The Fall of the House of Usher's Co-Supervising Editor Jonathan Wales talks the Netflix horror show and bringing its acting to the front of it all.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Mike Flanagan has reunited with Netflix one final time for The Fall of the House of Usher. The horror show centers on Roderick Usher, CEO of the corrupt pharmaceutical company Fortunato, as he and his descendants and sister are tormented by a mysterious woman from his past, utilizing their various sins against them in brutal and haunting fashion.
Jonathan Wales: It turns out, we've done a lot of shows where things are in a house with this sort of Gothic-type aesthetics. Also, obviously, both Hauntings had a decent amount of that. Specifically, in relation to Usher, I think what was different is that it's not one singular location, in terms of the overall location, it's more — so, obviously, you have this constant of the old dilapidated house, which is sort of the opposite of all the houses where we've been before.
Jonathan Wales: Not really, because I think when you do work on set, the goal is to get an isolated environment where you're in control, otherwise you would go to a location. I think, from my viewpoint, when it comes to the sound of things, a lot of it is we want it to feel the way that we feel emotionally works best for the story.
I can only imagine! Now when it came to Roderick's old childhood home, I adore, like you were mentioning earlier, the wind, the storm outside, it all just came together so well to add to that atmosphere. How much research did you do to find the right balance of how much wind should be heard, how much of the storm would be heard, etc.?
That's truly on display throughout this entire show, and one scene I actually wanted to highlight, because I was curious whether you found it to be a difficult one or a really easy one, was Verna and Lenore's scene together, because that is, I think, one of the most powerful scenes in the entire show. How much of those external elements factored in when putting that scene together?
Jonathan Wales: So, the actual "Tell-Tale Heart," the roots of that sound itself, Mike and Brett, the other picture editor, came up with in picture editorial. They had temped this thing together that basically had some of the elements of the sound you hear, and had the rhythm, and gave the rough template, because that whole episode doesn't work unless you have that sound.
I think at various points, we continue to amp up some of that stuff, again, like, "How far can we push it?" Some things, they just work out of the gate, some things don't say. The end scene when Bruce Greenwood comes to the door after he sort of fake falls 70 stories, which is its own separate little piece of fun.
I think Mike is just so great at understanding the tone of it. One really good example is we had gone crazy with the literality of the bricking up, when they're bricking Griswold into the wall, when they're literally brick laying in front of him We had done this really exquisite version of the scene, everything was literally correct, they were laying bricks over here, and he was over there and everything else. Mike took one look at it, and was like, "It's lost the rhythm.
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