As a seasoned actor with five Ryan Murphy projects under my belt, I can confidently say that working with him is like a rollercoaster ride through creativity itself! His brain is a treasure trove of ideas, and the creative freedom he offers is truly exhilarating.
[This story contains spoilers up to the sixth episode of Grotesquerie.]
If you’ve been following “Grotesquerie” and find yourself puzzled about its storyline after watching six episodes, don’t worry, you’re not the only one. The overall plot of Ryan Murphy’s production has been kept under wraps by almost everyone except for the members of the producer’s close circle – even the actors themselves are unaware of how the series will conclude. However, an impending disclosure in episode seven (airing this Wednesday night) is expected to clarify the sequence of events that have unfolded thus far, according to executive producer and director Max Winkler.
Winkler informs The Hollywood Reporter, “Everything will be clarified.” He adds that this week will bring additional details, creating a fulfilling experience. All the choices made during the first part of the series are building towards this revelation.
It certainly piques my curiosity – especially after the suspenseful ending of the sixth episode, hinting at the potential unmasking of the mysterious serial killer.
The show “Grotesquerie” features Niecy Nash-Betts as Lois Tryon, a local detective in a small town, who is on a mission to unravel a string of gruesome murders with the assistance of Sister Megan (Micaela Diamond), a nun and journalist with an affinity for true crime. Lois suspects that she is being singled out by the serial killer, who calls himself Grotesquerie; her intuition is later confirmed when cryptic messages are found at the murder sites addressed to her.
In the gaming world, I’ve just embarked on a thrilling journey through episodes four and five. The fifth one, aptly titled “Red Haze,” directed by Winkler, was particularly gripping. It paired Lois with Sister Megan in a desert odyssey, seeking answers while battling their inner demons.
Winkler explained that from now on, we’ll be delving deeper into the surreal aspects and focusing more on Lois’ thoughts, as well as Sister Megan’s perspective, moving past the structured clinical case studies from episodes one and two,” – which is a simpler and clearer way to convey the same information.
In the conversation that follows, Henry Winkler’s son, Winkler (the director of several episodes), discusses his work on his fifth production featuring Murphy and expresses his admiration for Nash-Betts as a national gem, while subtly hinting at the intricate storyline of Grotesquerie.
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As a director, what drew you to Grotesquerie episodes five and six specifically?
Ryan tends to make up his mind on what he wants. I handled tasks one and two, while Ryan took care of task three, and Alexis Martin-Woodall tackled task four. The next assignment was coming up for me. I really appreciated the scripts. We received them ahead of time, and I’ve always felt that the initial scene of episode five – being stuck at a hotel in the middle of nowhere with a fire in the distance – could offer an opportunity to create something daring with the camera to emphasize the show’s mood and emotions. This aspect excited me greatly, and I began planning it well in advance.
In one scene from that chaotic episode, it seems like two vehicles collide at the same time while a man is attempting to harm the receptionist. Meanwhile, Sister Megan unwittingly ends up in danger. Did they film these action-packed moments consecutively?
Absolutely, we’ve been practicing for four days now. We’ve meticulously prepared for this over a couple of months, fitting in rehearsals whenever possible, even on our days off. This involved collaborating with actors, assistant directors, camera operators, and stunt coordinators. It required a long drive of an hour and a half, enduring the scorching heat since it can reach up to 120 degrees outside. We also had to find the right moment of the day when the sun was at its optimal position for us to carry out our plans effectively.
Our plan was to carry out the shoot during twilight, primarily due to practical reasons. With fewer lights required, we could more easily trace the lighting path without an army of grips constantly adjusting flags and shielding our actors. We approached each challenge step by step, figuring out how to maneuver cameras through windows, mount them on car rigs, and arrange large platforms and camera vehicles for our skilled camera operator Neal Bryant, a talented individual who had earned the title of Camera Operator of the Year the previous year for his exceptional work on The Last of Us. Neal was to use Steadicam for this task. Carolina Costa, our cinematographer, and Anna Ramey Borden, our first AD, were all in it together, both sharing the risk and the pressure of executing this ambitious plan. If we failed, we were in trouble.
Does the Last Supper snow globe shattering have any importance as it triggers a series of subsequent events?
Yes, very much. That will make more sense as the show goes on, definitely.
Should audiences actually be trying to figure out the mystery of who’s behind these killings?
Indeed, everything will become clear this week. We’ll uncover more details that will be intriguing and fulfilling. The choices made in the initial part of the series are all building up to this moment. It’s fascinating to see people trying to solve the mystery, and I’ve enjoyed reading everyone’s speculations.
In the sixth episode, there’s a troubling scene set in a dairy farm where women are confined and their breast milk is being extracted for babies. This scene seems to share some similarities with the themes in American Horror Story: Coven. Could there possibly be a link between these two?
Zero.
Okay, what’s going on then with the pregnant women and the babies?
It’ll make more sense as you go on.
During the very same episode, it’s disclosed that Nurse Redd, played by Lesley Manville, had a past relationship with Marshall, portrayed by Courtney B. Vance. Let’s delve into their past and examine how this revelation creates tension between Nurse Redd and Lois when she admits to this secret.
Niecy and Lesley are exceptionally talented in their respective fields, making it effortless when they’re both present. You hardly need words or actions, just aim a camera at them and watch them perform miracles. Despite having distinct methods, observing their collaboration is truly captivating.
In the flashback sequences set in Marshall’s lecture hall featuring Nurse Redd, she appears just as excited as a young student would be.
I know, it’s so cute — how she claps. I’ve been a fan of Lesley’s since seeing what she did in Phantom Thread and then seeing her work in The Crown. Getting to work with her was a proper bucket list moment for me. I’d never worked with Niecy either, and I really feel like Niecy is an American treasure. I feel like Niecy is the actress America needs, in a weird way. She’s so brilliant and funny and truthful, and has such incredible self-confidence. They’re very different actors, but post-Trump or in Trump America, I felt like Jennifer Coolidge was what we needed. She is kind of like the American dream. And now I really believe that Niecy is the perspective of a generation of people who are sick and tired of taking shit. She’s so strong and fucking funny. I get emotional talking about her, because the way she bets on herself and the way she sees herself so accurately with how the rest of the world sees her, there’s something about her that’s like a true movie star.
Towards the close of episode six, a series of quick scenes, or a montage, is displayed before Lois shoots her assailant. In one of these scenes, Merritt (played by Raven Goodwin) and Ed Lachlan (portrayed by Travis Kelce) are shown together, while in another, Nurse Redd can be seen with Marshall. This raises the question: what’s going on in those particular moments?
Ed and Merritt are developing a relationship, established in episode four, prior to Lois’ departure from town. It’s also clear why Nurse Redd is so invested in Marshall. As a result, Lois finds herself solitary. Her workaholism, alcoholism, unresolved grudges, and anger towards the existing order keep her isolated and right at the crime scene. The only thing she seems bound to is her job; anything else would require her to introspect and confront herself, which she’s not yet prepared for.
In this series, you’ll notice numerous examples of questionable behaviors, yet it doesn’t come across as strongly condemning those actions. Could the characters serve as mirrors for the audience, inviting self-reflection? Or is the purpose merely to entertain us?
I don’t know. It’s not a mystery that [Lois] is an alcoholic. And it’s not a mystery that she’s also really good at her job. She’s kind of functional, but it’s catching up to her. No one can ride that wave forever, and she goes hard. She’s totally isolated. She doesn’t know how to ask for help. She refuses to ask anybody for help, unless it’s to help solve a crime, but never for herself, which you need to be able to do if you want to make it. But there’s no judgment on it. She can be mean as a snake and tell it how it is, but she also is authentically herself. So it’s hard to turn on somebody, especially a character, when you know that they’re themselves. You can tell she’s wrestling with things. Her performance in episode three, both at the dinner table with Merritt and at that crime scene, it’s not just about the victims. It’s about the whole system in place that forgets to give these people names. She carries a lot of that weight around with her.
This is your fifth Ryan Murphy project. What do you enjoy about working with him?
I love him. My favorite part about it is his brain, and then also the creative freedom you get to have when working with him. I really experienced it for the first time on the Capote show, Feud, where you’re working with material and scripts that are so stunningly nuanced and layered and elegant. I find him incredibly creative and also very trusting. Working with Ryan and the president of his company, who I work with very closely, Alexis Martin-Woodall, is one of the more creatively fulfilling experiences because his shows are about something. And it’s interesting when you can make a show that affects the culture in some way — and you also simultaneously get to rehearse for four months and do a 17-minute shot that’s supported by FX studios, which is one of the greatest studios in the world, and FX marketing.
I haven’t had the chance to incorporate such elements in my films as they tend to be smaller-scale productions, with limited time, budget, and resources. This often requires taking risks and pushing boundaries. The allure of blending a commercially appealing and entertaining project, like a murder mystery, with deeper themes and character development, as exemplified by Niecy Nash’s role and the other talented actors involved, is irresistible to me. It offers the opportunity to be daring and experimental, while still maintaining a balance between entertainment and substance. In short, it’s an ideal mix of creativity and excellence.
Does the way you approach your creative work differ when it comes to producing a horror series compared to something based on real events such as Feud or Monsters?
I always prioritize telling the story in the most effective way possible. The shot for episode five wasn’t included as a single take simply because it looked cool or was ambitious; it served the narrative. I never want to make decisions based solely on popularity or ambition. Each project is unique, whether it involves working with Javier Bardem or Niecy Nash. My goal remains the same: to tell the story in the best way I can, as my idols would do in similar situations. For example, in episode five, I approached it much like I did in “Monsters,” where I dealt with surreal themes. Similarly, when working on “Monsters,” I was dealing with a story of intergenerational trauma involving José and Kitty Menendez, Lyle, and Erik. My approach remains consistent, but the experience of collaborating with Ryan is different from my previous work because my movies weren’t widely seen when they were first released. Independent films often go unnoticed. However, working with Ryan allows me to create content that people are watching and reacting to in real-time, which is a dream come true. The best part is being able to engage with the audience directly, not years later when the movies become available on streaming platforms, but while they’re still fresh and relevant.
Speaking of dreams, episode six ends with Niecy seemingly shooting someone, is that a real event?
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2024-10-15 20:25