Expect Norma and Norman’s Relationship To Change More In Season 4 Of Bates Motel - On Edge TV
The relationship between Norma Bates and Norman Bates. Norman was Norma went to see Dr. Kurata alone and asked for advice on how to handle stress. The series finds ways to squick you out just by how it places two actors On Bates Motel, Norman is just 18, but he's already beginning the There's a weird chasteness to their relationship that the show weaves around you. Another thing Bates Motel established right off the bat was how they wanted to represent Norma and Norman's mother/son relationship. We can.
This was first pitched to me at Universal, where I had, and still do have, an overall deal, and Russell Rothberg brought it up in a general meeting. Universal had the rights to Psycho, obviously; I think there was a script that had existed that Anthony Cipriano had written, and they wanted to develop it. He had just come off Lost, and they put us together.
That's how it started. Carlton and I, really from our first meeting, had a very similar idea of what the show should be, or how it could work as a show.
What personally attracted me, and I think Carlton as well, is telling a story about a mother and a son that was complex. I had grown up in a certain amount of dysfunction — I mean, I love my family and everything, but it was emotionally chaotic, and the idea of codependence was very interesting to me, because it gets a bad rap!
That was a story I had not seen told, and I was very interested in telling that story. Was it tough to take what we knew of Norman Bates and invent this whole back story that in certain ways would dovetail with what had been established? Honestly, that was not the hard part to me, because I kind of live in that world of characters and psychology and what makes people tick. It was like a great algebra equation! It was more like, what psychology and what combination of psychologies between him and his mother, combined with experiences in his life, gets you the sum of Norman Bates from Psycho?
It was really more fun, I would say, than hard.
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I think the hard part of the show has always been that it's about two people, and to get fifty episodes out of a show about two people, you have to have story engines. Creating the story engines that were the crime stories was the more challenging part.
The writing about just the crazy, dark but beautiful relationship between these two people was always honey to me. That was the great, easy, luscious part of it. As you were developing the show, how much attention did you pay to the films?
Who he was as a person.
That he was so likable, he wanted to please, that he was incredibly lonely. When you watch that movie, I have an instinct, I want to save him, and those were the things that I just carried in my heart and my brain then, when turning to creating the world with Carlton, to infuse those things into the world we were creating.
Did you ever see the sequel films? You know, I tried watching the sequels right after I had agreed to do the show, and I had, honestly, a cold sweat panic watching them, because I was not into them. Truthfully, this was a scary job to take on, because there are so many ways it could be horrible!
There are so many ways you could do it badly, or wrong, or it could be cheesy. It could be redundant. It could be trying to be the movie. Really, it was a scary thing to take on, and both Carlton and I felt that way, but at the end of the day, having the opportunity to use Psycho as a Trojan Horse, and tell the story about this codependent love relationship was too seductive to me.
And I think a lot of the season is about untangling all the layers of the relationship that he has with Norma, and also with Dylan, his son.
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This season we saw her hook up with James Finnegan and a number of long due romantic encounters with Romero but no final commitment. She yearns for that. There are a couple of good potentials this season. We may or may not be talking capital R romantic.
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Kerry and I have a pretty clear roadmap. We have a pretty clear plan of where we want to go, and we want to bring this story to its inevitable conclusion. Returning to his old feelings, Norman becomes enamored with his former fling and plans to run away with her. However, his plan is quickly turned down by an alarmed Norma, who doesn't want to see his son leave town with his blackouts becoming more and more of an issue.
On their way out of town, Norman and Bradley pull over and his alter ego comes out to play, dragging Bradley out of the car, bashing her head in repeatedly on a rock.
It's absolutely brutal to watch, but too good to turn away from! He notices that this is also a very sad time for Norma, as her marriage to Sheriff Romero is on the rocks and he doesn't want to put them in harm's way anymore. Unfortunately, the gas only did its job on one of them, as the heartbroken sheriff discovers when he comes home to Norma—to find that she has died. We Heart It Their bond was undying and we mean that in every weird sense that you can imagine it.
After Norma's death which he had planned to be his death as wellNorman does a number of creepy things that are pretty surefire to make you feel worse about things—yet, they all seem to help him deal, which is creepy and a little funny.
He throws a funeral for Norma and invites no one else even her other son, Dylan, has no idea Norma has died. And then, he simply cannot take living in that house alone without his "mother," so he goes to the cemetery and literally digs her body up, drives her home and lays her to rest on their couch, where they've shared plenty of movie nights and snuggles over the years.