TheBacklot: I’ve said to you before that I sometimes expect Hannibal and Will to just start kissing. The scenes are often so intimate. Can you talk about the homoeroticism between these two characters that are not gay?
Bryan Fuller: I’m not sure about Hannibal. I think Hannibal is a very broadly spectrumed human being/fallen angel, who probably is capable and interested in everything humanity has to offer. Whereas Will Graham is very definitely heterosexual, but that does not necessarily prevent us from a homoerotic subtext. It’s practically text in a couple of episodes just because we really want to explore the intimacy of these two men in an unexpected way without sexualizing them, but including a perception of sexuality that the cinema is actually portraying to the audience more than the characters are.
There’s a scene at dinner where we were tackling in the edit bay because it was so transparently homoerotic. They were doing something that was not sex or anywhere near sex, but it was shot so suggestively that they may as well have been. I think that’s the fun of this show, is that particularly at the end of episode eight, which is a very intimate moment between Will and Hannibal where Will crosses a line of sorts, with his own psyche. And Hannibal is there to welcome him on the other side with open arms. And it is, once again, not sexual in any way, shape or context, but the intimacy of the performances and the enthusiasm of Hannibal, and pride of Hannibal as he looks at Will, there is hard to deny an attraction between these men.
And, to be absolutely clear, it is not sexual, but it’s beyond sexual. It is pure intimacy in a non-physical way. But it is that intimacy between heterosexual men that I’m fascinated with because it does go beyond physical parameters to this very primal basic male bonding place. That, as a gay man, I am outside of, because it is unique. Because it is free of a sexuality and/or intimation of sexuality. Yet anyone in the audience who is attracted to either of the men will feel that energy.
Thanks to the food styling gods, the scene is held up a bit while Mads and the director discuss an alternative to the samurai egg master trick described in the script. They settle on a potato trick– it’s easier for the set dresser to pick up a slashed potato than it is to wipe smashed raw egg off everything after each take. So now, I have to find a couple dozen identically shaped potatoes and peel them for the knife trick. — œuf
We are more than a bit concerned with the Benihana egg trick called for in the script. I’ve tried it and can only get it 1 out of 4 tries, and I’ve seen Benihana chefs flub the manoeuver when they have an entire grill as target. Mads has to crack his eggs into a 8-inch diameter skillet. The props Master calls his guy. The Production Manager calls in his guy. I call my guy. On the morning of the shoot we have 8 dozen eggs and 3 Japanese chefs with their hands made up to be hand doubles. I guess I don’t have to tell you that when Mads arrives on set, I briefly describe the egg trick to him whereupon he just tosses an egg up in the air and breaks it perfectly on the spatula. Did it. Unbelievable. I insist it was a lucky fluke but he does it again. I accuse him of practicing when I wasn’t looking but he laughs (as if he has time to practise egg-cracking between scenes) and confesses he was a juggler in his youth.— mukozuke
Daily #492! Some days may even be a bit of both.
you ever look at a kink and think “nah” then a few years later look at the same kink and go “actually yes”
A sex ed class in 1929
she knows what’s up
Every face in there is so priceless
Those 3 girls in the front row
this is the greatest thing on the internet