The Enigmatic Transformation: Edgar Allan Poe's House of Usher Unveiled in Modern Era

Summary

The Fall of the House of Usher is a modern twist on Edgar Allan Poe's tales, focusing on a family haunted by their sins.

The exceptional cast, which includes Carla Gugino and Mark Hamill, skillfully presents both spectacular set pieces and compelling character-driven drama.

The show's production design seamlessly blends Poe's eerie and macabre aesthetics with contemporary and historical settings.

The Fall of the House of Usher, a modern twist on Edgar Allan Poe's iconic tales, is a horrifying Netflix show. Created by Mike Flanagan, known for The Haunting of Hill House, the series adapts various works by the author. It revolves around the titular family, who are punished for their past sins by a mysterious woman connected to the family's patriarch.

The ensemble cast of The Fall of the House of Usher includes both familiar faces from Flanagan's previous works and fresh talent. Carla Gugino, Bruce Greenwood, 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 all deliver compelling performances. With a combination of lavish and gory sets, as well as complex character-driven storytelling, this series adds another success to Flanagan's impressive track record on Netflix.

Laurin Kelsey Breaks Down The Fall of the House of Usher

To celebrate the launch of the show, Our website had the exclusive opportunity to interview production designer Laurin Kelsey on various aspects of The Fall of the House of Usher. Our discussion revolved around the intriguing challenge of capturing Poe's timeless aesthetics in a contemporary setting, the valuable contributions of the cast in shaping the unique environments for their characters, and the significant role that color plays in creating the show's most spine-chilling moments.

Our website: I am thrilled to discuss Fall of the House of Usher. If you haven't noticed the Midnight Club vinyl in the background, let me mention that I am a huge fan of Mike Flanagan. Therefore, I have been eagerly anticipating this project since its announcement. You had the opportunity to collaborate with Mike on that series, but how did it feel when he initially approached you to join forces again for this endeavor?

Laurin Kelsey: It was a swift reunion indeed. We wrapped up Midnight Club on Friday, and come Monday morning, we were already diving into Usher. Just a mere weekend gap between the two projects! [Laughs] I felt incredibly honored and privileged to be invited back to collaborate with Mike on multiple occasions. His talent and attention to detail truly impress me, and I have great admiration for his writing. So, when Usher, a project brimming with substance, came my way, it was an exhilarating opportunity for me.

How familiar were you with Poe's works before Mike approached you to join the show?

Laurin Kelsey: After studying art history and theater production design in university, my exposure to literature was abundant. However, it has been about 20 years since I last delved into Poe's work. Working with Mike on a new show and script always brings excitement, as it allows me to revisit the original content for inspiration and to see where it all began. It's worth noting that Poe's initial stories, such as "Fall of the House of Usher" and "Midnight Club," are actually quite brief. What truly amazes me is how Mike takes these small foundations and intricately weaves them with other stories, creating a complex and multi-layered narrative. It always blows my mind. I go back to the origins expecting to uncover amazing clues and insights, only to realize that there aren't many hints to work from. Mike truly expands upon and builds upon the original material, and that's what makes it so cool.

Poe's works were heavily influenced by the Gothic style of the 1800s. Was it difficult or easy for you to translate these aesthetics into your production design for the modern era?

Laurin Kelsey: It was actually quite fascinating and presented an interesting challenge. While it was relatively easier to incorporate the period works featured in the show, such as the older time periods we explored, finding a way to infuse the essence of Poe into a modern, sleek glass high-rise apartment was quite challenging. Instead of relying on specific elements in the sets, I allowed the script and writing to carry the weight of the references. My focus was on creating an overarching world that exuded a Gothic and eerie atmosphere, capturing the dark essence found in Poe's work during that time period, rather than relying on individual set pieces to convey that essence in a modern context.

Which set did you find the most exciting to really find that balance?

In my modern world, I was particularly fond of Tamerlane's apartment, despite its brightness. It stood out among the others with its classical touch, featuring large archways and intricate moldings. By desaturating the colors, I was able to create a Gothic atmosphere with deep shadows in the darker areas. Executing this design was relatively easier, and it had a stronger impact.

Moving on to the period sets, I thoroughly enjoyed adding elements of Poe's style to Roderick's childhood home. It was an intriguing set, originally designed as a 1950s suburban house. However, since Roderick's mother wasn't wealthy, it couldn't be excessively extravagant. At the same time, it needed to reflect the Gothic-Victorian aesthetic from "The Fall of the House of Usher." Balancing the Gothic-Victorian theme with the 1950s suburbia was certainly a challenge.

It was an enjoyable challenge to imagine the setting as a 1950s suburb where the characters faced some financial struggles. This led to the idea of their house being an old Victorian home, updated with a 1950s twist. The other houses in the neighborhood were also a mix of character homes from the same time period. This allowed me to incorporate detailed fireplaces, heavy wood accents, and unique wallpapers, adding a touch of Edgar Allan Poe's aesthetic to the space.

I particularly enjoyed how colors were used in each set, specifically to reflect the characters and their stories. Did this concept originate from your interpretation of Mike's work or directly from Mike's work itself?

Laurin Kelsey: The process was actually quite fascinating. Mike came up with the idea of assigning colors to each Usher, and during one of our early meetings, he expressed his desire for a color story to be incorporated into the film. He provided us with specific colors for each character, although we were unsure how to incorporate them at first. Personally, I enjoy creating a sense of cohesiveness, especially when dealing with different time periods, varying levels of wealth, and multiple worlds within the story. To achieve this, I decided to limit my color palette and construct a distinct world of colors without straying from it. This allowed me to connect a 1970s bar to a futuristic glass/steel apartment in 2023. Initially, I was worried that assigning colors to everyone would disrupt my cohesive color plan, but I viewed it as an exciting challenge.

After Mike shared his concept, I sat down with Michael Fimognari, the co-director and director of photography who is incredibly talented. Together, we discussed the placement of colors and how to ensure they made sense within the film's visual landscape. We both agreed that without proper control, the visuals could easily become cluttered. As a solution, I proposed a dual-tone palette approach. This involved subtly adjusting the shades of each color to enhance their period authenticity. For example, we made the red more scarlet, the blue more sapphire, and opted for a more emerald green.

Then, we decided to explore further and came to the conclusion that it would be best to tone down the colors in the sets. This way, we could enhance them with lighting or use costumes or hair to add a burst of color. We didn't want to excessively saturate the color during production design and leave no room for other departments to contribute. Figuring out how to incorporate the colors was crucial, and I think it's a fantastic concept that works particularly well with the lighting – Michael did an excellent job.

That leads me to my next question about the lighting itself. I'm fascinated by the way the light saturation intensifies when everyone begins to experience what they do. Can you clarify how much input you had compared to Michael or Mike in this aspect?

Laurin Kelsey: In terms of the lighting, Michael played a crucial role as the driving force. He and Mike had separate discussions to delve into the specifics of the lighting, which I wasn't involved in. Between Michael and me, he truly took charge in determining the level of saturation and the key points to highlight, particularly for his episodes. My role was primarily to assist him in explaining the lighting and creating a set and backdrop that would enhance the desired effect of the light, wherever he wanted it.

One of the major challenges was finding practical sources for the light, allowing for a plausible explanation. While there is a certain supernatural element, we wanted to maintain a sense of realism until a certain point where it is pushed further. Until then, I had to demonstrate that the light was coming from a tangible source, such as a lamp, neon light, or even the moon. This became the primary focus of our lighting discussions, and once we had resolved it, Michael took charge and fully brought his vision to life.

Earlier, you mentioned your admiration for Tamerlane's apartment. However, could you identify the location that posed the greatest challenge in terms of visualizing it based on the scripts and Mike's vision?

Laurin Kelsey: It wasn't really about specific items, but more about creating a distinct atmosphere for each character's living spaces. It was about showcasing their individual tastes and preferences within the limits of their excessive wealth. So, instead of focusing on one particular challenge, I had to consider factors like the type of architecture, location in the city, and preferred furniture styles to create unique identities for each character. The goal was to make their homes feel different, like spaces where they showcase their personal taste and how they spend their money. That was the most challenging aspect, ensuring that each character's living space had a distinct feel.

As for the sets, it was not about including specific items like Thor's hammer but rather about determining what elements would contribute to the overall decor. The focus was on creating sets that reflected the characters' personalities and preferences, while also aligning with the storyline.

Decorating is one of my favorite parts of the process because it involves layering not only objects and items, but also opinions. We have Mark Lane, the set decorator, and sometimes even actors who offer insight into their characters. As we select what makes sense, we learn about the character and make decisions about what they would or wouldn't have. This adds depth and detail to the space. Discovering someone's character beyond what we initially knew is a truly enjoyable process, as we continue to uncover new aspects of their world.

I would say that the actor who provided me with the most valuable insights for their set was Rahul, who played Leo. He was absolutely wonderful to work with and we had a great connection. Being English, we were able to bond before filming and he expressed his passion for Liverpool, which is his favorite football club. We took this into consideration and incorporated some details related to his team into the kitchen set. Interestingly, my partner is also English, so we borrowed some items from his apartment that we knew would resonate with Rahul, such as iconic pieces from his childhood. Rahul also mentioned that his character's hometown is Wembley, so we made sure to include a photo of Wembley Stadium, which is of great significance to him.

Having that kind of enjoyable, extra dimension was truly fantastic. I mean, it's all about suggestions, isn't it? However, it holds great value. Who understands the characters better at that moment? They are the ones exploring profoundly to comprehend its significance for them. Why not utilize that to enhance and enrich the content?

Rahul's actions are commendable; he proves to be an exceptional collaborator for Flanagan's ventures. Could you please disclose the extent to which Poe's works have influenced the production design and sets? While Raven imagery is prevalent, I am curious about the presence of any other hidden elements throughout these sets.

Laurin Kelsey: I take immense pleasure in reaching a point where we can incorporate such intricate details for the viewers to discover. I believe there are numerous such elements scattered throughout. One of my personal favorites is Perry's party space and bathroom. I came across this remarkable graffiti, perhaps online, but I can't recall the exact source. It was a poem scribbled across the wall, possibly conveying an anti-Trump sentiment, but regardless, I found it incredibly captivating. Its organic and rebellious appearance perfectly encapsulated Perry's essence.

In the bathroom, there is a sizable graffiti on the wall featuring a passage from The Masque of the Red Death, which adds a hidden and enjoyable touch. Another noteworthy aspect is the bar in the 1970s, where the stained-glass designs are inspired by Edgar Allan Poe's stories and imagery. The dimly lit amber glass showcases elements like The Black Cat and a variety of other symbols from his works. Additionally, there are smaller details that may require some effort to discover, such as the house numbers representing significant years associated with Edgar Allan Poe, such as the year of his birth or death. These smaller details are particularly enjoyable to find and explore.

This show is potentially Mike's most intense and gruesome production up to this point, which is quite astonishing. How closely do you collaborate with the special effects team to ensure that the visual effects are realistic and appropriate for the set? Additionally, how do you ensure that these effects do not cause irreparable damage to the set, making it impossible to rework for subsequent scenes?

Laurin Kelsey described Perry's party as a captivating endeavor. It was a massive collaborative project involving various departments, such as special effects makeup, special effects for the goo and blood, the paint department for the acid, and the set breakdown team. Set decorators also added their touch by painting and dressing the furniture, working in harmony with the paint department. It was a multifaceted effort requiring a coordinated approach and clear vision. With effective communication and constant collaboration, the team successfully brought the project to life.

The teamwork has paid off, and the reviews for it are high. Have you been reading any of them, and what do you think of them?

Laurin Kelsey: Yes, I've read some of them. I think they're excellent, really accurate. Mike is a highly talented and versatile person, and I believe that the reviews accurately describe the show as bold, daring, and powerful. He truly went all out, and I appreciate that. I'm glad that the show's boldness is being recognized and appreciated by others. It's a gutsy production, and I love that. So, it's great to see that people are enjoying it. After all, our goal is to create and express ourselves for the enjoyment of everyone, and if they're enjoying it, then we have succeeded.

About The Fall of the House of Usher

The Fall of the House of Usher, a chilling horror series inspired by the writings of Edgar Allan Poe, is brought to you by Mike Flanagan, the mastermind behind The Haunting of Hill House and Midnight Mass. Within the walls of Fortunato Pharmaceuticals, Roderick and Madeline Usher, ruthless siblings, have created a kingdom of opulence, influence, and dominance. However, dark secrets from their past resurface as a mysterious woman from their youth unleashes her wrath, causing the demise of the heirs to the Usher dynasty. Don't miss out on The Fall of the House of Usher, available for streaming now on Netflix.

Source: Our website Plus