Q&A with Laurin Kelsey: Behind the Scenes of Designing Mike Flanagan's Netflix Series, Fall of the House of Usher

Article Key Points

Laurin Kelsey, the production designer, molded the sets in "The Fall of the House of Usher" around the script's numerous Edgar Allan Poe references.

Each character, including the children, possesses a unique and well-defined environment that reflects their individual traits and distinctions.

The incorporation of color played a pivotal role in the series, as each child was associated with a particular hue which grew more vibrant as their narrative unfolded, amplifying the emotional impact of their encounters.

Mike Flanagan's most recent series, The Fall of the House of Usher, has become a huge hit on Netflix. With the success of his previous series, including The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass, and The Midnight Club, along with various films, Flanagan has constantly pushed the boundaries of the horror genre.

Recently, our website had the chance to speak with Laurin Kelsey, the production designer for The Fall of the House of Usher, to discuss her latest collaboration with Flanagan. This isn't their first time working together, as they previously collaborated on Midnight Mass and The Midnight Club. During our conversation with Kelsey, she emphasized the series' references to Edgar Allan Poe, the balancing act of numerous characters, and some of the challenges faced during production.

Laurin was given a script by Mike that already contained numerous references to Edgar Allan Poe. Laurin's approach was to prioritize these references and work with them as a basis for designing the sets. With locations such as the Usher's childhood home, Laurin drew directly from Poe's works. However, when it came to designing the children's homes, Laurin focused more on understanding the characters and their needs, while incorporating Poe references in a layered manner.

GR: Each of the characters, especially the children, has their own grounded space. What did the process for crafting these entail?

Laurin wanted to create distinct spaces for a group of extremely wealthy individuals who shared a similar background and resided in the same city. To achieve this, she focused on the children's spaces and asked herself whether they lived in a house or an apartment. She considered their preferences, personalities, and how to surpass their boundaries. Each child's unique traits became evident as they pursued their individual interests.

Mike, in particular, consistently encouraged Laurin to go even further in establishing bold characterizations. For instance, when designing Camille's space, it had a cool and icy aesthetic. While some individuals might incorporate subtle elements like light colors or photos of friends, Mike urged Laurin to go all out and embrace the full extent of Camille's personality.

GR: Did the other characters also have a color theme like Camille's icy association?

Laurin: Mike and I discussed assigning a specific color to each child. As they die, that color becomes highly intensified. We worked backwards from this concept, carefully considering their respective environments and incorporating subtle hints of their designated color. This allowed us to gradually introduce more of that color, enhancing the impact of their psychological state and intense emotions.

Perry had a unique situation where his wall color didn't accurately reflect the intended red, but we incorporated plenty of red into his living spaces. The play "Masque of the Red Death" heavily relied on lighting to enhance this effect. Camille, known as the ice queen, had a silver color scheme. Initially, I thought orange would be a difficult color for Victorine, who portrayed the icy doctor, but I embraced the warmth of concrete and utilized orange throughout her costumes as well.

Frederick's color was blue, while Tamerlane was associated with green. Leo's color was yellow. Roderick technically had a gold color, and Madeline's color was either purple or lilac. When you enter the childhood home, the wallpaper and decor predominantly feature warm gold tones with hints of purple and lilac, including wallpaper adorned with golden and purple flowers. The same color scheme can be seen in the office, with a combination of golds, royal purples, and blues.

GR: Did Verna have a color of her own or pose any challenges of operating in the spaces that weren't her own?

Laurin: Verna's presence was powerful in the lighting. Verna had a dark complexion like a raven. This was evident in her costume, particularly her feather dress and lingerie. She played a significant role as the catalyst. As soon as they encountered her for the first time, the colors and lighting became more vibrant. Except for the bar, she was always intruding into someone else's space. In the bar, she displayed a raven figurine on the shelf, along with other references to Poe. The stained glass in the background depicted either a black cat or a horse from Menzinger. Above the door, there was stained glass with a letter V. It was intended to give the scene a gothic, Poe-like atmosphere.

GR: Lenore, arguably, had the most significant impact on the Usher family and challenged them. Could you describe her character development?

Laurin: We never catch a glimpse of her bedroom when she's in Frederick's house, nor do we witness her true identity. In Roderick's guest room, it has been prepared for her, yet it exudes a sense of neutrality. She doesn't possess an official color, but in my perception, she is akin to the shade of gray. If Verna symbolizes the devil or death with her black hue, Lenore remains impartial, not swaying towards either extreme.

GR: How did you approach Leo's scene where he destroys the walls while searching for the black cat, from a production standpoint?

Laurin: Each death scene presented its own challenges. We were fortunate to have Mike and the AD who were skilled in scheduling when working with complex sets. They made a point to shoot the scenes in chronological order and block shoot them. Being prepared for multiple takes was crucial. We provided specific sections of the wall and carefully planned where Leo would smash them on camera. We created 3 or 4 reset options that could easily be swapped in and out. It was important to strategically hide the seams using artwork.

GR: Perry's party was met with another death due to the acid rain. Can you explain the process behind the creation of the post-acidic atmosphere?

Laurin: In Los Angeles, we had a team responsible for positioning the bodies on the day of the shoot. Additionally, specialized individuals were in charge of creating realistic blood, slime, and acid mixture for the special effects. The paint department was involved in seamlessly blending the acid-like blood and acid wash into the floor. To maintain consistency, acid destruction techniques were applied to the remaining set elements.

GR: Was there a similar process in creating the deterioration of the Usher's childhood home?

Laurin: This set is my favorite from the show. It presented an interesting challenge from the start. In the original, the house is portrayed as secluded, situated on a hill. However, in the script, we're depicting a single mother in the 1950s with illegitimate children. Considering her occupation as a secretary, we needed to make it believable that Longfellow resides at the other end of the street, without exaggerating her circumstances.

The set undergoes numerous transitions. In the 1950s, it should evoke optimism and a family-oriented atmosphere. We emphasized golds, yellows, and warm wood tones for this period. As we progress into the 1960s, things start to deteriorate. The kids now cook, which results in a messy kitchen and a sense of imbalance. Finally, we see the house in its present-day state: worn-out and deteriorated. Roderick expresses his desire to witness its decay after acquiring it. Adding layers of wear and tear over 60 years allowed us to convey a darker tone. Personally, I viewed the house as a reflection of Roderick's inner essence.

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

Editor's P/S

As a Gen Z netizen, I am fascinated by the production design of Mike Flanagan's latest Netflix series, The Fall of the House of Usher. The way in which production designer Laurin Kelsey has molded the sets around the script's numerous Edgar Allan Poe references is particularly intriguing to me.

I appreciate the attention to detail that has gone into creating each character's unique and well-defined environment, and I believe that this reflects the individual traits and distinctions of each character. The incorporation of color is also a fascinating aspect of the production design, and I am excited to see how this plays out as the series progresses. Overall, I am very impressed with the behind-the-scenes insights that have been shared in this article, and I am eager to see more from Laurin Kelsey and Mike Flanagan in the future.