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Freddie Highmore and Carlton Cuse discuss the twists and turns of 'Bates Motel'

Freddie Highmore
Freddie Highmore

The A&E TV series “Bates Motel,” inspired by Alfred Hitchcock’s genre-defining 1960 film, “Psycho,” is a contemporary exploration of the formative years of “Psycho” killer Norman Bates (played by Freddie Highmore); the relationship with his mother, Norma (played by Vera Farmiga); and the world they inhabit. Viewers will have access to the dark, twisted back story and learn first-hand how Norma helped forge the most famous serial killer of them all.

Freddie Highmore and Carlton Cuse
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The Season 2 finale of “Bates Motel” was televised on A&E on May 5, 2014. A week before the finale aired, Highmore and "Bates Motel" executive producer Carlton Cuse did in telephone conference call with journalists. Here is what they said.

Since the taking the iconic role of Norman Bates, how has your style of acting has evolved as a child actor? How have you avoided the pitfalls of other former child actors?

Highmore: I've always remained I guess relatively distant from the sort of film while growing up whenever I wasn't doing one myself. And so, I carried on sort of going to normal school and right now I'm just a couple of weeks away from doing my final exams at university. And so having always combined acting with my studies and always have a [home] back here in England I think that's given me a kind of nice sense of distance in terms of not falling into the pitfalls that you mentioned.

In terms of evolution, I guess you become more aware as you get older of how lucky you've been to sort of been on these fantastic sets. And also aware of I guess the learning process that goes on kind of subconsciously just by being on the set from a young age and learning from actors. Having never been to sort of acting school myself, I guess you become more aware of the things that you learn and traits and other actors that you see to sort of replicate or ways that they've approached certain scripts or material that you find inspiring. So I guess it's recognition of being lucky and also kind of maintaining this certain distance from it, which has always been rewarding.

Norman Bates certainly is different, but I never sort of transitioned from a sort of child actor to a young adult, so I don't think it to be sort of particularly problematic in the sense that I just saw it as a natural thing. You know, as you get older you start to play all the characters and so I wouldn't say I'm kind of doing anything different now than I did before, it just seemed natural to me.

Were you both fans of the “Psycho” movie? And then for Carlton, how much has that affected how the series compared to the movie and how has that changed from the beginning?

Cuse: Oh yes, I was a huge fan of the movie. I think it's kind of in the pantheon of nearly perfect movies. And so I was actually very afraid about making a show that would sort have fall too heavily in the shadow of that. And so right from the get-go when Kerry Ehrin, my partner on the show, and I started working on it the very first - the sort of first and most important decision that we made was to do the show as a contemporary sequel which I think put the show in a different place than the movie.

I think if we had done it as a period show it would always be kind of in the oppressive shadow of this amazing master work that Hitchcock made. And for us what we really wanted to do is just take these characters take the idea of it's like Tom Stoppard took Rosencrantz and Gildenstern and brought them to life from these two minor characters from Shakespeare and gave them their own existence.

You know, we took these two major characters from this Hitchcock movie and we sort of just placed them into a different time and gave them their own existence. And I think one of the things that's been really rewarding as the show has gone to a second season is I think people are really beginning to see that “Bates Motel” is really its own thing. It was inspired by the Hitchcock movie but it's really an original show taking some elements from the original Hitchcock movie, but our goal is to tell a wholly new story.

Highmore: I think I saw [“Psycho”] for the first time when I was 14. And then saw it one more time or a couple more times before finally doing “Bates Motel” and starting the first season. I haven't sort have returned to it since. I guess, as Carlton said, he was slightly sad in terms of taking it on.

I guess he did a great job, both Carlton and Kerry in making us all feel free to bring our own ideas. And to not feel tied at all to this original material which I think is so key really to the show. And I guess whilst there are certain aspects of kind of Anthony Perkins classic performance that people sort of see that or that you might have sort have in some instances sought to replicate, there was never a sense of mimicking him. It was more sort of seeing him in the original film as an inspiration and one of several forms of that.

In the roles of Anthony Perkins in the original “Psycho” movie or even Vince Vaughn in the “Psycho” remake, have you felt or come across any challenges in regards to their portrayal of Norman Bates as an older person in making a younger Norman? Or have you felt like not even the need to kind of portray their essence and kind have made it your own character and any challenges in regard to that?

Highmore: No. In terms of the sort of narrative art it's something that Carlton will know more than me. But I've never see the sort of individual from my perspective being Norman arising exactly at sort of Anthony Perkins enrollment. And so Carlton maybe sort of certain thing taken from that, it wasn't a sort of end goal of mine to kind of have Michael end up in the motel. He's actually like Anthony Perkins.

I imagine because I guess this is my first TV show but you sort of are slightly uncertain as to where your character is going to go and the terms he tends to make and so there's that excitement. But from my perspective, it's this constant build towards ultimately Norman going psycho. And whether that's necessarily sort of in the since of the original movie I don't think so but there's certainly that build towards a climatic moment. Norman's a nice guy; he's lovely.

You talked about the series being it's own entity and I think it absolutely has emerged as that. But given that we all do know the source material, how wedded to that are you?

Cuse: I think that's the key to a great tragedy — and tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron: “Titanic” as a tragedy, and in that movie you kind of hope that Leonardo DiCaprio and Kate Winslet don't meet their inevitable fate. I think that that tension between sort of your expectations as to what's going to happen to these characters and what's actually occurring now on their journey is that dramatic tension I think is the essence of what we are trying to accomplish as writers.

And I think that Freddie and Vera, no one could do a better job than the two of them executing that. We do foresee that there are some bad things that loom ahead for Norma and Norman, but I think it would actually rob the audience of the enjoyment of the journey to be too specific about how we're going to play that out. We think that a literal necessitation of the events of the movie would not be fully satisfying.

How does the Season 2 finale of “Bates Motel” compare to the Season 1 finale?

Highmore: I think the whole arc of the second season has been fantastic for Norman and there's always a sort of time that you need in terms of establishing a character and seeing them as they are before they start off on this journey. I said a couple minutes earlier that Norman was a lovely guy but I think in the 10th episode especially and perhaps number eight that we've already see, we start to see this small manipulative side to Norman that starts to question whether or not question our allegiance to him and sort of support and backing of it, which has been great fun as an actor to play because you play against the sense of what people thing Norman should be like.

But then there comes a point where I think to what extent can you continue to support his actions and with Norman's kind of growing realization of who he is and who he might become and what he's capable of comes this sense of power for him. And what I think is great about the 10th episode is to what extent would that power Norman take as sort of a selfish decision. And by the end of the episode, are we still with him or not?

There's going to be a "Friday the 13th" TV series, and it's going to kind of follow a similar format by going back to the origins of Jason Voorhies. What do you think of that new view? Do you feel there is going to be a trend where people are taking older characters and then do you think going back to the origins to try to refresh the story for television?

Cuse: I think it's already it's happening in some sense. “Hannibal” is a is a sort of parallel example of another example where I think [“Hannibal” executive producer] Brian Fowler has done a really great job of sort of reinventing that character in a different context. As writers, Kerry and I really don't think too much about what other people are doing. We're just kind of worried about our own show.

And I think for us I think what distinguishes our show is we've tried to make the show very kind of heartfelt and it has a lot of humor and emotion. And I think it operates on kind of a level that you don't expect from a show that's extensively about a guy who's a serial killer and I think that's one of the things that's sort of surprising about it. So we just kind of focus on trying to make the best version of our show.

And just to go back to your original question, I personally think that the season finale is better because I think it moves the overall narrative a big step forward and I don't want to spoil that too much. But I think that it's pretty evident as we've moved downstream here that there are these really significant looming questions. One is what is Norman's ultimate culpability in the murder of Ms. Watson? And secondly, how aware is Norman of what it is that he's done or is capable of doing?

And to us those are really important questions because the character's self knowledge is a huge factor in how he moves forward. And we're going to jump right into the heart of those questions in the finale. And it's really satisfying as a writer to have a chance to take those kinds of questions on and Kerry and I sort of loved writing that stuff. And it was just made all the better by how well Freddie executed it. It's I think I think the finale is my favorite episode of the season and a lot of that has to do with just how great the performances are by Freddie, Vera and also Max Thieriot.

We've talked a lot about the references to “Psycho.” Can we expect an answer by the end of this season about who killed Ms. Watson? And Freddie, what was the greatest challenge for you of making the audience constantly question back and forth whether Norman was the one to kill her?

Highmore: It’s tricky in terms of not wanting to spoil too much but, yes, they're toying with the audience and also just stretching the relationship between Norma and Norman has likened in the past to this sense of an elastic band and it's kind of stretched out but then ultimately it returns to the original shape. And you kind of stretch it and you think it's going to break but it never quite does.

And Norma and Norman always seem to get over whatever challenges they've had previously up until now. And I think that with the tenth of it especially it's inconclusive as to whether that bond has been set and whether Norma and Norman can kind of continue along the path that they were going before, or whether they can't ignore such key facts about each other any longer.

Norman and Norma are usually so close but the secret that she's been keeping about his blackout and really driving a wedge between them. Will their relationship kind of continue down the strained path or is there reconciliation in the near future?

Cuse: Norma and Norman's relationship is at the very heart of the show, and so that I don't think ever will change. That's what makes the show I think wonderful is this incredible dynamic that exists between these two characters as portrayed by these two actors. That's the very heart and center of the show. The nature of that relationship however will evolve over time.

And I think what's really interesting is that Norman is going from being sort of a boy to being a man, that's part of his journey over the course of the show. And I think that as he becomes more of a man that has cumulative consequences in terms of how he and his mother relate to each other. And so I think Kerry and I certainly don't see that relationship as being static, but we definitely see it as always being very close and very intense.

Freddie, how was it filming that scene where Norman was just abducted in the house? Were you generally scared?

Highmore: You're sort of aware really that someone's going to take you, so I guess it's not the same shock as Norman's real one. But in time of course you sort of as I guess I try and put myself in Norman's shoes or socks as he's coming down the stairs.

And then yes, and try to make that reaction and genuine as possible and by gosh ultimately yes you are hopefully as shocked as Norman was. And I think it just sets up for just this fantastic episode for Norman. Where having been kidnapped, he spends the entire episode in sort of solitary confinement, completely alone and that just further kind of increases the pressure and build towards the tenth episode.

Freddie, what is your personal current pop-culture fix? And what do you believe Norman's would be?

Highmore: I'm always so used to these questions. It always seems like I'm lying and trying to sort of cover up some favorite of mine that I don't want to say. But I guess at the moment my circus is actually these sort of final exams at university which sounds pretty boring but they're only a few weeks away now. And so I've been reading loads of Latin American literature which has been great but I'm not sure if that would count.

Cuse: I think that Freddie is the anti-pop. Drop a few literary bombs here, Freddie, because you're entitled. What have you been reading?

Highmore: There have been some great books. I've got a fantastic professor at the college here and he does lots of novels … The Norman character, I think that would be kind of similar to me.

Cuse: I think actually it's true. You know, Norma and Norman sort of intentionally in their own environment are sort of out of time. And I think that Norman would be excited about seeing like a Preston Sturges movie. You know, maybe reading some Hemingway. He is not a guy who is really caught up in the present. He has an iPod but he's probably most likely to be listening to Beethoven on it instead of Katy Perry.

Carlton, since “Lost” alum Nestor Carbonell plays Sheriff Romero in “Bates Motel,” do you have any other “Lost” actors that you would like to have an appearance on the show?

Cuse: There are so many wonderful actors on “Lost.” I don't think there's anyone on “Lost” I wouldn't I would not want to work with again; they're all so great. It just so happened that when we were creating Sheriff Romero's character, Nestor popped into my mind and it was just - he so vividly encapsulated everything that we wanted in the character.

But I really actually kind of never think about that. You know, I don't sort of think about intentionally taking someone from one show and using them in another. Hopefully, it will happen that a character that that we create might lend itself to being cast by someone else from “Lost” that would soon be opened up but I don't have any plans immediately to add anyone else from “Lost.”

Is George too good to be true?

Cuse: Yes, I think part of the story arc this season has really been about seeing how kind of close to the sun Norma can fly. She's always had this vision of kind of moving to this idyllic small town and being in with the right people and having the right relationships. And George sort of personifies kind of acceptance and admission into the society of this town. And in the [Season 2] finale, we will sort of definitely see where that leads and where that leaves Norma at the end of the season, so it will pay off.

Norman Bates has gotten it on with several women on the show. If Norman were to suddenly be well, which woman on the show do you think he would end up with and be happy?

Highmore: I guess his mother really isn't it? They would just be great together or awful, I don't know. I think there's this still kind of unexplored relationship with Emma. They've got tension there that's constantly been and has never quite gone as far as it could have at different moments. And that's another pair off I think that comes in the last episode. We see Norman's relationship with Emma take a twist and perhaps the one that we expected.

Freddie, could you talk a little bit about what you enjoyed most about that relationship between Cody Brennan and Norman. What is it like working with Paloma Kwiatkowski, who plays Cody?

Highmore: Paloma's fantastic and has such a different synergy I think that is brought to the show. It not only kind of serves to kind of revitalize Norman in many ways and I think to come up to this whole other world, but also in terms of the audience in keeping things kind of constantly changing in Norman's world outside of the home. And yes, been great to work with and loads of energy and always comes incredibly well-prepared. I guess, for now, Cody has left the world of White Pine Bay, but certainly not without going incredibly noticed and leaving her mark upon Norman.

Carlton, what were perhaps some of the biggest writing and production challenges you faced going into Season 2?

Cuse: From a writing challenge, it was just kind of fun to figure out how we most effectively could expand our knowledge of the world in which these characters inhabited both sort of interpersonally and also externally with the community at large. We really wanted to sort of show the characters in White Pine Bay to get to know more about that community too. And to really sort of deepen the audience's connection with Norma, Norman and Dillon kind of throw out the season.

I guess to kind of summarize, you're making a show that is extensively about a serial killer but the goal on a writing standpoint was to make the audience really care deeply about Norman and about Norma. To like them, to root for them and so you have these sort of two things that are kind of in opposition.

You sort of know this character is sort of in dissent towards the kind of sort of kind of a difficult and being this pathological, but at the same time we want the audience to really relate to him and connect to him. What we didn't want was the audience sort of kind of looking in at him from the outside sort of pathologically.

Kerry and I, our goal always in the writing is to have the audience be really deeply connected on an emotional level to Norma and Norman and be right there with them as they go on this fun but also perilous journey. And I think that's the challenge is to is to kind of be able to take a genre like a serial killer a show that's extensively about a serial killer, but to make it heartfelt and emotional and funny and humanistic. And I think that's what we work really hard at as writers.

Do you have a sense yet of what the shape of Season 3 will be or what would you expect given how much has been covered already in Season 2?

Cuse: Our goal is to continue to write the show on a high level and make Season 3 hopefully even better than Season 2. I mean our expectations are that high. Kerry Ehrin and I have actually spent a fair amount of time talking about it, and we do have a preliminary game plan that we're very excited about. It's tough to say too much about it because a lot of it is driven by events that are in the finale that I don't want to spoil on this phone conference.

But I feel very confident that we can make a really engaging Season 3. We do have a plan and in fact we're already kind of now that we've been picked up [for a third season]. We're hard at work in terms of just sort of kind of laying out the architecture of the new season. And I think it's going to be great, I'm really excited about it.

How much has Alfred Hitchcock's larger body of work influenced the tone of “Bates Motel” or just in the way that you write things?

Cuse: I think Hitchcock is one of my favorite filmmakers, and I think his ability to kind of find suspense in very human moments and kind of connect them to characters. There are just so many ways in which I've been influenced by him in terms of what he does as a filmmaker. I'm just kind of thinking in my mind of working on the show and just thinking about “Rope” or “Vertigo” or “North by Northwest.”

And just he's just such an amazingly talented filmmaker in terms of his ability to tell these stories that were deeply suspenseful but also deeply psychological at the same time. And he had this incredible ability to both really put characters in really tense and dynamic perilous situations and also really get you inside their psyches … just the way in which he connected his characters to the psychological and physical dilemmas of storytelling is something that was a huge influence on me.

What is it about the Bates family? They kind of came into White Pine Bay as outsiders, and yet they've cast a spell over the entire town.

Cuse: I think that's what this season arc was about was sort of Norma came here with this dream and this idea that she was finally going to find a place where they would fit in where she would be socially accepted where she would be someone important, where she would be hanging out with the right people. And so we wanted to explore whether that was possible.

I think what's really interesting about Norma as a character is that there's this gap between her perception of what she should be and the reality of what she's actually able to pull off. And she is sort of she sort of dragged everyone in her slip string to White Pine Bay, and we really wanted to the thematic question I think of Season 2 is sort of “Who am I?” And I think for Norma, it's all about can she be the person that she wants to be? Is that possible?

You know, for Norman that question is really about his growing awareness of the fact that he has these blackouts and what happens when he's blacked out. “Who am I?” is sort of kind of goes right to the fold of Norma's character.

And for Dillon, the question is really about “Who am I? Am I really a drug dealer? I started out, I just took a job, I needed to make some money.” I was guarding some pot fields and now I'm in the middle of a frickin drug war between these two families in this town. You know, so that was kind of a thematic drive for the second season of the show and our goal was to try to give them a version of a life that they wanted and see what the consequences of getting that was going to be for our characters.

Will we get to see that brotherly relationship between Norman and Dillon or will Dillon always be the odd man out?

Highmore: No. Even just talking about it right now on the phone on this conference, you realize how many different things that kind of brought together and how many new directions are suggested from the last episode. And one of them certainly is that to what extent Dillon is needed by Norman in Episode 10 and when his brother needs him most.

Will Dillon kind of flip to one side, whatever issues he has with Norma or with the family in general and be there to save his brother? That’s another kind of linking in this finale.

Highmore: Everything just converges; it's wonderful. I remember when Carlton and Kerry were sort of pitching it to me and this final idea of how it was all going to end up. It's just fantastic. I just think I was really excited to do it.

Are the incestuous or inappropriate undertones between both Dillon and Norma and Norman and Norma are intentional?

Cuse: Obviously, there's a sexual tension that is a part of Norma and Norman's dynamic. I think with Dillon, it's really much more incidental, I don't think that it's or it's not really intentional. I think though that Norma and Norman have this very close relationship that borders on being inappropriate.

But I hope that as writers Kerry and I have tried to make you kind of understand why it exists. And I guess it's just up to I was joking before because I don't think that they think that it's inappropriate. And it's just I think that's just part of the tension of the show is. “My gosh, you're sort of closest relationship is between mother and son.”

It makes sense at a certain age, I'm not sure it makes sense as a young man moves into adulthood. So that just creates that's just part of the tension that's very much at the center of the show. So we're intentionally playing into that, but I think we're at the same time there's certain lines that we as writers don't feel comfortable crossing.

When you were starting the idea of “Bates Motel,” did you have Freddie Highmore in mind? What was it about Freddie that you knew would make him the right person for the role of Norman Bates?

Cuse: I have to give great credit to April Webster, our casting director, who is really a genius at what she does. And she put Kerry Ehrin and me on a Skype call with Freddie very early on, and we were just immediately charmed and captivated. We, along with the network and studio sort of did our due diligence and we read a whole bunch of other actors. It was kind of one of those things where we were just spoiled right at the gate.

Once we had talked to Freddie and kind of reviewed his work, it was just so clear that he was the guy and no one else even came close. So this is one of those things that I think is always what's so interesting about television. Whatever your intentions are, however good a script you write there's this alchemy that has to occur.

We had to get lucky enough to find Freddie, to get Freddie to do the show. I can't imagine the show working or existing or being half as without him. It's one of those things that just it just happened. It was to our great fortune, and I'll take it.

Freddie, your “Bates Motel” co-stars have talked about what a great actor you are. Can you talk about your relationship with Vera as an actor? Did you immediately know the chemistry was there when you first started working together?

Highmore: Yes, yes. I think so. Obviously it evolves over time. That's sort of the joy of being on a TV show is that the relationship I have with the stars is obviously completely sort of different relationships that I have right now with Vera. Having growing incredibly close to her and then and her husband and children and spent time at their house, I guess they've been sort of my family away from home.

And thankfully, spending evenings over there and sleeping over in their spare bedroom. And they've just been absolutely wonderful and they're certainly my very best friends. So I'm just incredibly lucky on a personal level to have met them

And then as an actress, I think there's just always something going on. Every single take, she's alive and trying something new. And I think especially with the TV show, because you spend so long with each other and you spend so much time shooting different scenes with each other, that there could be a tendency to kind of think beforehand, “Oh we know how the scene will go because it's another scene with Norma and Norman.”

And I think part of it is due to the quality of the writing in keeping everything different and there's never been any moment that we thought to be kind of repetitious in any way. And also down to Vera in terms of constantly arriving in every single take with a fresh approach in keeping on your show as an actor and never slipping off. I think you could, as I'm sure Carlton and Kerry have wanted to do many times, you could shoot an entire scene just on Vera because she carries the motions, not only when she's speaking but when she's listening of the entire scene. It's just a joy to work with her.

Are you much of a social media guy?

Highmore: No, I've stayed away from it up until now. I get email and stuff but I'm sort of cut off in technology.

Freddie, what are your plans for your hiatus? And how much time do you have before you start the third season production? And for Carlton, you talked about a blueprint for the third season, but do you have an overall plan for however many seasons “Bates Motel” goes? Have you decided how the show will end?

Cuse: Yes, I'll start there and then we can kind of go back to Freddie. But I Kerry and I have a plan. We're having discussions with A&E and Universal Studios about just how many episodes we're going to do to finish the show. It's definitely a show that has a beginning, middle and end.

I think we're kind of getting to the point where we need to sort of define that with the studio and the network and kind of figure out exactly how many more total episodes we're going to do, and I hoping that we'll be able to work that out. Because we do we do know where we're going to end and in terms of just we're planning to start some time later this fall, so Season 3 we've got also up in the air.

Highmore: A large part of the hiatus has already passed in the sense that we finished shooting just before sort of winter kicked in last year and since I've just been back at Cambridge and carrying on with this last year of school. As for the summer, I guess it depends to some extent what time we actually end up sort of starting up again with the third season and so I guess we'll see.

Carlton, do you and your writing partner ever think that you've pushed it too far on "Bates Motel"?

Cuse: I think that we certainly haven't crossed the line and had Norman and Norma having sex. I think the show is this very intentional cocktail of very pulpy storytelling and very nuance of character work and that's what we're trying to accomplish week to week as writers.

And I think that one of the great things, in terms of the kind of the feedback from the audience is … you're at least sort of getting our intentions. I think it's hard when you start out and you're making something that's under the cycle monitor and everybody's got their expectations and kind of thinking about the original moving and stuff. And I think now that we're kind of akin to the second season and we're a long way from that origin I think people are beginning to understand sort of what we are trying to do as storytellers. And so we try to make the stories very kind of pulpy and larger than life. But the characters’ journey to those storylines is very nuanced and measured.

Freddie, what part of Norman would you like to see portrayed in the following season that maybe hasn't been explored completely these past two seasons?

Highmore: I guess something that's sort of hinted out in the finale of this year is I guess the continuation of blurring the boundaries between “this is Norman” and “this is Norma.” We've already seen earlier in the season Norman at times assuming, especially with Katie in the motel room, kind of assuming his own identity and there's this kind of continuation I guess of somewhat merging between them at time and an ability to distinguish that. And so, I guess seeing is that is kind of further pushed out in an incredibly dramatic way in the last episode. I'm excited to continue on exploring that, if Carlton and Kerry decide to.

Freddie, how do you sort of tap into that strange yet unique connection between the Norman and Norma?

Highmore: You kind of completely disengage from the relationship that you know you have with Vera … with any sort of more intimate or more sort of borderline moment thoughts and never feel awkward. I guess you both sort of commit to whatever it is on the page. So yes, exploring that relationship has been wonderful and certainly one of the best things about the show.

And building in taking various care in the sense of having so many subtle ties and building up the characters and this relationship with not only events but moments or shared connections between each character than then can return in different episodes and in different seasons. Having never done a TV show before, I guess I'm kind of really enjoying the chance to get into a great introduction into Norman but also into the sort of character and the relationship in general than you do in [90 minutes] or two hours on the show.

Will Norman and Norma kind of reconnect before the end of this season?

Cuse: Don't spoil it.

Highmore: I'm not sure, but even myself I think one of the great things about the show is that it's never overly conclusive. You'll never sort of shove the conclusion down your throat saying, “Oh, this is your take on Norma and Norman's relationship.” And so, I imagine and I hope that various people will see the end differently and come out of it with a different opinion from the person sitting next to them.

And I think that's what makes the show great. So they're overly conclusive it's suggested and sort of sparks debating in that way. Even amongst I think everyone on the show, there's this since of constant dialog and constant discussion that has certain boundaries been crossed or what stage is certain relationship. And it's nothing kind of definitive or easily distinguished. It's just more a sense of reality than fiction, I guess.

Alfred Hitchcock once said that the best way he could rid his fears was to make films about them. If the two of you can make a movie about your greatest fears what would they be about.

Cuse: Freddie, I'll let you tackle that first while I think.

Highmore: I'm going to come up with something corny, aren't I? People that you love or the fear of death or something. I can't think of something intelligent. Certainly, a big fear at the moment is whether or not my soccer team are going to make it into first place. Every year, I had the same fear last season. I think that's a pretty dramatic ending to the primary season and certainly one that would make sort of a great film.

For more info: "Bates Motel" website

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