MOVIE/ MINISERIES & REALITY ISSUE

Emmy’sMeltingAppropriate AdultGlamour Movies,Epic Miniseries &Reality SubculturesBy Christy GroszPotMOVIE/MINISERIES& REALITY3ISSUEIf anything ties togetherthe longform and realityEmmy races, it’s that they couldn’t be more different from eachother. While movies and miniseries – once watercooler programmingthat generated huge ratings – have dwindled to the point that theyno longer warrant separate voting categories, reality as a genre hasproliferated into so many subsets and subcultures that the Academyof Television Arts and Sciences has a difficult task in comparing them.However, the same constant evolution of programming that keepsthe TV Academy revising and honing its rules on a regular basisalso gives viewers what they want when they want it.American Idol Sherlock Deadliest CatchSteve Buscemi steps into the lead as ‘Nucky’ ThompsonOn the longform side, westerns were considered mustyold chestnuts until Broken Trail took home an Emmyin 2007, making horseback hot again and cuttinga dusty path for this year’s blockbuster miniseriesHatfields & McCoys. And let’s be honest, havingactors like Julianne Moore in Game Change andNicole Kidman and Clive Owen in Hemingway& Gellhorn keeps the glamour quotient high for anyawards race.In terms of reality, who would have thought even adecade ago that there was room for more than ahandful of reality-competition series? Now talentshows include everything from RuPaul’s DragRace, where drag queens have to be good at sewing,lip-synching, marketing and acting to get anywhere, toThe Glee Project, where hopefuls compete for a spoton the hit Fox series.The HourDancing With the StarsTitanicFor viewers not interested in singing and dancing,there are so many shows about cooks in the kitchen,pawn shops and dangerous jobs that there’s bound tobe something that grabs the attention of even the mostdismissive audience member.Hatfields & McCoysPage EightThe Amazing RaceYes, many worthy movies and miniseries won’t getdeserved Emmy noms going forward because of thecompressed categories, and not every reality seriesmeets the standards the Emmys have come to embody.But what’s heartening for anyone who loves televisionis that the 60-year-old medium is still creating excellencein programming.Awardsline has, once again, assembled some of themost knowledgeable experts in the business to providea detailed look at this year’s movies and miniseries andreality races. Read carefully and continue digging intothose piles of screeners – ballots are due June 28!

06EMMY AWARDS PRINT EDITIONS 2012

American Horror StoryGreat ExpectationsFiveGame ChangeHemingway & GellhornAppropriate Adult The Hour LutherMAYBESAppropriate Adult (Sundance Channel)Case Histories (PBS)Five (Lifetime)Moby Dick (Encore)Neverland (Syfy)Scott Turow’s Innocent (TNT)The Song of Lunch (PBS)The Space Between (USA)LONG SHOTSBag of Bones (A&E)Birdsong (PBS)Certain Prey (USA)Drew Peterson: Untouchable (Lifetime)Firelight (ABC)Have a Little Faith (ABC)Magic Beyond Words: The J.K. Rowling Story (Lifetime)A Smile as Big as the Moon (ABC)Treasure Island (Syfy)Emmy Movie/Miniseries Title Bout:Will PBS K.O. HBO?By Michael Ausiello and Nellie AndreevaGame Change is more than just the name of the polarizing HBO picturethat’s the frontrunner to take home the 2012 Emmy in the now-mergedmovie/miniseries category, it’s also the underlying theme of the whole race.Until last year, when PBS’ Downton Abbey pulled off an upset, HBOprojects had taken the gold for nearly a decade. Suddenly, it seemed likeanything could happen – and it did. Downton’s move to the drama seriescategory makes the movie/mini derby an HBO-vs.-PBS free-for-all.Thanks to Game Change – as well as the marquee value of Hemingway &Gellhorn – the cable network would appear to have the edge. But there’sa growing sentiment that no potential nominee or winner is more deservingthan PBS’ Sherlock. For now, however, whether that stellar underdogwill score a nod, much less a win, remains a mystery. Another potentialspoiler: FX’s rookie anthology American Horror Story. And with itsrecord-shattering ratings, along with A-level stars in Kevin Costner andBill Paxton, History’s Hatfields & McCoys solidified its Emmy chances.Here’s our assessment of the field for this year’s made-for-television moviesand miniseries (in alphabetical order) and their stars:AMERICAN HORROR STORY (FX)It has been suggested that Ryan Murphy’s kinkyFX chiller should be competing as a drama series(like Downton Abbey this year), not a miniseries (likeDownton Abbey last year). But the anthological nature ofthe spookfest suggests that it is, in fact, right where itbelongs. In any case, in this less-crowded category, it’smuch likelier to be recognized with a nod. Ordinarily,prior nominees Dylan McDermott (a contender forThe Practice in 1999) and Connie Britton (up twice forFriday Night Lights) would stand a great chance of beingacknowledged as well. But the general consensus is thatif any cast member is going to be singled out, it’s goingto be scene-stealing Jessica Lange (herself a threetimenominee and a winner in 2009 for Grey Gardens,to say nothing of her Golden Globe and SAG Awardsfor American Horror Story).GAME CHANGE (HBO)HBO’s adaptation of John Heilemann and MarkHalperin’s book about the 2008 presidential electioncampaign wasn’t just the movie that had everyone –critics and viewers alike – talking this year, it was themovie that had everyone applauding. That is, with thepossible exception of would-be veep Sarah Palin,played here by Julianne Moore with such uncannyprecision – and at times discomfiting empathy – thatshe’s a shoo-in for a nomination, if not a win. Whoknew anyone could out-Palin Tina Fey? Besides itsleading lady, the movie itself is a lock for a nod, as areits director, Jay Roach (who won two Emmys in 2008for another political HBO movie, Recount) and co-starWoody Harrelson (a six-time Emmy nominee and avictor for Cheers back in 1989).GREAT EXPECTATIONS (PBS)As gloriously bleak as PBS’ adaptation of the CharlesDickens classic was, it flew mainly under the radar– with one notable exception: its Miss Havisham,Gillian Anderson. She was widely considered to betoo young to play the infamously horrific crone. But,given Emmy’s long love affair with the actress – she’sbeen nominated five times and won in 1997 for TheX-Files – it would be a mistake to count her out.HATFIELDS & McCOYS (History)History was poised to make a name for itself in thescripted television realm with last year’s controversialThe Kennedys … until that mini ended up premieringon ReelzChannel instead (It went on to receive 10Emmy nominations and win in four categories). Now,with its star-studded dramatization of the itchy-triggerfingeredfamilies’ feud, History is making another grabfor the brass ring – and for a certain golden statuette.Besides the mini itself, Costner as Devil Anse Hatfieldand Paxton as Randall McCoy look pretty good fornominations. So does Powers Boothe – an Emmywinner more than 30 years ago for Guyana Tragedy: TheStory of Jim Jones. The three-night miniseries no doubtvastly improved its chances by shattering the recordfor the highest rated entertainment telecast ever for anad-supported cable network with 14.3 million viewersin its third installment, and 13.9 million and 13.1million respectively for its second and first nights.HEMINGWAY & GELLHORN (HBO)Perhaps no movie or miniseries in the running thisyear is blessed with more name-in-lights allure thanHBO’s World War II-set drama about the rollercoasterromance of author Ernest Hemingway and his thirdwife, Martha Gellhorn. So it’s all but unthinkable thatthe stars who give the film its star power – Clive Owenand Nicole Kidman – won’t be nominated (If shewasn’t going to be up against Julianne Moore for GameChange, Kidman might even stand a chance of winning,going all Meryl Streep as she does with the husky voiceand non-accent). Director Philip Kaufman – a star inhis own right – is another safe bet. And don’t be surprisedif supporting player Robert Duvall sneaks into theraces: He’s received nods four times as an actor (and fiveoverall) and emerged victorious in 2007 for Broken Trail.THE HOUR (BBC)BBC America’s Cold War-era drama scored not onlyas a nail-biter but also as a pitch-perfect period pieceon par with the likes of Mad Men. In addition, it’scoming off three Golden Globe nominations. So, to putit mildly, it’s looking good for an Emmy nod or two, inparticular for its male lead, Wire alum Dominic Westas the smoothest operator this side of Don Draper.LUTHER (BBC)Though it hasn’t sparked the kind of hoopla that otherBBC America projects have, this dark crime dramadid earn its leading man, Idris Elba, a nod followingits first go-round last year. And, coming off a GoldenGlobe win this year, at the very least he seems like a safebet to receive another Emmy nomination.PAGE EIGHT (PBS)Most of the attention that PBS’ spy yarn has receivedthus far has been focused on its star, Bill Nighy – aGolden Globe nominee for his portrayal of an MI5agent whose discovery of a cover-up paints a targeton his back. However, writer-director David Hareshould be considered a contender as well, not onlybecause of the quality of the film but also because itmarks his first feature-length directorial effort since1997’s The Designated Mourner.SHERLOCK (PBS)Were the Emmys only about quality and not politics,star wattage and network muscle, a win for PBS’ superlativedetective update would be, well, elementary. Onevery level – writing, directing, acting – the episodesubmitted for consideration (the first of Season 2,“A Scandal in Belgravia”) is triumphant. At the veryleast, it – and its Holmes, Benedict Cumberbatch –should receive a nomination (Last year, the show’s onlymajor nod was for writing).TITANIC (ABC)If ABC has a sinking feeling about this effort’s Emmyprospects, it could be because there were more passengersaboard the ill-fated behemoth than watchedthis depiction of its fateful journey. Its only potentiallifeline? The man at the helm, Downton Abbey creatorJulian Fellowes, who bagged two statuettes last year,one in this category and one for writing for a miniseries,movie or special.TVline.com’s Andy Patrick contributed to this analysis.08EMMY AWARDS PRINT EDITIONS 2012

TV AcademyThe same week two of the highest-profile longformentries of the year premiered, the HBO movieHemingway & Gellhorn and the History miniseriesHatfields & McCoys, the Academy of TelevisionArts & Sciences voted to cut in half the movie andminiseries acting categories.Beginning with the 2013 Primetime Emmy Awards,instead of having separate lead and supporting actor/actress fields, as has been the case since 1979, therewill be only one each for male and female actors:Outstanding Actor in a Miniseries or Movie andOutstanding Actress in a Miniseries or Movie. Theywill feature six nominees each, one more than the fivenominees both the lead and supporting categoriescurrently have. That’s in line with the six nominationslots in the Emmy series acting categories.By Nellie AndreevaFurtherMergesThe move comes on the heels of the TV Academy’sdecision last year to merge the best movie and miniseriescategories into one, meaning that all longform Emmycategories have now been consolidated, including writingand directing, which had been merged since the get-go.The cutbacks in the longform categories have coincidedwith a rapid expansion of reality TV’s Emmypresence, and, according to the TV Academy’s seniorVP of awards John Leverence, that reflects the changein popularity of the two TV genres.“Categories align with programming,” Leverenceexplains. “Over the last decade, there’s been anincrease in reality and a decrease in longform categoriesthat corresponds to their primetime presence.”Undoubtedly, the shift is a welcome one for the broadcastnetworks, which carry the Primetime EmmyAwards. The presence of so many longform categoriesduring the main Emmy telecast had long been a boneof contention between them and the TV Academy.Longform Emmy CategoriesSince they have largely abandoned longform programming,broadcasters had been increasingly vocal abouthaving to pay for an Emmy telecast, a substantialportion of which excludes broadcast programming andshowcases programs that few viewers have watched,thus contributing to the telecast’s ratings decline. Theissue was a major sticking point in the most recent renegotiationsbetween the TV Academy and the big fourbroadcast networks last year, which ultimately resultedin a new eight-year “wheel” deal that has ABC, CBS,NBC and Fox alternating in hosting the PrimetimeEmmy Awards.The TV Academy first tried to shift eight categories fromthe live main Emmy telecast to a pre-taped ceremonyin 2009. The eight targeted categories were longformheavyand included the now merged best movie andbest miniseries as well as the supporting actor andactress in a movie or miniseries, which have now beenfolded into lead actor/actress. At the time, the movebackfired and, facing stiff opposition from guilds andcable networks, the TV Academy scrapped the plan.But, just three years later, three of those eight categoriesno longer exist.The consolidation of the lead and supporting actor/actress also represents strategy continuity at the TVAcademy as it is the first major Emmy rule change undernew TV Academy chairman Bruce Rosenblum andfollows up on last year’s decision to merge the top longformcategories under Rosenblum’s predecessor John Shaffner.The ongoing consolidation in the longform arena is badnews for the few remaining networks commissioningsuch programming, led by Emmy juggernaut HBO andsurging PBS. But while HBO’s Emmy trophy chanceswill certainly be hurt by the three fewer longformcategories, the impact could be even greater on smallercable channels that make TV movies, such as Lifetimeand Hallmark, which could be shut out completely.Lifetime’s EVP of programming Rob Sharenowsaid the network was disappointed with the decision.“Movies and miniseries represent some of television’sfinest programming and it is our firm belief the industryshould honor each category separately,” he saidin a statement. “The Academy recognizes lead andsupporting actresses and actors in other genres – asit should. However, the continued consolidation ofthe movies and miniseries categories will unnecessarilydeny award-worthy films and performances fromreceiving their proper recognition.”Veteran TV producer Larry A. Thompson, whoproduced the hit Lifetime movie Amish Grace and isbehind the network’s talked-about Liz & Dick biopicstarring Lindsay Lohan, was more blunt in his reaction:“Merging TV movies and miniseries in any way into onecategory makes sense only to the producers of the Emmytelecast who want to make room for another musicalproduction number from the cast of Glee or haveRyan Seacrest present a lifetime achievement awardto the Kardashian family,” he says. “It is like the MotionPicture Academy merging movies with short films.”The continuing consolidation “certainly disadvantagesthe TV movie, which usually has a substantiallylower production and marketing budget,” Thompsoncontinues. “And in Hollywood, less money means lesseverything – less star power, less production values,less promotion and less respect from the academy. Itwould be possible in any one year for an exceptionalTV movie to win over a weak offering of miniseriesnominations, but not probable. It just ain’t fair.”10EMMY AWARDS PRINT EDITIONS 2012Lifetime’s Liz & Dick could face tighter competition in the 2013 Emmy race.

Taissa Farmiga as Violet HarmonBy Matt Webb MitovichRyan Murphy, who with Brad Falchukcreated FX’s American Horror Story,has but one directive for any TV Academymembers who are iffy about putting theanthology series on Emmy’s short list.Don’t. Be. Scared.Invited to pen an overture to the skepticalvoter, “I would just say to not let the word‘horror’ throw you,” Murphy offers. “Don’tlet it turn you off of something that I feel is areally emotional journey.”Dylan McDermott, one of the Season 1leads, echoes that sentiment, saying thatwhile there might be an inclination to dismissthe miniseries’ maiden campaign as “just ahorror show,” “If you look deeper into it,you realize the scripts and the acting and theproduction value and the veryidea of this is special. If you’rea voter, you really do have totake it seriously and look underthe gloss.”“Yes, it is sort of a horror story,”Murphy allows, “but it’s almosta feminine horror story. It’semotional, and it reaches itsconclusions in a very cool way.”But before we talk conclusions, let’s go backto the beginning.The First Chapter of FX’s ‘American Horror Story’ Miniseries Took the Shortform Thriller to the MaxSCARY GOODSPINNING A GHOST STORYBefore there was Glee, there was abject horror.It was almost four years ago – prior to the debut ofMurphy’s musical dramedy for Fox – when he andFalchuk first batted around the idea for what wouldeventually be American Horror Story. An amalgamationof spine-tinglers such as Rosemary’s Baby and The Shiningand envisioned as a deeply dark exploration of infidelity,the envelope-pushing anthology series revolves aroundBen (McDermott) and Vivien Harmon (ConnieBritton), a husband and wife who, with teen daughterViolet (Taissa Farmiga) in tow, relocate fromBoston to Los Angeles. The move represents a way toescape a difficult couple of years during which Vivienhad given birth to a stillborn baby, and Ben, a shrink,engaged in an affair with a nubile psychiatry student.In other words, it’s really the stuff of any number offractured family dramas, until you add in the extremelyhaunted house into which the Harmons move and therobust roster of restless spirits still residing within itswalls – all determined to lure the new owners to grislyfates not unlike their own.A recipe of copious amounts of Karo syrup, a toothy“infantata” and an ominous figure clad in a rubber suitmight not whip up traditional Emmy bait. But thatwasn’t Murphy’s plan.“I never go into anything with that [intent],” he says.“I just thought that what we were doing was uniqueand original, and I thought that people would reallylove the concept. Then once we attracted the castthat we did – Connie Britton, Jessica Lange, DylanMcDermott, Frances Conroy … Pretty much all ofour first choices and a very sort of cool group of people– I thought, ‘There is something here.’ You can alwaystell if something is fresh if you can attract a certainlevel of talent.”For most everyone in the cast, Horror Story markedtheir first time working with Murphy and Falchuk.And considering what the creators were about to askthem to do in the name of spinning this sometimesunseemlysaga, a frightening amount of trust neededto be earned and bestowed.THE PENTAGRAM OF TRUST“Ryan basically presented it to me by saying, ‘This isgoing to be like nothing you’ve ever done before,’” saysBritton, who came off a five-year run as Friday NightLights’ beloved Tami Taylor. “And not only that, it wasactually going to turn what I’d been doing on its eara bit, going from this wonderful TV marriage to acompletely damaged one.”“Everybody who came onto the show had come offsomething that was very opposite,” Murphy notes.McDermott was best known for his work as an estimablelegal eagle on The Practice; on Horror Story, his BenHarmon crosses many a line (and isn’t above entombinga mistress beneath a gazebo). Conroy had followed upher turn as Six Feet Under’s emotionally stunted matriarchwith light-hearted appearances on How I MetYour Mother; here, she was a housekeeper full ofsecrets (including a younger, vixenish visage, and thenone-too-small fact that she was dead).“I told everyone, ‘Look, this is cable, and I’m interestedin doing the opposite of what I’ve been doing on Glee.I want to push envelopes,’” Murphy relates. “We alljust wanted to do something very bold and risk-taking,so it was certainly a leap of faith.”Lange, meanwhile, was a premiere get, an unlikelysuspect boasting two Oscars, an Emmy Award andfour Golden Globe Awards on her mantel. As a steelmagnolia with a questionable value set, she immediatelyimmersed herself into the role of Constance, theHarmons’ nosy/nasty Southern-fried neighbor.“When we got Jessica,” recalls Murphy, “I felt, ‘OK, thisclearly sends a message that this is an elevated thing.’”However, it’s not a project without vivid jolts of perversity.McDermott, even eight months after the scene firstaired, can’t help but chuckle when he recalls one of thepilot’s more memorable moments.“Any time you have to masturbate and cry at the sametime, you certainly have to have a lot of trust in thecreator and the director – and Ryan, you just naturallytrust him,” the actor notes.That widespread trust in turn fueled fearless performances.“If you question it all the time, you’ll look ridiculous,so you really have to go all in with a show like this,”McDermott attests. “And that’s why people responded.”CHANGED REACTIONSRespond people did. It was last summer when atheater-style screening of the pilot for members of theTelevision Critics Association first got the buzz going.Going in, little was known about the project save for itspedigree, the assembly of on-camera talent and a sliverof plot. (Murphy readily admits, “I didn’t really wantto tell people where we were going.”) Coming out ofthat first look, many were slack-jawed if not at a loss forwords to describe the frenzied first hour.And while some would remain put off by the intensityof the material and/or perceived indulgences ofits auteurs, other opinions would gel over time, as thewhole began to outweigh the sum of its parts.Time magazine, for one, went from pegging AmericanHorror Story as an orgy of “fever-dream melodrama”to touting it as a “compelling turn” on scare fare.Similarly, New York Magazine simultaneously deemedthe series “defiantly absurd”and a “powerful” “allegoryabout worst-case scenarios.”“What I think is so brilliantabout what Ryan andBrad do is that they havea very distinct vision thatis so outside the box. Andthey have a great talent forbringing that into fruition,”Britton says. “Audiences are really drawn to that. Theyappreciate being challenged by something they’venever seen before.”“It’s an interesting show for me,” Murphy muses,“because the reaction to it where we started versus wherewe were when (Season 1) ended was very different.I think people really got on board and ‘got’ what wewere trying to do.”McDermott with Connie Britton as Vivien HarmonDylan McDermott as Ben HarmonWHAT’S OLD IS “BOO!” AGAINThough Murphy and Falchuk labored to hold theircards close to the vest throughout Season 1, lest theytip their hand as to who survives the Harmons’ haunting,their one and only plan from American Horror Story’soutset was to refresh the cast and reset the setting withevery cycle of 13 episodes, thus affording the dramaminiseries eligibility.So whereas in the first go-round, a Los Angeles mansehosted modern-day horror, the second run will beset in the 1960s and at an East Coast asylum for theinsane. McDermott, Britton, TV daughter Farmigaand Conroy are gone, but Lange and other Season1 costars such as Zachary Quinto, Evan Peters,Sarah Paulson and Lily Rabe will be back – thoughas different characters. New arrivals Chloë Sevigny(Big Love), James Cromwell (Babe) andsinger Adam Levine will round outthe revamped ensemble.“Because we are a miniseries, everyseason we can tell a containable story,which I think is a really cool idea,”Murphy enthuses. “I’m having a lotof fun with that.”“It’s exciting,” McDermott says of theseasonal restart, a luxury afforded in large part by HorrorStory’s home on FX. “For network television in general,the numbers are dwindling, and it’s time for a new model– and that’s why cable is thriving. People want to havesomething new, something fresh – and this approach isdefinitely that.”12EMMY AWARDS PRINT EDITIONS 2012

Hell’s BelleHow Jessica Lange Brought Great Things to ‘American Horror Story’s’Not-So-Good NeighborBy Matt Webb MitovichConstance Langdon is not a neighbor youwant to borrow a cup of sugar from, andyou definitely should beware when shecomes bearing home-baked gifts (or, forthat matter, “sweet breads”). And yet asportrayed by Jessica Lange, who cameinto American Horror Story with twoOscars and one Emmy on her mantel, theHarmon family’s oft unwelcome visitor didnot repel but regale us. Thus far, Lange hasnetted a Screen Actors Guild Award and aGolden Globe for her first venture into seriestelevision – will claiming another Emmy makeher housewarming complete?AWARDSLINE: When you first started seeing the AmericanHorror Story scripts, did you suspect the role of Constancecould be Emmy-worthy?JESSICA LANGE: I didn’t really know what to think. Wewere shooting really fast, so I don’t think anybody wasthinking about the outcome as much as the process ofgetting through it. This was the first time I’d ever donethis kind of television – a miniseries – and not being allthat familiar with the world of TV, I didn’t have anyframe of reference. So when the performances startedgetting recognition, yes, it did kind of surprise me. Imean, I knew how good the writing was, and I knewthere was a great deal that I could do with it – it’s a bigcharacter with a huge range of emotions.AWARDSLINE: Given how dicey the subject matter could get, howdid you find the humanity amidst of all this surreality?LANGE: I just paid attention to creating this characterand playing her as absolutely real as I could, in thecontext of all this other stuff. I really didn’t think interms of the overall sweep of the piece or the tone of it.AWARDSLINE: How did doing a TV miniseries shape you as an actress?LANGE: It shifted something profoundly, because thispiece forced me to work in a way I’ve never workedbefore, and that was with complete immediacy – and insome odd way it was very liberating. It forced me to beextremely bold. I couldn’t approach this with any kindof trepidation, and in that way it felt expansive to me.AWARDSLINE: Would you concede that Constance is a despicableperson? Or was she coming from a place of misplaced love?LANGE: Certainly you can look at her actions and saythat she was horrendous. However, in the playing of itI had to find her humanity, and I did that through heremotion and her capacity for love. The fact that it wasso twisted in many ways came out of circumstancesrather than the essence of the character. What I kind ofloved about her is she did not mince words. Sometimes,like when you hear her speaking to her daughter or in ascene with her son, as a mother (myself) I was like, “Ohmy God!” But again, there was something very enjoyableabout playing someone who was no-holds-barred.Jessica Lange with co-star Frances ConroyAWARDSLINE: Because of the intensity of the material, was ita particularly galvanizing experience for the cast?LANGE: I can’t speak for the others, but I know that forme there were moments where it was like, “Wow, I can’tbelieve that they’ve written this!” [Laughs] It’s alwaysa leap of faith. The only thing you can think about is:What are you given to do, and how well do you do it?AWARDSLINE: Was there a past performance of yours thatinformed your portrayal of Constance? Was it Queen Tamora inTitus? Maggie in TV’s Cat on a Hot Tin Roof?LANGE: Certainly there were moments where I felt thatthere were shades of Tennessee Williams – becauseshe’s Southern and because it was about failed dreamsand disappointment, and loneliness. Those themes cropup in a lot of Tennessee’s women – like with Blanche(in A Streetcar Named Desire) or Amanda Wingfield (in TheGlass Menagerie). But that’s really where the comparisonends. Constance’s actual behavior has nothing to dowith any character I’ve ever played before.AWARDSLINE: She certainly stood out in today’s ever-PC climate.LANGE: I thought she was kind of a throwback to anothertime, pre-political correctness, when people said thingsthat would now be seen as shocking. Like some of thedames from the films in the ’30s, hard and roughtalkingbut honest and forthright. Yes, we had sceneswhere what she did was reprehensible and criminal,but there was an element to her I found very refreshing.AWARDSLINE: With the next chapter of American HorrorStory, you have the rare opportunity to create a new character.How will your insane asylum administrator differ from Constance?LANGE: It’s a different time (set in the 1960s), first ofall, and she comes from a completely different background.There’s also different geography (being set onthe East Coast), and that informs a character tremendously.So without giving away too much, I think thereare similarities – they both have a history, and I’mnot entirely stellar! [Laughs] That’s probably wherethe paths diverge. She is very different from what I’veplayed. It’s going to be another wild ride!14EMMY AWARDS PRINT EDITIONS 2012

Kathy Bates and Christopher McDonald in Harry’s LawAnjelica Huston in SmashJaon Allen, Dustin Hoffman, and Dennis Farina in LuckAlec Baldwin in 30 RockFROMSILVER SCREENThey say dying is easy, it’s getting a hit TV seriesthat’s hard. Well, if they didn’t say that, they shouldhave. That’s especially true if you already have a bigcareer in the movies. It is tough out there for thosesilver-screen legends to get arrested on the little screen.Or so it seems.Television audiences like to discover their own TV stars,not have a big movie name forced on them. Oscarwinner Kathy Bates just saw her first series, Harry’sLaw cancelled by NBC after just two seasons, eventhough it was produced and created by TV golden boyDavid E. Kelley. Two-time Oscar winner DustinHoffman and multiple Oscar nominee Nick Noltehad their highly touted HBO series Luck whackedeven before they could finish shooting the second seasonand get any of those episodes on the air. Of course,there were extenuating circumstances on that one dueto the death of racehorses on the set, but the serieswas not racking up big numbers for the pay networkanyway. Rob Schneider may not be a huge film starbut, since his days on Saturday Night Live he hasbeen known mostly for his movie roles. In an attemptto trade in that success for weekly TV stardom, all hegot in return was a quick ax from CBS for his freshmansitcom Rob. Producers thought film star ChristinaRicci would be a big draw for the highly touted andexpensive ABC series Pan Am, but it crashed andburned after a single season, even with Ricci on board.The list goes on and on.Ashley Judd’s first series, Missing, will be permanentlymissing on ABC, which deep-sixed the drama.Christian Slater’s latest attempt at breaking into thelucrative world of sitcoms, fittingly called Breaking In,tanked after getting a brief reprieve on Fox. Hispreviously short-lived NBC series The Forgotten livedup to its title and another, My Own Worst Enemy, failedtoo. Their failures won’t stop others from trying.Kevin Bacon and Dennis Quaid will be among thoseTV-series virgins trying to make the grade next season.Of course, there are those stars who have managed tomake the transition from movie stardom to ratings hits.Glenn Close won a couple of Emmys for Damages,but even that series was kicked to the curb by FX afterlow ratings and had to finish its life on DirecTV. Filmnames like Sarah Jessica Parker and Alec Baldwinhave enjoyed big rewards on the little screen, but theyactually started on television so there wasn’t a big transition.Candice Bergen, Charlie Sheen and Burt Reynoldsall had hit shows, but the latter was a TV name beforebecoming a No. 1 box office star and then returning totelevision when it all faded. Sometimes it is better foran Oscar winner or movie name to tread gingerly intothe world of series TV, maybe toe the line between thetwo mediums such as Anjelica Huston is doing nowin the supporting role of the Broadway producer onNBC’s Smash. And Jane Fonda is going to be recurringon Aaron Sorkin’s upcoming new HBO series, TheNewsroom, which stars another movie name, Jeff Daniels.In this case, it is Sorkin and it is HBO (though that didn’thelp Hoffman or Nolte, and Diane Keaton’s Tilda didn’teven make it past the pilot stage).One seemingly successful and smart way to merge intoTV series without breaking the back of a movie careeris the new trend of guest-star arcs on existing series.It worked famously well for Gwyneth Paltrow, whoeven picked up an Emmy for guest star in a comedyfor her talked-about recurring role on Glee. Andnext year both Parker and Kate Hudson are going totry the same route. Zooey Deschanel has actuallyTO SMALLER SCREENActors Learn It’s Not as Easy as They Thoughtbecome a bigger star than she ever was in the moviesthanks to the first season of her hit Fox sitcom, TheNew Girl. And no one has had a more eclectic ridethan Sally Field who went from TV sitcoms to Oscarwinningmovie stardom, back to a hit TV series inBrothers and Sisters and now back to movies with Lincoln.Some people obviously move easily between the two.And it is much easier to go from TV to movie superstardom.Just look at those stars of past series likeSteve McQueen, Clint Eastwood, George Clooney,Steve Carell, the Saturday Night Live casts andso many others.It wasn’t always so difficult for film actors to becomehousehold TV names. In TV’s early days, it was quitecommon to see people like Lucille Ball, Loretta Young,Ann Sothern, Barbara Stanwyck and many others strikegold in the emerging medium. Even well into the ’70s,actors like Oscar winner Jane Wyman (Falcon Crest) andCarroll O’Connor carved out a nice living in featurefilms. O’Connor abruptly hit pay dirt as Archie Bunkerand then did it again with a hit Oscar-winning movieturned hit TV series, In the Heat of the Night. But moreoften than not, the biggest names in movies just couldn’tmake the same kind of magic on a 20-inch screen.Henry Fonda, Lana Turner, Shirley MacLaine, JudyGarland, Bing Crosby, Anthony Quinn, James Stewart,Richard Widmark and Jerry Lewis are just a few of thenames who flopped when they tried to make the switch.The one area where big movie stars shine on TV is,of course, in movies. This year will be no different ascelebrated big-screen names like Julianne Moore(Game Change) and Nicole Kidman (Hemingway& Gellhorn) will likely compete for the lead actress ina movie or miniseries Emmy – the place movie starsusually prevail. It’s called sticking to what you do best.By Pete Hammond

WilLFailin’ PALINEARNEmmyGlory?Jay Roach with Julianne MooreRoach Forsakes Comedy to Tell the Story of Election ’08By Diane HaithmanJay Roach’s political movies span the spectrum:not from conservative to liberal, butfrom drama to comedy. Likely to be nominatedat Emmy time is HBO’s Game Change,the story of Sarah Palin’s vice presidentialnomination, written by Danny Strong,based on the book by Mark Halperin andJohn Heilemann. Roach also collaboratedwith Strong on HBO’s Emmy-winningRecount, about the 2000 presidential race. ButRoach is casting a vote for comedy with hisAug. 10 feature The Campaign, with funnymenWill Ferrell and Zach Galifianakis astwo Southerners vying for a seat in Congress.He’s also developing a Watergate film basedon the memoirs of the real Deep Throat,former FBI agent Mark Felt.AWARDSLINE: For a series, an Emmy can save a bubble show fromcancellation. What does Emmy mean to a made-for-TV movie?JAY ROACH: Getting noticed by the Emmys for a TVmovie is an even bigger deal. Series are up and runningcontinuously, but a TV movie hits once and runs a fewtimes, and unless it gets noticed, it gets forgotten. OnRecount the awards attention was very good for thatfilm; people discovered it later down the line.AWARDSLINE: It seems like TV is virtually the only place to seefilms about political subjects.ROACH: There was a time in the ’70s when studios weremaking more movies that had more of a political pointof view: The Candidate (1972), All the President’s Men(1976). It doesn’t seem very easy these days to set upthese kinds of movies in the feature world. But I didtalk about this story back during the campaign, evenwith a couple of studio people, before HBO bought thebook. Even before I heard about the book, I was tryingto convince people that being in the room where theymade these decisions would be a really compelling film.AWARDSLINE: The book also includes a lot of information aboutHillary Clinton and Barack Obama. Why did you focus on theSarah Palin story?ROACH: When I found out about the book, at first I wasinterested in making the Obama-Clinton story, which Ithought was great too, but a little more unwieldy. Evenwithout Sarah Palin, the final sprint to the finish linewas going to be a very contained, chronological story.It was a pressure cooker with a ticking clock.AWARDSLINE: You also chose to focus behind the scenes, with verylittle re-enactment of Palin’s speeches and public appearances.ROACH: We had all seen what happens in public. Thereal suspense would come from revealing the pressuresthat campaign managers face, the forces that pulledthem to consider Sarah Palin over (Joe) Lieberman or(Tim) Pawlenty or (Mitt) Romney.AWARDSLINE: Palin’s emotional meltdown as portrayed byJulianne Moore is a revelation. What kind of researchwent into that?ROACH: We talked to so many people, trying to get theright tone. It wasn’t a breakdown; it was just a severeform of stress and pure humiliation. After the film, Ifound even people who definitely weren’t fans of herswere able to relate to her more. Yet I thought it wasthe one thing she would deny – and eventually diddeny. That Katie Couric interview must have been theworst fall in a few minutes of screen time of any politician.I would have been in a fetal position on the floorin a bathroom.AWARDSLINE: There’s now a generation of people who rely onsatirists like Stephen Colbert and Jon Stewart as notonly their first source of news, but also their only source of news.What do you think about that?ROACH: That’s an interesting question, because I’m oneof them. It’s tough to find excellent journalism even oncable networks, which you would hope would be moreindependent. I mean, forget local television – how longago did local television stop being a great place to findout what was going on in the world? I don’t want tode-legitimize it too much; there are some fantastic journalists:Wolf Blitzer, Rachel Maddow. But I often findthat Jon Stewart has it down, and even Saturday NightLive to a certain extent. You can get the news in all itspainful truth, and also get a layer of ironic commentaryon it; you get multiple things at the same time.AWARDSLINE: Is that what you are doing with The Campaign?ROACH: I’m in the middle of it myself, doing a satirical,comedic movie about a campaign where everythingis very pushed, very silly. I’m very anxious about ourpolitical system; the events of Game Change are myanxiety dreams. And yet here I am, trying to get peopleto laugh their asses off. You are the stand-up comic onthe Titanic, which is not necessarily that reassuring.Ed Harris as John McCain and Woody Harrelson as Steve Schmidt18EMMY AWARDS PRINT EDITIONS 2012

PLAYINGPALIN’SBy ADAM BUCKMANFALLSarah Paulson’s done so much acting – onTV, in movies and onstage – that she tendsto takes the ups and downs of an actor’scareer in stride. On the upside, she hadroles in both HBO’s Game Change andFX’s American Horror Story – two highprofileprojects that are both vying for Emmyattention this year in the movie/miniseriescategory (though Paulson’s being enteredonly for supporting actress in Game Change).She’s also looking forward to an expandedrole in Season 2 of American Horror Story.But on the downside, a recent part on a seriesshe hoped would further burnish her resumenext year was stopped dead in its tracks. Shehad just begun filming episodes for theHBO horse-racing drama Luck whenthe series was halted in March afterthe deaths of horses during filming –probably the first time a TV show hasbeen cancelled for that reason.“If I’ve learned anything in thisbusiness for as long as I’ve beendoing it, I do know that anythingis possible,” she says of Luck.“Anything can happen.”One thing that’s neverhappened for Paulson: AnEmmy nomination. Butthis year, she might just getlucky, thanks to Game Change,the HBO movie based on thebook by Mark Helperin and JohnHeilemann about the 2008 presidentialcampaign. Paulson played Nicolle Wallace,a senior advisor to the McCain-Palincampaign among whose duties was preparingSarah Palin (Julianne Moore) extensively.GIRLShe’s Been a Psychic and a ‘Deadwood’ Spy,but in ‘Game Change’ the Pliable PaulsonVies to Save the Running Mate’s FaceGame Change is just one of the many diverse,eclectic roles in Paulson’s credits whichinclude Aaron Sorkin’s drama Studio 60on the Sunset Strip and David Milch’sDeadwood (he was also co-creatorof Luck). In the acting community,Paulson is what you might call anactor’s actor. She is versatile, highlyrespected and well-connected.AWARDSLINE: How did you land the role?SARAH PAULSON: I went in very late in the (audition) processand made a tape with David Rubin, the casting director,and they were minutes away from casting someoneelse, so I thought I didn’t have a chance in hell. GaryGoetzman, who’s the producer (of Game Change) atPlaytone, was very much a fan of mine. The story wastold to me later that (Goetzman) said to (director) JayRoach, “Just before we make this other offer, let’s seeSarah Paulson’s tape. I just have a feeling about it.”And I made the tape in the morning on a Tuesday orsomething and by the next afternoon, I had the offer.AWARDSLINE: How does this movie compare to everything elseyou’ve done?PAULSON: Sometimes you get jobs and you think, “Howdo I find my way into this character?” But somehow Iwas Nicolle Wallace and because of Danny Strong’sscript, there was so much on the page that was so clearabout who she was … Partly because I have the responsibilityof portraying a real person, I felt very connectedto her. In that responsibility, I tried to make her ashuman as possible because I was playing a real person,and I didn’t get to meet her before I made the movie.There was plenty of footage of her online, but it wasall Nicolle’s public face, and I was playing her behindthe scenes. So I felt like it was helpful for me to watchthat footage to see how professional and capable shewas, as the face of the campaign, in terms of speakingto the media, and that was part of her job. Butbehind the scenes, I had to draw from only what wason the page … I didn’t get to meet (Nicolle) until theNew York premiere.AWARDSLINE: I would have assumed that you met her beforehandto prepare for the role.PAULSON: I would have loved to have done that, butNicolle wasn’t involved in the making of the movie,given what happened politically. You know, Nicolle wasreally a casualty of that campaign in terms of Palinand her camp who blamed Nicolle for the disaster,which was her media rollout with (then respective CBSand ABC anchors) Katie Couric and Charles Gibson.Those interviews were supposed to introduce Sarahthe candidate, the intellectual, the viable candidate tothe world, and they were just miserable failures. Ratherthan Sarah taking responsibility for not preparing,she publicly blamed Nicolle. So given that dynamic,it wasn’t necessarily a good thing for Nicolle to beinvolved in the making of the movie.AWARDSLINE: Did you read the book to get up to speed on what went on?PAULSON: I didn’t have to because I was very, very, veryconscious about that whole campaign, but I did for myown edification as there were a lot of behind-the-scenesmoments in the script. Reading the script remindedme of the vice presidential debate between Bidenand Palin. It seemed like she might be able to pull thisoff and then, when I read the book and the script, Ithought, “I had no idea what had gone into preparingher for that event.” All of a sudden, it seemed like allthe interviews that occurred prior to the debate wereone-offs and that she just somehow wasn’t good in aninterview situation, but was great in a debate situation.AWARDSLINE: In the movie, the blame is put more squarely on Palin.PAULSON: There’s a fight that Palin and I have where shethrows the phone and blames me… My character retaliateswith, “You weren’t properly prepped because yourefused to do the work.” Palin blamed Nicolle privately,but there is public blame as well. The viewer, I think,does see the blame lie fully on Palin because you seeme preparing her, and they see her not doing the work.Steve Buscemi steps into the lead as ‘Nucky’ Thompson

MoorEREARS HeR Head... and Comes Into thE AIRSPACE OFSarahPalinIn Preparing Her Turn as the 2008 Republican Vice Presidential Candidate in‘Game Change,’ the Oscar-nominated Actress Tapped a Vast Variety of SourcesBy Pete HammondShe’s considered one of the finest filmactresses of this or any generation. JulianneMoore has garnered four Oscar nominationsfor such disparate roles in Boogie Nights,The End of the Affair and in 2002 pulled off therare feat of two nominations in both leadingand supporting categories for Far From Heavenand The Hours. It seems only a matter oftime before she finally nabs the Oscar itselfbecause Moore is deeply admired by herfellow actors as someone not afraid to takerisks and go into dark places. This year shetook another risk, not only diving into aTV film, albeit HBO, but taking one of themost iconic, polarizing and most recognizablepolitical figures of our time, former vicepresidential candidate SarahPalin in the movie version ofthe best-selling book aboutthat 2008 campaign, GameChange. Due to her uncannyportrayal, Moore has catapultedinto the Emmy race.But it wouldn’t be her first.She started in TV soaps in themid-’80s and won a DaytimeEmmy for As the World Turnsin 1988. Make no mistake,this year Moore is definitelyready to move up to theprimetime contest. I recentlytalked to her about the challengeof taking on Palin.PERFECTING PALIN: This was extremely different (playinga real person who is still alive). I mean, the people thatI have played before have been deceased and not verywell known. They were not certainly well known publicfigures. This is somebody who is very much presentin our lives, even now, so we didn’t even have a graceperiod, even 10 years. There was no point at which shehas faded from public view … So the responsibility tobe accurate was really high. The first thing I did wascall a vocal coach and cleared my schedule of everythingelse I was doing because we only had two monthsto prep. I wanted to devote as much time as I could todoing the research. The great thing today is that everythingis available. Everything is on YouTube. Literallyeverything (Palin) ever did during the (2008) campaignhas been documented. Because we were workingspecifically on that time period – those months leadingup to the election, between her nomination and theconcession speech – that was what I focused on. So Ilooked at all of her appearances, all of the conventionspeeches, all of the press appearances, all ofthe debates and listened to it over and over.Put it on my iPod, worked with my vocalcoach and just did it. My kids made fun ofme: I had nothing else on my iPod except forSarah Palin [laughs]. Literally, I took all themusic off so I would never ever be tempted tolisten to anything else.SYMPATHY FOR THE HOCKEY MOM: She was undera tremendous amount of pressure and in acompletely untenable situation. First of all,she wasn’t vetted, so they didn’t have all theinformation they needed to have about her.And then when they discovered that she wasnot as prepared as they would have liked herto be, they just put her through the ringer interms of preparation. And, honestly, all theresearch, talks with (screenwriter) DannyStrong, absolutely everybody talks abouthow hard she worked. The woman neverstopped working, trying to memorize andlearn things. You know, she simply didn’thave the time or the experience really. I was talking toJay Roach about it from an acting standpoint, and itwould be as if you have five directors standing there alltelling you different things to do. That was the sort ofsituation she was in, where everybody had an opinionabout what she should say or do or how to behave …It certainly makes you sort of disenchanted about thepolitical system, and I think that would be Jay’s intentionwith the movie. For people to take a good long lookat how we elect our leaders and why we have this crazycircus-like atmosphere that surrounds it, where howsomeone looks, how they appear seems to matter morethan their actual ability or content, so it’s an interestingthing to explore in a film.PLAYING OPPOSITE SENATOR O’BIDEN: There would betimes when I would be shooting something (and wasspliced into the actual news footage), for example theBiden debate. I said, “I don’t want to shoot this all atonce. Do you mind if I just take it piece by piece?”and Jay was like, “Absolutely not, it’s fine.” So beforewe shot, I would look at the footage, and we wouldmake sure that I was very accurate before I was readyto move on to the next piece. You’re not dealing withjust vocal inflections (of Palin), but with (her) physicality.You know, the way she tilts her head. And you knowwe all remember it. This was historic stuff. We all haveour pretty recent memories of this [laughs].BIGGEST “GOTCHA” CHALLENGE: Probably (playing) hervoice, especially because she has been so widely imitatedand so beautifully performed by somebody else.Tina Fey’s characterization of her is something thatbecame incredibly memorable. We can all relate to notonly Sarah Palin and her idiosyncrasies, but also toTina and the satire that she performed on SaturdayNight Live. I needed to be especially careful, particularlyvocally, because that was something that was sovery familiar to all of us … Katie Couric (also) broughtthe very fundamental issues about Sarah Palin’s candidacyto the forefront of the mind of the Americanpeople. Those two were responsible for illuminatingthe problem.20EMMY AWARDS PRINT EDITIONS 2012

for your considerationOUTSTANDING MINISERIES OR MOVIECritics’ Choice TelevisionAwards NomineeBest Movie/Miniseries“it’s THE new show ofthe fall TV season. It’s so good it’sscary. And it’s so scary it’s good”—David Bianculli, NPR / TVWORTHWATCHING.COmDYLANMcderMoTToUTSTAndinG leAd AcTorIN A MINISERIES OR A MOVIE“the most amazing… addictivelywatchable – new show of the year”—Therese Odell, HOusTON CHRONICle“American Horror Story is handsdown the best show of the fall”—David Nemetz, YAHOO! TVCONNIEbriTTonoUTSTAndinG leAd AcTreSSIN A MINISERIES OR A MOVIE“as gripping asanything on TV”—Jonathan storm, PHIlADelPHIA INquIReROne of the Top 5Shows of 2011—Tom Gliatto, PeOPleJESSICAlAnGeoUTSTAndinG SUpporTinG AcTreSSIN A MINISERIES OR A MOVIEGolden GlobeAwArd winnerSAG AwArdwinner22EMMY AWARDS PRINT EDITIONS 2012

More ThanElementaryRising Star Cumberbatch Marvels at the Mystery of ‘Sherlock’s’ SuccessBy Michael AusielloWhy Sherlock’s Benedict Cumberbatchhas yet to be nominated for an Emmy is aquestion that might befuddle even his supersleuthalter-ego. But, rather than solve themystery, this year it might instead be resolved.Not only is the actor’s name – memorableas it is – on the verge of becoming a householdone, thanks to his appearances in two oflast year’s Oscar contenders, War Horse andTinker Tailor Soldier Spy, but he’s also collaredthe plum role of Capt. Kirk’s nemesis, Khan,in the highly anticipated Star Trek sequel.On top of all that, his work in his PBS hit’ssecond season was – almost unimaginably –better than his work in the first. Is the caseof the elusive Emmy nod about to be closed?AWARDSLINE: Of the three episodes in Season 2, Masterpiecehas chosen to submit “A Scandal in Belgravia” for Emmy consideration.Do you agree that that was the strongest of the three?BENEDICT CUMBERBATCH: It’s tough to say. It was thefirst you got to see Holmes, who at times is less thanheroic and very adolescent, experience love. Not thathe was in love, but he was in the midst of playing orexperiencing or being seduced and toyed by and withlove. It was a very smart play on the Irene Adler story.Irene (played by Lara Pulver) and Sherlock were liketwo predators circling each other waiting for the kill— it was hardly conducive to the normal conversationyou would have on a first date. It was really, reallyenticing because it works on the principle that the bestromantic stories are about the waiting (and) the game;the audience is just waiting for something to happen,and it doesn’t necessarily happen. I think it combinesso many elements of what the show is about: the wit,the action, the visual style. (“Belgravia”) also (spanned)quite a long period of time, which made it feel weirdlymore like a film than most anything I’ve ever done. It’simpossible to say whether it’s the better one. But I’mvery proud of it.AWARDSLINE: What were the particular acting challenges youfaced depicting the twisted relationship between Irene and Sherlock?CUMBERBATCH: Well, he’s supposedly an asexual, emotionlessmachine, and has cut off feelings of attractionor sensory enjoyment or interest in the female formother than to gain information. So it was (about) howto get the audience to believe that you could possibly bein a position that was vulnerable – how could he possiblybe feeling something for this woman? But the thingabout (Irene) that is very obvious when you read (the1891 short story by Arthur Conan Doyle in which thecharacter is first introduced) is Sherlock definitely doesfall for her, and he does lose his cool; he’s no longer thelogical machine. He fell for her charms. And so it wasa balancing act, but it was so deftly written (by StevenMoffat) that it was so easy to do.AWARDSLINE: Do you have a process for getting into character asSherlock or do you just show up and, wham – you’re him?CUMBERBATCH: [Laughs] No, I’m much slower thanhim. I have to rev up an engine that needs a lot ofoil and concentration and focus. There’s an elasticityto his movements as well. He’s ferociously expressive,and I’m very still and content, so there’s different moodswings and temperatures and tones to experiment within any given situation. But I take my time. I’m verygood at switching it on.AWARDSLINE: The awareness for the show is not as high here inthe U.S. as it is in Britain, but that seems to be changing. Are youfeeling that shift as you spend more time in the States?CUMBERBATCH: I am a bit. We don’t have a massivepublicity budget, and I’ve been in L.A. for three anda half months now (shooting Star Trek) and every otherday I’m passing a billboard of Game of Thronesor The Killing or Mad Men – all shows I love.It would just be wonderful to drive down (SunsetBoulevard) and see one Sherlock poster. It wouldmake me feel like we’re reaching out to the boredand confused Angelenos in their traffic jams and justmaking them think about it because there’s (so muchcompetition) for the viewing audience now; there’sso much high quality. So for a PBS show to gain thekind of audience we’ve got is a huge testament to howpopular we are. And you know, we’re not a perioddrama – and I don’t mean that disparagingly (againstDownton Abbey), despite how my comments havebeen (misinterpreted in the past). There’s a romanticassociation with British history and nostalgia,which fuels that across the generations, whereas Ithink (Sherlock) has encapsulated a younger audience.AWARDSLINE: Speaking of which, did you get any blowbackfrom the perceived slam you made against Abbey’s second seasonin that recent New York Times article? [Reporter’s note:In the piece, Cumberbatch recalled an incident atthe Golden Globes in January where Masterpiece execRebecca Eaton playfully taunted him with the statuetteAbbey had just won. “I just looked at it and went:‘Begone, woman,’” he recounted. “‘Bring it back whenit says Sherlock or Steven Moffat or myself – someoneelse who’s more deserving than the second (season)of Downton Abbey.’”]CUMBERBATCH: Oh God, you would not believe it! Imean, honestly, it’s like people don’t have any senseof irony or a brain. First of all, I knew it was the first(season) that it was getting awarded for, so that was thefirst part of the joke. The second part is that RebeccaEaton, the executive producer on Sherlock and Downton,is a friend. The third, and probably the most important,is that (Abbey creator) Julian Fellowes has known mesince I was born. (Abbey leading man) Dan Stevens isone of my good friends – one of my closest friends inEngland – as is Michelle Dockery. There’s just noway I would say something like that without it beingtongue-in-cheek. And I don’t walk around town saying“Begone, woman!” And suddenly (I’m in the middle of)a PR disaster. Maybe I am a PR disaster because I talktoo much or don’t filter enough. But I was kind of mortified.I play such a contemporaneous, vile and whiplashsmart(character) who doesn’t (tolerate) mediocrity orany type of bureaucracy or any stupidity, and yet as anactor – a misunderstood actor – you have to put up witha lot of it. So I just let that go. I can tell you I’m a hugefan of Downton, and what I said was quite, quite clearly– to most intelligent New York Times readers – a joke.AWARDSLINE: It sort of brings up the point that there is an inherentcompetitiveness to awards.CUMBERBATCH: Well, yeah, but I mean, you have to takeit all with a pinch of salt. What we do for a profession isan absolute gift of a job; it’s a blessing. So then awardson top of that? They’re sort of fantasy icing on thecake. Do awards change careers? Well, I haven’t heardof many stories where that’s the case. It’s a fun excuse tomeet colleagues and celebrate people who’ve done wellthat year in certain people’s eyes, and it’s nothing morethan that. If it’s taken more seriously than that, thenwe’re all sort of working for the wrong reasons. So ifthere’s rivalry, well, you know, it’s pretty much forgottenthe minute the next glass of wine is drunk on the night.AWARDSLINE: You’re about to be exposed to a much larger audiencein J.J. Abrams’ Star Trek sequel. Should we be worried thatbig-time Hollywood success will take you away from Sherlock?CUMBERBATCH: Oh, no. No, not at all. I’ll always doSherlock – it’s something I’m not going to give up on. Ilove it too much. It’s hard work, but it’s so rewardingand such a lovely bunch of people who do it. We loveour fans, and we love what it’s created. It’s an incrediblething to be part of; it doesn’t happen that often.Don’t worry; it’s not going to disappear.AWARDSLINE: When do you start shooting Season 3?CUMBERBATCH: January. That’s the plan.AWARDSLINE: And then beyond Season 3?CUMBERBATCH: There’s no reason for us to stop if it’sstill being adored and we still enjoy doing it. We onlydo three (episodes) at a time, so I think the normal fearof over-stretching the mark and just doing too many(doesn’t apply). It’s good to leave people wanting more.I’d like to see (Sherlock) getting older. We’re startingquite young. It’s rare to see Holmes and Watson at thebeginning of their relationship; we usually join themin their mid- to late-40s or -50s. I’ve got a way to go.I mean, I’m only 35.24EMMY AWARDS PRINT EDITIONS 2012Benedict Cumberbatch as Sherlock with Martin Freeman as Watson

ROSINING UP HIS BOWPLAYINGTHE&HARDCostner Breaks Loose in ‘Hatfields &McCoys’ as His Devil Deals the CardsWhen it comes to the longevity of the western,Kevin Costner remains the genre’s iconic voicein cinema today. However, this time he’s extendedhis lasso around television as the producer andstar of History’s first miniseries Hatfields & McCoys.Hitting record ratings for basic cable each of itsthree nights with a final 14.3 million for its finale,Hatfields’ success underscores not only the genre’spopularity, but also Costner’s enduring leadingmanstatus. With his chiseled looks and laconicBy Anthony D’Alessandrotone, he is often compared to Gary Cooper. Yetunlike Clint Eastwood in Sergio Leone’s ManWith No Name trilogy, Costner isn’t out to rockand roll the oater. Costner westerns hone in onthe subtext and mores of standoffs against a bluesky, of which there are plenty in Hatfields, versusslow-mo blood and pungent dialogue that havepeppered the Coen brothers’ True Grit and HBO’sDeadwood. Not to mention that Costner doesn’tduck when it comes to playing the irascible. HisDevil Anse Hatfield is as wonderfully potent as hisbad guy turns in A Perfect World and Mr. Brooks. Alsomaking Hatfields a success is Costner’s best friend,director Kevin Reynolds. Despite the duo’sbitter feud during Waterworld, Costner is upfrontabout their reconciliation. Behind the camera onHatfields, the two were great pardners – Costnerassisted Reynolds with second-unit shoots aswell as contributed music with his country-rockband Modern West. Given the TV Academy’sadoration for oaters (i.e. the four Emmy wins forRobert Duvall’s Broken Trail including best actorand miniseries), expect Costner and Hatfields &McCoys to ride high in the saddle come nom time.AWARDSLINE: How did the project come your way? Were youtracking this?KEVIN COSTNER: No, it came to me in a fairly traditionalway. My agent had read it, knowing my sensibilities.While on the surface it didn’t seem like something Iwould do in terms of it being on TV – whatever everyone’sprejudice is – he understood I’m writer-drivenand material-driven. He liked it enough that he askedme to read it, and when I did, I knew immediatelythat I liked it enough to consider it. They asked me todirect it, but I was doing music over the summer and Icouldn’t give it its proper prep.AWARDSLINE: Did you have a particular choice in terms ofwhat part you wanted to play – Devil Anse Hatfield or RandallMcCoy? What drew you to Devil?COSTNER: I had my choice in terms of what I wantedto play. I thought about playing Jim Vance. Loved thatrole and I liked Bad Frank, but it made more sensefor me to play Devil Anse. I had to put my producer’shat on at that moment: “What was the right place forme to be?” Not, “How can I surprise people?” It wasreally more, “I should take Devil Anse.” That madethe most sense, and I got involved in this as any role Iever had … I don’t think we tried to paint (Hatfield orMcCoy) more right than the other. I think we tried toshow their personalities. Devil showed a willingness towork this out, but in terms of fierceness and hardness,he was unflinching.AWARDSLINE: From a dramatic perspective, is Devil close to any ofthe western characters you’ve previously played? Such as Wyatt Earp?COSTNER: I think so. They’re direct people and havesucceeded in their own hard times because of theirability to react quickly and to decimate in a momentwhat has to be done. Devil came out of war, so he hasseen a lot of death and hand-to-hand combat. Therewere people in the west that were very decisive, and theywere hard in how they were guided. People fell in behindthem. Both Wyatt Earp and Devil Anse weren’t theoldest in their families, yet everyone acquiesced to them.AWARDSLINE: Is it easier to make westerns right now, given therecent success of True Grit?COSTNER: The success of True Grit doesn’t guide me.I’ve always gone my own way and made them. I don’tknow if they’re in vogue. I make them because I wantto make them, not because the timing is right for them.They’re hard to make, and maybe hard to get people tomake them, but hard to make in terms of making themrelevant. The only way to make them relevant is if youactually depict real situations and find a way to do sowith dramatic and entertaining value. When they’rejust black and white hat, they don’t hold value to me …We don’t need to see slow-motion blood. It can’t justbe gritty for grit’s sake. Some people were very cleanand others lived a life in a saddle during that time …Audiences trust westerns when you hit the right tone.I think they’re not in vogue, but they will always be invogue when you hit the right note.AWARDSLINE: Why was Kevin Reynolds an easy-go after youpassed on directing?COSTNER: He was my idea. They had a list of people,and I felt Kevin would work for great locations, a greatstyle and bring a film sensibility to it. We didn’t havethe kind of money that was being thrown around likeother miniseries on HBO. We were a third of thosebudgets. But I know us as guys who don’t settle. I feltthat was a way for us to elevate an already great story.AWARDSLINE: What is it about Kevin Reynolds as a director thatbrings out the best of you as an actor?COSTNER: I just thought he would bring a great vision.He doesn’t necessarily bring out the best in me. There’sa lot of great directors, and I thought Kevin could begreat for this. It wasn’t going to be an easy show. I likepeople who are aware of that and that doesn’t causethem to wilt … Kevin shot some second unit for me onDances With Wolves with the buffalo scenes. I had sevencameras going. I did the same for him on Hatfields.AWARDSLINE: Then the whole Waterworld production debaclewas blown out of proportion?COSTNER: Waterworld was certainly blown out of proportion.You can tell I don’t look backwards. I’ve alwayssupported him. I have my own voice, and I think he’san absolute artist, and I’ve been the biggest fan of hiswork. You can see how I behaved … I was impressedearly and impressed late (by his capabilities as a filmmaker).I put him in a category of all these guys whoare thought to be great. He’s not on those moviesbecause I think people blew Waterworld out of proportion.He’s as good as any of these guys that are makingthese big movies. I know that in my heart.AWARDSLINE: You’ve been involved in westerns since very early onin your career. What do you love about the genre?COSTNER: I think it’s hard for people to suspend theera they live in and understand that the decisionsthat had to be made often during the western werelife and death. You had to be resourceful and on yourfeet to try to figure out somebody. You didn’t have thebenefit of knowing who somebody was. And when youuse a word like “stranger,” (it) doesn’t really scare usanymore. When someone would come into town backthen, you could be afraid of a stranger. You don’t knowwhat side they fought on in the Civil War. You don’tknow their story. People would victimize people in thewest in every town and then move on. There was noway of communicating that there was a bad person.We did it to the Indians across the entire continent.Sometimes in the dark, I wonder if I would measureup, would have reacted in the right way or if my civilitywould have gotten me killed. When Devil Anse killsthat young boy in the road, it speaks to his sensibility ofsurvival, not that that young boy was threatening him,but because his uncle killed the other one … If that wasmy friend or if that was my brother who was just killed,and these guys let me live, I’m going to come backthere and find these guys, and I’m going to fucking killCostner as Cowboy Through the Yearsthem. Devil understood that’s what was possible. Andso he didn’t like killing that boy. And the best he coulddo is let them think that he wasn’t going to kill him,but he did. It speaks to hardness. Some people rejectthat, and I’m drawn to it. I don’t reject him as a personbecause he did that. I reject the other guy completely:Jim Vance is a sociopath.AWARDSLINE: In Part 2 where Randall McCoy begs for yourmercy to release his sons, your character just won’t yield.COSTNER: No. I think it was written correctly. Randalldid the right thing: He came unarmed, and he puthimself at Devil’s mercy. The best my character couldoffer him: some wriggle room. “If my brother lives,then your boys go to court” – that was a concession ifyou think about it … These people (the Hatfields andMcCoys) often handled their own problems. They arbitratedtheir own situations. There’s a little concessionthere. But the idea that Devil said no – I respond to thathuman behavior, I get it. Randall asked two or threedifferent ways, and that’s the point Devil was tryingto make: “No.” He was a hard guy. But I think youunderstood him. Do you let somebody go that stabbedyour brother 27 times and shot him at a county fair?Do you let those three boys go free from your garage?… I mean if you think really about it, I don’t think youdo in that day and time. Today, the police would comein and intervene.AWARDSLINE: Was dropping out of Quentin Tarantino’swestern Django Unchained really a matter of the scheduling?[Editor’s note: Costner was slotted to play Ace Woody,a nefarious, sadistic trainer of male fighting slaves whoentertain the white patrons at a hellhole.]COSTNER: It was completely a matter of schedule. Whenwe were first talking about it (Quentin and I), it wasabout a two-week commitment. That’s the schedulethat they thought they were going to shoot. I’m guessingnow about this part – but as other actors came onthe project, their schedules were such that it startedto change. When I looked at my part, I was stretchedacross two or three months, and I could not do that. Ihad musical commitments (with Modern West).AWARDSLINE: You’re often branded as playing the good guy, but Ihave to think you have no qualms playing the villain. In fact you did inClint Eastwood’s A Perfect World. Do you care if you’re the villain?COSTNER: No. I also played a serial killer in 2007’s Mr.Brooks before Dexter (even aired). That’s as heinous asit gets. You’re right, I don’t have a problem playing apart like that. I don’t at all. But I have to find a level ofunderstanding in those characters. If I do that, thenI feel like I’m on solid ground. You don’t have to likeDevil Anse, but it’s important that I play him to thedegree that if you’re watching really carefully and youwant to try to put yourself in his time and era, you’llfind a level of understanding in his behavior.This is not his first rodeo. Awardsline takes a quick look atthe roles that put Kevin Costner back in the saddle (from left).FREE WHeelin’ gunslinger Jake in Silverado (1985)Sioux sympathizer Lt. John Dunbar in Dances With Wolves (1990)the complicated lawman Wyatt earp (1994)Post-apocalyptic patriot cum postal worker in The Postman (1997)Crusading cattlesman Charley Waite in Open Range (2003)26EMMY AWARDS PRINT EDITIONS 2012Kevin Costner as Devil Anse Hatfield

Hatfie l d s & Mc Co y sEnds Its JourneyBangTo The Small Screen With AKevin Costner, Leslie Greif and Bill Paxton – Getty ImagesBy Nellie AndreevaIt might have taken three decades to turn America’smost famous family feud into a miniseries, but it’s beenworth the effort for veteran TV and film producerLeslie Greif, whose Hatfields & McCoys brokebasic cable ratings records in its Memorial Day debut.The three-part story about the infamous post-CivilWar clash starring Kevin Costner and Bill Paxtonranked as the top three most-watched entertainmenttelecasts of all time on ad-supported cable, with theconclusion drawing a record 14.3 million viewers. Themini’s success even earned Greif a congratulatory callfrom Bob Iger, CEO of Disney, which co-owns Historyparent A&E Networks. It’s a fitting conclusion for apassion project that no one seemed interested in.Greif, a history buff, first got the idea for Hatfields &McCoys when he started in the TV business in the early1980s. Broadcast television was attracting huge audienceswith event miniseries like Roots and Shogun, and hethought a miniseries about the well known rivalry wouldbe the perfect calling card to break into the business.“It is a revenge story,” Greif explains. “I thought it hadall the great drama, on top of it being a true story. Ithought it would make for riveting television.”There was some initial interest – one of the hottestwriters at the time, Bill Kerby (The Rose), came onboardto write the mini, which was set up at CBS. But afterlanguishing at the network for a while, it ended up inturnaround.For the next three decades, the project bouncedaround. Despite attracting top talent – Burt Lancasterwas attached to star at one point, with Burt Reynoldsand Tom Selleck also showing strong interest throughthe years – the mini never got a green light.“I presented it to any network that would considerdoing it – there wasn’t a network executive that hadn’theard my passion, my pledge, my pleas,” Greif says. Itgot to a point where he would sit down with networkbrass for a meeting, and they would start off by saying,“Please, don’t bring up the Hatfields & McCoys again.”Greif thought he had exhausted every perceivableoption when three years ago he read that Historywas looking to enter original programming. He tookhis Hatfields & McCoys pitch to the channel’s presidentNancy Dubuc. “In one meeting, she said yes,” Greif says,calling Dubuc “the visionary broadcaster of our generation.”Costner was then approached to star. “He calledme and said he would do it on one condition: ‘Do notchange a word in the script.’ So we didn’t cut one thing.”The project was originally shopped “as a feature onTV” and a two-part miniseries. Because of Costner’srequest, it was expanded to a three-part event, whichHistory aired on three consecutive nights. And despiteairing decades after the heyday of event miniseries,Greif feels Hatfields & McCoys was able to recapture themagic of those big telecasts of yesteryear.“It has become an event, with people watching togetherand talking about it,” Greif says.Despite his Hatfields & McCoys idea getting shut downearly on, Greif did make his producing debut with anevent miniseries, 1986’s Sins starring Joan Collins andTimothy Dalton. He gradually expanded into features,scripted series, including the long-running Walker, TexasRanger, which he co-created and executive produced,and TV documentaries, including 2007’s Brando. Andwhen the longform arena started to shrink as broadcastand some cable networks abandoned the genre,Greif focused a lot of his efforts in the fast-growingreality field, where he has produced a number ofseries, including cable hit Gene Simmons: Family Jewels onHistory sibling A&E.Now Greif, an Emmy nominee for Brando, faces thepossibility of a second Emmy nomination for Hatfields& McCoys. And Emmy voters always have the appetitefor vintage stories: Another blockbuster westernminiseries, AMC’s Broken Trail, ended up winning theEmmy in 2007. “It would be a huge honor,” Greif saysof a possible nomination.The longform field is a lot more crowded than it wasin 2007 when Broken Trail won because last year, theTV Academy merged the best original movie and bestminiseries categories. While he stresses that he’d belucky to get a nom in the top longform category, Greifalso would like to see all nominees on similar footing,noting that the best lightweight boxer doesn’t stand achance against a heavyweight one.“Doing a two-hour TV movie is not the same as a sixhourminiseries or a 12-hour limited series,” he pointsout. “The writing, directing, the scope, the attitude andthe money are very different.”In addition to TV movies having to compete with miniseries,some programs that air as regular series alsohave qualified for the best movie/miniseries category,avoiding more fierce competition in the best seriescategories. Recent cases include the first season ofDownton Abbey last year and American HorrorStory this year.Whatever happens at this year’s Emmys, Greif saysthere’s no question that Hatfields & McCoys has completedits journey – it won’t go the way of other successfulminiseries, such as USA’s The Starter Wife, whichspawned a regular series. “There will be no Season 2,”Greif says. “This is the fork of the story. “Greif (right) on set28EMMY AWARDS PRINT EDITIONS 2012

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CablePicks UpSlackTitanicNetworkLongformWanes,Jeanne Tripplehorn in FiveBy Ray RichmondJust when everyone assumed that the original televisionminiseries was either dead or restricted to beingthe loss-leader indulgence of HBO, up pops History’sHatfields & McCoys in May to show the worldthat if you make a three-night event on a compellingsubject with big stars (Kevin Costner, BillPaxton) and a quality pedigree, the masses will stillflock. Hatfields averaged nearly 14 million total viewersnightly, building to 14.3 million for Part 3 to becomethe most-watched entertainment telecast of all time onad-supported cable.Despite the success of Hatfields, so few miniseries arebeing done that the TV Academy last year was obligedto merge TV-movie and miniseries into a single category.There simply is no longer close to the number ofambitious, big-budget projects as were commissionedin the days of Roots (1977), Jesus of Nazareth (1977), TheWinds of War (1983) and War and Remembrance (1988-89). When it happens now, it’s generally on HBO viathe likes of Angels in America (2003), John Adams (2008),The Pacific (2010) and Mildred Pierce (2011). Yet evenHBO’s once-abundant longform output has slowed inrecent years just to a few projects annually.Blame the shifting economics of the TV business. “Thenetwork TV-movie model fell by the wayside,” explainsMichael Edelstein, president of international televisionproduction for NBCU, which acquired Carnival Filmsin 2008. “In terms of bang for your buck, marketinga TV movie is a tough business to be in. As the audiencehas acquired more and more choices, broadcastersneed to spend their marketing dollars more wisely,and that generally isn’t for one-off movies that go awayafter you air them. It’s for series.”The thing is, few areas of primetimetelevision have changedmore in the last 20 years thanthe longform business. Therewas a time in the 1980s when thethree major broadcast networkscommissioned 100 made-for-TV movies apiece, along with ahandful of long-running, expensiveminiseries. Now, broadcasters barely air muchmore than a handful between them. It’s fallen almostentirely to cable and PBS to pick up whatever slackthere is to pick up.Nonetheless, plenty of miniseries and movies still getproduced, many of which involve creative/partnershipfinancing that mirror independent film financing morethan a traditional TV deal. For instance, Carnival wasinvolved in producing the Emmy contender PageEight that aired last year as part of Masterpiece (whichco-produced) on PBS. The BBC provided the primaryfunding, but the risk was shared.Masterpiece is a minority financer of bigger productionslike Downton Abbey and Page Eight. And thereare factors that make producing period miniseries inparticular cheaper in the U.K., emphasizes Masterpieceexecutive producer Rebecca Eaton. “There are taxcredits and benefits from beingan independent company. Thework rules are slightly differentover there. But in large part,we’re in the business of attractingunderwriters and selling DVDs.”In the United States, however,most networks would rather puttheir programming resources intoseries that can pay off in repeatviewings than something with such limited shelf life asa mini or made-for-TV movie. The production costscan’t be amortized the same way, and there’s seeminglyless incentive to pull off the necessary creative financing.Rachel Weisz and Bill Nighy in Page EightTypical of how miniseries get made in the U.K. is theway that Britain’s ITV commissioned the four-hourmini Titanic that aired on ABC in April and waswritten by Downton Abbey scribe Julian Fellowes. Aco-production between the U.K. and Canada, it wasthe kind of ambitious project that requires multiplepartners to pull off financially, explains ITV’s head ofdistribution Maria Kyriacou.“We had 12 partners when Titanic was greenlit,”Kyriacou notes. “That means 12 broadcasters committedmoney on a prebuy that accorded them broadcastrights in their territory. By the time it aired, we’dplaced it in 100 territories. But when you’re setting upa big global miniseries event like this, it means presellingbased on a script. So people had to believe in theconcept and the talent attached to it.”Only a handful of big-budget miniseries are beingproduced worldwide in the English language each year,says Titanic exec producer Simon Vaughan. “Whatyou no longer have is a middle market,” he emphasizes.“Five years ago, you could make a $10 million miniseries.Now it’s pretty foolhardy to think you’re going tobe able to successfully produce and distribute anythingat that level. They all need to be $15 million-plus now.It’s almost not a business. It’s more of an indulgence.In general, a U.K./U.S. partnership with a significantEuropean presale is the best way to go.”Where the made-for-TV movie business continues tothrive as in the days of old is at the Hallmark Channel andLifetime, neither of which appears to have received thememo that this is a threadbare genre. Hallmark Channelhas 28 original movies and its sister, Hallmark MovieChannel, an additional eight originals in 2012 alone,while Lifetime has a slate of 56 original films across itstwo networks (also including Lifetime Movie Network).Hallmark has been able to create franchises with itsfilms such as The Good Witch starring Catherine Belland a series of movies based on Janette Oke novels.They keep costs low on production and monetize theproperties in a multitude of ways, including streamingweb content, electronic sell-through, social media platformsand repeated airings.“The durability and repeatability of our movie contentis very high,” stresses Michelle Vicary, Hallmark’s executiveVP of programming. “This isn’t a single-airingbusiness for us. They’re really more like evergreens.”Jennifer Morrison in FiveRob Sharenow, Lifetime’s executive VP of programming,also points to the repeatability factor as a reasonwhy the volume movie of the week business makessense for his networks. Lifetime’s originals generallydraw a bigger number than big-budget studio acquisitions.One recent example was the much-praised 2011breast cancer film anthology Five that the network isgiving a sizable push for Emmy attention this year.“We’re also able to use our film library in a significantway, owning them and releasing them on DVD,”Sharenow says. “International is also an excitinggrowth area for us. There’s a big appetite for using theU.S. as a foreign sales partner … The classic Lifetimetrue-crime films do very well on the overseas market.You have the core element of women betrayed, andthat human drama exports surprisingly well. There’ssomething primal about the storytelling.”Moreover, there remains a huge growth opportunity inmaking the kind of films the theatrical studios no longerare interested in, Sharenow believes. “We’re talkingabout telling great stories that grown-ups are interestedin. Our mentality isn’t, ‘How many young men canwe get in the theater opening weekend?’ It’s seizingthe opportunity to attract great scripts, actresses anddirectors who want to do serious projects. Who is goingto make the next Kramer vs. Kramer, the next Witness,the next The Big Chill going forward? Maybe we will.”30EMMY AWARDS PRINT EDITIONS 2012

The VoiceThe X FactorMAYBESThe Glee Project (Oxygen)The Pitch (AMC)GetCompetitionEmmys:Real!By Michael SlezakThe Amazing RaceDancing With the Stars‘Amazing Race’ Has Been Dominant,But Newbies May Provide a ChallengeReality television, by its very nature, thrives on unexpectedtwists, shock eliminations and upset victories. But the mostsurprising thing about the Emmy race for Outstanding Reality-Competition program over the last five years has been the almosttotal stagnancy of its pool of contenders.Indeed, from 2007-2011, the same five shows – The AmazingRace, American Idol, Dancing With the Stars, ProjectRunway and Top Chef – have maintained a chokehold onnominations in the category. The sole exception to this fivemembermonopoly came in 2011, when Emmy added a sixthnominee – So You Think You Can Dance – to the mix.But wait. That “kerplunk” you’re hearing might just be thesound of a new contender (or two) dropping into the proceedings.Indeed, the 2011-2012 season found The Voice provingitself a genuine (and genuinely enjoyable) ratings force in itssecond season for struggling NBC and on Fox, Simon Cowell’sBritish import The X Factor storming the U.S. coastline with acombination of flashing lights, aggressive backup dancers andPaula Abdul’s tears.Will these newcomers force Emmy to redistribute the nominationwealth or will 2012 be another case of same-old same-old?Let’s examine the contenders, in alphabetical order:American IdolThe Amazing Race (CBS)The globetrotting adventure series has dominatedthe category like a Rottweiler facing a pack of teacuppoodles: Since Emmy first began handing out a realitycompetitionstatuette in 2003, TAR has won every yearexcept 2010. And with Season 20 featuring breathtakingfootage of everywhere from India to Japan andArgentina to Azerbaijan, another nomination is theclosest thing there is to an Emmy certainty. As for a ninthvisit to the winner’s circle? That’d be no surprise, either.American Idol (Fox)After nine straight nominations with zero wins, Fox’sratings juggernaut is developing a reputation as theSusan Lucci of the reality-competition set. And whilethe show’s reinvigorated 2011 installment (its firstwith a rebooted, Cowell-less judges’ panel) was widelyviewed as its best hope to finally break that losingstreak, the recently concluded (and talent-rich) Season11 proved that, in the words of Randy Jackson, Idolcould still be very much in it to win it.The Celebrity Apprentice (NBC)Donald Trump may have taken himself out of thepresidential race, but he’ll still be courting votes of theEmmy variety for his Thunderdome of the C-list set.And don’t forget that while this brilliantly awful slice ofguilty pleasure may seem like an Emmy long shot, itsplebian mothership, The Apprentice, scored nods back in2004 and 2005.Dancing With the Stars (ABC)Another perennial nominee (every year since 2006)that’s still looking for its first win, DWTS enters therace on the strength of a season that was less abouthot-button contestants of the Bristol Palin/Chaz Bonovariety, and more about a fun, evenly matched field ofhoofers. That Kumbaya vibe may have been a reliefto the DWTS faithful, but the subsequent lack of buzzcould again relegate the show to bridesmaid status.Project RunwayProject Runway (Lifetime)Thanks to Emmy voters’ obsession with The AmazingRace, the reality-competition category is filled withperpetual also-rans, including seven-time nomineeProject Runway. Still, if Emmy makes way for some newcontenders in 2012, Lifetime’s fashion showdown –coming off of a slightly sleepy Season 9 that felt like anextended love letter from the judges to gorgeous winnerAnya Ayoung-Chee – might find itself on the downsideof Heidi Klum’s “one day you’re in, the next dayyou’re out” mantra.RuPaul’s Drag Race (Logo)OK, it’s got an ice cube’s chance on a hot summer sidewalkof stealing a nomination from its higher-profilecompetitors, but Logo’s bawdy, buzzy, bitchy hootenannyreally deserves some consideration for usingsequins, wigs and the campiest guest-judging lineupin TV history to create deliciously unpredictable TVmagic. To paraphrase the show’s titular host(ess):“Don’t f*** it up, Emmy!”So You Think You Can Dance (Fox)It may not pull the ratings of its sister show, Idol, butSYTYCD has a higher degree of difficulty – drawinga mass audience for a dance competition that’s notconstructed around pre-existing celebrities. And whileEmmy may smell a little blood in the water thanks toFox’s decision to trim SYTYCD’s results show from itscurrent installment, the show’s glorious Season 8 –with its exquisite Melanie-vs.-Sasha finale – made forsublime television.Survivor (CBS)The granddaddy of the category hasn’t been nominatedfor the big prize since 2006 – despite its host, JeffProbst, scoring Emmy wins in 2008, 2009, 2010 and2011. And seeing how the “One World” twist of its 24thseason was something of a bust, the old dog’s new tricksmight not be enough to put it back on Emmy’s radar.LONG SHOTSAmerica’s Next Top Model (CW)The Bachelor/Bachelorette (ABC)Big Brother (CBS)The Biggest Loser (NBC)Chopped (Food Network)Hell’s Kitchen (Fox)Iron Chef America (Food Network)The Next Food Network Star (Food Network)Shark Tank (ABC)Wipeout (ABC)Top Chef (Bravo)The sumptuous feast of the reality genre finally brokeAmazing Race’s seven-year stranglehold on the categorywith a win in 2010, but ceded the trophy to itsold nemesis in 2011. A somewhat unwieldy Texas-setSeason 9, however, may have had too many cooks toproperly concoct an Emmy-winning soup.The Voice (NBC)Last year, NBC proved it’s not an automatic suicidemission to launch a reality singing competition inthe midst of Idol’s season. And Season 2 of The Voicepunctuated that there are legs to the show’s mix ofblind auditions, spinning chairs and A-list judges.True, palpable tension between Christina Aguileraand Adam Levine may not have been great for thementors’ individual reputations, but that controversy –and a diverse crop of vocalists – should be enough toearn the show an initial Emmy nod.The X Factor (Fox)The year’s most loudly hyped reality entry drew decentratings, but felt like a disappointment after headjudge/executive producer Simon Cowell’s predictionthat it would be America’s No. 1 TV show. WhenCowell axed the show’s host and half its judgingpanel at the close of Season 1, it seemed not onlyan acknowledgment of critics’ cries about the show’screative shortcomings, but also a blow to its chances atEmmy love.32EMMY AWARDS PRINT EDITIONS 2012

Evolving FormatsMAKE FOR TOUGHEMMYRealityInterventionSteve Buscemi steps into the lead as ‘Nucky’ ThompsonThe Amazing RaceFlipping OutDeadliest CatchBy Ray RichmondThe Academy of Television Arts & Sciences hasreceived a lot of criticism from the TV industry overthe past decade for the way the Emmys have dealt withthe explosion in reality and unscripted programming.Primary among the gripes are the fact there are toofew categories, too many contenders and too much ofa one-size-fits-all framework.“Everything is simply too lumped together for Emmyconsideration,” charges one reality producer. “You’reputting Jersey Shore in the same category as StorageWars. It makes zero sense.”In defense of the TV Academy, it hasn’t been easykeeping up with all of the sub-categories and sub-genresthat have evolved since the unscripted boom began.And as primetime has changed, it’s worked to keep up.It added the Outstanding Reality Program categoryin 2001, Reality-Competition Program in 2003 andReality Host in 2008. That’s in addition to categorieshonoring top Nonfiction Series and Nonfiction Special.And in May, the TV Academy’s Board of Governorsvoted to approve the creation for the first time of aReality Peer Group. The move “speaks volumes forthe academy’s sense of importance and critical massthat reality has achieved as an industry,” believes JohnLeverence, the academy’s longtime senior VP of awards.The denigration aimed at the TV Academy over howit groups and measures reality programming remainsa hot button for Leverence. He stresses that the notionthat there isn’t a depth of commitment to adequatelyrecognizing the unscripted world is “a misperception.Going back to honoring Arnold Shapiro for ScaredStraight in 1979, there’s been a presence and a placewithin the Emmy Awards for reality programming.”Perhaps part of the problem has been in the fact thatthere was only one significant reality category (realitycompetition)in the primetime telecast until 2008,when Host joined the mix. Also, the fact that one showhas so dominated serves to spur resentment, with TheAmazing Race taking home the reality-competitiontrophy seven years in a row and eight of the past nine.At the same time, television’s most popular series of thereality era, American Idol, has been shut out.Grouses one producer: “You have to ask yourself ifAmazing Race winning every time maybe has somethingto do with Jerry Bruckheimer’s being attached to it.”Lauren Lexton, co-founder and executive producer forAuthentic Entertainment – which produces a roster ofshows including Toddlers and Tiaras, Ace of Cakes andthe real estate-themed Flipping Out – has never seenone of her programs earn an Emmy nom. Yet every year,she holds out hope that Flipping Out in particular willget acknowledged.“I guess I just really don’t understand how the categoriesare comprised and the competitions are judged,”Lexton admits. “I think maybe more specificity wouldbe a good idea, so you know what you’re up against. Imean, you’ve got auction shows grouped with docusoapsand History-type shows. It’s a very big canvasyou’re talking about.”To be sure, the reality program category has seensome radically different types of winners lately, fromDiscovery’s Deadliest Catch to ABC’s Jamie Oliver’sFood Revolution to A&E’s Intervention to Bravo’sKathy Griffin: My Life on the D List. The sheer breadth ofcontenders is both a blessing and a curse for the academy,which is at once praised and slammed for the diversity.Leverence likes to point out some numbers that hebelieves brings the situation into clearer focus. He notesthat there will likely be somewhere between 35 and 40entries this year for reality-competition and roughly 80for reality program, which correlates statistically withthe number for Outstanding Comedy Series (some 55to 60 entries) and Drama Series (around 80 or 85).“If you say there is a tremendous amount of traffic inthe reality area and a need to open up more categories,then you’d really have to make the same argumentin comedy and drama,” Leverence stresses. “In fact, abetter argument could be made for comedy series lastyear, when the category was so disparate in terms ofthe kind of programming with everything from NurseJackie to The Big Bang Theory.”In terms of category and individual achievementawards, the Emmys are now adequately representingthe worlds of both reality and documentary, Leverencemaintains. When all of the reality-themed categories(including technical merit) are added up, they cometo 10, or some 10% of the 99 categories in the entirecompetition. “Considering we started 15 years ago withzero for reality, it’s not an insignificant number,” he adds.But some producers continue to dispute the applesand-orangesmeasurement they’re forced to bear whensubmitting for Emmy consideration. “You’re telling methat a comedy like (NBC’s) Betty White’s Off TheirRockers is competing in the same category as a hardcoreadventure like Deadliest Catch?” asks one realityexec producer. “How do you compare that kind ofstuff ? I honestly don’t get it.”34EMMY AWARDS PRINT EDITIONS 2012

2Putting thewank1966:Back in16345Hard Lines, Warm Colors and a Touch of Frump Mark ‘Mad Men’ Production Designer’s StyleDon Draper’sUpper east Side AbodeBy Diane HaithmanMad Men production designer Dan Bishop,a 2004 Emmy winner for HBO’s DepressionEra mystery-drama Carnivàle, has alreadyreceived multiple Emmy nominations forart direction for Mad Men (shared with thedesign team). Could this be the year this fourtimedrama series winner gets Emmy love forart direction? A key set: The Upper East SideManhattan apartment of Jon Hamm andJessica Paré’s Don and Megan Draper.1) Proportion and architectural compositionIt’s evident throughout the Drapers’ modern apartment,but Bishop selects the fireplace wall, completewith built-in furniture and a vintage console TV, as amicrocosm of the apartment’s linear geometry. “Thattype of elevation view is very important to me,” hesays. “If each surface within a room is studied andmade proportional for the rest of the space, then thewhole thing comes together in a stronger fashion.”2) Pendant lampThis vintage fixture, which set decorator ClaudetteDidul found, is an eye-catching element of the fireplacewall’s composition. “We didn’t light it up untilit was hanging on the set; we discovered the intensityof the colors and said: ‘Oh my God, that’s fantastic!’”Bishop says. “The way it’s hung, with the canopy inone spot and the loop of chain – that is very intentionallycomposed.”3) Out of place?This quaint little painting stands in deliberate contrastto the modern decor. “In my initial sketch there was amuch larger piece there,” Bishop says. “But we endedup with a really small painting, a little Parisian streetscene that looks like it was done by a street artist. It isarguably the least sophisticated bit of artwork in theapartment. There was still a remnant love affair withall things Parisian in the 1960s. It’s strangely small,but it somehow fits with the whole composition, so wethought, ‘What the hell, we’ll put the least interestingpiece of art right in the bull’s eye.’”4) Color PaletteSTo soften the hard lines of the architecture, Bishop andhis team chose warm colors, softer textures and naturalwoods. Included are grasscloth wallpaper, brightpillows and draperies featuring a pattern selectedbecause it resembles tiny television sets. The uninterruptedsight lines are deliberate and lead to a surprise:The metal sculpture on the bedroom wall. “Those havesort of faded away, I guess,” Bishop says.5) Shedding more lightThe wall of windows. In this after-dark photo, the“practicals” (“lamps” in designer-speak) are on so youcan’t see daylight pouring in, but when it does, lightcomes in from one direction, and “that tends to throwsculptural elements into relief, with strong highlightsand shadows,” Bishop says.6) Don’s chairMuch of the furniture was built, but the period chairwas carefully chosen – and conveniently placed nearthe bar – to reflect Draper’s character. “It’s masculine,it’s high contrast to the room, it’s comfortable enoughto reflect his age; he’s a middle-aged guy,” Bishopobserves. “He’s a little bit of a dinosaur, but he’s also acreative director at an advertising firm, so it’s a modernshape but a little bit frumpy.” This chair can also swivelas the scene requires. Jokes Bishop: “Throughout theshow, we’ve always said: ‘What chair is Don going tosit in next?’”36EMMY AWARDS PRINT EDITIONS 2012

126453Mambo DancingWITH ArchitectureDesigner Barbosa Gives ‘Magic City’ a Miami Modern MakeoverBorn in Bogota, Colombia, Carlos Barbosatrained as an architect before becominga production designer whose TV creditsinclude Lost, 24 (for which he was Emmynominated)Terra Nova and CSI: Miami.Still a working architect, Barbosa was thrilledto tackle 1950s architectural glamour for theStarz series Magic City, using a Miami warehouseto contain interior sets for the fictionalMiramar Playa Hotel. His inspiration wasarchitect Morris Lapidus, whose namebecame synonymous Miami Modern (MiMo)design with such Miami vacation palaces asthe Eden Roc and Fontainebleau Hotels.1) Shedding lightSerendipity played a hand in finding this massive chandelier,12 feet in diameter. “I told the set decorator, ScottJacobson, ‘Scotty, you’ve got to find a chandelier thathas this dimension, and it’s got to be lavish,’” Barbosasays. It only took Jacobson a day to find the right chandelierin an antique shop: the original one that hung inthe Eden Roc before it was renovated. Another niftycoincidence: Series creator Mitch Glazer’s father wasan electrical engineer who designed lighting for manyMiami hotels. Glazer’s father ordered this very chandelier,fabricated in Havana.2) The GlowThe eye is immediately drawn to this array of brassdomes circled by light. The design was inspired bysimilar arrangements by Lapidus for hotels not locatedin Miami. Another special lighting effect: the glowemanating from above the serpentine ceiling. In the1950s, Barbosa explains, they would have used flexibleneon tubes that could bend around the curves; now,hidden digital fixtures create the same effect with lesslabor and expense.3) Metal ManiaLapidus loved to combine different metals. “If you lookat this railing around the oval, it combines the silver ofthe stainless steel and the brass together.”4) M is for MiramarIn the original concept, Barbosa had a grand piano inthe M, but it was scrapped because then a pianist wouldhave to be written into, or out of, every scene. Whatseems to be black-marble inlay is just painted wood, asis the rest of the polished “stone” flooring. Barbosa saysthe patterns found in Lapidus’ stone floors are sometimesinspired by ancient Greece, so he also studiedthe Greek patterns. “I’m going back to the roots of hisdesign to do my design,” Barbosa says. “This is not acopy of his work, but my interpretation of his work.”5) Stairway to NowhereAgainst a wall of shimmering shell tiles, the one-flightcurved staircase was typical of ritzy resorts, so womencould don makeup, gowns and furs in comfortableair-conditioned rooms, then take the elevator to themezzanine level for a sweeping entrance. “These hotelswere the hottest places to be seen,” Barbosa says. “EllaFitzgerald, Frank Sinatra, the Kennedys. There is alegend about (John F.) Kennedy being dropped off atthe Fontainebleau and Marilyn would come and meethim. The helicopters would circle the entire day, thenpick him up and go.”6) MermaidsThe sprawling warehouse contains multiple sets, andone is the underground Atlantis Lounge. You can’t seeinside here, but it’s a favorite, featuring giant portholesinto the pool and occasional drifting mermaids.By Diane Haithman

365421CRACK DENSNEVER LOOKED THIS GOODFor ‘Justified’ Designer Blass, the Dirt Is in the DetailsBy Diane HaithmanCall him a partner in grime: David Blass,production designer for FX’s Justified, sayshe and his team paint with rust, fabricatewith filth and create a patina of age and gritfor this modern-day western, set in Kentuckybut shot in Southern California. Blass knowsthat “pretty” tends to win at Emmy time,but says he revels in the “the dark side ofdesign.” This set was used only once to stagethe violence that ensued with the Oxy tradein Harlan, when protagonist Raylan Givens(Timothy Olyphant) has a dust-up with adrug dealer. Nonetheless, the setting calledfor two weeks of design work.1) ContrabandThe only cooking around this home is crystal meth.Red boxes contain the foil for preparation. Also inevidence are prescription bottles of Oxycontin, markedup and resold via the so-called “Oxy Highway.” “Oxyhas come to be known as ‘hillbilly heroin’ in the drugworld; it’s an epidemic in Kentucky,” Blass says. “Evenif it’s not addressed in the scene, it’s always presentbecause it is a major plot of the season.”2) Pet SoundsThis drug dealer may not have morals, but he does havea pet lizard. “I love adding pets or pet elements intosets, even if we never see the animal,” Blass says. “Youcan have a ton of cat trees and nasty litter boxes andimply a crazy cat person without ever seeing the cats.”3) Tag You’re ItTagging is part of the drug culture, so the designteam cooked up a backstory that would allow themto include graffiti on interior walls. “Everyone’shopped up on drugs, having a party and it getsout of control – and the spray cans come out,”Blass hypothesizes. Since it’s as hard to copy realtagging as it is to forge a signature, a young scenicartist who specializes in tagging was brought in.4) Sharp edgesA knife sticks into the wall near the door. “Drug dealingis dangerous business, and a sharp blade at the readyis always a good thing to have,” Blass says. The scriptcalled for a fight scene where the drug dealer wields asamurai sword (seen sticking into the couch cushions),so the design team decided to give him a whole swordcollection. “Instead of it being random, his side thingis martial arts and swords,” Blass says.5) He’s dangerous, but also a slackerThe design team had this drug dealer move his microwavenext to his chair so he can make popcorn withoutinterrupting his video game. Writers later decided touse the microwave as a place to stash a weapon.6) LayersDrug dealers want to minimize the number of peoplecoming in and out, so even though the guy’s got money,he’s got nobody to clean. It’s easier to buy somethingnew than dispose of the old, plus trash service isn’t freein Harlan, Kentucky, so junk piles up. Here, we havespeakers on top of speakers, new TVs on top of oldTVs. “He’s got really nice toys in that crummy place,”says Blass. It all creates archeological layers in which anew plasma TV can coexist with a ’70s beanbag chair.While a TV audience may not notice all the details,Blass says, such authenticity creates “an immersiveenvironment” that helps actors stay in character.38EMMY AWARDS PRINT EDITIONS 2012

Swapping Synthsfor SymphoniesMore Composers Are Raising the Bar With TV Show OrchestrasBy Anthony D’AlessandroThere was a time during the heyday of TV when a studio orchestra wasn’t considered out of the ordinaryon such shows like Star Trek and Mission: Impossible. But as synthesized scores took off during the ’80s,shows gradually reduced their music budgets to one-man bands. Thanks to the increasing competitionof high-brow hour-long cable programs, the tide is changing: 30 piece-plus orchestras are making acomeback. Notable film composers are championing network executives to forgo lofty song licensing costsof $40,000 a pop in favor of orchestral budgets. “An orchestra brings humanity to the drama. Sampled scorescan’t do that. Whenever one is used, it’s like cutting a corner,” Revenge composer iZLER observes. Yet whiletwo-person musician and keyboard themes remain de rigueur (read Brian Tyler and Keith Power’s Hawaii Five-0multi-instrument studio sessions), it’s the scenic hour-long shows that are demanding the proper musical accompaniment.ABC’s senior VP of TV music Dawn Soler is one of those network execs who is making strides on Once Upon a Time andRevenge. “We are developing a history for this; it’s so integral to our shows. To have those live instruments; it works on a differentlevel with a viewer – molecularly.” Below are four profiles of those composers who are making sound waves this Emmy season:David Carbonaracomposer of AMC’s Mad MenMARK ISHAMcomposer of ABC’s Once Upon a TimeiZLERcomposer of ABC’s REVENGEBRIAN TYLERcomposer of Terra Nova and co-composer of Hawaii Five-0Mad Men composer David CarbonaraOnce Upon a Time composer Mark IshamBackground: A former touring big band trombonist,Carbonara worked extensively as a music editor on anumber of Oscar-nominated titles such as Chocolat andThe Cider House Rules, while parlaying his composingtalents on such scores as David O. Russell’s debut Spankingthe Monkey and the Marisa Tomei comedy The Guru.Orchestra size: 20-30, but often smaller every week.“We might sound big, but I credit that to the rooms weuse,” says Carbonara, “We don’t use that much studiotime given the amount of music cues per episode (five-sixminutes). Depending on the kind of music, there mightbe a rhythm section, and I’ll overdub horns separately.”Muse & Method: The whole kit and caboodle of ’60serajazz from Wayne Shorter and McCoy Tyner tobreezy romantic themes by Henry Mancini. “I’ve gotLalo Schifrin’s jazz theme from Mannix in my head,”exclaims Carbonara. When it comes to the limitedamount of noticeable cues, he explains, “I’m fortunatethat when my music enters, it means something.We don’t over score. Both (Mad Men series creator)Matthew Weiner and I have a light touch. When onescores too much, it becomes less meaningful.”Key moments: One of the few requests Weiner hadthis season was for a Betty Draper ( January Jones)theme, which complemented episode 503 when she’swith her family outdoors on Independence Day. “Shehas a childlike character, and I used piano and celesta,”says Carbonara. Of further note are the melancholystrings, touched by soft brass, piano and woodwindsthat play over the juxtaposition scene in “The OtherWoman” (episode 511) between Don Draper’s (JonHamm) ad pitch to Jaguar, and Joan (ChristinaHendricks) “prostituting” herself to Herb (GaryBasaraba), a key player in the agency’s Jaguar deal.Challenges: “Unlike a film score where I can lookahead in the script and see if there’s a recurring characterI can put a theme to, I don’t get to see the whole(TV) series to figure it out,” says Carbonara. On theupside, given his short cues, he’s not pulling his hair outlike other TV composers who turnaround an episode’sscore in a week. Weiner delivers episodes to Carbonaraas soon as possible. At any given point in time,Carbonara is composing for three or four episodes.Background: 1992 Oscar-nominated composer of ARiver Runs Through It and Emmy winner of the 1997main title theme for EZ Streets (as well as two nodsfor Chicago Hope in 1996 and ’96 and Nothing Sacred in1998), Isham has been a go-to for series creators andfilm directors given his beautiful flair for capturingemotion in his symphonies. Some of his feature creditsinclude Crash, Reservation Road and most recently theZac Efron headliner The Lucky One.Orchestra size: The season finale tapped 51 musicians,a reputable size for TV. On a weekly basis, it numbersin the 30 range.Muse & Method: “‘Epic’ was the word that was givento me,” says Isham, who uses the celesta as a motifinstrument throughout the show. “It’s an instrumentyou have to stay away from in most scores becauseit’s so strong with its glistening, metallic sound. Butyou need it for stories which call for magic and otherworldliness.We’re not going to be indie here in hidingour emotions, rather wear them on our sleeves.”Key moments: The final scenes of the finale “A LandWithout Magic” remain touching moments thatprovoke one to reach for the Kleenex box. A solomournful violin, backed by fluttering strings escalatesto when the child Henry Mills (Jared Gilmore)awakes from his coma. A round of celesta chimes inafter Emma Swan (Jennifer Morrison) awakes himwith true love’s kiss, thus triggering a swell of brassand woodwinds as the evil curse is lifted from theentire town. Soon after, a swirl of celesta and stringsaccompany a circling camera shot around Snow White(Ginnifer Goodwin) and Prince Charming’s (JoshDallas) kiss as they finally discover each other inthe present day. Says Isham, “Across two cues in sixand half minutes, we wrapped up the old story andintroduced a cliffhanger.”Challenges: “You have two dragon battles. Each weekyour minute count goes up, and there’s a need to makethe music more complex, but for the finale (38 minutesof cues) I foresaw it was going to be the most complex(composition) we had ever done and budgeted in thetime,” adds Isham.Background: Czech-born composer spring boardedwith his score to the indie feature National Selection,earning him a best film score award at South bySouthwest. This ultimately caught the attention ofRevenge creator Mike Kelley and exec producer andpilot director Phillip Noyce.Orchestra size: Approximately 30, 50 for the season finale.Muse & Method: “Mike (Kelley) and I discussed thatthe sound had to represent the sea. The whole storyis surrounded by the ocean,” says iZLER. Much likean Alfred Hitchcock movie, music fuels the non-stopthrills of Emily Thorn’s (Emily VanCamp) quest toundermine the Grayson Hamptons dynasty. “There’sdefinitely a Bernard Herrmann lineage to the score …Mike and I initially spoke about an understated score,but as the Revenge experience grew, the music swelled… Rather than divide our orchestra into a few brass,a few woodwinds, I decided to have a formidablestring section. Psycho was a big influence. That’s whereHerrmann limited himself to strings; such a ballsychoice in that era.” “Emily’s Theme,” comprised ofstrings, is used interchangeably throughout the seriesfor various characters, especially when a revenge situationarises. “It’s a motif,” iZLER points out, “like anIndiana Jones theme.”Key moments: The season finale, “Reckoning,” in which40 of the show’s 45 minutes possessed music cues. Theblurts of brass and strings punctuate the onset of Emily’sface-off with her father’s killer, “the white-haired man”moving toward rhythmic jungle percussion duringher ax-wielding fight scene with him. But just as she’schoking him, Emily has a tender flashback about herfather, at which point the score changes-up to soft piano.The cliffhanger is capped off by fortissimo up-anddownstrings indicating Emily might have a mother.Challenges: Turning around an episode’s score in fivedays, which includes writing, prepping, recording andmixing. However part of the fun for iZLER is balancingthe show’s light and dark moments. “Situationswhere it calls for Emily to get emotional go from beingin an overly minor key to a more major feel or having alighter feel; it’s a matter of changing a couple of notesor the whole orchestration.”Background: Multi-instrumentalist with a flair forcomposing mega actions, i.e. Eagle Eye, Fast Five, 2008’sRambo, The Expendables 2 and the videogame Call ofDuty: Modern Warfare 3, which earned $775 million inits first five days. You can also hear Tyler’s music on thenew Universal Pictures theme celebrating the studio’s100 th anniversary. Tyler landed on Steven Spielberg’sradar after a piece of his music was temped into the firstIndiana Jones and the Kingdom of the Crystal Skull trailer. Thisearned Tyler the job on Eagle Eye as well as relationshipwith the film’s producers Alex Kurtzman and RobertOrci, who tapped the composer for Hawaii Five-0.Orchestra size: 30-50 people on Terra Nova. On HawaiiFive-0, “Keith and I bring the human experience in itas we record live with guitars and a number of instruments.It’s fun to combine Polynesian percussion,(keyboard) dub steps and ukulele,” says Tyler.Muse & Method: “Terra Nova is a throwback to thatclassic Hollywood sound,” says Tyler, who is influencedby the memorable adventure melodies of JohnWilliams a la Jurassic Park. “Once I wrote a theme, weall got on the same page, and it culminated into somethingwe couldn’t describe,” says the composer aboutthe collaborative process with Terra Nova exec producerSpielberg, Brannon Braga, René Echevarria andepisode director Alex Graves.Key moments: “I wrote six main themes canvassing thegood guys, the family, villains, romantic moments and thedinosaurs,” explains Tyler about his work on Terra Nova,“It ended up being treated as a 12-hour movie with anemotional, science-fiction nature, but grounded in family.”Challenges: Says Tyler, “It’s difficult nowadays to havea live orchestra as music costs are often sliced. We hadto fight to have live musicians on the show … For thissound (on Terra Nova) we really needed an orchestra,and it would have been a disservice if we synthesizedit … As a production team, we all stood behind this …A number of Fox executives came to the early scoringsessions and were surprised at the huge difference anorchestra made emotionally. You just stirred.”Revenge composer iZLERTerra Nova composer Brian Tyler40EMMY AWARDS PRINT EDITIONS 2012

LessonsI’ve Learned10From Living in The Public EyeI can’t tell you how much our lives have changed since the very firstseason of Keeping Up With the Kardashians first aired on E! sevenseasons ago. My entire family is known for letting it all hang out, dolls!Whether we are moving cross country, settling a family feud, dealingwith heartbreak or just having fun with one another, our lives are totallyrelatable. I have always been a hands-on mom and wife, but living mylife on camera and becoming a manager for my family has proven tohave many ups and downs. As you see on Keeping Up With the Kardashians,I’m a one-woman show juggling a household, managing multiple careersand executive producing four television series for E! Living our livesin the celebrity spotlight hasn’t always been easy – we’ve dealt withlove, loss, marriage, divorce and motherhood all for the world to see.By Kris JennerHere are a few things I’ve learned over theyears. Chances are they’ll be relevant toyour life, maybe even your efforts to securean Emmy nomination. You might recognizesome of these from my 2011 NewYork Times bestselling book Kris Jenner …And All Things Kardashian, and why not? Itexpresses my thoughts on so many things.Maybe the 11 th point for me and myfamily is that we don’t hold anything back:Keeping Up With the Kardashians1) Live every day with no regrets.I mean how can we? it’s all on film.2) Don’t sweat the small stuff on any given day.tomorrow is always just around the corner.3) Treat everyone as you wish to be treated.Or at least really try to.4) Money and success isn’t everything –the love and health of your family is.5) Sometimes saying “no” before you say “yes”is a great business tactic.6) Watching your family grow up on cameraturns into the best home movies a mom can ask for.7) Hard work and determination always pay off,and my family works hard every day.8) It’s good to have dreams, but even betterto set goals to make them come true.9) You’re your own biggest competitor, and your own worst critic.Work hard, but also remember to take breaks to recharge the batteries.10) Life is a wild ride. Cherish everything – the ups, the downsand what we learn from them make us who we are.Kris Jenner is the self-described “momager” of the Kardashian family. Now in itsseventh season on E!, the flagship Keeping Up With the Kardashians continues to bethe network’s top-rated show, and has spawned a number of hit spin-offs, includingKourtney & Kim Take New York, Khloé & Lamar and Kourtney & Khloé Take Miami.42EMMY AWARDS PRINT EDITIONS 2012

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for your emmy ® consideration in all categoriesSM“…TRUE COMIC RELIEF…ILLUMINATING…FUNNY AND INSIGHTFUL…truly, deeply moving.”—THE WALL STREET JOURNAL©2012 Home Box Office, Inc. All rights reserved. HBO® and related channels and service marks are the property of Home Box Office, Inc.