You talked before about the idea of Malvo as a man who can vanish out of a locked room. As you were writing the series, did you decide at a certain point that you were just going to treat him as a supernatural person, or did you have to say at every scenario, "How could a person actually do this?"
Noah Hawley: I'm a firm believer that when you make a Coen brothers movie, you have to accept the mystery. I had a number of discussions with the folks at MGM who kept asking, "How did he get out of that basement? Don't we have to show an open window or something?" And I said, "No, I don't know how he got out of that basement. You just have to accept the mystery." It was Billy's idea that Gus shoots him and he appears to be dead and then he sits up with that amazing grimace and smile with the bloody teeth. That was Billy's desire to do it that way, and I find it so chilling, and for a moment, you ask, "Is this guy really human or what?" And, of course, he is in the end. But there is that elemental figure who runs through the Coens' work from the lone biker of the apocalypse, to Anton Chigurh to even Peter Stormare. There is always this sense of a wild and elemental force. The Coens, in a lot of their movies, are making horror movies. There is a similar tension, and even morality, this idea that if you transgress, you will be punished, which is very much a horror movie mentality.
