The Fall of the House of Usher VFX Supervisor Marshall Krasser breaks down Mike Flanagan's Edgar Allan Poe shows and its more brutal sequences.
Summary Mike Flanagan has delivered his biggest and bloodiest project to date with The Fall of the House of Usher. Based both on Edgar Allan Poe's eponymous short story and a variety of his other works, the Netflix show finds the descendants of a corrupt pharmaceutical CEO coming under attack from a mysterious woman with ominous ties to the family patriarch's past, resulting in a series of increasingly horrific deaths.
Marshall Krasser: Yeah, I think some of those discussions might have been done prior to me joining the show. So, when I came on primarily it was going to be we call it the "Perry Party," which would be the shower sequence there, and then, of course, the building destruction and pendulum as well. And then the falling bodies were the main kind of three things that we were focused on.
Marshall Krasser: Yeah, so the interior, the production side art department had designed it. So, there was a set piece. I was not on set, so I don't know the specifics, but there was at least, I believe, two walls to it. There might have been a third partial wall that was involved with it, as well, so we had to do a lot of extensions. It went up maybe, two-and-a-half stories, some of the times the camera would go up, and it would get up into the rafters and the lights and stuff up there.
Marshall Krasser: You know, for the most part, they were trying to hold true to the realism of what would happen. I don't recall there being any shots — I think we pushed some right to the edge, and they had us back down. That was maybe more specifically on some of the aftermath stuff that we had gone maybe a little too far with it. But yeah, it's meant to make people feel a little uncomfortable.
Marshall Krasser: On some of it, there were some specifically that we would definitely add some steam to it. Sometimes with Perry's cheek, whenever you saw the cheek, I think it was basically just his left side, that would have the indention in there. We did do some, again, thinning, I think when you pan up on the two of them, we thinned out the arms a little bit, and did some additional adjustments there, again, to compensate for that extra stuff that was added on to the actor.
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