Well, here's the thing with relationships on 'True Blood': Once they happen then you have to throw a monkey-wrench into them, because to have people be happy is not that exciting.
Beauty is in the strangest places. A piece of garbage floating in the wind. And that beauty exists in America. It exists everywhere. You have to develop an eye for it and be able to see it.
Ultimately, physical resemblance isn't as important as whether this person can bring this character to life in a way that's compelling and makes me care about what happens to them.
In my own life, I think legends of supernatural, mythic things are really just a manifestation of the collective unconscious. So I don't really get freaked out. I mean certainly, you read about things people did to each other in the pursuit of some mystical or occult goal, and it's horrifying. But that's just human nature.
I felt pride, wonderful pride, when I was captain. It was an honour to take over from Labby. Anybody who has ever captained a big club, which Everton are, will tell you it's a great honour.
I think all writers are armchair psychologists to some degree or another, and I think a character's sexuality is fascinating. It's a great way to really get at the root of their identity, because it's such a personal thing.
I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.
I always choose to look, as much as one can, at the supernatural not being something that exists outside of nature, but a deeper, fundamental heart of nature that perhaps humans have lost touch with. It's a more primal thing than perhaps we are attuned to in our modern, self-aware way of life.
I really love storytelling, and I love the stories as they reveal themselves. It's an incredibly nourishing process; it's probably the closest I come to having a religion.