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Interview with Jessica Lange on "American
Horror Story: Asylum" on FX
It's not often that I get to speak to a huge star like
this. She was very fun and gracious, and she loved to talk.
What a great lady! And she still looks so beautiful, too.
FX NETWORK: American Horror Story: Asylum
December 7, 2012/10:00 a.m. PST
Matthew Mitchell Ė 20th Century Fox Television
Jessica Lange Ė American Horror Story: Asylum
Moderator Ladies and gentlemen, thank you for standing by
and welcome to the American Horror Story: Asylum call. At
this time, all phone participants are in a listen-only mode.
In a moment there will be an opportunity for your questions.
As a reminder, this call is being recorded. Iíd now like to
turn the conference over to Matthew Mitchell. Please go
M. Mitchell Thank you. Hello, everyone and thank you for
joining the call this morning with Ms. Lange. Due to the
large number of participants for this call we do ask that
you stick to one question, and if you wish for a follow up
you can re-enter the queue. And at this time weíll turn it over and get
Moderator (Instructions given.) Weíll go to the line of Dave
Itzkoff with the New York Times.
D. Itzkoff Hi, Ms. Lange. Congratulations on your Emmy
victory for the show and the excellent work that you
continue to do on the series.
J. Lange Thank you.
D. Itzkoff One of the reasons I think youíve been so
successful on the show and in the series it seems is that
youíre just so willing and so game to take on really
anything that gets thrown at you in the course of these two
shows. I wonder, is there ever a time when something is sent
your way in the course of these shows that itís just too
much for you, or are you the one thatís egging Ryan Murphy
and company along? Do you want more challenges in your
American Horror Story tenure?
J. Lange Well, there are times when Iíve said, ďI think this
is too much,Ē but thatís not been too often because they
tend to write for me less action and I donít know, maybe
more kind of psychological. But thatís been better. I
wouldnít really know how to do a lot of the really intense
action scenes, so I have a few of those but not many. I
think there was a leap of faith on my part just thinking,
well, if Iím going to do this Iím going to do this. And I
think as an actor you have to have trust, you have to
believe that somebody is taking care of you or watching your
back, because with a part like this especially and where
weíre going with it, I canít pull any punches, I canít do it
halfway, especially when youíre dealing with madness and
this descent into madness, and I really felt like, okay, Iím
going to embrace this 100% and hopefully somebody will look
out for me and not let me completely humiliate myself. Yes,
And sometimes I ask them specifically for stuff, like I want
to sing or I want to dance or I want to do this, something
frivolous, and sure enough it shows up in the next script,
or I want to play a lounge singer from the í40s, so somehow
itís a give and take situation and then I end up doing
things like Ö scenes where I say, okay, Iíve done two, I
will not do any more. This is enough. I donít enjoy this.
This is not my character. So thatís how we work really. Iíve
never worked this way before where itís so fluid between the
creators, the writers, and me. Usually you get a script and
itís there and itís start to finish, and this kind of
evolves and morphs as we go along. I do have more input, but
then there are of course limitations within the structure of
the whole story and the trajectory of where itís going. But
itís been interesting. Itís been an interesting challenge.
D. Itzkoff Absolutely, absolutely. Thank you so much for
your response. I really appreciate it.
J. Lange Thank you.
Moderator Weíll go to Natalie Abrams with TVGuide.com.
N. Abrams Hi, Jessica.
J. Lange Hi.
N. Abrams How much has Ryan Murphy told you about Season 3,
and what about that attracted you to stick with the show for
J. Lange Well, we havenít really talked about it too much,
and all that stuff is still under discussion. I think I will
try it again, depending on what the story is and who the
character is and all of that, so weíll see what happens.
N. Abrams All right, thank you.
Moderator Weíll go to Neal Justin with the Minneapolis Star.
N. Justin Hi, Jessica. I know that you still spend some time
in Minnesota, and I was wondering if you could clarify a
little bit about how much time you spend in Minnesota and
why thatís still important for you and your family to have
J. Lange I spend as much as I possibly can. I have a cabin
thatís been the family home for the last 30-some years. Itís
everyoneís favorite place to be and itís home. That means
the world to me, home and family, and thatís why weíre
there. And itís exquisitely beautiful, kind of a magical
place way up north, but yes, thatís where Iím from, thatís
my most primal identity, I think, is from that part of the
N. Justin Thank you very much.
Moderator Weíll go to Pya Sinha-Roy with Reuters.
P. Sinha-Roy Hi, Ms. Lange. Itís a pleasure speaking to you
today. I was just interested really in the difference
between your character from Season 1, Constance very much
seemed to be the puppet master, but in Season 2 Jude is fast
becoming our very complex hero as the season develops. How
different are Judeís intentions to Constanceís, and what did
you really want to bring to Jude that you may not have been
able to do with Constance?
J. Lange I think ďpuppet masterĒ is a very good description
of Constance. The thing that I found, kind of the spine of
the character of Constance, was that this was a woman who
had basically lost everything and had nothing left to lose
and also was extremely, what can I say, unafraid, so she
just manipulated her way and put herself in situations that
probably other people would not have. With Jude she has a
lot to lose because sheís holding on to something that she
feels has saved her life and redeemed her, and then when it
all becomes clear that everything was false, from the idea
that she did not run over and kill this child, which is what
sent her on this whole path, trying to find some kind of
life, some redemption, some spiritual life, that when she
discovers everything is false from the beginning, thereís a
descent into madness that is completely different and for me
much more interesting to play.
I thought Constance was a wonderful character, she was kind
of a throwback to the í40s, kind of tough dame, sweet
talking but with a real edge, she did not suffer fools,
nothing went past her, she had a way of moving through
everything and getting what she wanted. This woman is much
more vulnerable and I think in some way tragic. Sheís
destroyed her life. Sheís an addict. Sheís an alcoholic.
Sheís had bad luck with men, a lot of bad men in her life.
And sheís come to the end of the road with the hopes that
this church, that this man, the Monsignor, is going to save
her, that sheíll become something else, that sheíll make her
life worth living. And of course that all comes down,
crashing, and sheís left absolutely alone, completely and
totally alone, and those are two things I love playing
because you also find them in Williamsí characters, the
thing of aloneness, the idea of being completely alone in
the world and couple that with madness, and itís a really
potent combination to play.
I know Iím rattling on. Itís hard to talk about these
characters succinctly, but that would probably be the
difference. I donít know if that answered your question.
P. Sinha-Roy Thank you so much.
Moderator Weíll go to the line of Emily Gagne with TV Guide
E. Gagne Jessica, itís great to talk to you. Iím a big fan
of the show and obviously your performance, as everyone is,
but I just wanted to know, going into Season 3, what would
be something different that you would want to play, what
would make it so that you would want to sign on and continue
to work with American Horror Story as far as character Ö?
J. Lange I donít know yet. I havenít really thought it
through. When we started talking about Season 2 I had very
clear ideas of what I wanted to play. I had never played an
alcoholic before. I wanted to play a great drunk scene. I
remember I asked Ryan for that. I wanted to play somebody
who was really down and out, and also the whole area of
madness. So those were things that I specifically had in
mind when we talked about the character of Sister Jude. For
next year, you know, Iím just exhausted from this whole
experience. And this season, it seems like itís gone on
forever and I really donít have a thought about next season
yet. Thereís a lot of stuff that will come up, but as of now
I hate to say I havenít given it any thought whatsoever.
E. Gagne Okay, well thank you so much, Jessica.
Moderator Weíll go to Amy Amatangelo with Paste Magazine.
A. Amatangelo Hi, thank you so much for talking to us today.
J. Lange Thanks.
A. Amatangelo I was just wondering if you could talk a
little bit about how much of the arc you knew ahead of time
for this season. Were you aware, because it really has
struck me that Jude started off as the villain, so to speak,
in a way and has now kind of become the hero of the story
and the one that Ö to prevail. Did you know that this was
the arc she would take?
J. Lange Really, no, because this thing kind of has a life
of its own. Itís like a river, it moves one direction and
then it continues that way and then it shifts direction. I
think Ryan has these things roughly plotted out of where
things are going to go, but I donít always know ahead of
time. I have to say I kind of understood that we would be
dealing with this kind of descent into hell, but I did not
know really that Jude would rise to the top of this in a
way, so no.
And in a way thatís what makes it interesting to play,
because usually you get a script and you have all the story,
all the acts are there for a play, you know what happens in
the first, second, and third act, and you know how it
starts, you know where you go and where it finishes, and
with this itís a whole new experience. I donít know where
itís going. Itís kind of like life, you donít know whatís
going to happen next. And itís been an interesting way to
work. Itís made me work in a much more fluid, I think in a
braver way in a way, of just taking every chance that comes
along. I donít plan things ahead of time. I donít map out
the character. I donít do anything. Itís been for me a
great, powerful exercise in working just in the moment, from
this moment to the next moment. And I actually think that
itís made me a better actor, in a way, because of not being
able to go into something pre-determined.
A. Amatangelo Thank you so much.
J. Lange Thanks.
Moderator Weíll go to Jaimie Etkin with The Huffington Post.
J. Etkin Hi, Jessica. Thank you so much for taking the time.
I just wanted to ask specifically about next weekís episode.
In the previews we see that Sister Jude is tied down in a
bed and is now a patient at Briarcliff, and this also kind
of sets up the opportunity for her to create an alliance
with Lana and Kit. What can you tell us about next weekís
J. Lange I donít know what Iím allowed to say about whatís
coming up or not. Iím always a little timid about talking
about the plot line. Yes, everything gets put in motion now
as far as Briarcliff and the demise of that institution and
everybodyís departure from it, except mine. Yes, she
actually does now try to right the wrongs that she has done,
but of course sheís totally trapped within her own making,
in a way. Yes, I donít know, beyond that Iím not sure I
should say where itís going.
J. Etkin Okay. Thank you. I appreciate it.
Moderator Weíll go to Lesley Goldberg with Hollywood
L. Goldberg Hi, Jessica. Getting back to Season 3, I hate to
continue to pepper you with these questions, but are there
any circumstances in which you wouldnít return for next year
once you heard what the concept is?
J. Lange Well, not that I can imagine at this point, because
Ryan is very collaborative. So I donít think he would
suddenly pull something out of his hat that I would say I
absolutely donít want to be involved with this story.
Sometimes on episode to episode I think, oh my God, what the
hell are we doing? We shouldnít be doing this. And yet, the
thing that always amazes me is nothing that we do in this
show really is not somehow founded in some reality
somewhere. Like this whole thing with the character of
Bloody Face, I was reading about Ed Gein not too long ago,
how he actually wore his victimís skin, so itís like
whatever is imagined in this show, thereís nothing that has
not happened somewhere in the world at some point. So I
think unless we really sink the ship, I canít imagine that
there would be something that Ryan came up with that I would
not want to be involved with.
L. Goldberg Great. Thank you so much.
Moderator And weíll go to Jerry Nun with Windy City Times.
J. Nun Hi, Ms. Lange. When Ė
J. Lange Windy City Times, is that Chicago?
J. Nun It is Chicago, yes. Weíre a gay and lesbian
newspaper. And I wanted you to talk about your following,
you have tons of gay fans, and the show has all kinds of
LGBT prop lines, and I was wondering whatís your opinion of
it, do you have a family member thatís gay, something like
that, because youíre really involved in AIDS work and all
kinds of things so I was wondering where it comes from.
J. Lange Letís see, I canít remember all those different
questions. No, I donít have a family member thatís gay. Yes,
my dearest friends in the world for a long, long time are
gay men. Iíve worked a lot, especially in the beginning,
with different AIDS organizations. And I forget, what are
your other questions? Iím sorry.
J. Nun From the show, the LGBT factors must be interesting
to Ö work with Ryan and all that.
J. Lange Well, yes, I think he deals with all of that in I
think a very interesting way. Thereís always a character or
two characters that enter in, and itís also interesting that
he places them in specific times, like this idea that in the
world of psychiatry back in the í60s homosexuality was dealt
with as a mental condition, a mental illness that could be
cured. He approaches things, I think, with great, I donít
know, relevance, and I do appreciate that a lot.
J. Nun Well, great. Come to Chicago and come visit us
sometime Ö .
J. Lange Okay.
J. Nun Thanks.
Moderator Weíll go to April MacIntyre with Monsters &
A. MacIntyre Hi, Ms. Lange. Thanks for your time. I actually
have a copy of your book, 50 Photographs, and Iím a big fan
of your Ö .
J. Lange Thank you.
A. MacIntyre This show has such a stunning visual, it
differentiates itself from other TV series in that itís very
visually, almost photographic to me in the snapshots and the
music, and the way that they fade in and out. You mentioned
earlier the collaborative nature of you with Mr. Murphy, and
I was wondering if you would ever collaborate with the DP or
ask questions or have an opinion about the visual layout of
the show, since youíre such an accomplished photographer?
J. Lange Well, Iím very curious about the way it looks, yes.
I always watch cinematographers on the set because in some
way I think having spent 30 years making movies, maybe itís
35 now, I think Iíve been informed in my photography by
filmmakers, by the cinematographer, so that Iím drawn
always, when I take a photograph what prompts me to lift my
camera and click the shutter usually has a great deal to do
with setting, with lighting, with the choreography, the
So I think that, in fact Iím just looking now at the wall,
Iíve got all these little 8x10s of Day of the Dead, I was
there in Oaxaca just a month ago, and yes, it has a very
cinematic feel to it. And I think because Iíve been doing
movies as long as I have, that one lends itself to the
other. I understand, and Iím very curious, about how you
light specifically for dramatic emphasis. And I think
Michael Goy in this series that weíre doing is a master at
that. He really does an amazing job lighting this show. Yes,
itís amazing to watch him do it and to create the emotions.
And through the ambience, through the lighting, right away
you have an instantaneous emotional reaction before the
scene even plays out.
Moderator Weíll go to Stacy Harrison with Tribune Media
S. Harrison Hi, Ms. Lange. I just was wondering if you could
talk about the fact that youíve really become a fan favorite
and this show seems to have, throughout two seasons, opened
up a whole new audience for you, a whole new energy to what
youíre doing. Whatís the reaction been like, and what do you
make of it?
J. Lange Well, I donít follow that side of it too much. I
understand that thereís a demographic that otherwise
probably wouldnít know my work. Iím always surprised when
young people donít know certain actors or are not familiar
with certain films, even people who are working in
Hollywood, which is really alarming, are not aware of
certain filmmakers if itís more than 20 years ago or 25
years ago, or maybe even 15 years ago.
So I understand that this has given me a whole new exposure
that probably I wouldnít have had otherwise, because the
kind of films that I do, I donít do big studio films that
gross $100 million or whatever, Iíve mostly done small,
independent movies, and that has a very limited audience. So
this is a greater audience probably than Iíve had for a
long, long time, and itís also the demographic is much
younger, so thatís all good, I guess. I donít know
ultimately what that means, but yes, Iím glad people are
looking at the work. Iím very grateful for that.
S. Harrison Okay, thank you very much.
Moderator Weíll go to Bill Harris with Sun Media.
B. Harris Ms. Lange, I was just curious, at what point in
your acting career did you sort of come to the realization
that I can play creepy really, really well, when was that
aha moment. And do you have to tap into a different part of
your acting brain to achieve it so well?
J. Lange I donít think of any of my characters as creepy.
They might be misguided and they might be crazy, but
definitely not creepy. Like I said earlier in this interview
today, thereís nothing that appeals to me more than playing
madness, and that I do know how to dip into. But thatís
quite different than creepy. Iím sorry, I didnít find
anything creepy about these characters.
B. Harris Okay, thanks. I guess youíll have to go back and
watch them again, because I donít know.
Moderator And weíll go to Neal Justin with Minneapolis Star.
N. Justin Jessica, Ö some of the interesting phases of your
career, you were an ingťnue, youíve been a leading lady, and
so many actresses they reach a certain age and they either
go away or they kind of reinvent themselves. How would you
describe this stage in your career? It seems to me that you
are doing more character acting, is that fair to say? Are
there roles or are there things that you can do now that you
couldnít do 30 years ago?
J. Lange Yes, I think obviously your days as leading lady
are limited. You have that one little window of time from
mid-20s to maybe mid-40s. Iím trying to think of the last
leading lady I played, it might have been like what, Blue
Sky or something. And then I was, how old was I then, I must
have been early 40s, so yes, where you played the romantic
lead, that comes to an end at a certain point. And yes, I
suppose then you could define the parts that come your way
as characters, you become a character actor. But I always
felt that way from the beginning, because I was never doing,
except maybe for Tootsie, which was actually so well written
that it didnít fall into that category, I mean, I was never
playing just the girlfriend or the wife. So they were all,
to my mind, I was always a character actress, even though I
suppose combined with that was the element of being a
leading lady, whatever that means now, that feels like a
throwback to another era of filmmaking.
I just did a film this spring, I guess that will come out a
year from now or something, based on Emile Zolaís novel,
ThťrŤse Raquin, which is what, this is an interesting
circle, which is what James M. Cain based Postman Always
Rings Twice on, in 19-whatever that was, 1980 I played the
character of Cora in Postman. And in this, in 2012, I played
the mother of the son that is murdered by the young couple.
So it was a full circle, because itís the same story
basically, James Cain based his story on the Zola novel, so
you see it does come back around. Yes, I suppose in some
way, yes, weíve all become character actors at a certain
point. Weíre no longer Ė
N. Justin Are there things you can do now, though, as an
actress that you can get away with that wouldnít have worked
20 years ago just because youíre Jessica Lange and youíre of
a certain age and you can be a little bit more dramatic?
J. Lange Sometimes when Iím doing this, because of this
characterís descent and where sheís going with this madness
and everything, it harkens back to when I played Frances, so
in some odd way Iím still doing the same things that I was
doing all those many years ago, but of course under
completely different auspices.
Okay, I know Iím being very vague and rambling, hereís what
I think is the difference is now I feel like I have nothing
to lose, so I donít mind putting myself out there in the
most raw, naked, exposed ways. I also am able to do that
because I really feel that Ryan would protect me somehow.
But yes, I feel at this point now I can take any chance I
want, I can go as far as I want, because judgment doesnít
matter to me anymore. I think in the beginning it does, the
slings and arrows and you suddenly, oh my God, they said
that, really? Is that how they Ö . You know none of that
matters to me anymore. Now the only thing that I care about
is, is it thrilling? Am I doing something I havenít done
before? Am I true? I think thatís the main thing is have I
found some vein of truth? And then Iíll follow that as far
as I can go with it. So itís a different way of working, I
guess, and I donít know if it has as much to do with age as
it has to do with how long Iíve been doing it.
N. Justin Thank you.
Moderator Weíll go to Pya Sinha-Roy with Reuters.
P. Sinha-Roy Hi, Ms. Lange. I have one more question. I
think in the first season the scares were certainly slightly
more supernatural and this one itís more real, serial
killers, and far more bloody. What effect do you think that
has on the audience for American Horror Story? How are the
scares different this time around?
J. Lange I think itís darker. I think the whole story is
darker this time. It deals, I think, on a much darker
psychological level. Youíve got human experiments. I think
in some way last season was a ghost story, and this season
it really is the darker parts of the human psyche that Ryan
is exploring. I think the affect is that itís hard to watch,
I hear that from people a lot. ďI canít watch it, itís too
horrifying,Ē or whatever. I donít know, I think you have to
strike a balance. I think this season became darker than
anybody anticipated, just because of the subject areas that
they laid out in the beginning, I mean, the thing with the
ex-Nazi SS doctor and human experiments, and the serial
killer based on this character Ed Gein. Yes, the warehousing
of human beings in these institutions, madness, I mean, yes,
thereís a lot of subjects that theyíre covering, the
Catholic Church, that lend themselves to great horror
P. Sinha-Roy Thank you.
Moderator Weíll go to Kevin Downey with TV First Look.
K. Downey Hi, Ms. Lange. Thank you so much for speaking with
me. I was wondering if you could talk about the process you
go through as an actress. You switched from such memorable
characters as Big Edie to Constance to Sister Jude, whatís
the process you go through?
J. Lange It depends. I work differently on all of them, but
recently, like I said earlier, Iíve been trying to work in a
very immediate fashion so that Iím relying much more now on
just pure imagination that comes up in a moment and I just
follow that through rather than trying to plan anything or
design anything. And I think thatís the biggest difference.
With fictional characters it really is you rise and fall on
the strength of your imagination, I think. With somebody
like Big Edie, of course, I had a wealth of resource
material to draw from. But the thing that Iíve been working
on more and more lately is finding the character through the
voice, and sometimes I would work on finding it through the
emotional core, which is still the main element I work in,
but the external instead of finding it through movement or
body or whatever, now I try to find it through voice. And
itís been very interesting, because with Big Edie every day
Iíd come to the set I would listen to her voice, I would put
on the DVD of Grey Gardens and not look at the image but
just hear the voice, and as soon as I found that voice I
could drop into the character.
Now, with Sister Jude this year Iíve also found a voice that
as soon as itís there and present I feel like I think into
the character. And Iíve done something with the voice as
itís gone along that itís been changing as we go down this
rabbit hole. So thatís the process, I donít know if that
makes any sense to you, but thatís kind of how I find that
Iím working now, I mean, strictly through the imagination
and then looking for the character, trying to find the
character mostly through the voice.
Moderator And weíll go to the line of Geoff Berkshire with
J. Berkshire Hi, Ms. Lange. One of the things that Ryan does
for you on this show is surround you with really great
actors, Ö, Sarah Paulson, Ian McShane, and James Cromwell,
and Iím just wondering if you can talk a little bit about
that, about getting to work with so many actors throughout
the course of this series, and if you can talk specifically
about a scene where maybe it felt really great to be working
J. Lange Yes, I think the acting has been really amazing
this year. A lot of the actors came back from last year, and
itís wonderful, I think what Ryan had in mind is this kind
of Mercury Theatre, this idea of having a repertory company
and moving them from one project to another, and thereís
something kind of great about that, watching these actors
come in and create a different character.
But, yes, I mean, one of my favorite actors that I worked
with in these episodes last year and this year is Frances
Conroy. Thereís just something in her, I donít know thereís
something, when weíre on screen together something happens.
I think one of my favorite scenes that Iíve played this year
is the scene from, I guess it was Episode 7 in the diner
when sheís come for me as the Angel of Death, and I donít
know, thereís almost a connection that you canít really
describe. But certain actors I think just find something
when theyíre working together, and thatís how I felt in
these scenes with Frannie. But every actor that Iíve worked
with on this, I mean, James, Sarah, and Lily and Ian, itís
just a pleasure to work with them. And even actors who come
in for just a dayís work have been amazing and have really
brought something and make your work better.
J. Berkshire Did you ask specifically for Frances Conroy to
come back? Did you say, ďRyan, we really need to have her
J. Lange No, I think Ryan always knew he wanted her back.
J. Berkshire Okay.
J. Lange Yes.
Moderator And our final question will come from Ernie
Estrella with BuzzFocus.com.
E. Estrella Hello, Ms. Lange. I wanted you to maybe go
further about that scene with Frances, because it seemed
like that, to me, was the pivotal scene for Sister Jude
because she finally bares her soul and she really feels like
sheís come to, I guess, at odds with what sheís had in her
life. So could you maybe talk about prepping for that scene
and maybe building up to that scene through the season and
then finally being able to work on it?
J. Lange Well, first I thought it was really well written,
so thatís the first thing. If youíve got it on the page,
then you can find a way. The worst thing in the world is to
try to play a poorly written scene, so that right away I
give credit to the writers and to Ryan. But whatís been kind
of interesting about this process is that it keeps unfolding
and unfolding and you come back each episode with the
experience of what youíve already played, and I just felt
that that scene is the turning point for my character,
because after this she becomes entrapped, and itís such an
honest and vulnerable moment that it shifts the playing
field, in a way, from who she was up until that point and
who sheís going to become.
But, I donít know, every once in a while, and I donít really
know how to describe it, something just happens within a
scene and it feels right. It feels honest. It feels pure.
And it feels like itís elevated the character to something
else. So, yes, itís a mystery to me why some things work and
other things donít. But, yes, I really felt that that scene
was kind of the crux of the character.
E. Estrella It was such a nice call back to the Season 1,
with your scenes with Frances there too, so such a beautiful
scene and just such a pleasure watching you this season.
Moderator And Mr. Mitchell, Iíll turn the call back to you
for any closing comments.
M. Mitchell Thank you. I just wanted to say thank you to
everyone for joining the call today. At this time weíll end the call. Thank you so
much for your time, everybody.
J. Lange Thank you, everyone.
Moderator Ladies and gentlemen, that does conclude your
conference for today. Thank you for your participation and
for using AT&T Executive TeleConference Service. You may now
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