Tag: interview

Emmys: Ricky Martin On The Importance of ‘American Crime Story: Versace.’

As Ricky Martin talks about playing Antonio D’Amico it’s hard not to feel his emotion and how deeply telling the story of Gianni Versace’s lover affected him. The story Martin tells of playing D’Amico is an emotional, but important one.

When Versace was murdered on the steps of his Miami villa, fear spread among the gay community as news of Andrew Cunanan’s serial killing spree made headlines and Martin remembers his own fears at the time.

Another aspect that Martin could relate to was Versace’s acceptance of his own sexuality, keeping D’Amico in the shadow as his shadow as friends and family told the iconic designer coming out as gay would ruin him. Martin discusses being able to relate to that because he had been in Versace’s shoes with accepting his sexuality and for this role, he was on the other side, the hidden lover.

Martin’s performance is one that deserves all the Emmy attention for his portrayal of D’Amico. Read the interview below:

I was so excited to see you work with Ryan Murphy again, how did that conversation begin for American Crime Story: Versace?

I had the opportunity to work with him on Glee a few years ago and I was living here in LA when he called me. “Hey, Buddy! I’d love to have dinner with you.” Of course, I replied, “Let me think about it.” Just kidding. I showed up at the Sunset Tower and we had a lovely dinner. After 45 minutes he told me, “Rick, I think I have something for you. I’ve found something perfect for you.” He explained he was doing Versace and Crime Story. I was curious about who was going to be Donatella. He said, “No one knows, but it’s going to be Penelope.” I went crazy because I’ve known her for many years. I knew Edgar was going to be playing Gianni. I didn’t even have to ask about who was playing Gianni and I told him that Edgar and I are super close friends. He’s like my brother. Ryan teared up, saying how powerful it was because he said how he needed a friendship for this character

It was very beautiful. Everyone was asking when was I going back to acting, and first of all, I’ve always loved acting. I first did a TV show when I was 15. I was in Mexico City and doing theater and TV. People were always asking when I’d go back to it, but things were going so beautifully with the music. I told people that I would go back to acting if I was feeling the story and surrounded by the right cast. I would also have to work with a producer who I trusted and admired. You have to be careful with what you wish for because that’s exactly what happened. It was really interesting.

I started doing all the research. I was lucky enough to speak to Antonio himself. It was interesting and intense. It doesn’t matter how gentle you want to be, but I told him that I would be asking him deep questions. I said, “It’s been twenty years and if you allow me, I want to shed some light on what you and Gianni had.” He was just so generous. I know it had to be so difficult for him but he gave me so much information that I could bring to the set and the role.

What was it like for you when Versace was assassinated? We all know where we were when it happened and it was impossible not to be affected by that. Talk about revisiting that and learning about Antonio.

I used to live in Miami when this happened and I was also a victim. I was afraid of walking down the street. We knew there was a serial killer walking down the street and that’s the heavy side of the story. This guy was on the FBI’s Most Wanted List and he was living in Miami and not hiding. Sadly, he got to Gianni.

I remember the loss and the pain. Miami Beach was never the same and I think it took over ten years for Miami to be what it was and return to normal. I thought I knew a lot because I was in Miami, but once I started doing the research, I learned a lot.

That’s why I insist that it’s such an important story to tell. There’s so much injustice behind this story and we have to be loud about this story and we have to be agressive and tell it as it is because history tends to repeat itself.

There was a lot of homophobia and we don’t want to go there again. We lost a genius. It’s not how he died, but it’s why we allowed it to happen. It’s so emotional for me to see the series and talk about it.

The other day, Penelope told me, “Baby, we have to move on.” I’m a gay man with kids and a husband. There are people out there who are vicious that do not like what I represent and that’s one of the reasons I thought it was part of me to be in this production.

Your episode after Versace is murdered and Antonio is ostracized was heartbreaking to watch. Talk about shooting that day.

Every scene I had was intense. I never had a simple day on set. I’m telling you, I lived as Antonio for all those months. Penelope said, “Ricky, I want to hate you but I can’t.” Coming from her, that meant so much to me. I was in it, I was in touch with the sadness and the darkness and the uncertainty of being in love. I was in touch with the idea of your man not being there anymore. After fifteen years of being his shadow and then all of a sudden, you have nothing. I have nowhere to live. The person who was my friend was no more. I asked, “How can I vanish from this world?” This is what I was working with and at the end of the series, you see him trying to commit suicide because nothing was ever going to be the same for him without Gianni.

It was intense and sad. I was crying. It would take me a minute after they yelled cut for me to let go.

My kids and husband were not around. When I was in Miami, no one came to visit and that helped a lot.

How did you shed that character when you’re in there so deep? Do you shed it?

I wonder if you ever do. I wonder if you ever shut that door because it touches me and it hits close to home. When I go home, my kids and family are there. I go on the road and promote the show and talk to people who share their stories by which I’m so fascinated to hear. I don’t think I’m ever going to close it. It’s just one of those things right?

What was the most surprising thing you learned from him when talking to him and doing your research?

The love they had for each other. No one really knew about their love. There was the close circle. Antonio was always in the shadows wearing black until Gianni decides to come out and present Antonio as his lover.

It takes me back to me when it was hard for me to accept my sexuality. Me playing the other side of the coin. I was hiding my lover and my boyfriends. It was another emotional scene because I was in the shoes of my ex-lovers and I knew exactly where Gianni was. I knew where he was with the fear. That internalized homophobia. Everyone was telling him not to come out or it would end his career. He was being told no one would respect him after that.

At the same time, you have this need to just be yourself without walls. We tend to isolate ourselves as artists and creators. When you say no more, you really want the people around you to support you. Sometimes you have to say, “I’m not afraid regardless of what happens after this. This is what I need to be happy.” I’m telling you Jazz, I brought that to set.

I’d sit with the directors and tell them what scenes meant to me. It was such a beautiful dynamic between the writers, cast and director. Especially with Edgar and Penelope. I didn’t work with Darren.

But, you guys are friends because I saw you at The Greatest Showman right?

That’s the thing, we really are friends. We’d spend days off. We’d come home, have barbecues, play music and it was all about unity.

This happened twenty years ago and there was this whole homophobia that existed, but have we moved forward? Sometimes, in this day and age, I don’t think we fully have.

We’ve taken significant steps such as marriage equality and these are steps taken by the government in parts of the world. Sexuality is such a taboo regardless of where you come from. I’m a Latin man and Latin culture is about the macho man, but I can not say that someone in Omaha, Nebraska is going through exactly the same emotions I was going through and dealing with and that’s why it’s so important for stories like this to come out, and for people to say everything is going to be fine.

Walking down the street in New York, people will come up to me and tell me how the show made them understand who they were or who their parents were.

It’s the same thing that happened to me when I wrote my book and it has become a mission. Am I an activist? Of course, I am. When Ryan Murphy comes with this gem, we need to be bold and loud.

I’m ready for more characters like this and more stories.

Ryan Murphy is such a trailblazer for these stories. What was it like reading this story and Andrew’s backstory?

It was super scary, but the way we work with Ryan, he gives it to you little by little. He doesn’t give you all the episodes. When we’re working on set, he can come up with this amazing idea that can change the whole situation. Every time he comes up with this great idea, it’s an outstanding idea, so as an actor, he keeps you constantly on the edge. You’re really tip-toeing at all times. We have a lot of information and we can go into debates about how you perceive a situation, but everything he comes up with is brilliant.

We were shooting episode four and would have no idea what would happen in episode nine.

I have to ask about being reunited with Penelope on screen for this.

It was the scariest thing when she walks on set and she is Donatella.

Yes, that she is.

Her voice, her accent, and the characterizations are so powerful. You forget your relationship that you have as friends. I was Antonio and he was always on the defense because you never knew what would come out of her mouth.

I played with it and had a lot of fun with that defense that Antonio had when she was around.

What was the positive takeaway in playing Antonio?

I never had any negatives. I got to play a voice that had not been heard. I got to tell the world what their love was like. It was a very open free love. Who am I to judge how they decided to sculpt their life and the way they loved each other? You jump into acceptance because love manifests in different ways. For me, it was the most rewarding part of it all.

So, now that you’ve done another Ryan Murphy role would you like to work with him again?

Are you kidding me? I would give anything to work with him again. You know, he made it public and said he’d work with me again. He put it out there.

It’s out there and he said it.

He said it! It’s out! I’m just preparing myself as an actor and I keep finding the colors that will get me ready for whatever he has in store for me.

Emmys: Ricky Martin On The Importance of ‘American Crime Story: Versace.’

Interview: Daniel Minahan On Directing ‘American Crime Story:Versace’

Director Daniel Minahan recalls Gianni Versace’s assassination and remembers where he was and what he was doing. What he didn’t know was this interesting backstory to Andrew Cunanan that would become the prime focus of Ryan Murphy’s newest series, American Crime Story: Versace. It wasn’t until Murphy hired him to work on the show that he would find out. Photos and police reports helped his research to direct one of the most bloodiest moments in the series when Jeff Trail is slaughtered by Cunanan.

It is this episode that Minahan has submitted for Emmy consideration in Best Limited Series and Best Outstanding Directing for a Limited Series, Movie.

Read our chat below:

The series is not about Versace as such, but it’s more about Andrew Cunanan. What did Ryan Murphy tell you about the show?

By the time Ryan had called me, I had read the first two hours and I was completely fascinated by it. It’s an event that I remember myself. I remember where I was and what I was doing. I was out on the beach and someone called me to turn on the TV. I watched it unfold. It was something I knew a little bit about, but what was interesting was when Ryan described the places that it was going to go to and the scope of it. It wasn’t going to be like the People V OJ because there wasn’t a trial.

When he called me, we had been hoping to find something to work together on for a long time and this was it. I’ve known Brad Simpson for about twenty years, the fact it was Ryan and Brad made it so appealing to me.

The opening where Jeff dies and is bludgeoned to death, talk about that opening.

It was a tricky thing to stage. The episode of House By The Lake is very delicately and carefully reflected and retracted in the fifth episode. When I shot that, we were shooting it for two episodes at the same time. The thing that was really challenging for me was trying to stage it in a way that it didn’t feel like a horror film, but that it actually honored the event of what happened.

To prepare for it, I had gone through a phone book of photographs and police reports that our researcher had pulled for us. As far as blocking and where things occurred such as where they moved the body and why they moved the body and what the sequence of events was, I pieced together on my own through that research. It was disturbing because it was a real-life event and these were real people and you wanted to honor it.

The unexpected thing was that when we shot it, we never shot the actual impact of the bludgeoning. It was never scripted that you would see what happened inside the door. Ryan and I both agreed that we should shoot that and then decide later what we would actually include. It turned out to be strong and emotionally disturbing. As we shot it, we shot the pieces looking at the door, the door slams and without having it planned for the day, I said to Cody Fern who plays David, “Let’s shoot.” I wanted to shoot his reaction and he said, “I haven’t thought about it and I haven’t prepared for it.” I told him that there was no way to prepare for it, but to just give it a go.

What happened that was really surprising was that, even though Darren and Finn were making the sounds and Darren was hammering on the floor, the dog was completely sensitive to Cody Fern. The dog had such a strong reaction to it, and the dog completely played off of Cody and it was such a magical moment, an honest thing happened. Up until that moment, I had prepared the boys really carefully, we had a readthrough and they asked whatever questions they needed to ask. “Why was he waiting?” Where were they going?” and all that. Once I got a sense of Cody and how much he thought about things, I decided to shoot Cody and get an off-the-cuff reaction and it worked.

We also looked at David a lot in this. Was he always the focus of the episode or did that change with that opening moment decision?

It was always going to be that we looked at David. That episode and Don’t Ask Don’t Tell were one part of the same piece. In hour four, I made the decision to try to dramatize everything from David’s point of view and this bad crazy boyfriend pursuing him. In hour five, I looked at it from Andrew’s point of view and tried to dramatize things so you could see what he was feeling instead.

Talk about those two episodes and what they establish for the viewer?

In the big picture of the story. The first two episodes establish a lot of characters in this big operatic and beautiful spectacle. It delivers exactly the title of the show. By the third episode, suddenly we’re in a whole different world because it’s about an older closeted man and his relationship with his wife. The fourth episode is where we really begin to explore the themes of homophobia and self-hate. With David’s reluctance to run away from Andrew, you get a sense that he’s implicated by his own shame and it’s such an important part. It’s when we begin to peel back the layers of the characters and their motivations. The biggest challenge of hour four was trying to make it plausible that David didn’t run away. The reality of it was that Andrew had a gun and seemed unstoppable in his furies, but they were together for four days. Trying to portray that in a way that was believable was the biggest challenge and I feel we succeeded. We tried to make a rule that he was always in arms length. They stop to eat and he’s pinned against the car while they’re eating. When they go to the restroom, they go together, there’s this idea that he’s a hostage.

Talk about the locations for those episodes such as the diner.

There really was an instance where two waitresses claimed that they saw two men who fit the description of Andrew and David. They noted that they were dressed differently and appeared to be two guys having food in the diner. Whether they actually saw them but I think that was Tom’s jumping off scene. Part of the reality is that when they’re doing a road trip like that, they had to stop for food and anytime they stopped at a rest area, there’s a possibility they had been sighted. You get a sense of their backstory and what things were like when they had a good relationship or were falling in love, but then you realize David is really testing the boundaries of his situation. It’s such a strong scene.

What scene moved you when you were shooting?

The scene that really moved me the most was David’s murder scene. The day we shot it was the day of the lunar eclipse. We didn’t know if we’d lose the light, but it gave us this shimmery light that day. We were by the lake and we shot the scene with David pleading for his life before running away from Andrew and goes into the house. There’s the memory of his father and when we see him again, he’s dying on the shore. We intentionally didn’t shoot it with music and drama. It was very flat with just the sound of nature and the pop of this gun. The crew became silent and it was sad and moving because it was the end of that story. We meticulously imagined the end of David’s life. The idea of working on a true crime story hit everyone at once. It gave us a feeling of reminding us of the importance of what we were all doing. It was remarkable.

I loved that scene with his father and what his dad said to him.

I think him coming out to his dad in the basement was heartbreaking, truthful and surprising. We don’t know how David really came out to his parents. I chose that location. My dad’s workroom was in the basement of our house and that’s where I had that conversation with my dad. For me, it was personal. I put a lot of my personal experience into that episode and into that scene in particular. If David and Jeff had survived they would be my age. I might have crossed paths with them and they reminded me of people I knew.

I saw the finale of that series at the DGA and seeing it on the screen was incredible to see how it transformed.

We really tried to make all our decisions and gave it the production value of a feature. We shot it that way, we cut it that way. It was amazing to see it projected that big. When I see it with a big audience, I get the equivalent to stage fright.

Interview: Daniel Minahan On Directing ‘American Crime Story:Versace’

How the Cast of ‘Assassination of Gianni Versace’ Followed a Killer’s Spiral Into Madness

dcriss-archive:

Most scientists estimate that the giant molten ball in our sky has another 5 billion years left to power life on earth. But for a coterie of fashion fans and one spree killer, it was vanquished on a July morning in 1997, when Gianni Versace was found dead, splayed on a South Beach sidewalk.

“He was the sun in an entire universe. When he disappeared, a void was created and everything collapsed,” Édgar Ramírez said of the celebrated fashion designer. Ramírez plays the loud visionary in FX’s limited series “The Assassination of Gianni Versace: American Crime Story,” a meditation on homophobia and shame, and producer Ryan Murphy’s second installment in a franchise kicked off by the Emmy-winning “The People v. O.J. Simpson.”

Based on Maureen Orth’s true-crime tale “Vulgar Favors,” the series seemed like typical Murphy fare at first glance: an Oscar winner in a campy role (Penélope Cruz as Donatella Versace), the flashy backdrop of high fashion and plenty of male flesh parading on screen as the series looked at the tense politics of sexuality in America.

But by the end of its nine episodes, viewers got an unexpected education in killer Andrew Cunanan and the factors that led him to slay five people while evading a three-month manhunt. Instead of runway shows and Naomi Campbell cameos, writer Tom Rob Smith (BBC’s “London Spy”) introduced us to the unfortunate men drawn to Cunanan. And he did so in reverse, opening with his most famous victim and backing us through the previous crimes.

We meet sugar daddies, repressed soldiers, closeted gay men shut out by immediate family — all of them entwined with a pathological liar who morphed into a new version of Andrew (or any of his numerous aliases) by the minute.

“Maureen does an excellent job talking about this in her book, how everything that happened was a perfect storm of so many unfortunate things,” said Darren Criss, who plays Cunanan.

Keep reading

How the Cast of ‘Assassination of Gianni Versace’ Followed a Killer’s Spiral Into Madness

Ricky Martin On Life After Gianni Versace’s Death: “We Still Deal With Homophobia”

I think it’s not how he died, it’s why we allowed it to happen,“ Martin tells THR on Versace’s death.

“At this point in my life, I need to tell stories that make a difference,” Ricky Martin told The Hollywood Reporter In Studio on portraying Antonio D’Amico, the partner of the late Gianni Versace’s in FX’s American Crime Story: The Assassination of Gianni Versace.

The star made his return to acting with the Ryan Murphy drama and developed a connection with the real D’Amico. “He was very generous and he would tell me everything that he was feeling.”

“I was working with Ryan [Murphy], incredible directors, great writers and, of course, an incredible group of actors that were there with me at all times, so all I wanted was to talk on behalf of those that aren’t being heard,” he said. “Unfortunately, nowadays, we still deal with homophobia and I think it’s not how he died, it’s why we allowed it to happen.”

Through his career, Martin hid his sexuality from the public in fear that it would destroy his career, but he shared the special lesson he learned from Versace himself.

“He was being brave enough to come out of the closet and to introduce his partner in public. I tell you this and my heart sped up because I went through the same thing as a closeted gay man,” he explained. “Do you know how many lovers I had that I hid from the public that I did not allow anyone to see because I was afraid?”

He continued, “Gianni Versace went through the same thing as well and for me, that was a lesson. You have to be strong, you have to be brave, you have to be yourself and you have to be proud of who you are and not be afraid.”

Watch the interview above to also hear Martin rave about working with Penelope Cruz and his fear of living in Miami Beach at the time of Versace’s death. | 15 June 2018

(Source: https://www.youtube.com/)

Parity Takes Center Stage at Variety’s ‘A Night in the Writers’ Room’ Drama Panel

Write-producer of “The Assassination of Gianni Versace: American Crime Story” Maggie Cohn was glad her experience on the FX anthology series “gave me the opportunity to work on a show I think normally would have been staffed predominantly by men. I had the opportunity to work on a show with male characters and a male point of view and have my femaleness not be a problem, which I think is important moving forward, that women are not relegated to working on shows just about women, female problems, and mothers.”

Parity Takes Center Stage at Variety’s ‘A Night in the Writers’ Room’ Drama Panel

Daniel Minahan Reflects On “The Assassination of Gianni Versace: American Crime Story”

LOS ANGELES – Daniel Minahan has known Ryan Murphy since the mid-1990s. Both were journalists in L.A. at the time and were starting to pen prospective narratives for TV and film. Murphy went on to be a prolific and lauded TV series creator (Nip/Tuck, Glee, American Horror Story, Feud), winning four Emmys and nominated for assorted others while Minahan established himself as a producer and director, becoming an Emmy nominee in the former capacity for Outstanding Drama Series on the strength of House of Cards (season 5). Minahan’s other credits include serving as EP and showrunner of Marco Polo and directing episodes of such series as True Blood, Six Feet Under, Homeland and Game Of Thrones.

Yet as their careers progressed, Murphy and Minahan’s professional paths hadn’t formally crossed–until the true crime anthology TV series The Assassination of Gianni Versace: American Crime Story (FX) brought them together, as EPs/directors. Minahan directed three episodes, including the finale and “House by the Lake,” an installment submitted for Emmy consideration in directorial achievement.

When first presented with The Assassination of Gianni Versace, Minahan said he felt “very connected” to the material. “I thought it was brilliant and it was in a time period I know something about. I grew up during that time. It was a story I felt that I could really bring something to. and there was the additional attraction of working with (EP) Brad Simpson again. He worked on one of my first features.”

Minahan had the advantage of getting to work on The Assassination of Gianni Versace from the very outset. “I was there while Ryan was shooting the first hour. I picked up the atmospheric stuff in Miami, got to know the crew and saw the style of what Ryan was establishing. What I found as I began directing was that the work took on a life of its own. Each episode is almost a standalone piece, with the show spanning different genres.”

“House by the Lake”
Minahan described “House by the Lake” (episode 4) as “a psychological thriller” in which Minneapolis architect David Madson (portrayed by Cody Fern) is forced to go on the run with Andrew Cunanan (Darren Criss), the man who murdered at least five people, including fashion designer Versace, Madson, and Chicago tycoon Lee Miglin. “This episode had a really intense emotional through line,” assessed Minahan. “To me, it’s sort of where the show begins to explore deeper themes of hate and homophobia. We get into the core of the series through the eyes of David and Andrew.”

The inherent challenge throughout the show, continued Minahan, was “depicting real people’s lives, particularly the victims.” This necessitated Minahan having to maintain a delicate balancing act between his role as a dramatist while still honoring these real-life characters. “It was important to me that the show be compelling and that people would want to follow our story, but at the same time we had to be respectful of the victims as individuals as well as their families. I feel we told the story in a way true to the lives of these people.”

There was also painstaking research to accurately depict the events. For example, Cunanan’s first murder victim was Jeffrey Trail (Finn Wittrock) with Minahan and his compatriots turning to forensic photography and police reports “to imagine the blocking of the crime and where it took place.”

Perhaps the biggest creative and logistical challenge of the show, though, was its casting which extended far beyond the principal performers. There were more than 200 speaking roles. Minahan related, “It took a lot of energy to find the right actors. Our casting people were spectacular and tireless. A lot had to be done on tape, with my trying to meet in person those considered for the more important roles. One of the hardest to cast was Andrew’s mother, Mary Ann.” Ultimately Minahan gravitated towards Joanna Adler, a well-respected New York theater actor, for that challenging role.

As for the biggest takeaway or lesson learned from his experience on The Assassination of Gianni Versace, Minahan observed, “I’ve been working closely, shoulder to shoulder with the crew, executives, creatives and showrunners on the last five shows I’ve done. The major takeaway for me moving forward is I want to create a family like the family that Ryan has created at Ryan Murphy Productions. When you reach a certain level, there’s the expectation that everyone brings their most excellent work to the show. But beyond this, Ryan’s company has a respect and familial quality for its people. You feel safe, protected. There’s loyalty. You have the feeling you are doing something important. It’s still a series. It’s still entertainment but there’s a greater sense of purpose and significance to the stories you tell.”

Daniel Minahan Reflects On “The Assassination of Gianni Versace: American Crime Story”

‘Versace,’ ‘AHS: Cult’ and ‘9-1-1’ composer Mac Quayle explains how he scores so many shows at once [EXCLUSIVE VIDEO INTERVIEW]

[…] Compared to the low-key score that accompanied “The People v. O.J. Simpson: American Crime Story,” the “Versace” sound was deliberately grander and baroque, befitting the tone of the show and the subjects involved. “’O.J.’ was a lot more subtle. We tried to do it more grand at first and it didn’t work. We went back and said it needed to be more subtle,” Quayle revealed. “There was a lot of discussions about the sound for ‘Versace.’ The murder took place in ’97. A lot of the backstory is in the decade before that. There were scenes in nightclubs, there was this creepy serial killer, there was Versace’s love for opera. When we latched onto the sound, I then started calling it if Giorgio Moroder was scoring ‘The Silence of the Lambs’ in an Italian villa.”

When it came to the theme for Versace’s (Edgar Ramirez) murderer, Andrew Cunanan (Darren Criss), Quayle concocted a piano melody before folding in a screeching, haunting horn sound — an aural symbol of his twisted mindset.

“For such a creepy sound, it ended up with a very friendly nickname around post-production. It was ‘The Seagull’ sound. I was hunting around and going through some weird sample libraries and I just came across this — I can’t even tell you what it is now, where it came from,” Quayle said. “All of the sudden, it’s like, ‘OK, there’s Andrew’s creepy mind.’ It had different levels of intensity. It could be really just screaming, very creepy and then a little more subtle, sort of in the background, just adding into the melody, so it was a fun little texture to add.” | 14 June 2018

(Source: https://www.youtube.com/)

‘Assassination of Gianni Versace’ Writer on Adapting David Madson’s Murder

The subtitle of the second installment of “American Crime Story,” “The Assassination of Gianni Versace,” emphasized Andrew Cunanan’s (played by Darren Criss) most infamous murder, but writer Tom Rob Smith was determined to not overlook the killer’s other victims in his adaptation of Maureen Orth’s nonfiction book “Vulgar Favors: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History.”

With a Friend Like This…

Cunanan’s first murders were close to home. As depicted in the fourth episode Andrew snaps and ambushes his friend, Jeffrey (Finn Wittrock), much to the horror of former boyfriend, David (Cody Fern), who becomes his second victim.

“There is a difference in tone and in the way Andrew saw [those] murders compared to [those] of Versace and the others,” Smith says. “It’s someone who has had a nervous breakdown, in effect, who crumbled to nothing — who is full of loathing in his life, and is lashing out at the two people who he feels have drifted from him. Once he crosses the line, he thinks, ‘Now that I’m a killer, what should I do?’”

With these two killings Andrew’s potential future life collapses, Smith says.

Orth’s reporting was vital for Smith’s research and gave vital insight into the real-life mindset of everyone as it was happening. Smith credits Orth’s book with helping to establish how “American Crime Story” would handle David’s death, which occurred after Andrew coerced his ex to go on the run with him post-Jeffrey’s murder.

“What Maureen’s book did was go to the family, and their grief, after describing his death,” Smith says.

Drawing Out the Death(s)

Smith took great pains to make David’s final moments on-screen appear as close to reality as possible (replicating the lake, tall grass, and the home nearby that was evident in crime scene photos), but because the murder itself “would have taken a couple of seconds.” Smith lingered on the moment.

“Clearly, we don’t know what went through his mind in those few seconds, but I really wanted to contrast Andrew, and it became about the love of his family,” Smith says.

Though the show would quickly reveal these are David’s final thoughts, “it was about trying to take that part of the book, which deals with the grief of the family, and put it into that moment, so it didn’t become a series of mechanical facts about the murder,” Smith says.

To give the proper respect to the other deaths, Smith’s limited anthology series jumped around in time, starting with Versace’s (Edgar Ramírez) homicide, and then backing up to show what led to it.

“The other murders aren’t just a prelude to the thing that everyone knows,” he says. “The format was a way of increasing their weight in the structure of the story, and not make them just look like they were a stepping stone on the way to a thing that everyone knew. These victims, who had been given no attention, were incredible people. To be able to pull their story into the light was sad, rewarding and emotional.”

‘Assassination of Gianni Versace’ Writer on Adapting David Madson’s Murder