From 'American Horror Story' to 'Walking Dead,' How Horror Took Over Hollywood
This story first appeared in the Oct. 18 issue of The Hollywood Reporter magazine.
The makeup trailer on the New Orleans set of American Horror Story: Coven contains a whiteboard with instructions on how to achieve just the right look for the zombies dispatched by Marie Laveau, a real-life 19th century voodoo priestess played by Angela Bassett: "Aged blood/bruise tone around wounds. Black in rotted areas. Warm yellow to make oozing."
On this Friday in late September, 13 makeup artists will spend nearly five hours turning a clutch of actors into the grotesque undead for a climactic scene in "Burn Witch Burn," the fifth episode in the third season of FX's Emmy-winning gothic camp franchise (which was set to return Oct. 9). Taissa Farmiga, whose character was revealed in season one as a rafter-dwelling ghost, is rehearsing a scene in which she uses a chain saw to dispatch the zombies in a finely choreographed (and shockingly gory) dance of death. As she practices swinging a bladeless saw, a prop guy asks if it's time to swap in the real thing. "We definitely want a blade on the chain saw," answers director Jeremy Podeswa. "A bloody blade."
As the grunting zombies advance toward Farmiga, Podeswa checks the camera and cracks, "It's a nice family show."
Increasingly, it is. Horror, once a niche domain, is flourishing in film and television. Although the genre has a rich Hollywood history -- the late 1950s to early 1980s saw such classics as Rosemary's Baby, The Exorcist and The Shining and TV series like The Twilight Zone -- horror never has played as broadly (and as profitably) as it does today. In film, it now slices like a cleaver through all four audience quadrants at a fraction of the cost of a typical tentpole and can be sequelized and exported around the globe. Studios are scrambling to greenlight new potential franchises, and marquee stars who once eschewed the genre are dipping their well-manicured toes in. "In many ways, [horror] is the hottest genre," says Jason Constantine, president of acquisitions and co-productions at Lionsgate. "It can be cost-effectively produced, attracts some of the most talented filmmakers and is popular with men and women regardless of age and also African-American and Hispanic audiences."
On TV, as in film, the genre is able to lure women and men, as well as more lucrative younger viewers -- and the gorier the better, it seems. AMC's The Walking Dead returns Oct. 13 as TV's top-rated show in the 18-to-49 demo (its third-season finale lured 12.4 million total viewers) despite a deluge of decapitations and impalements. The Ryan Murphy- and Brad Falchuk-produced AHS -- with boundary-pushing scenes featuring lobotomies and alien anal probes -- earned more 2013 Emmy nominations (17) than any other show. Fox's serial killer drama The Following -- where victims routinely have their eyes gouged out -- was last season's No. 1 new show. A&E has had success with Psycho prequel series Bates Motel. And NBC, which had a modest hit this spring with Hannibal, on Oct. 25 launches Dracula, which is said to be a high priority for chairman Bob Greenblatt and is being promoted as a broad drama. Showtime in 2014 will bow Penny Dreadful, a psychosexual horror thriller written and produced by Oscar nominee John Logan, with the first two episodes directed by Juan Antonio Bayona (The Impossible). Series versions of The Exorcist and American Psycho are in the works. Even teen-targeted ABC Family is circling the genre with The Final Girls, which would have Jamie Lee Curtis -- heroine of 1978's Halloween -- playing a den mother of sorts to a group of teen girls who survived their own horror stories. "There's a long pattern of young audiences flocking to horror movies," notes Nick Grad, president of original programming at FX Networks and FX Productions. "For us, [the genre] offers something noisy that has a lot of meat to be marketed."