(distant music)
- Okay, the rave.
There was lights and music
and it was just the easiest job to act in it,
because it just felt like,
all right, action, and then start partying.
When the water turns on
is sort of the big climax in Perry's mind,
but it's actually acid.
The rain came down, everyone was screaming,
and there's lights flashing everywhere.
And so I'm just like, "I'm not acting,
I'm actually terrified right now."
There's some skeletons of people,
just the most gory slime everywhere.
It's the cuddle puddle.
The water turns on and the rest is history.
- You should be allies,
not bastard daughters of Roderick Usher.
- Okay. Whoever you are, you are so fucking fired.
(metal clanging)
(monkey shrieking)
Do I think that my face deserved
to be ripped off by a monkey?
Camille's a flash in the pan.
Truly, her defining moment is her death
because she is just living this kind of numb existence
where she was plucked out of obscurity
and made into an Usher.
Perry gets melted and then she is the one
that lets you know it's a pattern.
And I know that Verna believes
the punishment fits the crime.
(camera snapping) (Camille screaming)
And so I would say in the moment my face is removed,
that would be the pinnacle of the character.
It's all downhill from there, honestly.
(dramatic music)
- That look normal?
- Well, I'm a little surprised she put 'em in the tub.
- Leo's death scene was, on paper, so exciting.
I knew that to some degree,
I would be smashing the apartment or the loft to bits,
looking for this cat that's tormenting me.
Really smashing through drywall, ripping it up.
It was a very frantic week and it ended
with watching a stuntman run off and fall fifteen feet.
And then that was it,
it felt like we made this kind of weird indie movie
in the middle of this series.
'Cause Leo doesn't really exist outside of his loft,
we pretty much played his entire arc in that one space
and then destroyed it.
- Do you hear that?
- Yeah, I can hear it.
- Right?
Victorine's demise, so she's been haunted by Roderick's,
whatever Verna is, and so much is her denial
that she's just completely delusional
and that sort of seeps in more and more and more.
But my favorite scene to film would have to be
the argument that Victorine has with Alessandra,
and just how that escalates and there's so much going on.
By the time she gets it when Alessandra is leaving,
she, it was not out of spite or cruelty,
she never had any bad intentions.
And how devastated she is by her death
that she fools herself into believing
that she saved her life.
- She's quite dead. - And living in that world,
that was super fun.
She truly wants just to save everyone.
- What I want is for you to relax.
(woman grunting)
(glass shattering)
- The sequence in my apartment with the mirrors and Verna,
I've never really gotten to do anything like that
with stunt elements, and it's such a visual tension
as opposed to, you know,
like a wonderful, searing monologue.
And Tamerlane's house is just filled with all these mirrors,
which I love, it's kind of also
that removal she has from herself,
of just everything's just through a lens.
And so I get to smash everything, which is so exciting.
And I do think there is this one moment
where she admits to herself
that she made all the wrong choices
and that she did this to herself.
I'd like to think she dies with a little bit of redemption,
but I could be wrong.
- It's here, Frederick.
I'm finally, finally here.
(wall crashing)
- Freddy dies in a very gruesome, horrible way.
He is sort of helpless and prone
as a giant, sharp object
carves him up into small pieces.
By the end of the show you'll see
that he most likely deserves that death. (laughing)
- Don't care if it's Death herself.
If she wants Madeline fucking Usher,
she's gonna have to look me straight in the eyes.
There is a theme of grief manifest
and grief unexplored and unhealed
can create horror in our lives.
It's deeply sad, deeply, deeply sad.
- I'm sorry, I'm sorry. - You.
She dies at the hands of her brother.
He has his reasons.
And his reasons are very connected
to overblown narcissistic experience
of who he is and who they are
- and all of that. - You're Madeline fucking Usher.
- I'm very happy to say that I love the change
(chuckling) in her demise. - You are a queen.
- She has to die but there's
- a kind of-- - Here it goes.
- Gentler nature of her demise.
- And you're gonna live forever.
(knife slashing)
From my perspective, the series is really
about having one foot in lucidity and one foot in madness.
The big question for Roderick Usher,
is the world mad or is he mad?
And either way you lose.
- Roderick, Roderick.
(dramatic music)
(deep music)