Robyn Candyce
“American Horror Story: Freak Show,” is perhaps the most terrifying installment in the FX series, so far. This season focuses on one of the last freak shows left in America, owned by Elsa Mars (Jessica Lange). When a wave of grotesque murders hits the town, the show – which is no longer making enough money to sustain itself – begins to fall under scrutiny by local authorities, and townspeople. Kathy Bates, who won an Emmy last season for her controversial role of Delphine Lalaurie (a racist, self-entitled, debutant, who practices the dark arts), returns this season in the role of Ethel Darling. In a part, which completely contrasts her character from the precious season, she plays a gentle natured, side show standard – the bearded woman – who in this case also happens to be the mother of Jimmy Darling (Evan Peters), the slightly deformed, bastard son of Dell Toledo (Michael Chiklis), token strongman.
In a recent conference call, Bates talked about her work this season on “American Horror Story,” and how it has affected her. Among other subjects, the actress discusses her beard, her Baltimore accent and how she got cast.
Can you start by talking about, what is it that you most identify with in Ethel?
Her authenticity and her strength, her struggle and also since I’m a cancer survivor, although she certainly had the liver cancer. I really identified with that scene in the doctor’s office.
This season you’re very toned down but that accent. Can you speak to how that accent came about, and was it hard to stay in it the whole time filming?
Well, gosh, that accent has become so controversial. I didn’t really have a dialect coach to help me, that’s first of all. I knew she was from Baltimore. Ryan said, but light. When I got into it, I studied Mikulski a lot. I actually had a dialect coach friend of mine spell it out phonetically, what it was supposed to be.
Then online, I found, if you can believe this, how to speak Baltimorese, and from that you had a link that could go to the “Star Spangled Banner” in Baltimorese, which really helped me prepare every day. Although, I did stay in it for the first—I spoke that way every day. It just got to be sort of ridiculous how perplexing and how people got turned off by it and there were things online, they got two scholars, which I just couldn’t believe.
At times I thought, oh my God, am I not doing this right? A close friend of Ryan’s was on set for a while, from that area, and he really helped me with it. You can’t do it lightly, it’s a heavy accent and I also wanted it to sound like old-fashioned working class, so that’s even more different than what people are used to hearing. Then, the funny thing was is that a guy asked two of his friends who were from Baltimore what they thought of my accent. They said, “What accent?” I feel like, okay, case closed. I’m moving on.
How scratchy was that beard, and did it make you want to—
It wasn’t. It felt like a little hummingbird’s nest.
I have a wonderful wig lady, her name is Victoria Wood. She works with a lot of people. I first got to see her work with Melissa McCarthy on our movie Tammy. It took me a while to realize it was a wig, and I said, “That’s a wig?” and she said, “Oh, yes.” She gave me Victoria’s name.
Then we hooked up for this and she made the red performance wig and she also made the beards that you see. We went through some getting used to it at the beginning in terms of application and what different pieces we would use on the face in order to keep the faces as mobile as possible and also so that the makeup people wouldn’t have to mess with me too much during the day.
Did the beard make you want to play with more gender roles with this character?
Oh, God. One of my fantasies would have been that, in order to break out and see the world that “Ethel” would’ve gone out as a man and been in a suit and a fedora and everything else just to see what it was like out there. Especially since I don’t have breasts anymore, there’s always an upside to that, you can do character tits. I think it would’ve been a lot of fun to do that.
Throughout your career, and then especially with American Horror Story, you’ve played some very powerful roles and sometimes a little controversial. How do you pull that power when it comes to performing these characters, and how do you wind down after it?
Oh, how do I wind down?
Yes, after.
After they’re completely done or after shooting a scene?
A little bit of both.
Yes. When we’re working, unfortunately it takes me a couple hours to come down at the end of the day because we’re all jacked up. Sometimes it’s 12, 14 hours a day, and you have to just pace yourself. Then, afterwards, when you lose a character—sometimes when you’ve gotten really close with the character, like a friend, like you would in a way, and then you have to move on, you miss that character.
I know Sarah Paulson has often mourned “Lana Winters,” not being able to play “Lana Winters” again because that was such a favorite role of hers. Yes, they stay with you; there are some roles for 25 years.
I was wondering if you know yet whether you’ll be back for the next American Horror Story or not?
I really hope so. It’s just such a unique situation to be in as an actor for television that you’ve got a whole new character to create for the next year. I think Ryan really appreciates older actresses who seem to have been—well, I said it earlier. He’s rejuvenated our careers, and he’s put us in front of the public at our best. We have a younger fan base now, and that’s all the reasons why I would come back. It’s a wonderful opportunity, and I can’t wait to hear what the next part he might propose would be.
What is the audition process for this series like? Do you have to audition for each season separately? Is there an audition process or did they come to you?
Well, I haven’t had to audition for many years, but what I did do is, I went in and had a meeting with Ryan Murphy, January before the first season that I worked with him. I have to start back and say, [My show], Harry’s Law got cancelled and then right after that, literally right after that, I was told I had breast cancer and I had a double mastectomy. I was in pretty low shape, especially considering my age, because that was the main reason they cancelled Harry’s Law, is that our viewership was too old even though we had seven to eleven—okay, just stop. I have to let that go.
Anyway, I was in a very low mood, let’s say, and my friend Jessica Lange spoke to Ryan. I had a great meeting with Ryan, and my inner child just woke up during that meeting and got so excited about the character of “Delphine LaLaurie.” I credit Ryan for not only rejuvenating my career, but rejuvenating my spirit.
What’s it like working with Angela and Jessica for a second season, and especially because I believe Jessica said this would be her last season and that she’s retiring? Has that added something extra special to the season for you?
I won’t think about it. I don’t want to think about Jessica not being here next year. We’ve gotten to be such close friends now over the last couple of years, and I love her dearly. Working with her is a mystery I never want to solve.
Angela, she rocks it. I just saw the trailer on BuzzFeed for Whitney. I’m getting chills now talking about it because I just watched it last night, twice; it looks amazing. I love working with her as an actress, she’s a powerhouse. I love the friendship that we had this year with “Ethel,” and “Desiree” had more to do together with those characters. I think that would’ve been a really interesting arc to explore.
The versatility that American Horror Story provides the actors is just amazing. I was wondering, for you, how does it feel to go from “Delphine” in Coven to “Ethel” in Freak Show?
Oh, from “Delphine?” They’re very different. How did it feel to me? I don’t know, I kind of had to go easy with Ethel when I first got here whereas, with “Delphine,” she just explodes. I had to find my way gently with “Ethel.”
Of course, “Delphine” was a real person. I had a lot of research for her that I was able to rely on, so I was very confident taking off like a bullet with her. With “Ethel,” I really wanted to, well, I just said it; I guess ease into it and find her as we were moving on. I know that sounds kind of, you didn’t know before you started working. I think in some cases you know some things and then you discover other things as you were going along. I think there was a point where I thought, okay, now I know who this woman is. That’s it.
You had some really great scenes with both Evan Peters and Michael Chiklis this season. What was it like shooting with them?
Well, I’ve shot a lot with Evan. I don’t know what it is, but I always forget my lines when I’m working with him. I don’t know if it’s because he’s so cute or when I just get lost in his eyes. When you look into his eyes, working with him, he’s just so real; it just knocks me for a loop. I know it sounds silly saying that.
We had a funny scene—well, I can’t tell you about that. Anyway, Michael and I just have a solidity there that I’ve appreciated with him. He’s a sweetheart of a man, and just the opposite of what he looks like. I’ve enjoyed that. I felt like I’ve worked with him before somehow.
I wanted to know, how far in advance did you find out about Ethel’s death, and what was your reaction when you found out how she was going to go?
You know, I really can’t remember. Somebody asked me that the other day. They must have told me, and then I read it in the script. I thought, okay, there it is in black and white. I thought, well, it’s been a good run and we’ll see what happens next; you never know with American Horror Story.
It’s weird to see yourself get killed on TV, but I was really happy with the scene between us. It was bittersweet.
What happens on set after you film your final scene? Are there any goodbye traditions for you?
No, because you’re not sure if you’ve finished the scene. We left that night not knowing if we had to come back and do a couple of pieces or not. No, you don’t say goodbye, you move on.
Was there a part of this season that freaked you out a little bit?
I’ve got the DVDs, and I’m looking forward to binging with [a friend], just to sit back and see the thing as a whole piece, and see how I feel. The only way I could [really] answer your question would be after I’ve done that.
[Although], I thought what was shocking at the beginning of the first episode was when the freaks went and chopped the policeman up, and I thought, oh dear God, you’ve just shown these wonderful, quirky people, and already fallen in love with them, and then they go out and do this. “Twisty” [the serial killing clown], was just unbearable, so I guess, in a way, it has been. Because it is set in the real world, I guess—my sister said this, she said, “I’m not scared of goblins and all that stuff.” She said, “But the real world is what scares me.”
This season, to me, is definitely the most visually appealing of the series. Even though there are some supernatural aspects, it’s one of the – if not the most – believable season, to me. It’s more unnerving since scary things that happen in the show are carried out by humans, yet we gravitate towards it as an audience. What do you think that says about us? Do you think that we all just have this dark side to us that we just live vicariously from the safety of our couches when watching shows like this?
Well, I think that’s an aspect of it. It’s sort of like homeopathy; you take a little bit at a time. I also think that the world has always been a troubled place to live. We think these are the worst times, and maybe they are in some cases because of the issues that we’re dealing with, certainly with the Ferguson and the Garner, which I’ve been watching.
These things happen, people do go on serial killers like “Twisty.” They might not be all dressed up but look at Ed Gein. It’s like my sister did say, it’s the bad things that go on in the real world that are more upsetting and more frightening. Anyway, I think I’ve gone on too long about this. You’ve directed before. In fact, you had a DGA nomination for Six Feet Under several years ago.
Yes.
If you had the opportunity to direct an episode of American Horror Story, would you jump at the opportunity to do that?
Yes and no. I threw it out to them, but now when I see what happens with the schedules, and the directors sometimes running back and forth between sound stages, they’re doing two and three episodes at the same time; I don’t think so. I would love to do more television, though.
I’m very keen to see Whitney that Angela’s done, and it just looks incredible as I said earlier in this interview. It made me feel like, gee, I’d like to get back to it. If it were the right situation where I knew I’d have the time to repair and I wasn’t rushing around like a chicken with my head cut off I would love to do it because I love to direct actors.
You said how certain roles stay with you for a long, long time. Do you have any more examples of roles that have affected you that much?
I did a play off on Broadway, that won the Pulitzer Prize called ‘Night, Mother in 1983, so doing the math probably 20, 25 years ago. That role of “Jessie Cates” has stayed with me, probably will until I die; it just gets in your marrow. And “Dolores Claiborne”—it all has with time and not the time in between—what I mean is, it’s like anything that you take time to create, and we don’t take time. You work so fast, and those things that you have made and taken time to make are the ones that stay with you.
Here, we work so fast. Jessica and I were talking about, if we had to do film class we would have a kid learn a monologue and then say, okay, you’re getting ready to go do the monologue and suddenly people descend on you; hair, makeup, the director saying, could you just change something here and the DP says, “We had to move your mark.” It’s so fast and you have to make choices so quickly and yet stay so plugged into this character that you’re still discovering.
I’ve answered your question and probably more than overshared, as the young people say nowadays. It’s the ones that you’ve crafted well that stay with you, and that you miss, and that you feel proud of. “Jessie” was the role I felt proudest of on stage and probably in my whole career, and “Dolores” on film.
Now, these roles that I’ve been able to do on television I’m very, very proud of. I’m as proud of “Ethel” this year as I was in a different way for “Delphine” last year.
The American Horror Story has had a supernatural theme, for the most part, for every season, not so much this one. This one, other than Mordrake’s character hasn’t really been that focused on the supernatural elements, but yet it’s still very compelling, and completely fascinating. What is your personal thought on the paranormal? Do you believe in ghosts and spirits?
Yes.
You do? Have you ever had an experience?
Well, my beloved Yorkie, Griffin died. He was a rescue, and he was just my heart dog. When he passed away, I asked him to wait for me. This is before I had gotten another couple of puppies, but I’d feel him jump up on the bed.
Oh, and another thing happened, too. I was looking around to get another dog after him. At first I wasn’t sure and then we picked up a rescue and I brought him home and walked into the bedroom and Griffin’s picture fell off the mantelpiece. It was like he was saying, not here, not now.
I did end up getting two puppies after my operation. I think he’s moved over to my niece, Linda, who he adored. Often times she’ll tell me that she’ll be driving and he’ll either be in the back seat or the passenger’s seat and she’ll just catch a glimpse of him and he’s there. I think he’s still hanging around, but he may be a little put out with me because I’ve got these other dogs.
I believe in it, it’s just not the dogs either. I think there are people around. I know there was a woman who lived in the house that I have now who was an artist. There were two big paintings of hers in the studio. She was there while the paintings were there and she left when the paintings left. My friends used to stay in the room where she died; it was a guest room. They would always say, okay, Marion was there last night. So, yes, I do believe.
American Horror Story: Freak Show airs Wednesdays at 10:00 p.m. on FX. For more information on the show, please visit the show’s official website at
http://www.fxnetworks.com/shows/american-horror-story .
