filmmakers for the series. I love the elegance of Stanley Kubrick and David Lynch.
Of how we told the crime procedural story. Makes you question your being and how you function.
Any time that happens, it’s disturbing and disorienting, and It’sĪlways shocking to see the body transformed into something other than the vehicleįor our minds. Lot of David Cronenberg body dysmorphia elements that were fun to explore. What were some of the cinematic influences-television or film-for Thematic umbrella under which we told a metaphorical story between Hannibalīeen pressure to cinematically approach the saga of Hannibal Lecter in ways Over the first two seasons the “killer of the week” structure really became a To find other elements to enhance over the “killer of the week.” That’s why Slipping into restrictive parameters of the current procedural, it was necessary Order to tell a different kind of story in a different kind of way, and avoid Material for the umpteenth time that the well had been gone to frequently. New in season three, would you? It strikes me as a tenet of the show entirely.Ībsolutely for this show. They’re feeling as opposed to what the plot is telling them to do. I think there’sĪn opportunity to tell a tale with “emotional logic” as opposed to “plot logic.”Įmotionally and intellectually and their behavior is going to be informed by what
So, episode four is actually theĮpisode that picks up right after the finale and explains how everybody got to That just felt like it was aįun deviation from what would be expected. Where we go with the “victor” of the battle in season two and follow hisĮxploits without knowing who he’s laid to waste. That wouldn’t be interesting enough for me, so I loved the idea of a time jump The direct way for three would be to pick up directly where we left off, but So about that time in season two, it seemed It was well-planned, knowing partway through the season, that Was it planned out well in advance or after the finale? Fuller was kind enough to chat with us last week about where weĪre, where we’re going, and how we got here.Įnded season two, how long ago did you know how we’d pick up in season three? Wednesday) and many critics, myself included, consider the program the best on network television. And yet here we are headed into season three (which we’ll review on Project to date, and the ratings suggested a similar brilliant-but-canceledįate. “Wonderfalls,” and “Pushing Daisies.” “Hannibal” seemed like his most daring
Series that weren’t given enough time to find a larger audience-“Dead Like Me,” Trek: Deep Space Nine” and “Star Trek: Voyager,” Fuller created three beloved After cutting his teeth as a writer for “Star
Thomas Harris and films like “Manhunter,” “ The Silence of the Lambs,” and “Hannibal,”Ĭreator Bryan Fuller has redefined a timeless character, and what we shouldĮxpect from a TV crime drama. Look like anything else on television, and, by all logic, shouldn’t exist,Įspecially not on traditional network TV.