The Assassination of Gianni Versace Actor Explains Why David Madson Didn’t Run

[Caution: Spoilers about Episode 4 of The Assassination of Gianni Versace: American Crime Story ahead!]

FX’s The Assassination of Gianni Versace: American Crime Story is now, and for the foreseeable future, the story of how Andrew Cunanan became one of the FBI’s most wanted during his 1997 murder spree. That story becomes especially disturbing in Episode 4, “House by the Lake,” which includes the gruesome depiction of Jeff Trail’s (Finn Wittrock) murder, filmed more or less exactly as it happened according to the source material Vulgar Favors.

More will be explained later in the series, but Jeff, a clean-cut Naval alum who was closeted for most of his life, befriended Andrew (played by (Darren Criss) in San Francisco. Over time, he got fed up with Andrew’s constant lies and manipulation and tried to cut him off. Andrew and Jeff were also friends with David Madson, a man Andrew dated briefly who eventually tried to cut him off for the same reasons. Jeff was the first person Andrew killed. It was his most barbaric attack too, ambushing him in David’s apartment as depicted. But the terror didn’t stop there. For several days after killing their friend Jeff, Andrew took David Madson (Cody Fern) on the run with him, and David made no known attempt to call authorities or escape.

As Ryan Muphy did with The People v. O.J. Simpson: American Crime Story, Versace makes decades-old events, the outcomes of which are already public knowledge, feel like they’re happening in the exact moment. Darren Criss’ intoxicating performance makes Jeff’s murder and David’s unforced captivity urgent and believable too — so much so that it’s almost impossible to watch the scenes play out and not hope, scream or pray that David runs. Of course, no one can know what was said between them in some of the moments portrayed — whether Andrew constrained David with explicit threats or by psychological manipulation will forever remain a mystery. But the tragic truth is that David died at Andrew’s hand. From April 27, when Jeff was murdered, until David’s body was found May 3, David stayed with the man who later killed him, likely terrified. But why didn’t he run? For Fern, the question was central to playing David on screen.

“I think it’s such a complex bag of questions,” he told TV Guide. “He was Andrew’s lover. He’d experienced something traumatic — he was in shock. He was afraid for other people’s lives as much as he was afraid for his life.”

David and Andrew met in December of 1995, according to Maureen Orth’s Vulgar Favors. Their relationship was built on fraud and manipulation from the start: Andrew was living with an older rich man, Norman Blachford, during a good chunk of their relationship, so he didn’t let David call him or send mail with a return address. Andrew plied David with gifts though, as he did many people, and indulged his S&M fantasies with David until Andrew’s increasingly rough sexual demands became a source of strife between them. They broke up in the spring of 1996, but Andrew kept David’s picture taped to his refrigerator door. When his life began to crumble as a result of constant deception and drug use, Andrew became fixated on the idea that David was his only love. As it happens, Andrew wasn’t David’s only unstable lover, either: a previous ex had become a stalker, calling David as much as 120 times a day and eventually being jailed for violating a court order to stay away. In any case, Madson was a “peacemaker,” Orth wrote, a man who loathed violence and avoided confrontation. He frequently talked his way out of things.

Vulgar Favors’ intensely researched study of Andrew and David gives it license to theorize why David didn’t try to flee. Andrew knew David avoided confrontation and was squeamish around violence. Orth even speculates that the handcuffs and leg restraints Andrew enjoyed could’ve been used to hold David captive. More than likely though, Andrew simply kept David paralyzed with fear. Experts in the book said that Andrew could’ve easily convinced David that he’d be a suspect if he went to police, which is exactly how Versace depicted depicted their relationship. A law enforcement official said that the brute force shown in the murder would’ve easily convinced David that Andrew had power over him, instilling a fear that’s common in violent abusive relationships. The intense fear of retribution — even after a break — makes the Stockholm syndrome theory in David’s case not at all surprising. Other issues were at play too.

“He was also a man dealing with an intense amount of shame in the 90s,” said Fern. Though David’s father told Orth he never treated his son any differently after David came out to him, his religious beliefs mandated that David’s sexual orientation was a sin he disapproved of. Though David wasn’t religious in the traditional sense, he absorbed his dad’s values. After the initial shock wore off, “[David] is asking himself, ‘Is his man redeemable?’” Fern said. “He’s asking himself, ‘How am I complicit in this? I let my friend in — I brought him into the apartment. This my fault.’”

When he was found, David had been shot three times. Orth quotes a sergeant as saying David probably got taken by surprise: he had defense wounds on his hands and his body had apparently been dragged about 20 feet from where his killing took place. It’s possible David was methodically plotting an escape — perhaps sweet-talking Andrew while psyching himself up to make a bold move. That thinking, Fern said, informs the scene with Andrew where David calls himself a coward and then attempts to commandeer the Jeep’s steering wheel in a moment of desperate bravery. “The important thing to remember is that this is a man going through something more intense than anyone could ever imagine,” Fern said.

It’ll remain a tragic unanswered question, rooted in both men’s deeply embedded shame and guilt over their sexual orientation, and fears how people would perceive them no matter what they did. “That was the whole journey of the character,” Fern said. “The whole character arc is about that question. Why didn’t [David] run?”

The Assassination of Gianni Versace Actor Explains Why David Madson Didn’t Run

https://ia601503.us.archive.org/33/items/PPY5589729880/PPY5589729880.mp3?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio
https://acsversace-news.tumblr.com/post/170636907024/audio_player_iframe/acsversace-news/tumblr_p3teyprQ1s1wcyxsb?audio_file=https%3A%2F%2Fia601503.us.archive.org%2F33%2Fitems%2FPPY5589729880%2FPPY5589729880.mp3

“House by the Lake” with Tom Rob Smith and Cody Fern

Joanna Robinson and Richard Lawson discuss the fourth episode of The Assassination of Gianni Versace: American Crime Story, which focuses on a very personal murder. This week’s featured interviews are episode writer Tom Rob Smith and Australian stage and screen actor Cody Fern who portrays David Madson on the series. | 7 February 2018

iTunes

American Crime Story: Gay Shame and the Redemption of David Madson

At this point TV viewers tuning in to Season 2 of American Crime Story will have sensed that something’s up. Promotional materials promised a glitzy, pulpy dive into the high-fashion world of the Versace family and a grisly murder in sunny Miami. But after two episodes with nary a Versace in sight (don’t worry, they’ll be back), audiences must have realized that producer Ryan Murphy and writer Tom Rob Smith actually had a different—and, in my opinion, better—show in mind. The star of Episode 4 is not any of the A-list names like Penelope Cruz, Ricky Martin, and Darren Criss or even one of Ryan Murphy’s regular players like Finn Wittrock. Instead, the breakout here (and, perhaps, of the series) is 30 year-old Australian newcomer Cody Fern playing Andrew Cunanan’s second, most personal, and misunderstood victim: David Madson.

Speaking with Vanity Fair’s podcast Still Watching: Versace, Fern admits that this episode and American Crime Story as a whole represent a bait and switch in order to get audiences to care about Cunanan’s less famous victims and the plight of gay men, more broadly, in the 90s. In this episode specifically, Fern and Smith are determined to redeem Madson who was, for so long, erroneously accused of being Cunanan’s accomplice rather than an innocent casualty.

Last month at the Television Critics Association Winter Press Tour, when asked about the slightly deceptive title The Assassination of Gianni Versace, both Ryan Murphy and Tom Rob Smith were quick to defend it. The People vs. O.J. Simpson, they pointed out, wasn’t a show primarily about O.J. Of course, they’re right. Along with a searing look at racism, sexism, and the rise of reality TV in the 90s, the main takeaway from American Crime Story’s first season was the redemption of maligned prosecutor Marcia Clark.

Madson, of course, is not nearly as well-known as Clark and that, Fern argues, is what makes Season 2 even more extraordinary. “Everyone was ready for this to be a huge, splashy, fashion drama,” Fern tells Still Watching “but [Ryan Murphy] really honors the victims who came before. Four people who aren’t fashion designers but who had a family and were loved and were brought into the sordid world of Andrew Cunanan and went down because of it. [Their] stories are equally as vital as Gianni Versace’s. For Ryan to really focus on those stories is incredibly brave and does great justice to those people.”

Madson’s mysterious role in Cunanan’s murder spree baffled law enforcement for over a year (and beyond). Why would an innocent man go on the run with a killer and stay with him for six days? For a detailed breakdown of the main clues and theories swirling around Madson’s role at the time, you can go here. But for Smith and Fern, Madson’s driving concern in his final days was clear: internalized gay shame. It’s true that American Crime Story had to do a lot more theorizing than usual in this episode—with both Cunanan and Madson dead there is no way to know exactly what happened on their six-day journey. (We do know, however, that Aimee Mann never serenaded them in a Minnesota dive bar.) Smith tells Still Watching: Versace: “There’s a dilemma [with this episode]. You are, ultimately, joining dots rather than dealing with transcribed or videotaped evidence. I tried sticking to the fundamental truth which was that a) Andrew was a liar and was trapping David and b) David was full of love and ambition and wasn’t involved in the killing in any way.”

Fern admits those six days on the run were the most fascinating to him. “What the series deals with is not only how the police bungled the investigation because of homophobia at the time, but also this internalized of gay shame. David is dealing with a shame that’s been following him around his whole life.” As the show depicts, Madson was out to both his immediate family and his Minneapolis friends and co-workers, but what the episode theorizes is that he wasn’t ready to to be out to an entire world of strangers.

Smith calls David the hero of Episode 4 and used his own life experience as a gay man to extrapolate what Madson might have been feeling. He tells Still Watching:

Andrew’s cleverness is that he plays on a very deep-seated fear which we’ve always felt as gay men and women that if somehow you open the door to our private lives, everyone looking in is going to be shocked and appalled and we’ll be disgraced and exiled. Now, suddenly, by killing Jeffrey in that apartment that lingering nightmare becomes true because David knows that if he opens the door to that apartment the world is going to be shocked and appalled. They’ll think he was involved somehow. It’s going to be very hard for David to extricate himself from the trap that Andrew’s sprung around him.

Smith’s efforts to redeem Madson entirely in the span of an hour may have resulted in a bit of white-washing of this particular character. The real Madson was a bit older than Fern (and a good deal older than the baby-faced Fern looks here). According to Maureen Orth’s well-researched book Vulgar Favors, Madson was a beloved but forcefully charismatic person who dated a good deal and was hardly the Midwestern babe in the woods this series would sometimes have him be.

Neither Fern nor anyone in the cast reached out to the surviving family members of Cunanan’s victims while filming the series—though Ricky Martin, at least, has since been in contact with Versace’s life partner Antonio D’Amico. It was conscious choice they made as a group out of sensitivity to such a great loss. However, the Madson family, specifically, was at the forefront of Fern and Smith’s minds as they constructed this episode. “There was a cloud of suspicion over David,” Smith explains. “The police declared him to be the killer at first and the parents really struggled to clear his name. Such a gross injustice.” Episode 4 of American Crime Story rescues Madson not only from ignominy, but from anonymity as well. Anyone watching this episode and Fern’s irresistibly vulnerable performance won’t soon forget Andrew Cunanan’s second victim—even if he didn’t have a name you’d find on a fashion label.

And as Fern points out, the reverse chronology of American Crime Story acts as another kind of redemption for David Madson. It’s no spoiler to say that Fern as Madson will return for a few more episodes as the season spools back in time and we learn how he and Cunanan first met and fell in love. “There was something nice about leaving this man, David Madson, with a moment of beauty rather than a moment of terror,” Fern explains to Still Watching. “The way we remember David in the series is not the way we see him in Episode 4.” Smith notes that by the end of this hour of television “there’s a sense of David being an inspirational figure rather than someone who people have forgotten.”

To find out more about the true story of David Madson and Andrew Cunanan, you can listen to the full interview with Smith and Fern as well as past guests Maureen Orth, Ricky Martin, Max Greenfield, and Judith Light by subscribing to Still Watching: Versace on Apple Podcasts or your podcast app of choice. New episodes air every Wednesday night.

American Crime Story: Gay Shame and the Redemption of David Madson

American Crime Story: The Truth Behind that Surprising Musical Cameo

There has been a lot of talk during this season of The Assassination of Gianni Versace: American Crime Story about what is fact and what is fiction. The source material, Maureen Orth’s Vulgar Favors, was meticulously researched—but there are still gaps in the story of Andrew Cunanan, as well as areas in which the show’s creators took some artistic liberty (such as the fantastical onstage conversation between Cunanan and Gianni Versace in Episode 1).

But of all the tales American Crime Story has to tell this season, the six days Cunanan and David Madson spent on the road required the most artistic invention. With both men dead, neither Orth nor anyone else could uncover what, precisely, occurred during that harrowing trip from Madson’s Minneapolis loft to his final resting place. Wednesday’s episode, “House by the Lake,” leans into that challenge by delivering the most surreal installment of the series—punctuated, midway through, by the appearance of singer Aimee Mann. Film lovers may recognize her most immediately from her soundtrack work on 1999’s Magnolia, while music lovers know from her solo career and as lead singer of the 80s band ‘Til Tuesday. Here, though, Mann appears in a Minnesota dive bar, crooning out a classic 1984 hit from the Cars: “Drive.” In what is, writer Tom Rob Smith tells Vanity Fair’s Still Watching podcast, the most pivotal moment of the episode, Madson tries to escape out of a bathroom window as Cunanan listens, emotionally, to Mann croon. Producers Brad Simpson and Alexis Martin Woodall spoke with Vanity Fair about how Mann’s unsettling musical homage to David Lynch came about.

Vanity Fair: Where did the idea to include Aimee in this episode come from?

Brad Simpson: During the development, one of the things that [writer and executive producer] Tom [Rob Smith] and I talked about—because we had been watching some David Lynch stuff—is the use of music Lynch’s movies, and how well he uses pop music. Tom said, “I think I’m gonna try something like that for the show.” He’d come up with this idea that [Andrew and David] would stop at a roadside bar, and there would be somebody singing—a sort of woman who had a great voice. There was a backstory to her. Maybe she thought she could make it out of this area of this town, but life didn’t work out, and she’s got this sort of weathered, great voice and is stuck there.

We talked about who we could get to play this. Somebody who was first known in the 1980s, who had a strong voice and you could buy as somebody who would live in this landscape. When we went to Ryan [Murphy] for suggestions of who could it be, he instantly said, without a beat: “Aimee Mann. Send her the pages, tell her we’re gonna figure out the song, but it has to be her.”

Alexis Martin Woodall: Brad and I started brainstorming music … we knew we wanted it to be something that was very familiar, but that you hadn’t heard of in a while—so you could emotionally connect with it, but it felt fresh. I got really stuck on one that I was so excited about, [by] Phil Collins. [Aimee] called and said, “Look, I think this song is beautiful, but I don’t think that I’m gonna do justice to this song.” So she’d come back with “Drive,” and it was really funny, because Ryan has loved that song, Brad loves that song—

Simpson: It was a mix tape staple for me.

Woodall: So she recorded a demo for us and sent it our way, and I think right then Brad and I got really excited. Because a demo from Aimee Mann is a little piece of musical genius.

Simpson: I was the guy—I was the ‘Til Tuesday fan in high school.

Woodall: If you’d seen his haircut, you’d really know he was a ‘Til Tuesday fan. Brad and I went out with her producer Paul Bryan—who is a genius, and I don’t use that word lightly—to his studio on a Saturday morning. We all talked about what the goal was, which was that we play it under. It’s not a star turn. We don’t turn the light on and say: “Ladies and gentleman, Miss Aimee Mann!” We just let the actual atmosphere take over, and then you get that there’s someone really legit on stage. Within two hours, we had something that you and I were just kind of flawlessly excited about, right? It was fast.

Simpson: In that scene, David is reconciling himself to the fact that he’s trapped with Andrew, and Andrew has a moment where he thinks he has lost [David]… . The song itself, once you hear the lyrics—hopefully not in an on-the-nose way— the lyrics to “Drive” can really have that double meaning.

Yeah—the lyrics “you can’t go on thinking nothing’s wrong” seem pretty appropriate here. I wanted to ask for your take on what Darren Criss is giving in that scene as he listens to the song. We see Andrew overwhelmed by emotion—what emotion do you think that is?

Simpson: When Tom was writing it, I think he wanted to have two things going on. It’s a turning point in the episode. For David, he’s looking out the window of the bathroom and realizing that he’s trapped with Andrew. Maybe he could climb through the window and maybe he couldn’t, but he returns to Andrew. One of the things that’s happening for Andrew in that scene—and it’s one of the few times so far that we’ve seen any real emotion—the way Dan Minahan directed [Darren] to play it, and the way that Tom had written it, was the idea of: you’re watching the singer, David’s gone to the bathroom, and you’re feeling this sense of loss. You think he may have escaped. But either way, there’s an undercurrent of dread that you may have lost him no matter what. Darren wanted to get psyched up and do it in one take—you know, the slow push in that ends with him crying. And we gave him the space that he needed, and just did the long, slow push into the tear, and then he follows up with such joy.

This episode, which happens to be my favorite of the season, has these great surreal qualities, invoking shows like Twin Peaks or The Leftovers. I think the presence of someone as famous as Aimee Mann—even though she’s playing a character—in a random Minnesota dive bar really delivers a disorienting shock.

Simpson: And that is the David Lynch. When we were developing [the season], we talked about different episodes in terms of movies… . There’s a later episode which has nods to American Gigolo. David Lynch had made Wild at Heart, he made The Straight Story, he’s made movies about people moving across the country, he’s made movies about people who exist in the margins… . We talked about the way Lynch used Julee Cruise for the songs in Twin Peaks, the way that he used Roy Orbison in Blue Velvet, and the idea was to reconfigure a pop song much in the same way Lynch does… . We love Aimee Mann, but I think obviously there’s gonna be a whole group of people [unfamiliar with her] for whom it’s just, “Oh my God, that’s somebody with a beautiful voice.”

Woodall: Yeah. Totally anonymous.

You’re right. Not everyone is going to expect frogs to come falling out of the sky when Aimee Mann starts singing. Between this moment and “Pump up the Jam,” this is a great episode for music.

Woodall: I’ve always said that Andrew Cunanan’s favorite songs on shuffle is what we’re doing in the series. He would’ve been 15 in 1984, and there was a really cool darkness in that time period in the New Wave… . What would he have been listening to? What was popular when he fell in love with David? What was popular when he met Versace?

American Crime Story: The Truth Behind that Surprising Musical Cameo

Darren Criss Talks Andrew Cunanan Role in The Assassination of Gianni Versace: American Crime Story

dcriss-archive:

Darren Criss has never killed anyone. In fact, it’s hard to imagine the 31-year-old actor so much as raising his voice at anyone given how disarmingly kind and solicitous he is in person. When he arrives for his photoshoot, he immediately learns the names of everybody on set; as various editors drop in, either to check in on the shoot or to gawk at the celebrity in our midst, Criss goes out out of his way to make introductions—impressively listing off everyone’s name in the room. But Criss has found more in common with Andrew Cunanan, the social-climbing narcissist turned serial killer he plays in The Assassination of Gianni Versace: American Crime Story, than he expected.

“People always ask me, ‘What’s it like to get into the mind of a killer?’” Criss says, slipping into a gravelly Movie Trailer Voice as we talk over coffee. “But you’re not doing that! I mean, a killer doesn’t get into the mind of a killer—they’re just existing. We boil it down to killing somebody and go, ‘I’ve never done that, so that’s definitely as far from me as possible.’ But the things that inform those decisions can be very close to who we are. We all have access to the same variety of emotions. You just ride them at a certain frequency, and it takes you to a certain place.”

FULL ARTICLE | ESQUIRE.COM

Darren Criss Talks Andrew Cunanan Role in The Assassination of Gianni Versace: American Crime Story

NUNN ON ONE MOVIES Mike Farrell channels Chicagoan Miglin in Gianni Versace – Gay Lesbian Bi Trans News Archive – Windy City Times

Gay executive producer Ryan Murphy is on a roll with his second installment of FX’s American Crime Story. The first season’s The People v. O.J. Simpson was a critical success, earning many awards including an Emmy and Golden Globe for Sarah Paulson, who portrayed Marcia Clark.

This year’s The Assassination of Gianni Versace is based on Maureen Orth’s book Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History. The series examines Andrew Cunanan, played by actor Darren Criss in a possible career-making performance.

Mike Farrell is featured in one episode—titled “A Random Killing"—where he plays another victim of Cunanan: Chicago real-estate tycoon Lee Miglin, who is portrayed in this series as closeted. Farrell is most remembered for his character Captain B.J. Hunnicutt on M*A*S*H, but he has had a vast array of television appearances. His work started back at Lassie and moves forward to shows such as Providence and Desperate Housewives.

He has executive-produced two films—Patch Adams and Dominick and Eugene, the latter which earned Tom Hulce a Golden Globe nomination.

WCT: Did they come to you about this role in American Crime Story?

MF: Yes, they came to me. I was fascinated by this set of circumstances, and by the character. I had known very little about the story, but I thought it was really quite extraordinary. Ultimately it was an important story to tell. I was delighted to be a part of it.

WCT: Did you study up on Lee Miglin?

MF: You get the pages and they tell you what you need to know. I did some research. As you may know, there were some differing opinions on what happened and who he was etc.

He was not only complex to portray, [but] he was an important person and had a life that people need to better understand. Back then and certainly today, while there is more understanding there is some cloudiness.

WCT: Was this the first time you played a gay character?

MF: Yes.

WCT: Was this filmed in Chicago?

MF: We did some, but it was backup work. Most of my scenes were filmed in Los Angeles.

WCT: Was filming such a graphic scene a nightmare?

MF: It was weird, I will say. I don’t like being wrapped up like that.

WCT: How was it working with Darren Criss?

MF: He’s terrific. He’s really a nice young man and very talented. I confess to never having seen Glee. For someone that is relatively new to the business, he has a great presence, and had a good relationship with the crew. It was really fun to get to know him and see him work.

WCT: Even on television it is interesting to see his interpretation.

MF: I agree. It is an enormous task to pull off. From what I saw he really did a remarkable job.

WCT: Did you know Judith Light [who plays Lee’s wife, Marilyn] before this?

MF: We had never met before. I had been an admirer of Judith for a long time, so it was thrilling to get to work with her and meet her.

WCT: She’s worked with the LGBT community for many years. Have you?

MF: Oh sure. In the ‘70s, I was involved in a campaign out here in the early days when the Briggs Initiative was on the ballot to keep gay people from teaching. It was just awful.

The community needed someone who was straight to stand up. I became a spokesperson for the No on Proposition 6 campaign.

Ever since then I have had many friends in the community and have done a lot of work in support.

NUNN ON ONE MOVIES Mike Farrell channels Chicagoan Miglin in Gianni Versace – Gay Lesbian Bi Trans News Archive – Windy City Times

Interview with American Crime Story actress: Fabiana Pascali

2.While working on American Crime Story: The Assassination of Gianni, what did you learn about Gianni that people outside of his circle may not know?

I didn’t know Gianni had cancer at some point of his life. There is a moment on set in a facsimile of the Versace studio house in Milan, when Penelope Cruz tells us her brother was ill with cancer.

There were also rumors that it was AIDS.  The Versace family denied it publically, yet that’s something floating around. It was something I learned on set, either of which is sad [either] way.

Interview with American Crime Story actress: Fabiana Pascali