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Tag: Kerry Ehrin (1-3 of 3)

'Bates Motel' finale postmortem: EP on what's next for Dylan, that kiss, and the emergence of a 'dark part' of Norman

The season 2 finale of Bates Motel gave viewers a lot to think about: Is the Norman we knew gone for good? Will Dylan take over the drug trade? And what was up with that kiss?!

We caught up with Executive Producer Kerry Ehrin to dissect the finale — kiss included! — and what that ending means for Norman Bates’ journey. Check out our chat below: READ FULL STORY

'Bates Motel' postmortem: EP on Norman's memory, Dylan's [spoiler!], and 'burning flame' between Norma and Romero

Spoiler alert: If you haven’t watched the penultimate episode of Bates Motel season 2, stop reading now!

Just when you thought Bates Motel couldn’t get any creepier, they went and put Norman in a box full of bugs. However, that box ended up being a lot more than just a holding place. It was the place where Norman finally remembered his night with Blaire Watson.

So what comes next for the nice kid with a dark side? Or what about his brother, who just killed the leader of the town’s biggest drug family? We caught up with Bates Executive Producer Kerry Ehrin to talk about what exactly happened in that box, Dylan’s journey, Norma’s chemistry with Sheriff Romero, and more: READ FULL STORY

'Bates Motel': Freddie Highmore on playing a young Norman: 'People will probably start hiding the kitchen knives'

Poor Norman Bates (Freddie Highmore). He’s a teenager being forced to move to a new coastal town under the watch of his imperious, entrancing mother, Norma (Vera Farmiga).

Oh, and they’re buying a motel.

These are the bones of A&E’s Bates Motel, a 10-episode “prequel” of Alfred Hitchcock’s Psycho from Carlton Cuse (Lost) and Kerry Ehrin (Friday Night Lights) that fills in the boyhood details of Norman, long before he began wielding a knife. The result is a razor-edged psychological thriller powered by uncertainty: What’s the deal between Norman and Norma? What’s the deal with the town?

It was that quality that attracted Highmore to the project: “You’re trying to discover what goes on inside their minds, what makes these characters tick and what side of the line does Norman and Norma’s intimate relationship fall?” he says. “And I liked the way that things are kind of suggested and hinted at as opposed to being too explicit.”

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