How do you breathe life into a character whom audiences identify as nothing more than a corpse sitting in a basement?
Ask Vera Farmiga, the star of A&E’s Psycho prequel, Bates Motel. The actress plays Norma Bates, who became a Hollywood horror icon in Alfred Hitchcock’s 1960 classic. But in Psycho, Norma is never seen—alive, that is—though she’s often heard inside the head of her deranged serial-killer son, Norman.
Praised by many, Farmiga’s performance in Season 1 earned her an Emmy Award nomination for Outstanding Lead Actress in a Drama. “It’s the most powerful form of encouragement,” she tells The Daily Beast. “I know that the category is cutthroat, and there are a lot of deserving women. It’s so darn special.”
Says series producer Kerry Ehrin of the nomination: “It is very deserved. She blows your hair back on a daily basis.” And Carlton Cuse (Lost) echoes his producer partner, saying: “I’m glad she did get the nomination, because if she didn’t, I would literally be holed up on the floor someplace in depression.”
If you’ve seen a single episode of Farmiga as the modern-day Psycho’s mom, you know what all the fuss is about. Equal parts compassionate and neurotic, Farmiga plays Norma with an intense level of adrenaline. She murders rapists and hides their bodies, finds a dead man she used to sleep with in her bed, deals with the surprisingly never-ending list of Norman’s female admirers, and defends her son to the bitter end, her end—all the while looking smoking hot in a pair of 1950s pumps and an apron.
“It’s so rare to encounter in female characters this level of complexity,” says Farmiga, who compares Norma to her son’s Legos: “He wants the imperial shuttle with the double rotating doors. Norma Bates is the imperial shuttle.” But according to producer Cuse, it’s just as rare to find an actress like Farmiga to take on the powerhouse role. “Vera was someone we always wanted for the show, but in television you don’t always get lucky and get your first choice, especially when your first choice is an Academy Award–nominated actress,” he says. “She just killed the part.”
Like Norma, Farmiga is a mother who uses her real-life circumstances to fuel her performance. “In the [Psycho] house, if you look around, there are photos of my own children. There’s photos of my daughter, Gytta, and my son, Fynn,” she says, a wide smile forming on her lips. “It’s such an emotional role. We do take after take. It’s such a rapid pace that sometimes it just takes a glance at a certain photo, and it puts me in this real place of compassion.”
Compassionate, however, is a word few would use to describe Norma Bates. Playing a character historically blamed for her son’s illness, Farmiga feels a distinct need to shift viewers’ perceptions of Norma. “She comes with a lot of projections onto who she may have been, and assumptions, but really she’s just a pile of bones,” she says. “I’ve been appointed by Kerry [Ehrin] and Carlton [Cuse] in her defense to present to the jury and the audience a completely different notion of who she is.”
With Vera’s emotion-packed, high-anxiety performance, we just might buy it.
Nestor Carbonell (Lost), who has jokingly described his character on Bates Motel as “an ageless sheriff with guyliner,” went out of his way to sing Farmiga’s praises at the show’s Comic-Con panel in July. “She rarely goes into her trailer and is one of the most giving actors I’ve ever worked with.”
“I really hope doing however many seasons we do it, the audience will grow to adore her, respect her, and root for her, even though she reaches her demise.”
Freddie Highmore, who plays the emotionally distraught teenage Norman and shoots nearly every scene with his on-screen mother, offers similar praise. “She’s great, isn’t she?” he says. “She’s brilliant. I’m very lucky to have worked with her. I’m so lucky to be able to act opposite of her almost every single day. She constantly brings new ideas and keeps you on your toes. She’s always alive on set.”
But fans of the 1960 original—that is, practically everyone who has or hasn’t seen the film—know that one day Norma must meet her end. Farmiga is aware of the conflict. All good things, even genre-defying performances, must come to an end. “I really hope doing however many seasons we do it, the audience will grow to adore her, respect her, and root for her, even though she reaches her demise,” she says. “This character is a real roll-up-your-sleeves job. I really, genuinely approach the character with the utmost integrity.”
Bates Motel won’t return for its second season until 2014, but Farmiga already has us anticipating what’s to come: “I just finished Episode 3, and the complete unexpected has come my way. I wish I could share it with you. I can only tell you that I am terrified. The actor’s challenge for me to do what I need to do is something I did not anticipate. It’s a zoo. It’s a real zoo.”