Exploring the Role of Acting in The Fall of the House Of Usher's Co-Supervising Sound Editor Interview

Article Overview

The Fall of the House of Usher is a horror show centered around a corrupt pharmaceutical company CEO and his family being tormented by a mysterious woman from the past.

The show showcases stellar performances by actors such as Bruce Greenwood and Carla Gugino, while also drawing inspiration from Edgar Allan Poe's works.

The show's sound design is dedicated to crafting immersive settings, such as Roderick's rundown childhood home and Fortunato's sleek glass meeting room, to enrich the narrative.

Mike Flanagan has once again joined forces with Netflix for The Fall of the House of Usher, marking their final collaboration. This horror series revolves around Roderick Usher, the CEO of the corrupted pharmaceutical company Fortunato. Roderick, along with his descendants and sister, find themselves tormented by a mysterious woman from his past. She expertly employs their own past transgressions to haunt and punish them in a brutal manner.

The Fall of the House of Usher boasts a talented ensemble cast led by Bruce Greenwood and Carla Gugino. Rahul Kohli, Henry Thomas, Zach Gilford, Kate Siegel, Mary McDonnell, Samantha Sloyan, T'Nia Miller, Sauriyan Sapkota, Ruth Codd, Carl Lumbly, Kyliegh Curran, and Mark Hamill also grace the screen. Drawing inspiration from various works by Edgar Allan Poe, the series effectively balances its terrifying elements with captivating performances from its stars.

Our website recently had the opportunity to interview Jonathan Wales, the Co-Supervising Sound Editor, Re-Recording Mixer, and Scoring Mixer of the show titled The Fall of the House of Usher. We delved into the show's atmospheric elements across different locations and the impactful performances that take center stage.

Jonathan Wales Talks The Fall of the House of Usher

Our website: I was a big fan of The Fall of the House of Usher, I'm also just a Flanagan fanatic in general. You two go a long way a long ways back together.

Jonathan Wales: We do now, yeah. [Chuckles]

When did he first approach you to be a part of his team for the show?

Jonathan Wales: We were aware of the upcoming nature of Midnight Mass when we were working on it. By the time we were mixing Midnight Club, they were already filming Midnight Mass. While a lot of things were happening between the end of Haunting and the pandemic, their shooting took place in Canada. They had everyone staying in one hotel, creating a bubble where nobody could leave. So, they were shooting while we were working on mixing and finishing the show. We communicated with Mike remotely for reviews and discussions. It was a constant exchange. We were already discussing Usher while I was still focused on Midnight Club.

That's amazing. I find it intriguing how both Midnight Club and House of Usher have an anthology format with an overarching narrative, and they share similar atmospheres. The house in Midnight Club and the overall Gothic aesthetic of Usher especially stand out. Did these similarities come up during your discussions with Mike?

Jonathan Wales: It turns out, we have produced many shows with a Gothic aesthetic set in houses. The Hauntings series, in particular, had quite a bit of that. However, what sets Usher apart is that it does not take place in a singular location. The overall setting is more diverse. We do have the constant presence of the old dilapidated house, which contrasts with our previous houses. This small, rundown place serves as the backdrop for the interview between Dupin and Roderick, forming the foundation of the story. It was important for this location to be structurally unsound, with holes allowing for the wind to enter. The idea was to create a disembodied atmosphere, where the exact location remains unclear for a significant portion of the story. I believe this element played a major role in setting it apart from our other projects.

Another notable difference is that the other locations in Usher allowed us to experiment with larger and more opulent spaces. This gave us the opportunity to infuse the dialogue with character based on each unique setting. For example, if a scene took place in Camille's white house, apartment, or whatever it may be, we would incorporate specific sounds to reflect that atmosphere. Similarly, scenes set in the glass conference room in the office would have a distinct and slightly disconnected feel from reality.

So, we extensively experimented with the way the voices responded to the surroundings they were in. We also explored using location to help create a sense of presence, like, "Oh, I feel like I'm in this place now." Additionally, when we returned to the old house for the interview, it had its own unique atmosphere that was exclusive to that particular setting. Therefore, we aimed to be incredibly precise and intentional in depicting the location, making sure the audience could vividly imagine where they were, how it felt, and what sounds filled the air in that space.

Jonathan Wales: Did you find it challenging to work on the sound without being on set and experiencing the actual sound of these places firsthand?

Jonathan Wales: Not really, because when working on set, the goal is to create a controlled and isolated environment. If we wanted to capture the real sound of a location, we would go there instead. When it comes to the sound of things, my priority is to make it emotionally impactful for the story, regardless of whether it reflects the actual sounds on set. Sometimes the sets have poor sound quality and they are larger than desired. In those cases, we remove excess reverb and add our own to create the desired environment. I personally enjoy exploring how to make the voices feel like they naturally belong in each specific place, even if two sets are physically close to each other within the soundstage.

Which area or set posed the most thrilling challenge for you in capturing its essence?

Jonathan Wales: The glass conference room proved to be the most difficult. Due to the shooting techniques employed, it was a constant struggle to capture the right acoustics. Glass surfaces tend to reflect sound, which is desirable, but not always in the desired manner. With no barriers or obstacles to hide behind, achieving perfect dialogue became a challenge. However, in a setting like a conference room, the goal was to eliminate any other sounds apart from the dialogue.

We made a significant effort, particularly in the modern office building, to maintain an atmosphere of tranquility. As a result, there is not much commotion inside. The intention was to create a sense of isolation, resembling an ivory tower, with a subtle undertone of darkness. However, there is nothing to mask or compensate for it. Some may assume it's an easy feat, but in reality, it is the most challenging aspect. Achieving perfection in dialogue becomes a daunting task, as it may not naturally exist. Nevertheless, it is enjoyable to explore the way voices reverberate within this environment, despite the considerable effort required. [Laughs]

I can only imagine! When it came to Roderick's childhood home, the wind and storm outside really added to the atmospheric feel, as you mentioned earlier. How much research did you do to find the right balance of wind and storm sounds for that scene?

Jonathan Wales: Well, the process usually involves me starting off with too much. [Chuckles] I tend to overdo it, and then Mike and I work together to pare it back to what feels right. The challenge with that scene was that the storm grows in intensity throughout the series. We had to gradually ramp up the storm in a subtle and slow manner, so as not to distract from the acting in those scenes. In the end, it becomes a massive storm, but it had to be carefully controlled.

We played with the wind, but decided that we didn't truly sense the dilapidation of the house. So, I went back and made adjustments. Playing with the wind flowing through the rafters was particularly successful. The fireplace also played a significant role. In both this project and Midnight Club, we had a room with a fireplace where we spent a lot of time. We would have discussions about changing the fireplace's position in each camera angle, among other things. However, we weren't too strict about it.

A lot of these decisions are based on how it feels rather than what logically makes sense. The scene's reaction and the actors' best performances are crucial. We strive to enhance the sense of mystery, to make the viewer question their whereabouts and what is happening. Additionally, we aim to provide a captivating backdrop for the outstanding acting.

The entirety of this show truly demonstrates the display of emotions, and I specifically want to highlight a scene involving Verna and Lenore. I was curious to know if you found this scene to be challenging or effortlessly executed. In putting together this scene, how much did external factors play a role?

Jonathan Wales: Mixing certain elements within these scenes can be quite difficult, as it requires reaching an emotional state where you may occasionally lose control. I have a personal test - if the scene affects me emotionally while I'm working on it, and I know it inside out, then I must be doing something right. The Newton Brothers have played a significant role in the musical aspect of this scene. Carla, as an actor, is truly exceptional. This series showcases her immense talent and the magic she brings to her performances. The entire scene is a masterclass in conveying more with less.

Yes, amidst all the chaotic events unfolding at our current location, let us retreat to a bed and engage in a meaningful conversation. Once again, it's about allowing the actors to take center stage and letting their performances shine. From a musical standpoint, as the scoring mixer, my goal was to create a soundtrack that seamlessly blends into the background, exuding a delicate beauty. We strive to strike a contrast, counterbalancing the most gruesome occurrences with the most exquisite melodies. This is where it truly lies - providing emotional support to these pivotal scenes, where a climactic moment unfolds between two individuals.

Now, another topic I'd like to address is the use of sound in this show, particularly in the "The Tell-Tale Heart" episode, which is reminiscent of Poe's works. Can you talk about the process of finding the right tempo and sound to torment Victorine throughout that episode?

Jonathan Wales: The sound for "The Tell-Tale Heart" was initially developed by Mike and Brett, the other picture editor, during the picture editing phase. They created a temporary version with some of the sound elements and established the rhythm as a rough template. This was crucial because the entire episode relies on this sound. You need to know exactly when it starts, when it ends, and how it enhances the storytelling. When we received it, there was already a certain level of clarity in terms of its placement and purpose.

Trevor Gates, the sound designer, took the original concept and expanded upon it creatively. He presented me with a fully developed heartbeat sound that needed to be integrated into the project without overpowering it. It was interesting because even though the heartbeat was a small element, it played a crucial role in the character's perception. We had to decide where she believed the sound was coming from and how to emphasize certain moments. This was particularly challenging during the conversations with Mary McDonnell's character, as the character was simultaneously hearing different things and juggling various threads of thought. The intensity of the sound escalated when she came face-to-face with Verna, and we had to find a way to enhance that without compromising the clarity of the dialogue. I approached this task as an opportunity to have fun and explore the boundaries of creativity, while still maintaining control and coherence. I experimented with pushing the limits until it became apparent when it was too much, then adjusted accordingly. In the end, the balance was achieved, although the exact process remains a bit mysterious to me.

Another aspect that made this show particularly intriguing was the non-linear editing process. Instead of strictly following the sequential order of episodes, I approached them in a more fluid manner. I began with episode 3, then moved on to episode 4, followed by episode 2 and 5. This unconventional method allowed me to explore different storylines out of order. Additionally, it gave me the opportunity to revisit and revise certain aspects. Before beginning this editing process, I would prepare multiple episodes and then review them with Mike, selecting three episodes to focus on each day. This approach provided a fresh perspective on the content and allowed for adjustments based on emotional impact. This distance and ability to make changes really helped identify any elements that were not working effectively.

Throughout the production, we consistently pushed the limits, exploring just how far we could take certain elements. Some aspects effortlessly clicked into place, while others required further adjustments. For instance, the final scene where Bruce Greenwood arrives at the door after his staged fall from 70 stories was a unique and entertaining challenge. It was important to strike a balance between the annoying nature of the music playing in the echo-filled house and ensuring it didn't overshadow the scene itself. Finding the right level of annoyance without detracting from the scene's significance was crucial.

Without explanation or notes, here is

We subtly raise the volume until it becomes too loud for him to ignore, prompting him to ask us to turn it off. When he does, we start localizing the heart sound, making it a diagetic sound happening in another room for the first time in the entire episode. This episode is packed with a lot of content.

Definitely! Mike sometimes requests that we simplify things, and we would review episodes together. Can you remember any significant feedback that greatly improved either a specific episode or a particular sound in the show?

Jonathan Wales: Mike possesses an exceptional ability to discern between right and wrong. When working with Mike or someone similar, it's important to offer choices and allow them to make wise decisions. In my experience with Mike, I typically present my initial attempt and he effortlessly identifies what works and what doesn't. Sometimes, he'll point out that the absence of music is the reason something doesn't work, while in other instances, he may state that music is unnecessary. The key is reaching a stage where the project is nearly complete but may still require adjustments, as this allows for clear solutions to emerge.

Mike truly excels at grasping the tone of a project. An excellent example of this was when we went to great lengths to portray the literal process of bricking up Griswold in the wall, with actual bricklaying. We meticulously crafted the scene, ensuring every detail was correct - the bricks being laid, the separation from Griswold, and so on. However, upon seeing the final result, Mike immediately noticed that the rhythm was lost. While the scene was intended to follow the pattern of "Talk, talk, talk, brick, brick, brick," we had become too fixated on accuracy and inadvertently sacrificed its essence.

They left the room to grab coffee, leaving me flustered. In response, I quickly returned and attended to a few tasks, aligning myself with the desired vibe. It felt just as he had described, as I strived to restore the rhythm. Thankfully, Mike understood the issue and knew exactly how to fix it, sparing me from a tremendous amount of effort. It was one of those moments where he entered and apologetically insisted on redoing the scene, but in the end, everything fell into place splendidly. Truly an incredible scene.

It truly is, and it appears that you guys have an excellent collaborative process. Before I conclude, I wanted to specifically mention the Black Cat episode and Leo's torment by the cat in the walls. I am curious to know how you created the sound of this creature moving through the walls in a way that doesn't explicitly reveal the cat's presence, but still immerses the audience in Leo's experience.

Jonathan Wales: Absolutely. Trevor Gates, our sound designer, took care of developing the sounds for the cat. We have this creature making fascinating noises, and its effectiveness is enhanced by the acting, as it is the reactions that really bring it to life. We focused on the dialogue and occasionally took some creative liberties. For instance, the cat would pass right above us and vanish into a wall behind. We explored the concept of conveying the sounds from Leo's perspective to create a sense of immersion.

Other times, especially during Verna's first visit to the wall, she would say, "It's coming from within the walls." Initially, we avoided adding any sounds for her to hear because the idea was that there was nothing there, and it was meant for the audience to only hear it when he does. We carefully consider whose perspective we are taking and what we want the audience to hear. It's a thrilling experience to be able to do this. The challenge we faced with that particular episode was maintaining the progression of insanity as he continues to demolish the surroundings. I repeatedly revisited that scene, striving to intensify it and explore ways to make it even more chaotic. Carla's delivery of the speech about taurine deficiency and everything else is truly exemplary; she brings such authenticity to the character. It's impossible to picture anyone else delivering it, and that's what makes it so incredible. We are fortunate to work with such talented actors and it's our job to ensure everything ties together seamlessly, which is why I am so passionate about this work.

One of my absolute favorite moments was the exhilarating 70-story freefall sequence with Roderick. The music composed by the Newtons for that particular scene, where Roderick contemplates suicide, was truly special. Initially, I focused on the music and immediately called Andy, expressing my amazement.

It was a tremendous challenge to ensure that the acting still drove the story while allowing us to go as big as we did. The entire team collaborated seamlessly in all departments. We constantly asked ourselves, "How can we create the sensation of descending 70 floors?" However, it was all in Roderick's mind. These were the moments where we had a lot of fun. Being able to work with Mike is a privilege, and I sincerely hope he will continue to allow me to do so.

About The Fall of the House of Usher

Mike Flanagan, the genius behind The Haunting of Hill House and Midnight Mass, presents an enthralling horror series inspired by the eerie tales of Edgar Allan Poe. Within this twisted narrative, we follow the ruthless Usher siblings, Roderick and Madeline, as they construct Fortunato Pharmaceuticals into an empire overflowing with opulence, influence, and authority. However, the dark shadows of their past resurface when an enigmatic woman from their youth emerges, effectively becoming the catalyst for the grim demise of the heirs to the Usher dynasty.

Don't miss the opportunity to delve deeper into the captivating world of The Fall of the House of Usher through our exclusive interviews.

Production Designer Laurin Kelsey

FuseFX VFX Supervisor Marshall Krasser

The Fall of the House of Usher is now streaming on Netflix!

Editor's P/S

As a Gen Z fan, I am excited about the release of The Fall of the House of Usher. The show's unique sound editing process, which involves crafting immersive settings to enrich the narrative, is particularly intriguing to me. I appreciate the attention to detail and the use of sound to create a distinct atmosphere for each location.

The show's talented cast, including Bruce Greenwood and Carla Gugino, is another aspect that I am looking forward to. Carla Gugino, in particular, has given exceptional performances in previous projects, and I am eager to see her bring her skills to this role. Overall, I believe that The Fall of the House of Usher has the potential to be a captivating and unsettling horror series, and I am excited to experience it when it premieres on Netflix.