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Interview with Morgan Fairchild of "American Horror
House" on Syfy 10/9/12
This was a very fun call. Ms. Fairchild was very nice and
had a lot to say! She was very funny, too.
Moderator: Gary Morgenstein
October 9, 2012
1:00 pm CT
Operator: Ladies and gentlemen thank you for standing by and
welcome to the Syfy American Horror House conference call.
During the presentation all participants will be in a
Afterwards we will conduct a question-and-answer session. If
you have a question, please the 1 followed by the 4 on your
If at any time during the conference you need to reach an
Operator, please press star 0.
As a reminder this conference is being recorded Tuesday
October 9, 2012.
I would now like to turn the conference over to Gary
Morgenstein. Please go ahead, sir.
Gary Morgenstein: Welcome everyone. Iíd like to introduce
Morgan Fairchild, who stars in the Syfy original movie
American Horror House, premiering this Saturday, October 13
at 9:00 p.m. Thank you, Morgan, for joining us.
Morgan Fairchild: Well thank you. Hi everybody.
Operator: (Sigland), would you please send forward the first
Operator: Ladies and gentlemen if youíd like to register a
question, please press the 1 followed by the 4 on your
telephone. You will hear a three tone prompt to acknowledge
If your question has been answered and you would like to
withdrawal your registration, please press the 1 followed by
If youíre using a speakerphone, please lift your headset
before asking your (unintelligible).
One moment please for the first question.
And our first question comes from the line of Reg Seeton
with DeadBolt.com. Please go ahead.
Reg Seeton: Hi, Morgan, thanks for taken the call.
Morgan Fairchild: Hi.
Reg Seeton: Hi. Well does working on a project like American
Horror House somehow take you back to earlier in your career
doing projects like The Haunting of Sarah Hardy?
Morgan Fairchild: Well it takes me even further back to
Initiation of Sarah -- which was actually my first TV movie
-- which was also a haunted sorority house -- so yes it goes
Reg Seeton: And can you talk a bit about how Ms. Margot fits
into the story?
Morgan Fairchild: Well like a lot of the characters I play,
sheís sort of the catalyst. The bad guy is always the
catalyst. So sheís not unlike some of the other characters
Iíve played except that she does seem to just be pure evil.
Reg Seeton: And what it was like to shoot in Louisiana? Did
that add to the tone of the film at all?
Morgan Fairchild: You know, it was just fabulous shooting
there. Everybody was so friendly and so nice. And we were
shooting in April mostly before it got too hot, so I wasnít
dying there. And Iím from Texas, so I know what dying in the
So it was fabulous and got to go down to Jazz Fest and go
down to New Orleans a bit and see a bit of the countryside
and it was just great.
Reg Seeton: Great. Thank you very much.
Morgan Fairchild: Thank you.
Operator: And our next question comes from (unintelligible)
Jamie Steinberg with Starry Constellation Magazine. Please
Jamie Steinberg: Hi Iím glad we could work everything out so
we did get to talk.
Morgan Fairchild: Hi, Jamie, nice to hear you.
Jamie Steinberg: I was wondering if you could talk about
what about the role intrigued you to be a part of the film.
Morgan Fairchild: Iím sorry. I didnít quite hear that.
Jamie Steinberg: What about the role intrigued you to want
to be a part of the film?
Morgan Fairchild: Well I must confess Iím quite a devotee of
the Syfy movie channel. I mean I watch Syfy movies on the
weekends. And all my friends have done them, so it was quite
fun. And they sent me the script and I thought well, you
know, this is actually fun. I could do this. You know, I
donít have to get chopped up or anything too gruesome.
Jamie Steinberg: So is there anything then you found
challenging about your role?
Morgan Fairchild: You know, theyíre always challenging. From
Ms. Margot the thing was I didnít want to tip it too early
that she is actually a bad guy because at first she seems
sort of supportive house mother kind of thing and sort of
the normal everyday thing that a kid would encounter at
college. I didnít want to tip it too soon, so that was a bit
of a challenge is just trying to find ways to play things
that later people could go back and say, oh yes, I see that.
But at the moment that they donít necessarily catch on right
Jamie Steinberg: Great. Thank you so much.
Morgan Fairchild: Thank you.
Operator: And our next question from the line of Amy and
Nancy Harrington with Pop Culture Passionistas. Please go
Woman: Hi. Thanks so much for talking to us today.
Morgan Fairchild: Oh sure my pleasure.
Woman: Can you tell us a little bit about working with the
director Darin Scott?
Morgan Fairchild: You know, Darin was just fabulous to work
with. He was so sweet and low key. And I mean Iíve worked
some real screamers in my life, you know, who you never have
a moment of peace on the set. And Darin is very low key,
very patient with everything, very on top of all the
technical stuff that was going on -- which we had a lot of
in this movie -- and just a lot of fun to talk to and sit
around at lunch. We became friends just sitting around and
gabbing at the lunch breaks and on breaks and stuff and
talking everything from politics to old Hollywood stories.
Woman: Excellent. And as an actress, is it liberating
getting to play such a wicked character?
Morgan Fairchild: Youíre obviously not familiar with my
oeuvre. I have sort of specialized in wicked characters. But
this one was a little different in that sheís actually
supernatural, so that was fun -- sort of unlimited power.
Woman: Excellent. Well thanks so much for talking to us
Morgan Fairchild: Thank you.
Operator: And our next question comes from the line of (Tim
Hogan) with TVOvermind. Please go ahead.
Tim Hogan: Hi, Morgan, itís nice to get to speak with you
Morgan Fairchild: Hi. Who is this?
Tim Hogan: (Tim). You (unintelligible)...
Morgan Fairchild: (Tim). Hi, (Tim).
Tim Hogan: Weíre actually mutual Twitter followers. You
might know me as (nightfly69).
Morgan Fairchild: Oh okay. Oh yes hi nice to meet you.
Tim Hogan: Nice to meet you too. In researching for this
conversation, I learned that you helped co-found the
Environmental Communications Office. And I was wondering if
you take pride in how many productions these days make
efforts to be green and if you could speak to how green
American Horror House was as a production.
Morgan Fairchild: Well I am very proud of it. Back in the
mid-Ď80s when Hollywood first started getting interested in
doing things environmentally, the only two people really
that kind of knew anything - I donít mean to sound
condescending. The only two people who were familiar with
the issues were Ed Begley and myself. And so we were the two
that everybody would sit down with and take to dinner for
EMA, for ECO, for all the different groups that weíre
And yes it is nice to see that there was actually some
long-term effect. People really are much more conscious of
it now just in trying not to send out paper scripts for
instance, trying to use both sides of paper if theyíre going
to print. You see it all over Hollywood trying not to use
Styrofoam if they can, just a lot of different things on
American Horror House seemed pretty good about it. I have to
say they were pretty good about it. But itís quite well
founded in Hollywood now. Everybody tries very hard. I think
the studios got excited because they realized how much money
it could save them.
Tim Hogan: Right. Okay and a follow up I was wondering if
you could just talk a little bit about your costar
Alessandra Torresani, what it was like working with her.
Morgan Fairchild: Oh well I cannot not say enough good
things about Alessandra. She is just an adorable girl. She
was terrific to work with -- which isnít always true with
some of the young actors these days. She was terrific, a
total pro and sheís very good in the movie. And I havenít
seen the movie, but the scenes I had with her I thought she
was really, really terrific and total pro -- young but a
total pro -- and just a lovely girl.
At one point I had said to her, you know, that you shouldnít
be this close. Because we were shooting in Baton Rouge, I
said you shouldnít be this close to New Orleans and not go
to New Orleans because she had never been. So I said okay
weíve got to get you to New Orleans.
Because we were shooting half days and half nights, it was
kind of difficult. So there was one weekend where we shot
until 8:00 in the morning, came home, slept, got in a car at
5:00, drove to New Orleans, hit NOLA, one of Emerilís
restaurants, for dinner and then Alessandra - there were a
group of us from the show and Alessandra said, ďWell do
these clubs stay open after 2:00?Ē and I said famous for it,
So we did a few of the clubs and then they stayed out very
late. I sort of crashed at 1:00. And then got up the next
morning and took her over to Cafť Du Monde for beignets and
chicory coffee -- which sheíd never had before. And, you
know, we all bought all this beignet mix -- which I donít
know if Iíll ever use. I hope sheís made some. And I got a
lot of pralines and stuff. And then went over to Jazz Fest
and heard part of Bruce Springsteen and Herbie Hancock and
all of that.
So it was a fun weekend.
Tim Hogan: Wow.
Morgan Fairchild: We had a really time. I feel like a mother
hen with her, that you must see the world, you know. Itís
nice to sleep all weekend when youíre tired and youíve been
working all week, but there are these things going on and
youíre close to it and you shouldnít miss it.
Tim Hogan: She was lucky to have you as her tour guide.
Morgan Fairchild: Well I donít know about lucky, but I do
think she had a good time.
Tim Hogan: Well thanks for sharing that. I have a few more
questions, so Iíll get back in the queue line and hopefully
speak with again.
Morgan Fairchild: Oh okay. Is that how it works? I donít
know how this lineup exactly works.
Tim Hogan: Yes.
Operator: And our next question comes from the line of Tony
Tellado with Sci-Fi Talk.
Tony Tellado: Hi, Ms. Fairchild, been a fan for a long, long
time. Itís kind of great...
Morgan Fairchild: Oh thatís so sweet of you. Thank you.
Tony Tellado: ...to talk (unintelligible).
Morgan Fairchild: So nice to talk to you.
Tony Tellado: I get the impression - Iím sorry. I get the
impression that Ms. Margot and Rosemary, itís a dual role
for you. Is that - and she has like a little bit of a
history with the house, am I on target there a little bit?
Morgan Fairchild: Yes. Iím not sure. Gary, how much can I
tip the story here? I mean is it - what can I say?
Gary Morgenstein: You can talk about it, just donít give the
ending away. Thatís all.
Morgan Fairchild: Okay. Yes she does have a history with the
house and, you know, thatís part of figuring out here
history with the house is, is a big part of the story, of
trying to understand whatís going on as the girls are
confronted with different odd happenings in the house as to
why theyíre happening and whatís really going on there. So
again not wanting to totally tip it, but yes she does have a
past history with the house.
Tony Tellado: And as far as with dealing with the effects,
was it a lot of stuff that was done in camera or a lot of
stuff that was added later?
Morgan Fairchild: Well we did some stuff on camera but
thereís only so much you can do on camera. Iím always
reminded of when I did Holy Man Eddie Murphy and itís about
a home shopping thing and they have plugs on my face for one
of those electronic things that are self-exercising. And
Eddie turns it up all the way and my face sort of explodes
on camera. And they used it a lot in the promos and to this
day I have people come up to me and say, ďDo that thing you
did in Holy Man, you know, blow up, you know, do that thing
with your face,Ē not understanding I can stretch it so far
and then CGI has to take over.
Tony Tellado: Well, you know, thatís one of the things I
admire about you is obviously beautiful woman but youíre
always willing to do things that kind of go against the
type, you know, of that type of actress. I always admired
that about you.
Morgan Fairchild: Oh thank you. Yes I like doing odd things.
You know, I grew up in the theater and so I like doing odd
things that people donít expect you to do -- whether itís a
horror movie or playing a nun or all kinds of different
things -- just I like to catch people off guard.
Tony Tellado: Cool. Well thanks (unintelligible).
Morgan Fairchild: (Unintelligible) Hollywood doesnít let you
that much, but I like to.
Tony Tellado: Well thanks. I look forward to seeing this
Morgan Fairchild: Oh well thank you. Me too.
Operator: And our next question comes from the line of Suzanne
Lanoue with TVMegaSite.net. Please go ahead.
Suzanne Lanoue: Hi itís nice to speak with you today.
Morgan Fairchild: Oh thank you my pleasure. How are you?
Suzanne Lanoue: Pretty good thanks. I enjoyed listening to you
about New Orleans -- great city.
Morgan Fairchild: Itís so fabulous.
Suzanne Lanoue: It is. I love the karaoke there.
Morgan Fairchild: Well Alessandra and I voted that we want
to do another movie together and that we want to shoot in
New Orleans next time and just so weíll be closer to the
action and wonít have to drive so far.
Suzanne Lanoue: Oh thatís a good idea. Youíd mentioned earlier
that youíve played a lot of evil women in your roles. Why do
you think that is? Do you choose those or has it just worked
out that way?
Morgan Fairchild: No itís just kind of worked out that way.
I think partially because of the way I look. I think the
pointy nose sort of does it.
And also well Iíll tell you a story. When I first got out
here, my first TV movie was one as I mentioned called
Initiation - I mean called yes Initiation of Sarah. And Iíd
been here about three months and I got an audition for this
TV movie and it was a rip-off of the Carrie kind of movie
with the telekinesis...
Suzanne Lanoue: Right.
Morgan Fairchild: ...and for television. And Kay Lenz was
going to play Carrie character. And then there was the - and
it was about a sorority house with an evil sorority queen.
And so there was that part and then there was the part of
Kay Lenzís sister, who wants to be in the sorority but loves
her sister and is torn between.
And so I go over to read and I read for the bad guy. And the
producer who was a fellow named Chuck Fries, who was just
the king of TV movies back then, said, ďOh okay you got the
part.Ē And I said, ďWell Iíd really like to read for the
sister, you know, just not the bad guy because I think the
sister has more grey areas that I could explore.Ē
And he kind of he says, ďHoney, you havenít been here very
long, have you?Ē And I said, ďNo, sir,Ē and he says, ďLet me
explain something to you. I can find an ingťnue anywhere,
but a good bitch is hard to find.Ē And he says, ďThe bad guy
makes everything happen. Itís the catalyst for everything. I
mean think of Shane without Jack Palance, all the movies
that you would think of without a good bad guy, you know,
Bogart without Edward G. Robinson.Ē
He says, ďThink of all the,Ē - he says, ďThe bad guy makes
the movie happen.Ē And says, ďThat ingťnue can walk through
it and nobody will really notice, but the bad guy makes it
work.Ē And he says, ďYou play good bad guy.Ē
So I got the part and I thought well, you know, itís a good
credit and nobody will see this anyway and, you know. And of
course it was the number 1 TV movie of the year for ABC and
everybody saw it. And to this day I have everybody from
David Duchovny to Governor Ed Rendell of Pennsylvania, the
first thing they say to me is, ďI loved Initiation of
And so it sort of set me on my road to bitchdom I guess. And
ABC Family actually did a remake of it a few years ago and I
played the mother of one of the girls in that one.
Suzanne Lanoue: Thatís funny. You have a history with that.
Morgan Fairchild: Yes but I think itís sort of the way I
look and then it helps to be a good solid actor. You know,
thank you for all the theater training and all of that
because you can just sort of hold on firm ground there.
Suzanne Lanoue: Well when I first saw you was in Mork and
Mindy and you werenít too much of a bitch -- a little bit.
Morgan Fairchild: Kind of.
Suzanne Lanoue: A little bit.
Morgan Fairchild: No that was so fun. I loved doing that.
Again I love doing things that catch people off guard. And
that one again I hadnít been out here very long. My second
or third job was Happy Days and they were so sweet. That was
such a wonderful show and everybody was so sweet.
And so whenever Iíd be over at Paramount for anything, Iíd
stop by the set and say hi. So Iím over there one afternoon
and Henry Winkler says, ďYou know, do you have to go
somewhere?Ē and I said, ďNo. Why?Ē And he says, ďStay for a
while and watch this kid work.Ē So they had a guest star
that, you know, was doing all this weird stuff and just, you
So I stayed the rest of the afternoon just so I could tell
this guy that he was a genius. And, you know, tick, tick,
tick like eight, nine months later I get a call from my
agent and he says, ďGood news and bad news.Ē I said, ďWell
whatís the good news?Ē He says, ďWell you got this TV movie
that you wanted.Ē Great.
I said, ďWhatís the bad news?Ē and he says, ďWell Gary
Marshall has this new series heís doing and nobody knows
anything about it. Itís all under wraps and he doesnít want
to give you contract and they donít want to pay you that
much. Youíre making a lot more money nowadays and we donít
think you should do it.Ē And I said, ďWell whatís it
called?Ē and he said, ďMork and Mindy,Ē and I said, ďMork
and Mindy, thatís Robin Williamsí show.Ē And said, ďWhoís
Robin Williams?Ē I said, ďDonít tell Gary. I would work for
free to work with Robin Williams. I donít care if I have a
contract. I donít care if itís top of show. I will go do
And got over there and of course Robin had been the one Iíd
seen a month before working on the Happy Days set. And again
we started off and you could see Robin kind of looking at me
like why did they send me Ms. Whitebread America, you know.
And so we did the read-through and then blocking, and Iím
sure most of you guys know that, so we sort of get in on a
stage and start figuring out whoís going to stand where and
what weíre going to do and all of that.
And so I quickly realized that what everybody did was just
stand back and let Robin go because Robin would not stick to
the script. So Robin would take off and do all these rips on
everything. And then when heíd sort of slowdown and run out
of material, that was when the director would say, ďWell
letís get back to the script.Ē
And so it was kind of interesting watching. Well then it
came my scene and he started going off and he said something
and I said something back to him and he like looked at me.
And so he said something and I said something back to him.
And, you know, so we started improvising and weíre coming up
with all this stuff. And finally he comes over to me and he
throws me in the air and he says, ďMomma, youíre one of me,Ē
you know, and dropped me back down.
And so that was what we would do. We would improvise a lot
of the stuff because thatís the way he worked. But a lot of
the people didnít know what to do with him because nobody
had really seen anything like Robin. Now people are used to
Robin, but back then people werenít really used.
And again it goes back to what the other gentlemen asked. I
love to be part of anything thatís cutting edge, thatís new,
thatís different, you know, where you can sort of exercise
your chops and stuff.
Suzanne Lanoue: That must have been great training
(unintelligible) working with Robin Williams.
Morgan Fairchild: Well Robin had gone to Julliard with my
sister and Christopher Reeve had also been in the class
behind my sisters. And they were buddies, so Chris would
come hangout on the set and I had known Chris in New York.
We had the same agent and weíd frequently audition together
and stuff. And so it was kind of a group of friends.
And so yes fun learning from him but also feeling that you
are contributing because youíre the only one doing it with
him what he likes to do -- which is do the improvisational
thing. And heís very fast. You have to be very on top of
things to keep up with him. Heís very smart.
Suzanne Lanoue: Oh heís my favorite.
Morgan Fairchild: I know I love him. I love him.
Suzanne Lanoue: All right thanks a lot.
Morgan Fairchild: Sure.
Suzanne Lanoue: I appreciate it. Thank you.
Operator: And our next question comes from the line of Mike
Gencarelli with MediaMikes.com. Please go ahead.
Morgan Fairchild: Hi.
Mike Gencarelli: Hey, Morgan, howís it going?
Morgan Fairchild: Mike Media, hello.
Mike Gencarelli: Thatís me. Thanks for chats yesterday or
last night. It was great. Iím glad everybody worked out.
Morgan Fairchild: Yes me too.
Mike Gencarelli: Well, you know, I think about your TV
career and, you know, having both a career staying in TV and
film. I mean have you ever preferred one to another?
Morgan Fairchild: Well theyíre all just very different and
you forget also that I grew up in the theater. So I mean do
a lot of theater whenever I can still and did a staged
reading of a play this summer and did a big national tour of
The Graduate in í05 and have done, you know, big national
tours of like Gentlemen Prefer Blondes, have done Broadway,
So theyíre all very different. Theyíre all very different in
the energy -- the way you focus your energy -- which is
really what the difference between stage acting and film
And then film acting is usually itís also very different
because of the size of the format. How you focus your energy
is to me one of the most interesting things about it.
Mike Gencarelli: And do you have any kind of, you know, sort
of technique that you use to, you know, for when you
approach a role?
Morgan Fairchild: Well I do sort of the basic thing
everybody does, you know, that they teach you from the Day 1
-- which is break it down, break down who is this character,
what do they want, where do they come from, what is their
background, where are they trying to go, what are they
trying to get out of this. so itís all that kind of basic
And then again itís a very focus of energy. Iím a big Bruce
Lee fan. And Rudolf Nureyev for some of you who may not know
Rudolf Nureyev was probably one of the best ballet dancers
of the 20th century. And watching him on stage with the
focus of energy was just an amazing thing the way he
controlled the stage.
And back in í73 Iíd been living in New York and I went home
for the summer for a visit to my mom. And, you know, mom
always wanted to do anything that was hot in New York. So I
said, ďMom, these kung-fu movies are just the hottest things
on 42nd Street, so weíll go to a kung-fu movie.Ē Well and
saw kind of this Bruce Lee movie and it opens with a - Enter
the Dragon, it opens with a scene in the Shaolin Temple with
Bruce Lee just like stripped to, you know, his skivvies and
I was just fascinated with the focus of energy -- the total
focus of Chi.
And I watched the whole movie. You know, heís just
brilliant. If he had lived, he would just have been such a
major star because of this focus of energy. When the camera
is on him, you cannot take your eyes off of him.
When Nureyev was on the stage, you could not take your eyes
off of him. You know, the poor little corps de ballet
dancers would be dancing their hearts out and he would be
standing with his back to you and youíre watching him
instead of these poor little girls dancing.
And that was what sort of inspired me again to spend 4-1/2
years taking kung-fu in Chinatown in New York from a
(unintelligible). I mean even when I was doing Search for
Tomorrow, I remember one day I was sitting there watching
something in the control room and it was summer and I had
one of my little Danskin things on and one of the guys came
up behind and said, ďMorgan, did you know you have dimples
in your back, because they would kick your ass, honey.Ē
You know, down there in Chinatown and I would take the
subway to go down there and pick my ways over bodies on the
Bowery. This is back when bodies on the Bowery really were
there. And it was a little scary going to and from class.
But, you know, 4-1/2 years until I moved out here I was
there like five, six nights a week as much as I could get
So yes thatís what I do. Thatís part of it is because to
play a good bad guy especially you have to have that focus
Mike Gencarelli: Sure. Well thank you so much and Iíll jump
back in the queue. Appreciate it.
Morgan Fairchild: Thank you.
Mike Gencarelli: Bye-bye.
Operator: And our next question comes for the line of David
Martindale with Hearst Newspaper. Please go ahead.
David Martindale:Hi thanks for doing this call.
Morgan Fairchild: Oh sure. Hi, David.
David Martindale:Hey Iím calling from Dallas by the way.
Morgan Fairchild: Oh you are? Where are you in Dallas?
David Martindale:Well Iím in Arlington. I live in
Morgan Fairchild: Oh okay. I had cousins who lived in
David Martindale:And my (unintelligible)...
Morgan Fairchild: My sisters - and my family is still in
Dallas as Iím sure you know.
David Martindale:Yes my sister lives in Richardson, so
there you go.
Anyway the Syfy Channel has a knack for making these films
that almost feel like throwbacks to old drive-in movies from
another era that were kind of cheap and kind of cheesy and
kind of schlocky. But they were also fun and creepy and
sometimes genuinely scary.
Did this movie put you in the mind of that kind of film? Did
it feel like you were doing that kind of a movie?
Morgan Fairchild: Well thereís scary movies. I mean for
those of us who are of that age, I mean I still remember
going to see Night of the Living Dead at a drive-in and it
was the scariest thing Iíd ever seen. It was so real and the
whole, you know, docudrama kind of thing of it. It was such
a breakthrough in filmmaking.
So yes so I mean Iíve always enjoyed these kind of fun
movies. I mean and like I said I kind of watch them a lot of
times on Saturday or Sunday afternoons. And Saturday
evenings my boyfriend knows that he records the nine oíclock
new movie for me every Saturday, even when Iím not there.
And theyíre fun. You know, theyíre fun entertainment. And
yes I enjoy doing anything thatís fun. Iíve worked on
needless to say a few that werenít so fun. And anything like
this thatís fun - although I do have to say that some of the
ones they shoot in Eastern Europe where every time you have
a seen everybodyís breath is on the air and you can tell
theyíre freezing even though theyíre in like cut-offs and
everything. Those Iím like oh all I can feel is sorry for
the actors, you know, especially the girls always having to
be in skimpy clothes and stuff.
But no theyíre a lot of fun and I always throw myself
wholeheartedly into every script. And Iím familiar with
this. Like I said, Initiation of Sarah twice, Haunting of
Sarah Hardy, different movies that Iíve done about the
supernatural and everything, so itís a lot of fun --
especially this one because itís supernatural I enjoy.
David Martindale:Yes do you suspect that the people over at
FX that make American Horror Story -- which is about to
start its second season -- do you suppose theyíre saying
those guys at Syfy are such dirty so-and-soís for making
American Horror House? Kind of (unintelligible)...
Morgan Fairchild: Oh I donít think so. I mean thereís so
many similarities in things in this town. There is practical
no original idea. I think itís old saying thereís six
stories, you know, in the world and got to just find a
different way to tell it.
Morgan Fairchild: So no I donít think so at all. Itís an
interesting town but itís not that small a town -- small
David Martindale:Okay cool. Thank you so much.
Morgan Fairchild: Yes.
Operator: And our next question comes from the line of April
McIntyre with Monsters and Critics. Please go ahead.
Morgan Fairchild: Hi, (April).
April McIntyre: Hi, Ms. Fairchild. Thanks so - hey thanks so
much for your time.
Morgan Fairchild: Oh sure.
April McIntyre: So I wanted to hear about how it went with
Stan Lee at Comikaze promoting this movie and if you could
give us some anecdotes and just your feel on the genre as a
whole. You havenít done a whole lot of horror. I mean Iím
pretty familiar and I remember you from the very beginning
of your career. And I was just wondering if itís a genre
that appeals to you and you might be looking for some more
Morgan Fairchild: Well there are some critics who would say
every movie Iíve ever done is a horror.
April McIntyre: No.
Morgan Fairchild: No itís been a part of the genre. I mean
Iíve had friends who have done other things. One of my
girlfriends from high school was in the original Hills have
Eyes and stuff. And itís a genre Iíve always been very
interested in. Iím a big vampire fan, loved, you know,
Dracula and Frankenstein and all of that. I love monsters. I
donít like slasher films. Iím monsters. I like monsters and
So yes no itís been fun. Itís fun to do it. Itís fun to be
part of it. And itís not like Iíve never done something in
that sort of vein before. Iím sorry. Iím not sure if Iím
answering your question.
April McIntyre: Well I was wondering if the experience with
Stan Lee, whoís such an icon in that genre...
Morgan Fairchild: Oh with Stan Lee, oh at the Comikaze.
April McIntyre: Yes.
Morgan Fairchild: Yes Stan Lee. You know, Stan is lovely and
that was the second time Iíve done Comikaze and he is always
so supportive and so terrific, obviously such a legend, an
icon. Itís just always fun to be around him. Everybody just
livens up when Stan walks in the room. And heís always very
I was talking to him in the greenroom there at Comikaze and
he was asking about it and talking about it -- about the
movie -- and wanting to know all about it and just a lovely
The Comikaze thing is fun because you meet a lot of fans
that I wouldnít necessarily run across in other kinds of
venues because people are really devoted to those genres --
the anime, the cartoons, the horror, the slashers, all of
that. So itís fun because you actually meet your fans but
theyíre not necessarily who know you from that genre.
April McIntyre: Right.
Morgan Fairchild: And theyíre in such interesting costumes.
April McIntyre: Quick follow-up, itís in the trailer, so Iím
not spoiling anything, thereís a murderous big bear in the
sorority house and I was wondering if you could give us a
little tidbit on that one. Thereís a scene with a very large
teddy bear that does not nice things.
Morgan Fairchild: Well I havenít seen all the CGI, so Iím
not sure what they did with it. Yes a bear who is a mascot
for the school.
April McIntyre: Like a teddy bear, like a human-sized teddy
Morgan Fairchild: Yes itís kind of a mascot. Thatís the
thing. Itís a mascot costume.
April McIntyre: Right.
Morgan Fairchild: Like a giant teddy bear for the school and
becomes quite something else again. Instead of a lovable big
thing becomes sort of a demonic figure, as does a lot of the
characters. A lot of the characters through the course of
this thing have shall we say metamorphosis and become
different than what they were to begin with.
Again I donít want to give it away. Iím trying to figure out
how to dance around it here without giving it away. But yes
a lot of murder and mayhem transpires.
April McIntyre: Thank you so much.
Morgan Fairchild: Thank you.
Operator: And we do have a follow-up question from the line
of Tony Tellado with Sci-Fi Talk. Please go ahead.
Tony Tellado: Hi again Ms. Fairchild. I want to ask you
about your experience now that Chuck is, you know, gone into
history in playing a character on the series and what was
that like for you?
Morgan Fairchild: Oh, you know, itís so fun. She was a fun
character and again that was just a great cast. Anytime I
was working over there you knew you went and had just a
wonderful time. You knew you were going to have a good time
when you were at work. He is just - Zach is a lovely young
man and theyíre so talented and everybody on there was. I
really enjoyed working with everybody on there.
I was disappointed I didnít get to go back and do a little
more as the show was winding down. I was hoping to have some
real knock down, drag out grandmother scenes with Linda
Tony Tellado: You know, it sounds like, you know, because
you have such great experiences, you know, would you ever
consider writing a book about your experiences at all?
Morgan Fairchild: You know, Iíve thought about it. Whenever
Iíve talked to people about it, they seem to just want dirt
though, you know, and Iím not really good on dirt. I am a
very positive person and I donít do that, you know. So far
no one has seemed really interested in the fun stories and
the exciting stories and sometimes the adventurous stories.
I mean I shot one movie in Bosnia during the war and I was
like in tunnels under the city to avoid Serb sniper fire and
things like that. I mean some of these things have been
So yes I mean Iíd like to write about the adventures and the
fun and a lot of the wonderful people Iíve gotten to work
with and just some of the stories. But mostly they just want
Tony Tellado: You know and another thing is youíve done your
share of daytime television and that pace and that structure
as an actor, does that help you because of the pacing and
the different range of emotions and arcs you have to play?
Morgan Fairchild: Well back when I got on Search for
Tomorrow, I had done a lot of theater. Iíd started in the
theater when I was ten, so I already had a lot of years of
theater. Iíd done a lot of commercials. Iíd done a lot of
runaway production that happened in Texas back then because
itís a non-union right-to - Iím mean itís a right-to-work
state. And worked on Bonnie and Clyde when I was a kid.
And yes the soap was a great learning experience for me
because I chose to use it that way. Some of the younger
actors seemed to be chasing at it and saying, oh, you know,
I shouldnít be here doing this. I should be doing great
And my approach was I got married very young and I didnít
really get to go to college except part time. And I would
sit in there like I mentioned before Iíd sit in the control
room and watch the show every day because it was on our
lunch break and learned what I was doing wrong. I learned
how to do close-ups. I learned how to do things watching the
show -- watching me on the show.
And one day one of the guys was complaining, you know,
because he was doing a Broadway show too and he says, ďI
donít know what Iím doing here.Ē And I said, ďWell, you
know, I do because I didnít get to go to college and if Iíd
gotten to go to SMU, they would have had this wonderful film
department who would have had me do scenes and put me on
video and then play it back for me and see what I did wrong.
And these people are paying me to do it.Ē
And so I just took it as a great chance to learn camera
technique and learn what worked for me and what didnít play
for me and all of those kind of things.
So it was - and, you know, to be quite frank we had a lot of
wonderful theater people when I was doing Search for
Tomorrow. I mean Michael Nouri was on it who some of you -
he worked a lot but some of you would know him as Ziva
Davidís father on NCIS. Joel Higgins was doing Shenandoah at
night on Broadway. Larry Haines was doing Promises, Promises
on Broadway at night, won a Tony.
All these different people - oh Iím trying to think of his
name, oh God (unintelligible). But anyway we had a lot of
great - Kevin Kline, Kevin Kline had just come out of
Julliard with my sister and was working on the show with us.
All of these young actors getting starts. Kathleen Turner
was over on one of the shows. Chris Reeve was on Love of
Life. Donna Mills had done one. I think she was already at
But I mean it was a great training ground where you could
live in New York, you could audition for things, you had
this job where you could learn every day, where you were
working with good theater people.
John Cunningham was on the show, who, you know, later would
do Six Degrees of Separation. And, you know, but you would
end up working with wonderful people, so you did learn a
Tony Tellado: Yes that sounds great. My vote would get a
book. Just hearing you talk today, I would definitely read
it. I think itís really interesting stuff.
Morgan Fairchild: Yes. Okay thanks and we havenít hit Johnny
Carson or Vincent Price.
Tony Tellado: Thatís right. Thank you.
Morgan Fairchild: Thank you.
Operator: Ladies and gentlemen as a reminder, if you wish to
ask a question, press the 1 followed by the 4.
And our next question comes from the line of (Tim Hogan)
with TVOvermind. Please go ahead.
Tim Hogan: Hi, Morgan, itís me again.
Morgan Fairchild: Hi, (Tim).
Tim Hogan: Hi. Thereís are a few off-topic questions. Now
that Dallas is back on the air, I was wondering if you would
be interested at all in reprising the role you originated of
Morgan Fairchild: Well sure. I mean Iíd always be
interested. Originally just socially a couple of people in
charge over there had sort of reached out to me and asked me
the same question. But Iíve never heard back from them sort
of following up and deciding to put Jenna back in it with me
or Priscilla, so I donít know what their thinking is.
Iím just happy just Larry and Patrick and Linda all working
away again in those great parts again. Theyíre all friends,
you know, so Iím just always happy to see people working and
working in fun, wonderful parts.
Tim Hogan: Yes Iím glad to see that itís a hit again.
And a couple other topics that are areas of interest of mine
is fashion and fashion photography. And I know youíve worked
with some of the very best and I was just wondering if you
could share a few names of your favorite fashion designers
and favorite still photographers that youíve worked with
over the years.
Morgan Fairchild: Yes. I mean there are a few photographers
Iíve gotten to work with I was really thrilled to work with.
I got to shoot with David Bailey, who for those of you who
are young may not know there was a big hit movie in the Ď60s
called Blowup and David was the photographer that it was
based on and made David Hemmings a star. And he was the only
man ever married to Catherine Deneuve I think and discovered
Jean Shrimpton, who was the big supermodel of the Ď60s.
And just a wonderful, crazy, you know, character to work
with. I mean thereís a store here on La Cienega called
Trashy Lingerie -- which is as it sounds -- although itís
very expensive trashy lingerie. And he put me in some trashy
lingerie in the window in rush hour with all the mannequins
and shot me. He had me in a nurseís outfit with a gorilla.
And he put me in waitressí uniform on the hood of like a í60
Thunderbird in front Tiny (unintelligible) -- which is a
drive-in food store here like they used to have back in the
old days of, you know - I forget what you call them. But,
you know, where you can drive up and order. And all the tour
buses were going by going nuts, you know.
And Davidís one of these crazy people. He put me in this
position where Iím staring straight into the sun, tears
running down my face and Iím saying, ďDavid, David, Iíve
got, you know, Iíve got to,Ē - and he didnít have any film.
Heíd gone back to the car to get film and didnít even tell
me, so Iím sitting there looking into the...
And I got to work with George Hurrell, who for those of you
who donít know was the big photographer of MGM back in the
Ď20s, Ď30s, Ď40s, Ď50s who created those iconic images of
Marlene Dietrich and Greta Garbo, Jean Harlow, all those
famous shots that some of us who love old movies grew up
He shot and I got to shoot with him when he was 96 years old
and was still using, you know, one of those big old cameras
where you put the whole cell into it -- the whole glass cell
into it. So the person being shot has to hold perfectly
still for ten seconds. And I was really into it because I
was so excited to work with him.
And because heís 96 they told me he will not work passed six
oíclock, so I said of course fine. And, you know, six
oíclock came and went and it got to be 6:30 and 6:45 and
seven oíclock and finally I said, ďYou know, itís really
passed six oíclock. I donít want to kill him.Ē And they
said, ďNo, he loves you. Heís having a great time. He wants
to keep going.Ē
And then Mike Ruiz, whoís a current fashion photographer
that those of you on Twitter is the fellow who shot the
avatar I have on Twitter. And that was part of a fashion
project that he was doing where he and some hair and makeup
people had gotten together and would try to shoot
celebrities looking totally different than what you usually
see them. And so theyíve got my hair all slicked back. They
made Brooke Shields look like Joan Crawford, made Carmen
Electra look like a flapper.
And so I love doing things like that. I love being part of
that creative process.
I got to shoot with Bill King, who was a big fashion
photographer in the Ď80s at Bazaar, who unfortunately passed
And got to shoot with Robert Mapplethorpe, who some of you
may know was a very famous, iconic photographer of the Ď80s.
And, you know, that was I like doing still photography. And
one thing I learned is that a lot of actors donít work well
in front of a still camera. So usually after the first few
minutes, the still photographer is really happy because I
get what theyíre doing and I work with them to create an
image that theyíre looking for. And I look at it as art not
like, oh Jesus, what am I doing here? I have to get out of
here -- you know, which some actors for some reason have
Tim Hogan: Yes I really liked the...
Morgan Fairchild: Oh and designers, you were asking
designers. Yes designers I have huge collections of
Valentino, Dior, Krizia, all kinds of different ones that I
love. I love Ralph Lauren, wear a lot of Ralph Lauren;
Versace, a lot of Versace; and then I like finding other
designers too. Mark Bouwer, whoís a younger designer is a
great friend of mine, and came in for his Halloween party
last year in New York and, you know, he did me all up in
gold and sequins.
But a lot of fun. I like fun clothes that are interesting.
Tim Hogan: You have status where I imagine theyíre lining
up to make things specifically for you, correct?
Morgan Fairchild: Well not so much as they were when I was
younger. But, you know, the fashion industry is so
interesting and itís changing so much right now, just
because of the business model the same as the film industry
is changing a lot because the business models have changed.
And you see a lot of young designers having trouble getting
funding and having to find other ways to go about it and
trying to get discovered and get noticed.
Yes Valentino, I have all these beautiful Valentinoís that
were just made for the runway and stuff that are gorgeous
that he gave to me and (unintelligible) had given me a few
things. And, you know, you just never part with them and
some of these people just to be around them, just the kind
of lifestyle, the world experience that theyíve had, the
worldview that they bring to what they do with fashion is
quite interesting. And just to get to sit and talk with them
and hear stories about the people theyíve worked with and
the people theyíve known.
You know, (unintelligible) Audrey Hepburn did the dress for
-- the little black dress for Breakfast at Tiffanyís -- and
worked with her all those years and, you know, sort of
created this iconic idea of the little black dress that
everybodyís familiar with now.
So just to get to talk to people, I love talking to people
-- actors, designers and artists who have had lives and just
talking. And thatís kind of sad on the set these days
because all the kids sit on the set and text. They never
talk to you. I mean, poor Alessandra on our movie didnít
have much time because she was in every scene, but she
talked to me.
But on a lot of the sets now you sit on the set and thatís
the way you used to make friends and learn things and talk
to people. I mean, my God, I worked with everybody from
Vincent Price to Natalie Wood to Roddy McDowall, Robert
Wagner, Betty Davis. I mean just talking to people on the
sets was fascinating. Jane Wyman just sitting on the set on
Falcon Crest and talking about hold Hollywood stories.
And, you know, Iíd go to lunch with Natalie Wood and Roddy
McDowall and theyíd both been child stars and, you know,
tell me who really shot who and whoís really buried where,
you know. Itís just lots of fun. It was much more fun before
texting came along.
Tim Hogan: Well thank you so much for talking with us
today. Itís been a real honor.
Morgan Fairchild: Oh well thank you, very kind of you.
Operator: And our next question comes from the line of Kent
Gibbons with Multichannel News. Please go ahead.
Kent Gibbons: Hi. We are noticing an increase on cable as
well as in retail of kind of Halloween becoming sort of a
full moon programming opportunity, wonder if youíre picking
up on that too and if you have any...
Morgan Fairchild: Iím sorry. I didnít hear part of that.
Youíre noticing a what thatís becoming what?
Kent Gibbons: That on cable channels as well as like in
retail stores where you go in and, you know, thereís
already, you know, 12 shelves worth of Halloween candy and
the costume stores popping up all over the place on the
streets of New York, weíre seeing a pickup in cable channels
making Halloween sort of full-month programming opportunity.
Iím wondering if youíre picking up on that and being an
aficionado of the genre whether you see - you know, why you
think thatís happening.
Morgan Fairchild: Oh, honey, itís marketing. I mean
Universal Studios has been doing their Halloween tour for
weeks already. You know, itís like Christmas comes earlier
every now. They started. Believe me as soon as they take the
witches down, theyíre going to put the Christmas trees up.
It just seems to be the way of modern marketing. I mean
leave no stone unturned approach and saturate the market and
try to get as much out of it as you can and start earlier
than ever -- whether people are ready to deal with Santa
Claus or not.
So yes I havenít noticed it so much here in L.A., but Iím
sure itís going on. You know, just seems to be the way of
Kent Gibbons: Well I guess with zombies and vampires and,
you know, all the rest of it. Do you think that is tapping
into something in particular in American culture or what
people want to watch?
Morgan Fairchild: People have always loved to be scared. I
mean look how well the vampires. Look how well Dracula and
Frankenstein and The Wolfman did in the Ď30s when there was
a Great Depression.
I mean the two things you can count on when there is a
recession and people want to escape is youíre going to have
comedies and youíre going to have horror films. And those
are the great things that take people out of themselves and
take them to another place.
And not to negate all the great, classic, wonderful, really
well done movies, but if you get a well done horror movie or
a well done comedy, you know, you can just sort of name your
price and they rerun forever.
Kent Gibbons: Yes and if you can combine them both, even
Morgan Fairchild: Well thereís always Bad Santa, you know,
one of my favorite movies combing Christmas with, you know.
Kent Gibbons: Thatís a good point. All right thanks very
Morgan Fairchild: Sure.
Operator: And there seems to be no further questions at this
Morgan Fairchild: Okay.
Gary Morgenstein: Well thank you all so much. Thank you,
Morgan, for joining us and talking about American Horror
Morgan Fairchild: Oh well thank you and I hope everybody
Gary Morgenstein: Thank you and have a good flight to New
Morgan Fairchild: Okay. Gary, are you going to call me back
in a minute?
Gary Morgenstein: Yes.
Morgan Fairchild: Okay.
Gary Morgenstein: Okay. Bye-bye.
Morgan Fairchild: Okay thanks.
Gary Morgenstein: Thanks everyone. Bye.
Morgan Fairchild: Bye.
Operator: Ladies and gentlemen that does conclude the
conference call for today. We thank you for your
participation and ask that you please disconnect your line.
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