SPOILER ALERT: This article reveals plot details from “Monster: The Ed Gein Story,” now available on Netflix.
Following seasons that focused on the stories of Jeffrey Dahmer and the Menendez brothers, audiences of Netflix’s anthology series “Monster” are now engrossed in its new season that delves into the life of serial killer Ed Gein. Portrayed by Charlie Hunnam, Gein is tormented by his mother Augusta (Laurie Metcalf) and is influenced by a dark romance with Adeline (Suzanna Son), all while crossing paths with victims such as Bernice (Lesley Manville) and Evelyn (Addison Rae). Additionally, he fantasizes about the infamous Nazi Ilse Koch (Vicky Krieps), noted for her alleged horrific acts of utilizing the skin of Jewish victims for macabre creations like lampshades. The narrative also incorporates the evolution of horror classics, including “Psycho” and “The Texas Chain Saw Massacre,” both of which drew inspiration from Gein’s gruesome legacy.
Under the skilled direction of Ryan Murphy and Ian Brennan, who served as showrunners and were instrumental in developing the series, this season stands out due to its distinct writing style, solely penned by Brennan. Additionally, executive producer Max Winkler directed six of the eight episodes, bringing his experience from other Murphy projects such as “American Horror Story” and “Feud: Capote vs. The Swans”. Just 48 hours after his interview with Variety, Winkler was set to begin work on the next season of “Monster,” featuring Ella Beatty as Lizzie Borden.
Winkler addressed numerous intriguing aspects about “Monster: The Ed Gein Story,” touching on the fourth-wall-breaking moments, the emotional depth of the final scene, and the captivating musical number inspired by “All That Jazz.”
With so many intertwined storylines involving Ed’s murders, Hollywood depictions, and his own fantasies, how did you collaborate with your cinematographer and crew to achieve a visually coherent presentation?
The creative process began with Ryan sharing his vision for the show with Charlie and me, asking profound questions such as, “Who truly is the monster?” Is it the American healthcare system? Augusta Gein? Ed himself? Ilse Koch? Or perhaps the filmmakers who become inspired by this chaos? The challenge of encapsulating this complexity was always present in Ryan and Ian’s minds as we worked on the series.
Cinematographer Michael Bauman and I meticulously mapped out the portrayal of the murders, especially those drawn from popular culture. We aimed to create a surreal yet haunting representation. In reimagining the “Psycho” shower scene, our goal was to capture Hollywood’s glamorized version of horror while emphasizing the real emotional impacts—for both the victims and audience.
Collaborating with [Cinematographer] Carolina Costa and Ian, who worked on the “Texas Chain Saw” references, we drew from techniques used in independent film. Our inspirations for the aesthetics came from works like “Days of Heaven” and “Capote,” highlighting the vast isolation felt by the characters against the backdrop of their harsh realities. This contrast underscores Ed’s internal struggles amid external desolation.
Considering the intense scenes, how do you, as a director, support your actors during emotionally heavy moments?
For instance, during Charlie’s pivotal scene in Episode 7, where he receives his diagnosis, there were evident concerns. With a drastic weight loss and physical exhaustion from his demanding portrayal, Charlie was deeply immersed in his character. My instinct was to capture him closely, focusing solely on his emotional expressions. Once he completed his take, I felt it unnecessary to reshoot, sensing that his raw performance was powerful as it was.
Which scenes in the show presented the most challenges to shoot?
Filming during the frigid Chicago weather certainly tested our limits. The temperature plummeted to -16 degrees, and yet, the actors delivered remarkable performances. Miraculously, snowfall occurred right before our shoot, providing an authentic backdrop we required for our scenes.
A standout moment of emotional intensity was the finale’s dramatic confrontation, similar to an “All That Jazz” sequence, central to Ed Gein’s aspirations for his mother’s approval. This particular scene was captured in a single, exhausting day of shooting, which left everyone emotionally drained by the end.
Has your perspective on empathy shifted from working on this project?
My perception of empathy has evolved, especially considering the fractured past of figures like Ed Gein. Ryan’s exploration of the question, “Are people born malevolent?” is significant; looking at historical patterns of violence is crucial. The media often dehumanizes victims, leading to a troubling disconnect that can undermine our ability to empathize. While my feelings toward some characters shifted negatively, I could not help but grasp the pain and trauma that shaped Ed Gein’s life.
What was your approach to reinterpreting renowned cinematic moments, particularly the shower scene from “Psycho”?
We aimed to reinterpret rather than merely replicate these iconic scenes, showing a grittier, more brutal edge. The perspective of our portrayal reflected the terrifying influence of Hitchcock’s original vision. Working with talented actors like Joey Pollari, who portrayed Anthony Perkins, added layers of complexity to the reimagined characters, further enhancing the narrative.
Could you elaborate on Ed’s moment of breaking the fourth wall?
When Charlie engages with the camera during the Anthony Perkins scene, it provokes reflection among viewers. It challenges our role as spectators in this dark story while reinforcing the troubling nature of our fixation on these narratives. The exploration of monetizing these stories underscores the show’s thematic depth.
How did you conceptualize the series’ conclusion?
The final scene, shot on a whim towards the end of filming, turned out to be pivotal. I felt the line, “Only a mother could love you,” perfectly encapsulated Ed’s journey and motivations throughout the series. Amid the chaotic final days of shooting, the moment carried profound emotional weight, creating a lasting resonance as we wrapped up the project.
As for the “All That Jazz” moment, integrating a blend of choreography and narrative closure became a highlight of the series. The finale challenges viewers to consider the complexities of evil represented by characters like Ted Bundy, juxtaposed against Ed Gein’s troubled existence.
This interview has been edited and condensed.
