House of Spoils star Ariana DeBose explains ‘the Blumhouse technique’ she learned for horror

Following a Fantastic Fest preview of Amazon Video’s lush, intense horror film about Amazon Video’s culinary crisis House of pamperingstar Ariana DeBose said something intended to make any fan of horror-focused media powerhouse Blumhouse sit up and remark: “I had never done anything in this genre before. I didn’t quite understand that we were making a Blumhouse horror. (…) And when I started making it, I realized: Oh! There is a technique for this!”

DeBose is the Tony-nominated Broadway singer and dancer who won an Oscar for her role as Anita in Steven Spielberg’s 2021 Westside story remake, and then starred as Asha in Disney’s Wish. As she noted in that Q&A, she’s not known for her horror projects, so she discovered the “Blumhouse technique” for House of pampering was an exciting experience. The film, about a chef who tries to launch her own haute cuisine restaurant on what turns out to be a haunted estate – think season 2 of The Bearbut featuring angry ghosts, witches and/or witch spirits – now streaming on Amazon.

Polygon spoke with DeBose just before the launch of DeBose House of pampering to talk about horror technique, playing a character with no name, why Top chef gives her anxiety, and why she has no ambition to be Tom Cruise.

Polygon: During the Fantastic Fest Q&A you mentioned learning “the Blumhouse technique” but didn’t go into detail. What did it take for you to figure out how to do things differently for a horror film?

Ariana DeBose: I think there’s an art to building anticipation and dread in a film, and there are certain tactics you can use in the context of playing a scene where you draw things out in a way that feels very unnatural . As an artist, I’m playing a human, so my first instinct is always: What is the very human version of this scene? There were times (op House of pampering) where I was like, Oh my god, I’m walking down this hallway and it takes seven minutes. Is this actually effective? Then at various times it occurred to me that: Well, now my arms feel frozen.

So it was interesting, the self-doubt that arose in those moments. But (I realized) the art is about drawing things out, and the craft is about keeping it human. I think the simplest things on camera are the hardest: someone says, “Okay, show me how you walk,” and suddenly you’re walking, using the same arm (forward) as the leg. The math isn’t really math!

You said during the Fantastic Fest Q&A that this role felt unusual because you weren’t singing or dancing. If you dance along Hamiltonyour timing is so choreographed to the music. Are you thinking about movement and pacing in other films? Or was that specific to the horror element here?

It was specifically for this! I have such an extensive dance background, and dance and music are a completely different world to me. It is his own language. I speak dance and music very seamlessly that way. So I have absolutely no fear when it comes to picking up choreography, timing or musicality, or shifting the timing of the musicality on a dime. That is very intuitive for me, and it also brings me a lot of joy, finding a different color in music and dance. It’s a lot of fun.

Where did you find the fun in this film? What was the highlight for you?

This movie played a lot in the dark for me. In the process, I came to realize that I was part Method while making this film. I don’t know if that was much fun, full disclosure! (laughs) I’ll try to stay away from Method acting – I don’t know if that works for me.

The fun for me was working with these people. You know, we shot this film in Budapest and our crew was predominantly Hungarian, so it was a real opportunity to build a world with people who don’t necessarily come from the same walks of life. So it was very perspective-opening for me to see and experience filmmaking through their eyes.

It was also the first time I was at the top of the call list. So I quickly realized that I did have an influence on the energy of a set, and that kept me on my P’s and Q’s. It didn’t matter if I still felt Chef’s emotions – I wanted to act responsibly for the people on set, and try to be a positive entity and help find solutions when there were challenges. That element was very joyful for me.

As you just noted, this is a character whose name we don’t know. No one calls her anything other than ‘chef’. What were the conversations like with the directors about why it was important that she had no identity outside of her work?

It was one of the first things we talked about! I found it so fascinating. They asked me, “Do you think she needs a name?” And I said no. They said, “We don’t think so either.” The reasoning we ultimately arrived at was that this is a person who is completely defined by her work. The moment you meet her, there is no work-life balance, there is only work. I actually found that very recognizable.

I think it’s probably a commonality not with all, but with many ambitious people. It’s very tunnel vision, very focused on performance or excellence. It told us a lot about who she was and her psyche. This isn’t someone you see a lot with friends. If it doesn’t have to do with food or excellent technique, or achieving the goal of starting the restaurant, you don’t see her doing it. I thought that was the most important thing for the story.

We’ve seen such a boom lately in reality shows, fiction shows and films about culinary aspirations. Are you a fan of something specific in this area? Is there anything you love and watch? House of pampering?

I’m a fan of it The Bear — I actually ruined the first season, from the point of view of: I want to make sure the script I’m reading is correct (is not a knock-off). I’m never interested in duplicating or recycling anything. I’ve seen quite a few cooking shows. I enjoy it Top chef – it gives me a lot of anxiety, but I also love that there is art in it. But I think the culinary arts as a whole tend toward high drama, especially in the unscripted world. It is honest and raw and not always pretty. It’s always a quest for excellence and being the best, creating the best food and the most beautiful food, and creating a great environment.

Such high expectations are almost unattainable, and watching people strive for that is great content. I have so much respect for all the people in that particular workforce after making this film because I realized how much effort, determination, resilience and ingenuity it takes to execute at that level. And there is also so much care and heart.

These are people who are really trying to provide people with an experience, a service, food and nutrition. Food brings people together. It’s not just about making money, you know what I mean? So now when I go into a restaurant, if I haven’t done so before, I walk in with a whole lot of grace and gratitude for the moment that I get to be there, because of the wonderful, hard work of these people.

You also mentioned at Fantastic Fest that you had to shoot a stunt for this film, which was a new experience for you, and you were very excited about it, but it was cut from the film. What was the stunt?

I thought it was really cool, but I don’t think they needed it in the context of storytelling. There’s a moment where Chef comes face to face with the witch, and there’s one of those iconic horror scream shots that I love. And then Chef would have been pulled back by something supernatural, and you would have seen her body go like (mimes flying through the air with their limbs in motion). There was a rope around me and someone was pulling it, and I had to throw my body back and land safely.

I love stunts! I think my dance background and my physicality lend themselves to that. And for some strange reason I’m not afraid of that kind of thing. I’m no Tom Cruise. You won’t catch me hanging from a helicopter! Honestly, mad props, Mr. Cruise. But I’m not going to do that… Well, maybe for the right amount of money. And insurance. Lots of insurance. But I had so much fun doing that, so I’m sad the world doesn’t get to see it. I think it was really cool.

House of pampering is now streaming on Prime Video.