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FULLER: We wanted [the mansion] to have feeling of the original. We wanted a house in the neighborhood that children would walk past faster than other houses.
And the costumes?
We’re not doing bolts in the neck and Bela Lugosi. It’s almost the Real Housewives of Transylvania. These are a blinged-out representation of what monsters would be doing if they lived in our society today. How they would look, how they would interact. Our wardrobe is heavily influenced by Alexander McQueen and his use of animal textures. For instance, with [the vampire] Lily, all of her wardrobe comes from nature. The first time we see her this nest of spiders weaves her dress on her body as she’s standing there. We’ll see ravens come in and assemble her blouse out of their feathers. We won’t see animal skins because the animals are donating as opposed to dying for it. She has domain over nature and nature has a fantastic esthetic.
You’re also adapting another remake, NBC’s upcoming series take on the Hannibal Lecter films.
I’m personally, as an audience member, not afraid of remakes. I’m afraid of bad remakes, which is unfortunately more commonly the case. Which is why I think people get up in arms when they see a remake idea — “Oh, they’re remaking something that’s been done before, what hackery, there’s no original thoughts in Hollywood.” But there’s a great quote that no art exists without the art before it. We’re doing our work to make our versions distinct and respect their source material. One of the things we did so well in the first season of Heroes is we delivered on each of those [superhero] metaphors. When you come to The Munsters and have Herman — who’s essentially a zombie in a constant state of decay — and he’s married to a woman who doesn’t age, there’s something very poignant there. These stories will surprise audiences.
For more exclusive images from NBC’s Mockingbird Lane, pick up this week’s issue of Entertainment Weekly.