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>> Jim Rash: "AMERICAN
"HORROR STORY"...
>> I'VE TAKEN LIBERTY
OF CHOOSING ONE, SISTER JUDE.
>> IT'S A TERRIFYING SERIES
THAT BREAKS ALL THE TV RULES.
>> I DON'T KNOW WHAT'S GOTTEN
INTO YOU LATELY, SISTER,
BUT IT'S A DECIDED IMPROVEMENT.
>> REINVENTING ITSELF
EACH SEASON WITH A NEW CAST
AND STORYLINE.
>> STERILIZATION...
FOR THE BOTH OF YOU.
>> FOR THE CREATORS,
THERE'S A FINE LINE BETWEEN
WHAT WORKS AND WHAT DOESN'T.
>> Ryan Murphy: LIKE TODAY,
*** WAS COOL,
BUT KILLING A CAT WAS CRAZY.
[ LAUGHTER ]
>> Brad Falchuk: YOU CAN CHOP
SOMEONE'S HEAD OFF, AS LONG AS
YOU DON'T SEE HER NIPPLES
WHILE YOU DO IT.
>> IT'S THE BIZARRE LOGIC
THAT ALSO EXPLAINS
WHY THE PEOPLE BEHIND
TV'S CREEPIEST SHOW
ARE THE SAME ONES
WHO BROUGHT YOU "GLEE."
>> Tim Minear: THAT'S CRAZY.
[ LAUGHTER ]
>> LET'S MEET THE TEAM BEHIND
THE GROUNDBREAKING SERIES.
OUTRAGEOUS SUCCESS...
HORRIBLE MISTAKES...
LAST MINUTE CHANGES.
CREATORS OF TODAY'S MOST
GROUND-BREAKING TV SHOWS
TELL ALL IN THE PLACE
WHERE IT ALL STARTS:
"THE WRITERS' ROOM."
JOINING ME
IN "THE WRITER'S ROOM,"
WE HAVE RYAN MURPHY,
BRAD FALCHUK, TIM MINEAR,
AND LILY RABE.
THANK YOU FOR BEING HERE.
>> THANK YOU.
>> THANKS FOR HAVING US.
>> AND, OBVIOUSLY,
WE GAVE YOU THESE PADS IN CASE
YOU WANT TO DOODLE
OR COMPLAIN ABOUT ANYTHING
THAT I TALK ABOUT.
>> WE COULD BREAK A NEW STORY.
>> YEAH, OR BREAK A STORY
BY THE END.
WE'LL HAVE ANOTHER SEASON.
UM, I SORT OF WANTED TO
GET STARTED, JUST,
WHAT'S IT LIKE GOING
FROM "GLEE" TO, YOU KNOW,
TO WALK FROM THIS ROOM,
THIS WRITERS' ROOM,
TO THAT WRITERS' ROOM?
>> THEY'RE RIGHT DOWN THE HALL.
>> I-WELL, I-THAT'S WHAT--
BUT PHYSICALLY, AND THEN
EMOTIONALLY, WHAT HAPPENS,
AS YOU GO FROM THIS ROOM
TO THAT ROOM?
>> I'VE ALWAYS SAID,
I-I FEEL LIKE THE ENERGY IS
THE SAME, FOR, LIKE, BOTH SHOWS,
BECAUSE THEY'RE BOTH HEIGHTENED.
THEY'RE, YOU KNOW, UM,
THEY BOTH BURN THROUGH STORY
VERY QUICKLY.
ALL THE WRITERS ARE, UH,
VERY, SORT OF, CLOSE.
UM, IT FEELS LIKE GOING
FROM ONE GROUP OF DAFFY
BROTHERS AND SISTERS
TO THE NEXT.
>> TO THE OTHER ONES.
YES, EVERYONE'S LAUGHING
AND HAVING A GOOD TIME.
>> YEAH, WE-WE MAKE SURE
TO SORT OF, YOU KNOW,
WALK AROUND A LITTLE BIT,
OR-OR GO TO ANOTHER OFFICE
AND SORT OF CHANGE IT UP,
FOR EVEN JUST 15 MINUTES.
>> FOR THOSE WHO AREN'T,
FOR SHAME, UH, FAMILIAR WITH
"AMERICAN HORROR STORY,"
JUST GIVE US SORT OF
AN OVERVIEW OF WHERE
IT CAME FROM, YOU KNOW,
BETWEEN BOTH OF YOU, UH,
THE IDEA AND THE INSPIRATION.
ANY OF THAT STUFF.
>> FOR A LONG TIME,
WE WERE BOTH INTERESTED
IN-IN HORROR STUFF.
ONE OF MY FAVORITE MOVIES
IS "ROSEMARY'S BABY,"
AND HIS IS "JAWS."
SO IT WAS A VERY SORT OF
FEMININE-MASCULINE WEIRD THING.
>> MARRIED-MARRIED THOSE TWO.
>> AND I THINK THAT BOTH OF US
WERE TURNED ON BY
TAKING THE GENRE,
BUT ALSO SOMETHING
THAT WAS MORE INTIMATE.
AND SO, WE TALKED ABOUT
THIS STORY ABOUT INFIDELITY
AND THE STORY ABOUT
A MARRIAGE BREAKING UP,
AND THE TRUE HORROR OF THAT.
AND, IN MANY WAYS,
I THINK THAT WAS THE NUGGET
THAT REALLY WAS DRIVING US.
WAS, OKAY,
WE KNOW WE WANT THE GENRE.
AT LEAST FOR ME, BUT I THINK
THAT-THAT-- WHAT GOT US EXCITED
WAS, OKAY, BUT WHAT'S
THIS STORY REALLY ABOUT?
WHAT'S THE TRUE HORROR
BEHIND THE MONSTERS?
AND, UM, IT WAS THE, SORT OF,
THE MONSTERS AT HOME.
>> WE SIT IN A LIVING ROOM
LIKE SITUATION.
WE DON'T WORK IN
A WRITERS' ROOM.
WE WORK, UM, SORT OF WITH
A COUCH, CHAIR AND COFFEE TABLE.
WE LITERALLY HAVE OUR FEET UP
AT THE COFFEE TABLE EVERY DAY.
WE JUST-WE SPEND-IT'S A REALLY
SORT OF REWARDING SHOW,
'CAUSE YOU SPEND MANY,
MANY MONTHS TALKING ABOUT
IDEAS AND CHARACTER
BEFORE YOU EVEN GET INTO PLOT.
>> AND IT SEEMS LIKE THAT'S
AN ALLURE, I WOULD IMAGINE,
FOR AN ACTRESS-ACTOR,
YOUR THEATRE BACKGROUND--
THERE'S SOMETHING THAT
DRAWS YOU TO THAT.
>> IT'S BEEN SORT OF AMAZING
TO-TO BE A PART OF A-A SHOW
THAT HAS SUCH A, SORT OF,
FEROCIOUS FAN BASE.
IT'S THE PERFECT JOB.
>> YEAH.
>> YEAH, IT REALLY IS.
>> BECAUSE IT'S JUST
LIKE A RESET.
IT'S LIKE GETTING TO DO
A COMPLETELY NEW CHARACTER
FROM SEASON ONE TO SEASON TWO,
AND EXPLORE THOSE THINGS.
>> WELL, I ALWAYS WANT
THE ACTORS TO PLAY THE OPPOSITE
OF WHAT THEY PLAYED
THE SEASON BEFORE.
>> YEAH.
>> 'CAUSE I WANT IT
TO BE INTERESTING.
SO, LIKE, THE LAST SEASON,
LILY PLAYED A VERY DEMURE NUN.
INNOCENT.
A RUBE, REALLY, WHO BECOMES
POSSESSED BY SATAN.
SO, UH, THIS SEASON--
>> JUST A SIMPLE, SIMPLE,
LITTLE THING.
>> SO, THIS SEASON
SHE'LL BE THE OPPOSITE OF THAT,
BECAUSE I WANT HER TO BE
CHALLENGED AND, YOU KNOW,
WANNA COME BACK EVERY YEAR.
SO, IT'S A REALLY FUN,
COOL THING TO DO,
AND WHAT THE ACTORS DON'T KNOW
IS, SOMETIMES,
WE'LL BE WRITING THE FIRST
TWO EPISODES AND WE'LL
GO BACK AND FORTH ABOUT,
"WELL, MAYBE LILY SHOULD
"PLAY THIS PART OR THAT PART,
"OR SARAH SHOULD PLAY THAT."
>> OH, OKAY.
>> WE'LL MIX IT UP,
AND USUALLY BY--
WE HAVE IT PRETTY LOCKED DOWN
BY EPISODE THREE,
AND THEN WE'LL CALL.
WE ONLY CALL WHEN WE KNOW
EXACTLY WHO YOU'RE PLAYING.
>> WHO YOU'RE PLAYING.
>> AND IT'S SORT OF, I THINK,
WEIRD AND FRUSTRATING FOR
SOME OF THE ACTORS SOMETIMES
BECAUSE SOME OF THEM
HEAR VERY EARLY.
>> YEAH.
>> AND SOME OF THEM ARE WAITING
TO SEE WHO THEY'RE GONNA PLAY.
BUT IT'S A REALLY, REALLY FUN,
YOU KNOW, FUN GIG.
>> AND WE CAN-AND WE CAN
BE NEUROTIC, RIGHT?
>> YEAH.
>> SO WE WORRY ABOUT THAT
PHONE CALL JUST A LITTLE BIT.
>> YOU KNOW, JUST A LITTLE.
>> JESSICA'S ALREADY HEARD.
JESSICA ALREADY KNOWS
WHAT SHE'S PLAYING!
>> YEAH.
>> WHY HAVEN'T I GOTTEN MY CALL?
>> BUT, YOU KNOW WHAT?
IT KDA BECOMES
PART OF THE ADVENTURE OF IT.
>> YEAH.
>> YOU JUST-I DON'T-I LIKE
THAT I-I DON'T KNOW EVERYTHING.
I KNOW--
>> YES.
I KNOW YOU CREATE A MAP,
BUT IS THAT SPECIFICALLY
LINED OUT, AS YOU, SORT OF,
YOU KNOW, DO IT ON A WALL?
IS IT UP HERE?
WHAT'S THE PROCESS FOR ALL
THE WRITERS TO, SORT OF, SEE,
FROM BEGINNING TO END?
>> I THINK HOW IT STARTS IS,
USUALLY, UM, RIGHT WHEN WE'RE
SORT OF FINISHING ONE YEAR,
UM, YOU KNOW,
I'VE BEEN-I HAVE A REALLY BIG
RESEARCH LIBRARY THAT I LOVE.
UM, AND I HAVE REALLY BIZARRE,
WEIRD OBSESSIONS THAT
I REALLY DON'T UNDERSTAND WHY.
SO, I WILL COME IN AND SAY,
"I'M REALLY OBSESSED
"ABOUT THIS."
>> MMM.
>> AND, USUALLY,
IT'S SORT OF BEEN PERCOLATING
WITH ENOUGH MONTHS WHERE
IT'S MY-IT'S THE OBSESSION
THAT'S RISEN TO THE TOP.
>> AND WITH THAT,
IN TALKING ABOUT THE DESIGN,
YOU'RE STARTING FROM HERE
AND YOU KNOW, UH,
IN 13 EPISODES,
WE'RE COMING TO AN END.
SO, THE ANTHOLOGY ASPECT OF IT.
>> MMM-HMM.
>> WAS THERE SOMETHING THAT,
GOING INTO IT,
YOU KNEW YOU WERE DRAWN TO
WITH THAT SORT OF STRUCTURE?
>> WELL, THAT-THAT'S HOW
THEY FIGURED OUT HOW TO DO
HORROR ON TELEVISION.
I READ THIS THING,
AND I WAS LIKE, OKAY,
THIS IS A GREAT HORROR STORY,
BUT YOU CAN'T DO THIS
ON TELEVISION BECAUSE
TELEVISION REQUIRES
THAT YOU SUSTAIN THE THING
OVER A COUPLE OF SEASONS.
AND, LIKE, HOW DO YOU--
NO ONE'S GONNA BE AFRAID
WHEN YOU KNOW THAT
IT'S TELEVISION.
AND SO, WHEN I MET
WITH THESE GUYS, I SAID,
"I THINK IT'S VERY INTERESTING.
"I DON'T KNOW HOW
"YOU SUSTAIN THIS."
AND RYAN WAS LIKE,
"OH, HERE'S HOW.
"BY THE END OF EPISODE 13,
"EVERYONE'S DEAD."
[ LAUGHTER ]
YOU KNOW, AND I'M IN.
>> RIGHT.
>> SO, THE IDEA THAT
THEY'RE-THAT WE'RE DOING
ONE STORY EVERY YEAR
MEANS ANYTHING CAN HAPPEN,
AND YOU CAN DO HORROR THAT WAY.
>> YEAH.
>> BUT IT REALLY IS
RYAN MURPHY'S ID
AS A CHEESE TRAY.
[ LAUGHTER ]
HE SORT OF WHEELS IT IN...
>> YEAH.
>> AND WE HAVE...
>> AFTER, SORT OF, YOU KNOW,
THERE'S THE EXPLOSION OF ME
COMING IN SAYING,
"I'M OBSESSED WITH THIS,
"THIS, THIS, THIS, THIS."
WE ALL WORK ON IT TOGETHER
AND IT BECOMES, SORT OF, UM,
I WOULDN'T SAY A GROUP THINK,
BUT IT-BUT IT DOESN'T
BELONG TO ANY PERSON
AND ALL VIEWS ARE, SORT OF,
YOU KNOW, I-WE TRY AND HAVE
A VERY BALANCED POINT OF VIEW.
>> I THINK THE BEST WRITING
ALWAYS HAS A PERSONAL URGENCY,
IN THAT, YOU'RE ALWAYS WRITING
ABOUT SOMETHING THAT IS
VERY IMPORTANT TO YOU
AND YOU'RE FEELING REALLY
POWERFULLY RIGHT NOW,
AND I DON'T THINK YOU CAN
HAVE ANY CONTROL OVER THAT,
IF YOU'RE DOING--
IF YOU'RE WRITING WELL.
I THINK, IF YOU'RE-- TO ME,
WHEN YOU'VE-WHEN I'VE WRITTEN
A SCENE AND IT DOESN'T WORK,
IT'S LIKE, WELL,
I HAVEN'T TAPPED INTO WHATEVER
THAT THING THAT'S URGENT
FOR ME RIGHT NOW IS.
>> BUT WE ALSO, IN THAT ROOM,
LAUGH ALL DAY LONG.
>> YEAH, IT'S GOTTA BE FUN.
>> REALLY?
>> THAT'S THE KEY.
>> AND THE MOST HILARIOUS THING
TODAY, AND I POINTED IT OUT
WHEN WE WERE IN
THE WRITERS' ROOM TODAY.
MY FAVORITE THING IS WHEN
RYAN MURPHY GOES,
"THAT'S CRAZY."
[ LAUGHTER ]
>> DOES "THAT'S CRAZY" MEAN,
"THAT'S IT?"
>> NO, BUT IT'S-- NO, NO, NO.
IT-IT MEANS,
"WHAT-WHAT ARE YOU THINKING?"
>> REALLY?
SO YOU HAVE A LIMIT, RYAN?
>> HE-HE HAS A-HE HAS A--
>> HE HAS A TONE.
>> I HAVE A-- I DON'T KNOW.
>> HE HAS A METER OF SOME KIND.
>> WHERE'S THE--
YEAH, WHAT IS THAT?
>> YOU DON'T KNOW.
>> YOU DON'T KNOW-- IT SHIFTS?
>> NO, IT WAS SORT OF
LIKE TODAY-- *** WAS COOL,
BUT KILLING A CAT WAS CRAZY.
[ LAUGHTER ]
>> RIGHT-- THAT MAKES SENSE.
>> THAT WAS THE LINE.
>> AND, BY THE WAY,
IT WASN'T BECAUSE-IT WASN'T
CRUELTY TO ANIMALS.
HE'S LIKE, "CATS BORE ME."
[ LAUGHTER ]
>> "I WISH THAT-I WISH
"THEY'D START DEAD."
>> I DID NOT SAY THAT.
>> NO, BUT HE WAS THINKING IT.
>> NO, BUT IT'S A-IT'S A--
THAT SHOW IS A TONE, YOU KNOW,
OUR SHOW IS A TONE POEM.
>> YEAH.
>> IT IS ALL
INCREDIBLY HEIGHTENED.
IT IS ALL DESIGNED TO BE,
YOU KNOW, AN OPERA.
>> WHAT HAPPENS WHEN,
LET'S JUST SAY-- OR MAYBE
IT NEVER HAPPENED TO YOU GUYS,
BUT SOMETHING SORT OF BROKE.
LIKE A STORY OR SOME--
LIKE WHAT HAPPENED HERE
AND WHAT HAPPENED HERE--
>> UH, BASICALLY,
WHAT HAPPENS IS, WE GO,
"UH, WE NEED RYAN NOW."
>> YEAH, SO THEN YOU COME IN.
>> NO, THAT'S NOT TRUE.
>> NO, IT IS-IT IS TRUE,
ACTUALLY.
>> WELL, YOU'RE KIND.
>> IT'S TRUE.
>> BUT THE GREAT THING ABOUT
THIS STUFF, TOO, YOU KNOW,
WHEN BRAD AND I WERE
PUTTING IT TOGETHER,
WE WANTED PEOPLE,
PARTICULARLY FOR THAT, YOU KNOW,
'CAUSE YOUR-THE FIRST YEAR,
I MEAN, JOHN LANDGRAF AND I,
AND BRAD AND DANA WALDEN,
AND GARY NEWMAN KNEW THAT
IT WAS AN ANTHOLOGY,
BUT WHO KNEW THAT
IT WOULD HAVE ANY SUCCESS.
SO, WE DIDN'T KNOW,
SO WE REALLY JUST
WANTED A STAFF--
WE'RE WRITING ABOUT DIVORCE
AND A COUPLE FALLING APART,
YOU KNOW, AND MISCARRIAGE,
AND STUFF LIKE THAT.
WE WANTED A STAFF
WHO HAD LIVED.
>> HMM?
>> IT'S A GREAT STAFF BECAUSE
ALMOST EVERYBODY IN IT,
I THINK EVERYBODY IN IT,
I BELIEVE, IS OVER 40,
AND HAS, SORT OF, LIVED
AND HAD A-A REALLY LONG CAREER
WITH A LOT OF
DIFFERENT TENTACLES.
SO, PEOPLE, I THINK,
FIGHT FOR CHARACTERS.
WHAT I FIND IN THIS
WRITERS' ROOM IS,
EVERYBODY USUALLY HAS A GROUP
OF CHARACTERS THAT THEY LOVE,
AND FIGHT TO WRITE,
AND FIGHT TO, UM, PROTECT.
IT'S ALWAYS A VERY PLEASANT,
WONDERFUL EXPERIENCE, THE SHOW.
IT-IT'S NEVER BEEN DIFFICULT.
NOT FOR ONE MINUTE.
>> COMING UP, THE CREATORS
OF "AMERICAN HORROR STORY"
CROSS THE LINE.
>> THE ONLY NOTE WE-I EVER
GOT FROM-FROM AN ACTOR
WAS JESSICA LANGE.
THERE WAS A DAY WHERE SHE WAS,
LIKE, LOOKING AT BARE ***
FOR, LIKE, 12 HOURS AND SAID,
"I CAN'T CANE ANYMORE PEOPLE."
[ LAUGHING ]
>> WELCOME BACK TO
"THE WRITERS' ROOM,"
WITH "AMERICAN HORROR STORY."
WHAT IS IT RIGHT NOW FOR US,
DO WE THINK, MAYBE IN SOCIETY,
MAYBE JUST AMERICA IN GENERAL,
THAT WE'RE SORT OF
DRAWN BACK TO HORROR?
MAYBE OVER AND OVER AGAIN.
>> WELL, I DON'T KNOW
WHEN IT WENT AWAY.
I MEAN, I THINK HON-HORROR
HAS JUST ALWAYS--
>> OH, IT WENT AWAY.
NO, JUST KIDDING.
>> IT JUST HASN'T BEEN ON--
IT HASN'T-IT HASN'T BEEN ON TV.
>> IT CALLED ME AND SAID,
"I'M GONNA TAKE OFF
"FOR A LITTLE BIT, A-AND JIM,
"I'LL LET YOU KNOW I'M BACK."
>> WELL, I MEAN, FOR ME,
I-I THINK IT'S INTERESTING,
THE LAST BIG, TWO, UM,
EXPLOSIONS OF HORROR,
AT LEAST IN MOVIES,
AND ALSO IN MUSICALS,
WERE TIMES OF, SORT OF, UM,
ECONOMIC AND SOCIAL UNREST.
I THINK IF YOU LOOK AT THE
WORLD IN THE PAST FIVE YEARS,
IT MAKES SENSE TO ME
WHY THAT GENRE IS SORT OF
EXPLODING ON TELEVISION NOW.
BECAUSE, UM, IT REFLECTS
THE TIME THAT WE'RE IN,
IN MANY WAYS.
>> YEAH.
>> YEAH, AND I THINK-I THINK
THAT YOU NEED BOOGEYMEN
TO HELP WITH YOUR--
LIKE, THIS FREE FLUID ANXIETY.
ARE TERRORISTS GONNA ATTACK?
AM I GONNA LOSE MY JOB?
IS THE STOCK MARKET
GONNA CRASH?
AND SO YOU FIND A CREATURE
TO PUT ALL THAT ANXIETY ON
AND IT MAKES YOU FEEL BETTER.
TO KNOW IT'S LIKE,
OH, I'M NOT JUST SCARED
OF LOSING THE HOUSE.
I'M SCARED OF THE GUY
IN THE RUBBER SUIT.
AND SO, AT LEAST
FOR THAT PERIOD OF TIME,
YOU FEEL A LITTLE BIT BETTER,
EVEN THOUGH YOU'RE CHECKING
UNDER YOUR BED FOR THE GUY.
>> YEAH, EXACTLY.
ONE OF THE THINGS
I THINK THAT IS POWERFUL,
IS THIS EMBRACING
THE FLAWED CHARACTERS.
WHAT IS THAT, SORT OF, FUN,
AS A WRITER, TO FIND
THOSE THINGS THAT BALANCE
AND GIVE US JUST ENOUGH BALANCE
TO US TO UNDERSTAND THEM?
WHAT'S YOUR GOAL THERE?
>> I REALLY LIKE...
YOU KNOW, WRITING
INCREDIBLY FLAWED PEOPLE.
AND WHEN YOU HAVE ACTORS
LIKE, YOU KNOW, LILY,
AND SARAH PAULSON,
AND JESSICA LANGE,
THEY DON'T WANNA PLAY
NORMAL PEOPLE.
>> RIGHT.
>> THEY WANNA PLAY PEOPLE
WITH A LOT OF DIFFERENT LAYERS,
SO THAT IT'S LIKE AN ONION.
>> YEAH.
>> AND THEY, YOU KNOW,
THEY WANT FLAWS.
THEY WANT, UM, THINGS LIKE THAT.
BUT I THINK THAT THAT IS THE,
SORT OF, THE GOLDEN AGE
OF TELEVISION THAT WAS
USHERED IN WITH "THE SOPRANOS."
>> YEAH, IT'S TRUE.
>> WHERE THAT'S WHERE YOU BEGAN
TO ROOT FOR THE-- TONY SOPRANO.
>> YEP.
>> WHO IS THE BIGGEST
ANTIHERO OF THEM ALL,
AND I THINK THAT REALLY
DID CHANGE TELEVISION.
IT REALLY DID INFLUENCE
A LOT OF PEOPLE
OF OUR GENERATION.
>> THIS FORM OF TELLING STORIES
HAS BEEN GOING ON
FOR QUITE SOME TIME.
AND SO, I THINK
IT'S HARDER TO BE SURPRISED,
AND HARDER TO BE UNPREDICTABLE.
AND THE FACT IS, REALLY GOOD
PEOPLE ARE LESS UNPREDICTABLE.
LIKE, THEY'RE PRETTY MUCH
GONNA DO THE RIGHT THING.
AND SO, I THINK WHEN
YOU'RE TELLING THE STORIES
ABOUT FLAWED CHARACTERS,
THEY'RE MORE LIKELY TO DO
SOMETHING WHERE YOU'RE, LIKE,
"WAIT A SECOND--
"WHAT JUST HAPPENED?
LIKE, "I CAN'T BELIEVE
"THEY JUST DID THAT,"
BECAUSE YOU GIVE THEM
THE SPACE TO DO THAT 'CAUSE
THEY'RE A LITTLE BIT WEIRD.
THEY'RE A LITTLE BIT DARK.
THEIR MORALITY IS A LITTLE BIT
SKEWED, AND SO YOU NEVER KNOW.
LIKE, WELL, HE MIGHT STAB HIM
IN THE NECK WITH A PENCIL,
OR HE MIGHT [deleted] HIM.
I DON'T KNOW
WHAT'S GONNA HAPPEN.
>> YEAH, RIGHT, BUT IT'S NICE
OF YOU TO DO THE TWO CHOICES.
>> CAN I SAY THAT?
>> YEAH, YOU CAN.
YEAH, YOU SAID IT NOW.
>> BUT-BUT, EITHER WAY--
>> PENCIL?
>> IF YOU DON'T-IF YOU DON'T--
>> BUT IT'S SUCH A GREAT THING,
IF YOU WROTE THAT INTO
YOUR WRITERS' GROUP.
"GUYS, HERE'S THE
"CHARACTERS TEMPLATE."
>> WE HAVE-WE HAVE DONE THAT.
>> THERE'S A DRAW TO IT,
I WOULD IMAGINE, AS AN ACTRESS,
TO THESE CHARACTERS.
WAS THERE EVER A MOMENT
WHERE YOU'RE LIKE--
YOU WANTED TO SAY, YOU KNOW,
YOU CAN BE HONEST NOW.
PULL THEM ASIDE AND GO, "WHAT?"
YOU KNOW, "WHAT THE EFF?"
I DON'T KNOW-- "WHAT?"
YOU KNOW, DID YOU EVER HAVE ONE
OF THOSE THINGS WHERE YOU GO,
"THIS ROAD IS--
"OKAY, I'LL GO DOWN THIS ROAD?"
>> YEAH-- I MEAN, YOU MIGHT GO,
"WHAT THE-WHAT THE EFF?"
>> WHAT THE PENCIL?
>> WHAT THE PENCIL?
BUT I WOULD THINK THAT,
WHEN YOU'RE DOING-WHEN-WHEN
YOU SIGN ON TO SOMETHING
AND YOU'RE THINKING,
"I MIGHT BE PLAYING THIS PART
"FOR SIX-SEVEN YEARS,"
WHATEVER IT IS,
YOU HAVE TO, SORT OF-- I WOULD--
THERE'S A PACING OR A, SORT OF--
YOU HAVE TO CONTAIN,
I WOULD THINK, SOMETHING,
BECAUSE YOU MIGHT BE
IN PEOPLE'S LIVING ROOMS
AS THIS WOMAN, FOR SEVEN YEARS.
AND SO, THAT'S A LONG--
THAT'S A MARATHON.
>> YEAH.
>> UM, AND WITH THIS,
YOU KIND OF--
IT-IT BLOWS ALL THAT OPEN,
SO YOU'RE NEVER THINKING,
"WELL, WE SHOULD--
"MAYBE THIS SHOULD HOLD BACK,
"OR THIS SHOULD--
"YOU KNOW, LET'S"--
YOU CAN JUST REALLY, LIKE,
GO TO THE OUTSIDE OF-OF
WHOEVER IT IS YOU'RE PLAYING,
KNOWING THAT, UH,
YOU'RE GONNA EXPIRE.
>> YES.
>> I MEAN, NO ACTOR ON THIS SHOW
HAS EVER GIVEN THAT NOTE OF,
LIKE, THIS IS TOO MUCH.
>> NO.
>> I'M ALWAYS SHOCKED THAT
YOU GUYS DON'T CALL US UP
AND SAY, "I HAVE TO DO WHAT?"
THEY'RE, ACTUALLY--
THE-THE ONLY NOTE I EVER GOT
FROM AN ACTOR WAS JESSICA LANGE,
SAID, "I CAN'T CANE
"ANYMORE PEOPLE."
[ LAUGHTER ]
>> WHAT WAS HER REASON WHY
SHE COULDN'T CANE ANYMORE?
DID SHE JUST, LIKE--
>> 'CAUSE THERE WAS A DAY
WHERE SHE WAS, LIKE,
LOOKING AT BARE ***
FOR, LIKE, 12 HOURS.
SHE'S LIKE,
"I CAN'T DO IT ANYMORE.
"I DID IT ENOUGH."
THAT WAS THE ONLY TIME.
>> AND THEN SHE WAS LIKE,
"WELL, THEN YOU'LL CANE,
"BUT THEY'LL WEAR PANTS."
[ LAUGHTER ]
YOU KNOW, IT WON'T BE THE SAME.
>> I EVEN GAVE HER THE OPTION
OF, "WELL, WHAT IF WE DO
"A DIFFERENT KIND OF CANING?
"WITH, LIKE, HORSEHAIR CANES?"
YEAH, BUT IT, UM,
I THINK THE, UH, BECAUSE
THE MATERIAL IS SO HEIGHTENED,
AND PUSHED, AND UNIQUE,
AND HAS ITS OWN TONE, HOPEFULLY,
I THINK IT'S SORT OF, LIKE,
YOU-THE ACTRESSES JUMP IN
AND DO IT.
>> YEAH.
>> BECAUSE THEY KNOW THAT WE'RE
WRITING TOWARDS A CONCLUSION.
>> CONCLUSION.
>> WE HAVE MAPPED THIS OUT.
WE KNOW WHERE WE'RE GOING AND,
WITH THAT, I DON'T KNOW.
MAYBE YOU FEEL SAFER
THAT WAY, I THINK.
>> I THINK IT DEFINITELY
LETS YOU-- YOU KNOW THAT
THEY'RE ONLY GONNA BE--
THEIR EXPERIENCE-EVERYONE'S
EXPERIENCE OF THIS PERSON
IS GONNA BE ONE SEASON LONG.
AND SO, YES-- YOU WANNA
SAY "YES" TO ALL OF IT.
>> YEAH.
>> BECAUSE, UH, YOU KNOW,
IT'S LIKE, A-A--
>> BECAUSE WE KNOW
WHAT HAPPENS IF YOU SAY "NO."
>> YOU GET CANED.
>> YEAH, YOU'LL GET CANED.
EXACTLY.
>> PLUS, WHEN AN ACTOR
SEES ANOTHER ACTOR GETS TO,
YOU KNOW, BREASTFEED
OFF A CORPSE OR SOMETHING,
THEN THEY'RE LIKE,
"WELL, WHERE'S MINE?"
LIKE, SERIOUSLY, IT'S-- RIGHT?
IT'S A LITTLE BIT LIKE,
"HOW COME THEY GET TO BE
"HORRIBLY MUTILATED?"
>> EVERY ACTOR HAS
A BUCKET LIST,
AND EVERY ONE OF 'EM,
EVERY ONE OF 'EM SAYS,
"TO NURSE.
"TO NURSE OFF A BARE BREAST."
>> THERE'S A LOT OF NURSING.
>> COMING UP, THE QUIRKY RULES
OF CABLE TELEVISION.
>> WE HAD TO SWITCH THAT,
WAS IT THE *** TO A CUCUMBER?
OR A--
>> YES, WE DID.
>> THE *** DOESN'T PLAY,
BUT THE CUCUMBER PLAYS.
>> EXACTLY.
>> WELCOME BACK TO
"THE WRITER'S ROOM,"
WITH "AMERICAN HORROR STORY."
WHEN, UH, YOU APPROACH
ALL THESE SEASONS,
OR ANYTHING IN WRITING,
IN GENERAL,
PUSHING THOSE BOUNDARIES,
LIKE, YOU KNOW, VIOLENCE.
I'M JUST CURIOUS,
ON MAYBE THE NETWORK SIDE
OR ANYONE'S SIDE,
OF HOW FAR YOU CHOSE,
OR DON'T EVEN CARE TO
WORRY ABOUT THE BOUNDARIES
YOU'RE GOING FOR-WITH.
>> WELL, I MEAN, MY-I HAVE
NEVER REALLY HAD A SINGLE
ARGUMENT WITH A EXECUTIVE
FROM A STUDIO OR THE NETWORK
ABOUT CONTENT, EVER.
THE ONLY PEOPLE WHO YOU REALLY
EVER GET INTO ARGUMENTS ABOUT
ARE STANDARDS AND PRACTICES.
>> RIGHT.
>> AND IT IS NEVER,
EVER ABOUT VIOLENCE, EVER.
LIKE, YOU CAN-YOU CAN--
>> IT'S ALWAYS SEX?
>> ALWAYS, 100% SEX.
>> YEAH, WE HAVE A WEIRD--
>> IT'S A WEIRD CULTURE.
>> A WEIRD BALANCE.
>> NO, BUT, LIKE, YOU CAN-YOU
CAN-YOU CAN CHOP SOMEONE'S
HEAD OFF, AS LONG AS YOU DON'T
SEE HER NIPPLES WHILE YOU DO IT.
>> YEAH, THAT'S EXACTLY RIGHT.
>> ISN'T THERE A RULE, LIKE--
>> I'VE GOTTEN THAT NOTE BEFORE.
>> REALLY-- THAT WAS THE NOTE?
>> YES, REALLY.
YOU CAN CHOP SOMEONE'S
HEAD OFF AS LONG AS--
AND WE'VE HAD TO
GAUZE OUT THE NIPPLES.
I MEAN, WE HAVEN'T DONE--
IT WAS A-A MALE CHARACTER,
AND IT WAS-IT WAS
SOMETHING ELSE, BUT, YEAH.
I MEAN, I'M ALWAYS AMAZED
AT THAT, AND I SORT OF FEEL
LIKE EVERYONE IS, SORT OF,
NERVOUS ABOUT THE FCC.
AND I-I THINK THAT
FOR MOST OF THE PEOPLE
WHO WOULD COMPLAIN TO THE FCC,
THEY DON'T CARE ABOUT VIOLENCE.
THEY CARE ABOUT, SORT OF,
PURITANICAL *** CONTENT,
AND THAT'S WHAT
THEY'LL WRITE ABOUT.
>> YEAH, WE HAD TO SWITCH THAT.
WAS IT THE *** TO A CUCUMBER?
OR A-- YEAH.
>> YES, WE DID.
>> OH, WAIT, THIS IS
INTERESTING-- YOU HAD TO--
>> ALTHOUGH, YOU KNOW--
>> THE *** DOESN'T PLAY,
BUT THE CUCUMBER PLAYS.
>> EXACTLY.
>> YOU CAN'T GET A ***
AT "STOP AND SHOP."
>> IT MAKES NO SENSE.
IT'S SO LOGICAL.
>> IT'S VERY, UM,
IT'S VERY FRUSTRATING,
AND, SORT OF, UM, SAD TO ME.
AND I FIND THAT,
ON EVERY SHOW THAT I HAVE,
BE IT "GLEE" OR "HORROR STORY,"
IS, YOU CAN DO
WHATEVER YOU WANT,
USUALLY IN A VIOLENT CAPACITY,
BUT GOD HELP YOU
IF YOU TRY AND TELL
A TRUTHFUL *** STORY.
>> YEAH.
>> PARTICULARLY,
IF YOUR FEMALE CHARACTERS
AREN'T, SORT OF, BARBIE DOLLS.
LIKE, THAT-IT'S VERY-IT'S
ALWAYS VERY, VERY HARD FOR ME
TO TAKE THOSE NOTES,
AND I FIGHT THEM.
>> YEAH, AS WELL,
I THINK WE SHOULD.
I'M SO CURIOUS,
BUT CONTINUING WITH THAT IDEA,
OF WHAT IT IS THAT MAKES US NOT
ABLE TO TAKE *** INNUENDO
OR TO GIVE A RATING TO THAT,
IF YOU'RE IN A FILM THING,
THAT THAT ABSOLUTELY PUTS YOU
IN AN "R", YOU KNOW?
>> MMM-HMM.
>> BUT, YET,
BECAUSE THE AMOUNT OF BLOOD
YOU DID NOT SHOW--
IN OTHER WORDS,
THAT WAS NOT A BLOODY... ***.
>> YEAH.
>> SO WE CAN SHOW THAT.
I MEAN, WHAT IS THAT?
I MEAN, ANYBODY,
WHAT DO YOU THINK THAT IS,
UP HERE, FOR US?
>> BECAUSE IT IS.
IT'S LIKE, YOU LOOK AT
ALL THOSE SHOWS THAT ARE
THE "SVU" KIND OF SHOWS,
AND IT'S LIKE, EVERY WEEK,
YOU CAN HAVE A ***.
>> WEIRD CHECKLIST.
>> BUT, IF YOU ACTUALLY TOLD
A STORY ABOUT, A CENTRAL STORY
ABOUT THAT GIRL
HAVING A LOVE AFFAIR,
THEN YOU HAVE ISSUES.
>> I MEAN, THE TRUTH
OF THE MATTER IS,
IT'S ALL FINANCIAL, ISN'T IT?
BECAUSE I THINK THAT
IT'S-IT'S ABOUT THE NETWORKS
AND THE STUDIOS, AND, LOOK,
WE HAVE A GREAT, UM,
RELATIONSHIP WITH OUR STANDARDS
AND PRACTICES PEOPLE.
DON'T GET ME WRONG.
THEY'RE, FOR THE MOST PART,
VERY FAIR, BUT, YOU KNOW,
A COMPLAINT TO THE FCC
COULD LEAD TO A CHARGE
BY THE FCC, WHICH COULD LEAD
TO HUNDREDS OF THOUSANDS
OF DOLLARS WORTH OF FINES.
NOBODY WANTS TO PAY THAT,
SO THEY'RE JUST
OVERLY PROTECTIVE.
IT'S LIKE, WELL,
IF YOU'RE TRYING TO MONITOR
YOUR CHILDREN'S TELEVISION,
TURN OFF THE TELEVISION.
>> YEAH.
>> AND I CAN MUCH MORE EASILY
EXPLAIN TO MY CHILD,
IF THEY HAPPEN TO SEE
A *** IMAGE,
WHAT THAT'S ABOUT, THAN IF
THEY SEE A VIOLENT IMAGE.
>> YEAH.
>> IT'S A LOT MORE CONFUSING
TO SAY LIKE, I CAN'T UN-EXPLAIN
TO YOU EXACTLY WHY PEOPLE
DO THIS TO EACH OTHER.
>> YEAH.
>> BUT PUT 'EM TOGETHER
AND THAT'S DELICIOUS.
>> AND THAT-THAT'S OKAY.
>> WELL, THAT'S WHAT
"AMERICAN HORROR STORY" IS.
IT'S A PASTICHE OF
SEXUALITY AND VIOLENCE.
>> EVERY SEASON, IT'S REALLY
EITHER ABOUT THE OPPRESSION,
OR ACTING OUT OF, OR--
THAT'S WHY IT'S A FUN SHOW
TO DO.
>> ALSO, THE TRADITION
OF AMERICAN HORROR--
I DON'T MEAN THE SHOW.
I JUST MEAN HORROR,
IN AMERICAN LITERATURE,
IS SEX AND VIOLENCE.
>> MMM-HMM.
>> I MEAN, EVEN IF YOU JUST
GO TO, LIKE, THE CHEESIEST
SORT OF, LIKE, SLASHER MOVIE,
IT'S ALWAYS THE YOUNG,
NUBILE COUPLE WHO ARE ABOUT
TO CONSUMMATE THEIR CARNAL
FLESHNESS, WHO ARE GONNA
GET THEIR THROATS SLIT BY
JASON VOORHEES, OR WHATEVER.
>> NOT THAT THERE'S ANYTHING
WRONG WITH [ INDISTINCT ].
>> SEX MEANS DEATH.
>> YES.
LET'S JUST EMBRACE THE IDEA
THAT IT'S TIME WE'RE GONNA
COLLECTIVELY JUMP THE SHARK.
YOU KNOW, WE'RE GONNA
COLLECTIVELY GO TO THE PLACE
WHERE I DON'T KNOW
IF WE CAN EVER COME BACK,
YOU KNOW?
AND JUST EMBRACE THAT IDEA.
IS THERE A PLACE
THAT WE COULD HAVE FUN
AND JUST SAY, IF YOU COULD,
IN A WISH LIST,
GO TO CRAZY LAND,
KNOWING THIS IS-THIS IS IT?
>> WOW!
>> AND WHAT WOULD
YOU MAKE LILY PLAY?
AND LET'S TELL HER.
>> MAYBE SEASON TEN
SHOULD BE CALLED "MIME."
>> I LIKE IT-- "KILLER MIMES."
>> "KILLER MIMES."
>> PLEASE, AND IS THERE
ANY DIALOGUE AT ALL?
>> NO, NO DIALOGUE.
>> NO, WE JUST JUMP THE SHARK.
>> IT'S LIKE-IT'S LIKE
THE ARTIST--
>> YOU KNOW IT COULD 100% WORK.
>> YEAH, IT COULD.
>> BECAUSE JESSICA LANGE,
WHEN SHE WAS YOUNGER,
ACTUALLY WENT TO MIME SCHOOL.
>> ARE YOU SERIOUS?
>> ONE HUNDRED PERCENT,
WHICH I'VE ALWAYS THOUGHT
WAS HILARIOUS.
>> ANYONE WHO GOES TO
MIME SCHOOL OR CLOWN SCHOOL,
I WANT TO SIT DOWN
AND TALK TO THEM.
I FIND THAT SO INTERESTING.
>> SO, THAT-THAT'S IT--
SEASON TEN JUST CALLED "MIME."
>> ALSO, THINK ABOUT THIS.
THINK ABOUT HOW MUCH CHEAPER
IT'LL BE TO SHOOT.
>> I KNOW.
>> BECAUSE THEY'LL BE
WALKING INTO THE WIND.
THEY'LL BE IN A BOX, BUT WE
DON'T HAVE TO SEE THE BOX.
>> YEAH, AND, LIKE, THE PREP.
I MEAN, COME ON, LILY.
NOT A LINE TO LEARN.
>> NOT A LINE TO LEARN.
>> YOU JUST PRETEND
YOU'RE TOUCHING THINGS
THAT AREN'T THERE.
>> COMING UP ON
"THE WRITERS' ROOM,"
SEASON TWO JITTERS.
>> I DIDN'T GET MUCH SLEEP,
'CAUSE I DIDN'T KNOW
IF PEOPLE WOULD COME BACK.
WELCOME BACK TO
"THE WRITER'S ROOM,"
AND "ENTERTAINMENT WEEKLY'S,
"THE LAST WORD."
WE ARE NOW JOINED
BY LYNETTE RICE,
FROM "ENTERTAINMENT WEEKLY."
WELCOME, LYNETTE.
>> NICE TO BE HERE.
DID YOU HAVE ANY FEAR
AT THE BEGINNING THAT,
ONCE WE FIGURED OUT--
"WE" BEING VIEWERS.
WE FIGURED OUT WHAT YOUR
CONCEIT WAS-- YOU'RE LIKE
THE ETCH-A-SKETCH OF SHOWS.
I MEAN, AFTER ONE SEASON,
YOU SHAKE IT
AND YOU START AGAIN.
DID YOU HAVE ANY FEAR THAT
VIEWERS WOULD UNDERSTAND
WHAT YOU'RE DOING.
SO, THEN WE KNOW THAT,
BY THE END OF THE SEASON,
YOU'RE GONNA KILL OFF HER,
HER, HER, HIM,
AND WE KINDA ALREADY KNOW.
IS SOME OF THE MYSTERY GONE,
BECAUSE WE KNOW
WHAT YOU'RE DOING?
>> UM, FOR ME, THE MYSTERY WAS
MORE AFTER THAT FIRST SEASON,
WHEN PEOPLE REALLY LOVED IT
SO MUCH, WOULD THEY COME BACK
FOR THE SECOND SEASON?
BECAUSE I FELT THAT
IT WAS OUR JOB TO MAKE
THE STORIES AS COMPELLING.
I KNOW, THE NIGHT BEFORE,
I MEAN, I DIDN'T GET MUCH SLEEP
'CAUSE I DIDN'T KNOW
IF PEOPLE WOULD COME BACK.
AND THEN, YOU KNOW, THEY DID.
>> YOU KNOW, MY HOPE IS THAT,
AS THEY SEE IT,
AS WITH ANYTHING ELSE,
THEY START TO SAY,
"OH, IT'S POSSIBLE."
AND I THINK THEY SEE--
I THINK THEY REALLY ARE.
>> DO YOU KNOW HOW LONG
YOU WANNA GO WITH THIS?
>> I DON'T SEE AN END TO IT.
LIKE, I WILL-I LOVE IT.
I LOVE THE WHOLE PROCESS OF IT.
I FEEL LIKE IT HAS
A GREAT RENEWAL TO IT.
UM, I LOVE THE DREAM TIME
OF IT, YOU KNOW,
WHEN YOU'RE READY TO, SORT OF,
COME UP WITH A NEW ONE.
I'M INTERESTED IN
A LOT OF DIFFERENT THINGS,
AND I LIKE RENEWING IT
EVERY YEAR.
I REALLY FEEL LIKE, FOR ME,
IT'S SOMETHING THAT I
WOULD LOVE TO KEEP DOING,
AS LONG AS THEY'D LET ME.
>> SO THAT ANSWERS
MY QUESTION THEN,
DO YOU KNOW HOW IT'S GONNA END?
>> WE KNOW,
'CAUSE "MIME" IS SEASON TEN.
>> "MIME" IS SEASON TEN.
>> OKAY.
>> SO, WE HAVE TO GET TO THAT.
WELL, WITH THAT, UH,
IF YOU WANNA SEE MORE
OF "THE WRITERS' ROOM,"
AND YOU BETTER,
THEN GO TO sundancechannel.com.
THANK YOU ALL FOR BEING HERE.
>> THANK YOU.
>> I AM JIM RASH,
AND WE WILL SEE YOU NEXT TIME
IN "THE WRITER'S ROOM."
NOW WE DO THAT THING
WHERE WE SORT OF FAKE TALK.
[ LAUGHTER ]
>> WELL, I THINK-I THINK
IT'S TIME FOR US TO
GET BACK TO WORK ON THE STORY.
>> YEAH, WE GOTTA START--
>> YOU KNOW, BUT THANKS FOR
COMING TO OUR WRITERS' ROOM.
>> I ALWAYS WONDERED WHAT
THEY'RE TALKING ABOUT
AT THE END.