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Behind the Fright

Behind the Fright: The Making of American Horror Story is comprised of several interviews of a large majority of the cast and even a few of the crew. There are also scenes from the show and behind the scene action thrown in in-between. Their interviews are quoted as follows in order of introduction:

Dylan McDermott (Ben Harmon)

  • "American Horror Story is psychological horror."
  • "Ultimately I think that it's an American story, certainly, of family that's torn apart."
  • "Ben is an interesting guy because he is a psychiatrist himself but I think that he probably needs more therapy than anyone in the house. He's really, really struggling and fighting. He's trying to overcome the psychological demons that are inside of him...I think he loves his wife enormously, I think he's trying to stay in this marriage, I think he's trying to be that guy that, maybe, his father was for him."
  • "In any relationship, once the trust is broken it's nearly impossible to fix it. And the trust is broken and we're trying. There's this deep, deep connection we have with each other and I'm not sure we could survive without each other. And I think that we're kind of walking that line of enormous love and enormous hurt. And sometimes, y'know, with love, comes hurt."
  • "As soon as I met with Connie I knew that we had this instant (?) with each other. I think that, that carries over, certainly, to the show. We have to trust each other completely because our scenes are somewhat sexual in nature and we have to touch each other and kiss each other and be intimate, I mean all these things that are difficult in life. Never mind on screen...Instantly we fell into this trust with each other and belief, y'know, that we are these people."
  • "Y'know, I think that Violet is very smart and I think that she sees things. Our relationship together is complex too because she's aware of this affair that I had."
  • "I have to say that I always adored Jessica Lange. She's creating this character that's just so compelling."
  • "The star of the show is the house. Y'know, that's what it's all about. This house and what happens in that house and what it does to people."
  • "We've tapped into his (Ryan Murphy) psyche and his writing and his creation and I think we're all kind of occupying that world."

Taissa Farmiga (Violet Harmon)

  • "There's something there and it's alluring but it's also scary."
  • "Violet's a really strong character. She's a fun character to play but she has her issues. She has a lot of disappointments in life and she's trying to deal with that her ways."
  • "I had no idea that I was going to die. These things start happening but it's not confirmed or denied for so long. Well, I thought she was dead. But nobody told me, I had to read the script, I had to wait until I got it and when I found out I screamed. I was like, 'I knew it.' I was so happy to find out I called it.
  • "She meets [Tate] and there's a connection. I mean, she doesn't trust anybody, I mean, especially her parents. And then Tate comes along and he starts to sympathize with her and he understands and he listens to her and that's a big thing."
  • "Tate's dark. Violet's attracted to the darkness. Y'know, she says she's not scared of anything but you know she is."
  • "There's some evil, there's some darkness present in the house and, I mean, you walk in and you can feel it."
  • "You want to know what happens next. Even the actors and the audience, that's one thing they have in common, they always want to know what happens next."

Connie Britton (Vivian Harmon)

  • "Well every episode we're going to be discovering something new about these characters."
  • "We meet Vivian and her family at a crisis point. She had recently had a miscarriage and it was a really brutal, brutal experience. On top of that, she walks in on her husband having an affair...it's really a double whammy."
  • "This is a great role for Dylan. Of course my character is dealing with some serious issues with him."
  • "What's interesting to me about Vivian is that I do see her as a very strong character. I see her as a woman who has had real control over her life. Suddenly that isn't working anymore. I think that even if you haven't gone through the, sort of, serious issues that her family, Vivian's family, is going through, just the idea of things in your life not happening exactly as you imagined that they would or think that they should and confronting that in yourself. For me it's been, it's fun to play."
  • "The house is a character and then it's surrounded by all these other characters that are impacted by the house or making an impact on the house in some way."
  • "Even the Rubber Man is so eerie. And there is, even when we shot it, there was some question about who is really inhabiting the Rubber Man."
  • "Ryan is a visionary and it's been amazing working with him because I literally find myself just sort of saying, 'Ok, you just share with me what your vision is and then let me do that.' [laughs]"

Evan Peters (Tate Langdon)

  • "You don't know what's going on. It's scary, it's spooky, it'll mess with your head."
  • "He's a total psychopath. So, I mean, yeah. It comes from no remorse. It comes from no empathy, no compassion. But he does love Violet so..."
  • "Tate always had a reason to kill people. I mean he's always trying to protect Violet or be with Violet."
  • "I mean that's how Ryan's shooting it. He goes, 'That's the most messed up or the scariest.' It's the good stuff, it's the good stuff."

Denis O' Hare (Larry Harvey)

  • "It's fearless. It really goes for the jugular."
  • "I read it and I was like 'woah! woah!' Y'know, it's really out there in a really brave, challenging, cool way."
  • "When I read it I remember seeing that the character has burns over a lot of his body and is horribly disfigured and so I figured that meant prosthetic makeup but I actually enjoy it. I'm fascinated by the process, I'm fascinated by the craft of it. It does begin to affect you, it begins to inform you. You begin to take on a strange characteristic because of it. Like any good costume, you put it on and it helps you transform and I think this has really helped me transform. I love it."
  • "Take every great tradition of American Horror, put them altogether into a big ball, and BOOM!"

Alexandra Breckenridge (Young Moira O'Hara)

  • "People are scared of it. People are terrified to watch it."
  • "I love the original house. When I walked up to that house I was like, 'Wow, can I live here?'"
  • "I think the idea of it (Rubber Man) is very, sort of, erotic. Faceless, sex object. I mean that can only be purely carnal, there's no emotion driving that and it's, I don't know, it's kind of hot." 
  • "What happened to their sex scene? Rubber Man and Moira? Where did that go? I gotta get on the phone with Ryan [laughs]."
  • "Everything about the show is really well done. How could you not watch it?"

Brad Falchuk (Co-creator)

  • "The story is really about these characters and they're faced with their biggest fears."
  • "Ryan and I, we both love horror movies and the idea of doing horror on TV and the darkness of it was sort of really exciting to us. Whenever we do anything like this Ryan sort of has a lot of really big ideas like the Rubber Man, the house, infidelity. And we just started talking and in just a matter of a couple weeks I think we wrote the pilot."
  • "FX was very excited about the idea of a horror show and I think that they saw it as an area that hadn't really been explored on TV and it was a very popular area. There was never a moment of any doubt where we were like, 'Hmm, can we even do horror on TV?' It always very much like, 'Yes, TV needs horror and FX is just the place for it.'"
  • "Ben and Violet and Vivian are our heroes of the show. I think that they are the ones struggling to do good in a difficult world and I just think it's a struggle. I think they are really all good people. I mean, you look at Ben and you say, 'Well how can he be a good person? He does such awful things to his family.' But I think he is a good person who, like everybody, struggles."
  • "Ben could easily be terribly unlikable and so you need to cast somebody who even when they went into the darkness you still had an affection for, and I think Dylan has that. He has the ability to really be very, very dark without being unlikable."
  • "I think for an audience, especially in a show like this, that's going to challenge what they can handle, you want somebody in there that they feel like, 'OK, I can totally believe in this person. I can be with this person.'"
  • "What's interesting about Violet is that she's not really scared of anything. Another thing that's interesting is that she is able to actually maneuver between the worlds of the ghost world and the real world."
  • "Tate's someone, I think, who grew up in a place that was a struggle but he was predisposed for the darkness and for the evil. He got a lot of help from his mom."
  • "She (Constance) already lost everything that's important to her. Including her sense of morality and her values. Everything, everyone she's ever cared about...She just has great, great regret and, y'know, it drives her to do somewhat unspeakable things."
  • "I think all the great horror movies, that they have iconic imagery and the house has that iconic quality to it."
  • "You need to know the houses' back story the same way you would need to know what made a character the way they are."
  • "The thing is that time doesn't exist for ghosts and so when something happens in the 1920s or the 1930s to a living character and then they die, that story is still being told by that ghost in present day, as far as they're concerned, because that's their life."
  • "Playing with time we all thought it was a vital way to tell a ghost story. It also allowed us to show some great horror."
  • "We have great directors who are really creative visually. And what we like to do is bring people like that in and make sure they understand the tone but also, sort of, give them the freedom to play."
  • "This whole piece for us was very much about sex and sexuality. It is very much talking about the dangers of giving into your basic instincts and your basic needs."
  • "In a great horror story, people are going to die. It happens. And the key is to really care about the people who die."

Alexi Martin Woodall (Producer)

  • "It's definitely a thriller. It's definitely horror. But it's also really really surreal."
  • "When I first read the pilot I was so excited because I thought this is fresh and this is new and this is exciting. I was really really looking forward to how Ryan Murphy was going to build out this fantasy world that he had created."
  • "With a new show you're always sort of trying to find 'what is the show?' We know what it is on the page and we know what it is that Ryan wants but you have a thousand different voices added to that story as you shoot it."
  • "FuseFX always understood that less is more and that we didn't need to have a thousand effects to make it work. We just needed a handful of effects that work really really well and that really aided the storytelling."
  • "I would say it's an exploration of fear and loss. That it is about the choices we make that lure us into bad decisions and bad places versus the choices we make that keep us strong and keep us safe."

Jessica Lange (Constance Langdon)

  • "There are forces at work here that might not be readily recognizable but they are symbolic of the forces at work in this world now."
  • "I think Constance is an unorthodox character in the sense that she doesn't fit these, kind of, ideas of what a good mother is. I think she's a throwback to another time when people weren't all that concerned about, 'Is this the correct way in the eyes of society at this moment?'"
  • "The house has a tremendous presence. It's housing many, many, many, many secrets."
  • "There are images that become almost iconic in that they remain with you for a long time."

Michael Goi (Director)

  • "I read all the scripts prior to starting to shoot the show. What was interesting wasn't just the horror or the supernatural element. There was also a tremendous emotional undercurrent, I think every single person can relate to outside the horror element."
  • "Because the show jumped back and forth between periods of time we wanted to make sure that audiences could really, definitively and concisely, know what time period they were in. So we had built almost like a road map of the visuals for each period of time and what it would entail and how we would approach it." 
  • "Every director who worked on the show brought a unique approach to the story that they were telling. Every single one of them brought elements to the show that became the style of American Horror Story."
  • "Ryan Murphy and Brad Falchuck definitely set a unique tone on the show. It was a tone that was established early on. They encouraged me to take it and go farther and really run with it. The first idea that you come up with to light a scene is going to be the most generic so I always try to reach for the second idea and the second idea is always harder to find because it's in the back of your head but it's going to inherently be the more interesting one to watch. And that's how we approached every scene in the show."

Frances Conroy (Old Moira O'Hara)

  • "I certainly thought it was an incredibly interesting very unusual story and it would be pretty cool to be a part of [laughs]."
  • "Ben, certainly, is in such turmoil within himself about who he is and who his family is to him and who his wife is to him"
  • "It has layers and layers of history and life and death in it and everybody who steps into this house and becomes involved is bound to it forever, for good or for bad."
  • "Oh it's (Rubber Man) weird, it's really, wow, pretty weird. Kind of sexy too because it's form fitting but weird [laughs]."
  • "People need to see what's going to happen next after just getting an event right in the face."

Mark Worthington (Production Designer)

  • "The exterior of the house is a location house down in mid-city area of L.A. It's an odd place, I mean, it was essentially a nunnery, or a convent, which I think is always interesting because you get this idea of sacred and profane in one place."
  • "When we went to bring the sets home to the stages, here at Paramount, you have to now translate that into physical terms that it can be shot easily and, y'know, walls have to move so you can get in and out with cameras, and that sort of thing."
  • "The basement is the epicenter, I think of, whatever evil spirit of force is in the house. The original house did have this basement but it was a little flat so when we came back to the stage we added a lot of windows and some nooks and crannies to give it a lot more, sort of, depth. Almost a sort of catacomb feel or a crypt feel. Pretty much all interiors are here on stage and Ryan refers to it, I think, as 'house porn.' What we do in the Harmon house to make it sort of cool and sexy and attractive."

Beth Rubino (Production Designer [Pilot])

  • "Ryan Murphy, our director, was very clear about wanting a house that had enormous character. We scouted and as soon as Ryan came into this house he immediately felt that it was the vibe that was right for him and was right for the story."

Ellen Brill (Set Decorator)

  • "When I first got hired by Ryan, one of the things he said to me was, 'It's Prada, not Versace.' It's going to be a really clean, simple, kind of modern sensibility rather than very elaborate. It wasn't like highly fanciful or any of that. It's more about very iconic, interesting shaped pieces and a lot of space around them. In fact, so much so that it was challenging because there was so little in the sets, he wanted it so minimal. It didn't tell hardly anything in a weird way. Which is actually what he wanted."

David Altenau (Visual Effects Supervisor)

  • "The flashbacks and the way those are edited together are really what help convey the character of the house as you a congruity of the occurrences and what happens to the different people that have been in the house and it becomes less random and more clear that there's some power at work."
  • "We've been working for Ryan for a couple years now and doing all his visual effects for him. Ryan does have a very specific vision but he's collaborative and open to ideas and basically, where we can clearly contribute something that they can't capture in camera he's totally interested in it and open to it.
  • "The visual effects department and special effects makeup work very tightly together in many cases on a show like this."

Chrisi Karvondes (Costume Designer)

  • Anytime when you can do contemporary and then combining other periods is very rewarding. For a costume designer it has an enormous amount of design possibilities. When we start with a character like this (Elizabeth Short), especially because it's based on somebody in real life. And when I was doing the fitting with Mina, we kept saying if things were too beautiful it was like, 'Oh, we've lost the dime store quality about this girl because she hasn't made it yet as a movie star.' So we tried to find things that were interesting and beautiful but still felt cheap."
  • "You really have to have a strong foundation in costume history because we have to do it so quickly. Especially when you only have moments on camera to try and show somebody from 1927 or '68, all those time periods you've got to, as soon as that character walks on screen, subliminally the audience should know, 'Oh, that's the 20's, that's the 30's, that's the 40's.'"

Jason Piccioni (Special Effects Supervisor)

  • "Everything is very script driven, there wasn't an agenda of visual effects. The story was going to kind of pull us along."
  • "We didn't want to add a lot things that were going to take away from the scene. It wasn't going to be a scene about visual effects, it wasn't going to be a scene about fire and blood. It's a scene about characters, y'know, it's a scene about intensity and pain and guilt and that's what was going to drive the scene."
  • "The blood in the (?) shot was kind of an homage to The Shining and I thought it came out great. Sometimes, you know, you have the best of intentions but if it just doesn't match the story the shot looking great isn't a good enough reason for it to play. And, y'know, maybe we'll recreate that for next season, cause it was a nice little thing. I'd kind of like to do it."
  • "We found out that our role ended up being that we wanted to help tell the story but we wanted to make sure we stay in the background and let the story come through on it's own."

Eryn Krueger Mekash (Makeup Department Head)

  • "When I first read the script, Ryan said, 'Come to my office and read it, I don't want it going out.' So I'm busily writing down every little area of what our responsibilities would be and it was quite large. But I was up for the challenge. I was excited to read something Ryan was inspired by. He was throwing out all these wonderful horror story references that of course I am a big fan of horror films so I knew exactly what he was talking about, exactly what he wanted."

Christien Tinsley (Special Effects Makeup Designer)

  • "American Horror Story gave us the opportunity to do something that was so extravagant for characters that meant so much to the script. Visually it's unpleasant and disturbing."

Overture to Horror

The special feature "Overture to Horror: Creating the Title Sequence" includes interviews from the people responsible for the chilling intro to the show. Their interviews are quoted as follows in order of introduction:

Kyle Cooper (Main Title Designer)

  • "The main title sequence has to be entertaining and it has to illicit an emotional response from the audience."
  • "You want to get a rise out of people. We use whatever elements you can use."
  • "I was invited by Alexis Woodall to come to Paramount and meet with Ryan."
  • "Title sequences have the utilitarian task of getting the peoples' names across but in addition to just doing that they can tell some kind of backstory to the show. With American Horror Story it's intended to set the tone and get you in the mood for what's going to happen."
  • "The first time I met Ryan we just sat there and rifted off things, 'What are these dark images that could foreshadow the show but not give too much away?' During the conversation he told me this whole story about the abortionist and the murdering husband and the Infantata. So I went to the set, I looked at the house, I walked around the house, I took photographs and details of the house. I like to try to put my head into what's going on and go to that place. So I went to Ryan with all of these binders full of photographic reference and storyboard frames...and he said, 'That's interesting, that's interesting, that's not so interesting.' But here's the thing: he liked the board and he wanted to see something with emotion. So we shot a lot of footage of the POV of the Infantata but Ryan was interested in this kind of table top thing with perserved fetuses and creatures in this old discarded lab that existed downstairs. But still the thing that kind of entertains me is this idea that all the pictures of all the little kids, they're sort of frozen in time but they have to watch everything that goes on. In addition to all this history of the kids looking on and the portraits and the preserved material, there's things that are alive. I wanted to have some legs go down the stairs. Y'know, it's like, 'Still shot, still shot, still shot, something moves, something moves,' and I think in the editorial process it's more disturbing to just get a glimpse of something but you need to be able to have those accents that are a little bit jarring."
  • "You know, Ryan talked a lot about music inspiration at the very first meeting. He talked about how important the music was to him and so I told Gabriel Diaz, who is one of the editors here, 'Find some other scary music.'"
  • "And I thought that that piece was more of just like a prolonged string of sound effects rather than a memorable melody and I wasn't sure it was going to work but when we put it up against it it was like, 'Oh wow, that is getting the emotional reaction that I wanted to get.'"
  • "In the past I've been kind of precious about nice elegant type and I didn't want to be so precious about the type, I wanted to make the names big. I wanted to make the names big because I wanted to cut to them quickly and have you read it."
  • "We created the effect of the font burning by printing the typography on a surface that would melt. We tried painting something on top of a piece of metal and then heating the bottom of the metal but it sort of just fizzled and smoked. So we, through a series of experiments, came up with something that would be a little more bubbly and melty."
  • "I wanted this title sequence to be a disturbing forshadowing to a scary show."
  • "You know, I've read that people are frightened by the main title sequence and I was like 'Excellent,' because I was trying to do something that would scare people."

Charlie Clouser (Main Title Composer)

  • "There was some creepy stuff in there that just flashed by in a split second."
  • "I was the keyboard player in Nine Inch Nails and Ryan was very much in love of this demo version that they had so I think a lot of what I was doing was trying to recapture what he loved about this earlier version."
  • "We really tried to recapture the crusty and lumpy and kind of lovably out of time nature of this original demo that Cisar had done. That was kind of one of the most challenging parts was to still make it feel screwed up and broken and kind of like it's almost an old whacked cylinder recording that's not rotating correctly or something."
  • "I think this title sequence really hints at a lot of darkness yet to come and I don't know that we've explored all the dark things that are yet to be revealed."
  • "And I think that was a really cool thing about the visuals that were in the title is that you don't know if you're seeing something that you're going to be shown or if you're seeing it through the character's eyes."

Alexis Martin Woodall (Producer)

  • "They know, that main title sequence tells them, 'Get ready, this is what the show is.'"
  • "Ryan had pulled me into a meeting and said, 'I want to work on the main title sequence and I think I want to use the team that did the main titles for Seven.'"
  • "Ryan said, 'He (Kyle Cooper) just has that cinematic look about it and it's so artisitc and I want this to feel like something no one's ever seen on television before.'"
  • "You are not watching a pretty show about a dysfunctional family, you are watching a very scary show about a lot of things and so I think it's all about setting the right tone."
  • "Kyle had brought a whole book of images from something called the Mutter Museum which is this very macabre museum that was dedicated to human anomalies in jars and disfigured forms and it's all sort of about how the human form can be so normal and so abnormal in the same time and space."
  • "We watched several versions of the main title, first the cut with several different cuts and several different pieces of music. And I said, "Ok, let's play this one,' and what this one was was a piece, I believe it's called "Creatora", by Cisar."
  • "It was noisy, it was ugly, it had static, and it had this loud, you know, kind of screeching quality to it...and Ryan and I looked at each other and were like, 'This is it, there's no question, this is what the song is.' But in the original piece of music there was a sample that Cisar had slowed down and added all sorts of effects to but he couldn't remember what song he had sampled it from which unfortunately makes it illegal for us to use because we can't liscense it if we don't know what piece of music is in there. And so we had to essentially recreate this same piece of music."
  • "We started working with Charlie Clouser because our music Supervisor, PJ Bloom, had suggested the Charlie might be the perfect fit to work with Cisar because he worked with Nine Inch Nails. And it sounded like what Cisar was sort of emulating."
  • "My favorite note that Ryan gave, and that I really stood behind, was that at the time when we watched the first pass, the way the names came up, they just came up white against black and they really didn't have any sense of decay or evolution to them. Ryan said, "I'm not sure exactly what I want but wouldn't it be great if they could burn a little bit or if they could change color or if they could fall apart?' And that was all Kyle needed."
  • "I thought that was such a brilliant final touch. And the last thing that I would say that I thought was a really great choice was ending the main title with the American Horror Story title card as opposed to starting the main title with it. Because it starts, you don't know know where you are and you don't know what you're seeing, and the last image you get is the American Horror Story and it sort of flames out or flickers out and I thought that was a really great choice."
  • "I think the emotions people tend to feel when they watch is they're a little intrigued and a little bit disturbed. Where they want to lean forward to find out what it is that they're seeing but they don't want to see too much. It's sort of like when you're watching a scary movie and you cover your eyes with your hands but you still peek through."

Cisar Davila-Irizarri (Main Title Composer)

  • "The real editor for the main title, his name is Gabriel Diaz, and he is a friend of mine from a long time ago. And he had this song I wrote in 1999 and he thought it was perfect for it so he included it."
  • "I was interested in experimental music and how much you can distort and manipulate sound."
  • "There was samples in the music and I slowed them down so it would sound more interesting to me."
  • "And this was very full circle. Nine Inch Nails inspires me to get into music and to look into experimental music which now turns out to be something that he worked on. Sort of great."

Out of the Shadows

Out of the Shadows: Meet the House Ghosts" is a special feature comprised of interviews of several of the actors portraying ghosts in the house. Their interviews are quoted as follows in order of introduction:

Frances Conroy (Old Moira O'Hara)

  • "Well it's a very interesting conceit that this woman is a younger person and an older person. I just love it."
  • " There have been scenes where I've been there and then Alex has been there and we've sort of been in the same mindset in the scene. But then there are other scenes where that hasn't been the case. It's kind of wicky."
  • "Ryan said to me one day that Moira was Vivian's guide. Kind of a protector for her...I think there's a lot of truth in that."
  • "It's a big deal to do scenes with her and the writing is great so it's wonderful to use those words and, you know, bring those scenes to life."
  • "Well Moira, she's buried in the backyard. Unless something happens to the bones in the backyard or the rules of the game, Moira's here for a while...So the house is pretty crowded [laughs]."

Alexandra Brekenridge (Young Moira O'Hara)

  • "Frances and I, we have this same, and I don't know what it is, it's the rhythm of speech. And it wasn't something we really worked on, it sort of just happened."
  •  "The costume puts me in character. It's very interesting to find that extreme sexuality, because it is very extreme. I am not a sex pot at all, I mean, look, I'm more of a dork than anything. It definitely takes some work for me to get into character. You know, she has a few oral situations and those scenes were tricky for me to do, definitely."
  • "I think that ultimately Moira now is basically Frances. She's, you know, she was killed in the house and she's aged as she would have if she was alive today."
  • "When you die in the house as a ghost you can't leave the house; you're trapped."

Kate Mara (Hayden)

  • "I thought I was only going to be in 3 of 4 episodes. I certainly didn't know my character was going to die. I mean it was pretty awesome the way Hayden died. Sort of the most fun roles are the ghosts because you get to do crazy things."
  • "I think I'm done spitting up the blood and the teeth, so that's good. I'm not a fan of the taste of that fake blood. [laughs] I don't like it."
  • "Sometimes it's hard because, well, you don't know how does a ghost act? And what's going to be too much? What's going to seem real and honest?"
  • "When I was reading it I was like, 'Oh, that's very clever to show.' Sort of like, you know, when people say they experience hauntings, or whatever, in houses and how things move and stuff. I liked that scene where Dylan's character sees the book fall and he doesn't see me but I'm there. All those things I felt were really clever."
  • "That's one of the things that I loved about it was that Hayden sort of goes from being sweet to being kind of crazy and unpredictable and then vulnerable and then like a child and then can go and kill someone. It's just so much fun to play."
  • "Sort of the fun of the show is you find out all these new rules or things that aren't rules...ghosts kill people in the house, that's clearly not off limits...She has sex with people that aren't ghosts...She tortures people and haunts people so, I mean, I don't really know, I don't think there's very many rules for us."

Bodhi Shulz and Kai Shulz (The Mischief Twins)

  • Bodhi: "We just want to release our anger on anything and anyone in our way."
  • Kai: "We just create mischief in the house..."
  • Bodhi: "And havoc and destroy everything."
  • Kai: "That's like every 13-year-old, 12-year-olds dream. And also it sets the mood of the basement also. It kind of tells that the basement is kind of the creepiest part of the house. I mean, everytime someone goes into the basement in the show something happens. Like Violet goes down, Beau rolls the ball. Larry goes down he see his, like, wife and kids, like all burned and stuff. We go down, we get killed by the Infantata which lurks down there. You see the jars, it's really creepy." 
  • Bodhi: "The thing about being a ghost in the house or dying on the property is that if you die you're pretty much safe on the show and then you're not going to leave."
  • Kai: "That's the best part about it."
  • Kai: "It's not like you always have to be seen but when you feel like you want to show yourself that's when they can see you. It's up totally to you not the person that's alive."

Lily Rabe (Nora Montgomery)

  • "My husband, Charles Montgomery, he's endlessly in the basement and I never go down and I find out what he's been doing is making these, sort of, horrible creatures. I would say that's the straw that really breaks [laughs] Nora's back."
  • "But then for Nora also, the loss of her baby and the fixation she then has on finding her baby and then the idea that is introduced to her that she can get another baby becomes an absolute obsession. She knows she missing something, she barely knows what it is. It's just a total disintegration."
  • "I've become very accustomed to my bullet hole, they've named it in the hair and makeup trailer."
  • "Well there are some rules in the world of the ghosts that live in this house."

Matt Ross (Dr. Charles Montgomery)

  • "I think we're there to set up that the house is sort of damned in a way. You know, the people that started this house were deeply damaged. And so these horrific acts of violence started the origins of this house."
  • "For me one of the more challenging things was in the beginning negotiating the ether, like how drugged he was. I'm not a doctor, but I play one on TV. So I looked at the internet to see what the effects of ether would be because I had no idea. And then I saw, well you know I don't know if it's true because God knows most of what you read on the internet is probably incorrect, but I read that the inhalation of the fumes is very intense and people cough a lot so, yeah. So I picked that little tidbit."
  • "You're in danger if you're a human being in the house because they (ghosts) can do a lot of things."

Azura Skye (Fiona)

  • "I thought it would be a fun thing to do and I've never played a villian before so that was kind of exciting."
  • "Yeah, this is my first time playing a homicidal maniac and, uh, I'm not a homicidal maniac in my everyday life so it was a bit of a stretch which made it fun."
  • "Well I believe I am a victim of the Infantata. Although, we don't see that happen in the episode, they just find me with my throat ripped out."
  • "I was in the front yard briefly but I don't think I can go so much farther than that."

Magina Tovah (Bianca) *Note: not actually a ghost of Murder House

  • "I actually auditioned for the Fiona role and then got casted into Bianca but didn't know anything about it. So I went in for my first, like, special effects fitting and they were like, 'Yeah, so that scene where you're chopped in half by the elevator!' and I'm like, 'What? Wait, huh?'"
  • "The cupcake scene was also quite fun. I had to talk to the special effects and they were like, 'So what do you prefer to barf?' [Laughs] Well what kind of thing? And I was like, 'Well the last time I had to barf on TV, we just used oatmeal.' You know, they had to mix in the cupcake. It was a little gnarly."
  • "Next thing we know I'm getting axed in the stomach and then just, probably one of the best scenes ever, I slowly, leadily walk down the hallway dragging my hands and that's the last you see of Bianca. And Moira will definitely have quite a cleaning job ahead of her, don't think she'll appreciate it but [laughs]."

Michael Graziadei (Travis) 

  • "I heard I had an audition for this new project and when I went in it was just a few lines and then they asked me to take my shirt off [laughs] and that was it."
  • "Having the Black Dahlia come into play, you know, when I was murdered and was ready to have them cut me all up and stick me out there and be the new dahlia. And I got my fame."
  • "I was very excited when I found out my character was getting murdered in the house because then I knew I would get to stick around a little bit. The house at this point is chocked full of ghosts and they all have to habitate together."
  • "I'm not sure what all the rules (of the ghosts) are but I'm sure if they need to get rid of rules they can do that too...I know firsthand you can have sex."

Ashley Rickards (Chloe) *Note: Not actually a ghost of Murder House

  • "We're sort of called The Breakfast Club, like the dead Breakfast Club."
  • "The way they shot it was really interesting. The fact that you don't see Tate until the very end, that reveal is so much more poignant."

Jordon David (Alvin) *Note: Not actually a ghost of Murder House

  • "The Breakfast Club from the zombie world."
  • "Shooting the scene itself, I mean I obviously wouldn't know, but I truly thought it was very much how it would be. I thought it was underplayed but almost in a way that it was more intense."

Brandon Eaton (Kyle) *Note: Not actually a ghost of Murder House

  • There were live guns on set. They had a real shotgun. I got to, you know, open it up, look inside, make sure that, y'know, it wasn't loaded. Having a real gun pointed at you can absolutely help your acting but I wouldn't suggest it. 'Oh, I want to be a better actor so here, just load this up and point it at me so I look scared.' Like, 'No, no, no, no, no.'"
  • "At Halloween that is basically when the dead in the show can walk amongst the living. And hopefully it will get to next years Halloween and I'll come prancing out like, 'Oh, hey!'"

Evan Peters (Tate)

  • "People are not scared of me on set. No, they're not scared of me."
  • "My favorite part of playing Tate I think, he's crazy, so it's like he's always yelling or emotional or, y'know, confused and trying to figure stuff out like that. And that's always fun stuff for an actor to play...Yeah it's cool."
  • "Just got shot seventeen times, by the man. Shot down by the man."

Teddy Sears (Patrick)

  • "I am one half of the duo that owned the house prior to Ben and Vivian. And my partner is played by the one and only Zach Quinto."
  • "The House does prey upon vulnerabilities, I think Patrick just began to feel the walls close in. Because they never worked out their stuff in life they're doomed to repeat it in death."
  • "I love the presence of the Rubberman. The Rubberman suit was introduced as this sexual aid really, into this complicated Chad-Pat relationship. You know, what's amazing about that suit is that it smells like, well it's latex, so you get upclose to that suit and it's just like a really formidble scent here."
  • "That was a really fun fight to shoot. They had a great stunt guy named Joshua, he's the guy tumbling down the stairs and he's the guy that makes me look good. I learned a lot from watching him, he just gets thrown around and I get thrown around and, you know, the director had a really seamless and beautiful way of bringing it all together."
  • "You know, death by poker [laughs] is something I don't think I'll ever be able to live down."
  • "Ghosts can drink, ghosts can fight, they can bleed, they heal up right away."
  • "The show gives the audience a great look at what might happen if there were a bunch of spirits locked up in one place together and how they might carry on their day. It's really cool."

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