I Am DB

December 22, 2012

Bragging Rights

Filed under: Movies,Real Life,TV — DB @ 1:17 pm

Coming closely on the heels of my “Happy Hanukkah, Mom” post, I’m taking a personal moment again…but this time it’s connected to my usual blogging topics, so we’re all good. I need to raise a glass to two good friends of mine who both got a bit of attention on Monday in their long-time efforts to break into the business of show.

First, a young man by the name of Ryan Corrigan. He was a quiet lad when I met him at summer camp in 1991 in our native Massachusetts, where we and our castmates lit up the teenage theater scene with a hilarious one-act production of Neil Simon’s Fools. His mild-mannered persona belies a knack for getting into comic misadventures, and his rapier wit and spot-on skill for lampooning pop culture has served him well in writing, directing, editing and acting in personal, just-for-fun video projects for years along with a small group of equally smart and funny friends. Their banner is called Worst Party Productions, and while I’m disappointed that their website – which I was honored to contribute some text to – is currently lost somewhere on the dark remotes of the Information Superhighway, their videos are readily available elsewhere online. Among my favorite Worst Party offerings are their celebrations of the awesome awfulness of Michael Bay, and their Hott Car Tipps series.


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What’s my point in all this? Well, Ryan recently earned a position as a writer on an upcoming web series called Ghost Ghirls, which will air on Yahoo! in a few months, and on Monday the project was publicly announced, its noteriety perhaps attributable to its producer: Jack Black. The series was briefly covered online by Entertainment Weekly and The Hollywood Reporter, and I have to assume that the part where Black praises Ryan’s talent and proclaims him on the verge of grabbing Hollywood by the balls was edited out due to space issues. If I remember the details correctly, Ryan is one of five writers on Ghost Ghirls, along with its two lead actresses (one of whom, Maria Blasucci, plays Becky in Michael Bay’s Movie Club above…and will soon be seen on Christopher Guest’s HBO series, Family Tree). He wrote at least five of the 12 episodes, I think, and his scripts are helping attract some impressive guest stars even beyond those mentioned in the linked articles. Sorry, I’m sworn to secrecy; it’s top secret, and I’ll have some heat on me if blab.

Anyway, Yahoo! has been showcasing some impressive web series lately; seriously, if you didn’t see Burning Love last summer, you must begin watching it immediately…though as I’m attempting to provide you with the link, I’m seeing that the first several episodes no longer seem to be available online…which makes a lot of fucking sense for a web series. Nice job, Yahoo! Well, here’s the trailer, at least.

Sorry…I’m getting away from the point of this post, but I saw an opening to recommend Burning Love and I had to take it. Hopefully the full series will be back online soon. Bringing it back around to me bragging about my friends, Burning Love set a impressive precedent for Yahoo!, and I’m excited for Ryan and his involvement in a series that hopes to carry that torch. You can bet I’ll be promoting Ghost Ghirls when it hits the web this spring.

Now I turn to a Dallas, Texas native named Brantley Aufill, who came all the way to upstate New York for college, where we met on our first day when he moved in next door to me. It was Fall 1995; I was plastering Reservoir Dogs stills on my wall; he showed me the ginormous Pulp Fiction poster he’d just hung on his. Then I didn’t see him for three weeks. Seriously, to this day I don’t know what happened to him, but the dude was gone as if he’d never been there. I started to think I’d imagined our meeting. Then one day he was back, and we became friends, roomed together the next year, and thus did I learn that this guy is an idea machine. His brain never stops working. He is constantly writing, outlining, developing, and researching multiple stories and scripts at a time, and his ideas always sound great. There are some he told me about back then that he’s long since abandoned but which still pop into my head sometimes and make me think, “That would a be a really cool movie.” Aside from his relentless work ethic, he’s also the most well-rounded movie fan I know, immersing himself in classics, foreign films and documentaries as much as contemporary Hollywood fare. He knows movies, he knows movie history…he’s a true student of film, and that deep well of knowledge informs a voice that is original yet infused with an awareness and appreciation of what’s come before. He’s been hard at work of late with several irons in the fire, just waiting for something to ignite, and he got a huge boost on Monday when one of his screenplays, called The Hooverville Dead, was included on the 2012 Black List.

What is that, you ask? Here’s a nice, short article on the origins of the Black List that appeared in Entertainment Weekly a few years ago, but the gist is that it’s a compilation of the most well-liked, unproduced screenplays that have been floating around Hollywood during a given year. Nearly 300 studio and production company employees submit a list of their favorite scripts of the year to the Black List’s organizers, and those scripts that come up most often get included. It used to name every script that was mentioned even once; now a piece has to be cited at least six times. And this year, Brantley made the cut. The Black List is big news in Hollywood, and the fact that all the writers’ names are mentioned  in publications like Variety and The Hollywood Reporter is just for kicks next to the real reward of attention this shines on the writers and their work.

Those articles mention some past Black List scripts that eventually went on to earn Oscar nominations or wins, but there are a ton more that have been made since the list began in 2005, including The Hangover, 500 Days of Summer, Superbad, Burn After Reading and Babel. Some that made the list a few years ago or more are finally now in production, including Martin Scorsese’s next project. The current film Hitchcock was on the 2007 list, and Quentin Tarantino’s imminent release Django Unchained was on last year’s list. Of course, while people like Tarantino, Seth Rogen and The Coen Brothers don’t need the Black List bump to get their movies made, unknown or up-and-coming writers like Brantley stand to benefit significantly. Not every Black Listed script will wind up getting made, and not all that do will turn out to be good, but getting included can lead to great things. With all the projects I know Brantley’s got going on, I’m certain this will result in the career surge he deserves and has been working so hard toward. Hell, his work has already been performed at Carnegie Hall. Carnegie fucking Hall!! Unfortunately I don’t have any videos of his work to plug as I did Ryan’s, but he does have a blog…and unlike my rambling posts, his are tight, fun and informative. I highly suggest checking it out, especially for his short and sweet reviews of older movies.

Needless to say, I’m excited to see good things start to happen for a couple of  guys whose talents have too long been enjoyed by too few. So congratulations to my friends Ryan and Brantley for this week’s big strides toward unleashing those talents on the masses. I’m rooting for both of you, as always, not just because I look forward to enjoying your success, but because I desperately and unabashedly seek to benefit from it directly. Seriously, I’m totally down with being a personal assistant. I will fetch your ice cold sodas and steaming hot lattes. I will book your holiday travel. I will pick up your dry cleaning. I know you’re both going places; for the love of God…take me with you.

October 21, 2012

Music to Tease By

Showtime’s series Homeland returned for its highly anticipated second season a few weeks ago, freshly anointed with six Emmys including a fully expected and fully deserved Best Actress win for Claire Danes, a more surprising but also worthy Best Actor win for Damien Lewis, and the top prize for Best Drama Series, thwarting Mad Men‘s hopes for a five-peat. The season has kicked off with no loss of quality, and I’m confident it will progress just as thrillingly as last year’s.

None of which matters, because this post isn’t about Homeland.

It’s about the trailer for Homeland.

Sort of.

And before I can explain that, I need to jump back two years. So…bear with me here.

One of 2010’s best movies (many people would say 2010’s single best movie; it was #2 for me) was The Social Network. Not only is it a fantastic movie, it was backed by a fantastic marketing campaign with a standout trailer featuring a haunting cover version of the early Radiohead hit, “Creep.”

The musical assemblage of angels and demons responsible for that version of the song is Scala & Kolacny Brothers, a Belgium-based group consisting of siblings Steven and Stijn Kolacny and a choir of 30-40 women ranging in age from 16-26. As detailed on their website, the brothers formed the choir back in 1996 and soon built up a following in Belgium performing  traditional classical music by the likes of Beethoven. It’s fitting that their version of “Creep” is what launched them to international fame, since the song was also what prompted Steven to consider adapting pop and rock songs in the first place. After what may have been a shaky start with this new, unconventional direction, the band’s vision quickly earned them a following around Europe, and additional fans across oceans, including Social Network director David Fincher. The prominent use of “Creep” in his film’s trailer led to a whole new level of curiosity about Scala & Kolacny Brothers. Their popularity expanded, and soon their music was being sought by other directors and producers. The BBC’s trailer for Season Two of Downton Abbey used their cover of U2’s “With or Without You”…

…and to bring it back to the beginning of the post, their version of The Police hit “Every Breath You Take” was used in the Season Two trailer for Homeland this summer. (Those who have yet to start on this show, don’t worry – nothing you see here will spoil things for you.)

While doing some research for this post, I learned that Scala & Kolacny Brothers’ “Every Breath You Take” was also used in the BBC’s trailer for the first season of Downton Abbey, which aired a few months after The Social Network trailer hit. A look at these makes it easy to understand why their music is so desirable. I don’t know about you, but I get chills up and down my spine at the marriage of their recordings and the compelling imagery and dialogue teasing us with the promise of what we hope will be great movies and series.

And that is, after all, the job of a good trailer: to tease viewers and create in them a desire to experience the full course meal. It’s not easy. How many times have you seen a trailer that gave away too much of the movie? It’s a frequent and valid complaint that trailers too often spell out exactly what will happen or at least spoil key plot developments. Still, they have always been one of my favorite part of the moviegoing experience, and when I think about some of my favorite movie trailers ever – and yes, I’m the kind of person who has favorite movie trailers, which probably tells you a lot about me – it is almost always the music that cements their status. Music may be the most vital ingredient of a great trailer. Consider Michael Bay’s Pearl Harbor. Those aren’t words I say very often, as I tend to feel that the less time spent considering Michael Bay’s work, the better off we all are. But I have to admit, I love the Pearl Harbor trailer.

That movie looks fucking awesome!! Unfortunately, it turned out that there’s more heart, emotion, power and filmmaking skill on display in that nearly three-minute trailer than there is in the entirety of the actual three-hour movie. And it’s all about the music. Don’t believe me? Here’s the exact same cut of the trailer, scored differently.

Oh, the music swells and it tries to stir, but it just doesn’t get there. Certainly not when compared to the first version, which is so compellingly tied together by an exceptional piece of music called “Journey to the Line,” from composer Hans Zimmer’s Oscar nominated score for The Thin Red Line. An issue over the rights meant that “Journey to the Line” couldn’t be featured in the trailer that appears on the Pearl Harbor DVD, hence the alternate – and vastly inferior – version.

It’s common for music from one movie to be used in a trailer for another movie. You’re not going to hear something famous and instantly identifiable like Star Wars, James Bond or The Pink Panther used to promote a movie outside of those franchises, but anything else is fair game, and there are some tracks that have been used over and over again. You may never have heard of a 1989 movie called Come See the Paradise, starring Dennis Quaid, but if you attended even one movie in the 90’s, you probably saw a trailer featuring a piece of music from its soundtrack by Randy Edelman, titled “Fire in a Brooklyn Theater.” Here it is, put to great use for A Few Good Men.

Did that ring any bells? According to Soundtrack.Net (an indispensable resource for all things soundtrack-related, and the place to go if you ever hear music in a trailer and want to know where it came from), music from Come See the Paradise was used in 27 theatrical or TV trailers (for 24 films) between 1990 and 2003, including Clear and Present Danger, The Chamber and Rob Roy (all 27 may not have used “Fire in a Brooklyn Theater” specifically, though I’d guess most did).

Among the other soundtrack cuts that have been used most frequently in trailers are James Horner’s “Bishop’s Countdown” from Aliens, Wojciech Kilar’s “Vampire Hunters” from Bram Stoker’s Dracula and David Arnold’s score to Stargate; I can’t pin down exactly which track(s), though Independence Day is among the trailers to feature it.

Sometimes a trailer will utilize an alternate version of a different movie’s music, as when Clint Mansell’s score from Requiem for a Dream was reinterpreted for The Lord of the Rings: The Two Towers trailer. The preview begins with music from the series itself, but around the 1:38 mark, the Requiem variation kicks in, to magnificent effect.

This is actually my favorite version of the Requiem theme, though I do love the original pieces as composed by Mansell. The theme recurs throughout the movie, in various forms, through cuts on the soundtrack such as “Summer Overture,” “Hope Overture,” and the title under which the piece is most frequently identified, “Lux Aeterna.” It was rearranged and performed anew specifically for use in The Two Towers trailer, becoming so popular and inciting such demand from fans that it was eventually released commercially under the name “Requiem for a Tower” …a fact I was unaware of until writing this post. I’ve always wanted to get my hands on it, and I’m pleased to say it now lives in my iTunes library…and if you’re a fellow film score geek/film geek/generic geek, it can reside in yours to, courtesy of iTunes or Amazon. (Oddly, the initial release of “Requiem for a Tower” was done in three, less-than-a-minute movements on an album alongside original music by the composers who revamped it. The continuous piece of music, as it appears in the trailer, became available later.)

The trailer for the next movie in the franchise, The Lord of the Rings: The Return of the King, went a step further, raiding its own music by concluding with a stirring version of the film’s Gondor theme that was never actually featured in the movie. After using some different selections from The Two Towers, the trailer introduces a melding of composer Howard Shore’s Gondor theme with an original piece commissioned just for this, written by Simone Benyacar (who had a hand in “Requiem for a Tower”) and Craig Stuart Garfinkle. Yup…Simone and Garfinkle.

Simone and Garfinkle’s piece, titled “Epicalypse,” can be heard here, sans Shore’s Gondor theme, while the trailer excerpt can be heard in isolation here. It’s not clear to me whether this piece is available commercially, though one ray of hope for us geeks is a rarities CD from the Lord of the Rings recording sessions, which accompanies the book The Music of the Lord of the Rings Films by Doug Adams. The CD track list includes a piece called “The Return of the King Trailer.” Hopefully that means this piece.

Trailers are usually produced so far in advance of a movie’s release date, that the movie’s own score is not recorded yet, and may not even be written. Rare is the trailer that features music written for the movie it’s advertising. But one exception was the first teaser for Harry Potter and the Sorcerer’s Stone. For a world besieged in Harry Potter mania, the first glimpse of the first movie adaptation was massively anticipated, and I remember watching the trailer upon its release and thinking afterward, “What is that music from?!?” I was surprised when I learned that it was actually the movie’s theme. John Williams had done it again. I can’t even tell you how many times I watched that teaser online over the next few weeks, but I know that it soon became less about my excitement for the movie and more about just hearing that music again.

Of course, there’s no rule that trailers have to use music from other movies. There are companies that produce original music specifically to be licensed out for use in movie trailers, one of the most well-known within Hollywood being Immediate Music. Their work has been used in countless trailers over the last 20 years, with two tracks in particular – “Redrum” and “Code Red” – ranking with “Fire in a Brooklyn Theater” as among the most popular for trailer use.

Established classical music has proven great trailer accompaniment as well. Another of the most oft used pieces of music in trailers has been “O Fortuna,” composed by Carl Orff as part of his Carmina Burana cantata. The instantly recognizable composition has been used in such trailers as Glory, Cliffhanger and…

One early 90’s trailer that stood out for me at the time was the Stephen King adaptation Needful Things, and what made it pop was a piece of classical music I hadn’t encountered before that I came to love: Edvard Grieg’s “In the Hall of the Mountain King,” from his Peer Gynt Suite No. 1, Op. 46.

Nothing special as a trailer, and I’ve still never seen the movie, but I couldn’t get enough of that music.

Lest we think effective trailers rely on instrumental music, or choral pieces like the work from Scala & Kolacny Brothers, rock and pop songs can make an equally strong impact. The trailer for Martin Scorsese’s Casino has always lingered in my mind, for its use of the Rolling Stones’ “Gimme Shelter.” The trailer tries to convey Casino‘s rise-and-fall structure, with “Gimme Shelter” accompanying “the fall.”

The song is a Scorsese signature, having been featured in GoodFellas, The Departed and Casino itself. He described it in Entertainment Weekly at the time of The Departed‘s release as “dangerous,” saying that when you hear that song, “you know something’s going to happen.” The Casino trailer definitely sells that, especially in the great shot with the camera gliding across Joe Pesci’s menacing face, full-frame. You really can’t go wrong with “Gimme Shelter.” It’s currently featured in the trailer for the Denzel Washington drama Flight, and its use there, combined with how the trailer is edited to cast mystery around the events of the story, makes for another solid coming attraction. Note that just as in the Casino trailer, the song kicks in after a more lighthearted opening. Danger indeed, Marty.

Another favorite trailer of mine is for 2002’s Spike Jonze/Charlie Kaufman collaboration, Adaptation. It employs Queen and David Bowie’s “Under Pressure,” which is an upbeat pop song befitting a comedy such as this. But the trailer also hints at the movie’s sadder themes, and to my surprise, the song seemed to fit those just as snugly, forever changing how I hear it. Now I always think of this trailer when it comes on, and its generally buoyant sound is tinged with a sense of longing and regret.

But that’s probably just me.

I’m not alone, however, in proclaiming that last year’s best trailer was for David Fincher’s follow-up to The Social Network. The dynamic teaser for The Girl with the Dragon Tattoo consisted of a pulsing, dialogue-free montage cut to Karen O’s cover of Led Zeppelin’s “Immigrant Song.” It set the tone brilliantly.

There’s really only two words to say after watching that: Fuck. Me.

What the pieces in all these trailers have in common is not only that they’re melodic and memorable or just great songs, but that they contribute so effectively to the sensation the trailer attempts to present. When matched well, music is often a trailer’s best tool for creating mood, suggesting suspense, getting your blood pumping or tugging the heartstrings. The performances by Scala & Kolacny Brothers are ideal for having that effect. The combination of vocals and instrumentation are haunting and powerful on their own, and when laid over images of characters crying, howling in pain or anger, running across a battlefield amid explosions or seeking a connection across cyberspace, they can take on entirely new depth or be seen in a different light. Last year, NPR ran a piece about the making of movie trailers, illustrating that trailer and TV commercial production is most definitely its own industry within the movie industry. And while hearing trailer producers refer to their work as an art form may make you snicker, every now and then a trailer like The Social Network or The Girl with the Dragon Tattoo comes along and shows that even these two-minute advertisements can indeed be artistic achievements in their own way. And in almost every case, the music is essential in the difference between a great trailer and an average one.

Then again, a little self-awareness can be all it takes to do the job well.

July 23, 2012

A Few Emmy Nominations That Weren’t, But Shoulda Been

Filed under: Emmys,TV — DB @ 7:00 pm
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As the ravenous TV fans among you may know, the nominations for this year’s Emmy Awards were announced last Thursday. In 2009, I wrote about the inherent problem with the Emmys (really a problem for all attempts to reward television), and before proceeding, you should click on that link and read what I had to say. Because I’m totally right. So…seriously, go ahead. I’ll wait. Click the link, read the piece, and then come back here for some brief thoughts on this year’s nominations.

Okay, you’re back. We’ll go on the honor system, and I’ll assume you read the older post. Having done that, obviously you agree with my argument, because it’s rock-fucking-solid. So how did things go with this year’s nominations? Well, in case you haven’t even seen them, take a look first, and then we’ll answer that. Here are the nominations in the major categories (major by my standards, at least).

BEST COMEDY SERIES
The Big Bang Theory
Curb Your Enthusiasm
Girls
Modern Family
30 Rock
Veep

BEST ACTRESS, COMEDY
Lena Dunham – Girls
Melissa McCarthy – Mike & Molly
Zooey Deschanel – New Girl
Edie Falco – Nurse Jackie
Amy Poehler – Parks and Recreation
Tina Fey – 30 Rock
Julia Louis-Dreyfus – Veep

BEST ACTOR, COMEDY
Jim Parsons – The Big Bang Theory
Larry David – Curb Your Enthusiasm
Don Cheadle – House of Lies
Louis C.K. – Louie
Alec Baldwin – 30 Rock
Jon Cryer – Two and a Half Men

BEST SUPPORTING ACTRESS, COMEDY
Mayim Bialik – The Big Bang Theory
Kathryn Joosten – Desperate Housewives
Julie Bowen – Modern Family
Sofia Vergara – Modern Family
Merritt Wever – Nurse Jackie
Kristen Wiig – Saturday Night Live

BEST SUPPORTING ACTOR, COMEDY
Ed O’Neill – Modern Family
Jesse Tyler Ferguson – Modern Family
Ty Burrell – Modern Family
Eric Stonestreet – Modern Family
Max Greenfield – New Girl
Bill Hader – Saturday Night Live

BEST GUEST ACTRESS, COMEDY
Dot-Marie Jones – Glee
Maya Rudolph – Saturday Night Live
Melissa McCarthy – Saturday Night Live
Elizabeth Banks – 30 Rock
Margaret Cho – 30 Rock
Kathy Bates – Two and a Half Men

BEST GUEST ACTOR, COMEDY
Michael J. Fox – Curb Your Enthusiasm
Greg Kinnear – Modern Family
Bobby Cannavale – Nurse Jackie
Jimmy Fallon – Saturday Night Live
Will Arnett – 30 Rock
Jon Hamm – 30 Rock

BEST DIRECTING, COMEDY
Robert B. Weide – Curb Your Enthusiasm (Palestinian Chicken)
Lena Dunham – Girls (She Did)
Louis C.K. – Louie (Duckling)
Jason Winer – Modern Family (Virgin Territory)
Steven Levitan – Modern Family (Baby on Board)
Jake Kasdan – New Girl (Pilot)

BEST WRITING, COMEDY
Chris McKenna – Community (Remedial Chaos Theory)
Lena Dunham – Girls (Pilot)
Louis C.K. – Louie (Pregnant)
Amy Poehler – Parks and Recreation (The Debate)
Michael Schur – Parks and Recreation (Win, Lose, or Draw)

BEST DRAMA SERIES
Boardwalk Empire
Breaking Bad
Downton Abbey
Game of Thrones
Homeland
Mad Men

BEST ACTRESS, DRAMA
Glenn Close – Damages
Michelle Dockery – Downton Abbey
Julianna Margulies – The Good Wife
Kathy Bates – Harry’s Law
Claire Danes – Homeland
Elisabeth Moss – Mad Men

BEST ACTOR, DRAMA
Steve Buscemi – Boardwalk Empire
Bryan Cranston – Breaking Bad
Michael C. Hall – Dexter
Hugh Bonneville – Downton Abbey
Damian Lewis – Homeland
Jon Hamm – Mad Men

BEST SUPPORTING ACTRESS, DRAMA
Anna Gunn – Breaking Bad
Maggie Smith – Downton Abbey
Joanne Froggatt – Downton Abbey
Archie Panjabi – The Good Wife
Christine Baranski – The Good Wife
Christina Hendricks – Mad Men

BEST SUPPORTING ACTOR, DRAMA
Aaron Paul – Breaking Bad
Giancarlo Esposito – Breaking Bad
Brendan Coyle – Downton Abbey
Jim Carter – Downton Abbey
Peter Dinklage – Game of Thrones
Jared Harris – Mad Men

BEST GUEST ACTRESS, DRAMA
Martha Plimpton – The Good Wife
Loretta Devine – Grey’s Anatomy
Jean Smart – Harry’s Law
Julia Ormond – Mad Men
Joan Cusack – Shameless
Uma Thurman – Smash

BEST GUEST ACTOR, DRAMA
Mark Margolis – Breaking Bad
Dylan Baker – The Good Wife
Michael J. Fox – The Good Wife
Jeremy Davies – Justified
Ben Feldman – Mad Men
Jason Ritter – Parenthood

BEST DIRECTING, DRAMA
Tim Van Patten – Boardwalk Empire (To the Lost)
Vince Gilligan – Breaking Bad (Face Off)
Brian Percival – Downton Abbey (Episode 7)
Michael Cuesta – Homeland (Pilot)
Phil Abraham – Mad Men (The Other Woman)

BEST WRITING, DRAMA
Julian Fellowes – Downton Abbey (Episode 7)
Alex Gansa, Howard Gordon & Gideon Raff – Homeland (Pilot)
Semi Chellas & Matthew Weiner – Mad Men (The Other Woman)
Andre Jacquemetton & Maria Jacquemetton – Mad Men (Commissions and Fees)
Erin Levy & Matthew Weiner – Mad Men (Far Away Places)

BEST MINISERIES OR TV MOVIE
American Horror Story
Game Change
Hatfields & McCoys
Hemingway & Gellhorn
Luther
Sherlock: A Scandal in Belgravia

BEST ACTRESS IN A MINISERIES OR MOVIE
Connie Britton – American Horror Story
Julianne Moore – Game Change
Nicole Kidman – Hemingway & Gellhorn
Ashley Judd – Missing
Emma Thompson – The Song of Lunch

BEST ACTOR IN A MINISERIES OR MOVIE
Woody Harrelson – Game Change
Kevin Costner – Hatfields & McCoys
Bill Paxton – Hatfields & McCoys
Clive Owen – Hemingway & Gellhorn
Idris Elba – Luther
Benedict Cumberbatch – Sherlock: A Scandal in Belgravia

BEST SUPPORTING ACTRESS IN A MINISERIES OR MOVIE
Frances Conroy – American Horror Story
Jessica Lange – American Horror Story
Sarah Paulson – Game Change
Mare Winningham – Hatfields & McCoys
Judy Davis – Page Eight

BEST SUPPORTING ACTOR IN A MINISERIES OR MOVIE
Denis O’Hare – American Horror Story
Ed Harris – Game Change
Tom Berenger – Hatfields & McCoys
David Strathairn – Hemingway & Gellhorn
Martin Freeman – Sherlock: A Scandal in Belgravia

BEST DIRECTING, MINISERIES, MOVIE OR DRAMATIC SPECIAL
Jay Roach – Game Change
Kevin Reynolds – Hatfields & McCoys
Philip Kaufman – Hemingway & Gellhorn
Sam Miller – Luther
Paul McGuigan – Sherlock: A Scandal in Belgravia

BEST WRITING, MINISERIES, MOVIE OR DRAMATIC SPECIAL
Danny Strong  – Game Change
Ted Mann, Ronald Parker & Bill Kerby – Hatfields & McCoys
Abi Morgan – The Hour
Neil Cross – Luther
Steven Moffat – Sherlock: A Scandal in Belgravia

BEST VARIETY SERIES
The Colbert Report
The Daily Show With Jon Stewart
Jimmy Kimmel Live
Late Night With Jimmy Fallon
Real Time With Bill Maher
Saturday Night Live

BEST WRITING, VARIETY SERIES
The Colbert Report
The Daily Show With Jon Stewart
Portlandia
Real Time With Bill Maher
Saturday Night Live

BEST ANIMATED PROGRAM
American Dad!
Bob’s Burgers
Futurama
The Penguins of Madagascar: The Return of the Revenge of Dr. Blowhole
The Simpsons

(I’d also be remiss not to mention that former Daily Show head writer David Javerbaum and That Thing You Do! songwriter Adam Schlesinger were nominated in the Best Original Music and Lyrics category for their brilliant opening number from 2011’s Tony Awards – see first clip here.)

So again, how did things go with this year’s nominations? Well, not bad, actually. The Emmy voters managed to spread their love around to a lot of deserving shows, and while not everything got recognized where it should have, it was still nice to see such shows like Girls and Veep – which aren’t necessarily in Emmy voters’ traditional sweet spot – get some deserved love.

But that doesn’t mean there weren’t some glaring omissions or just a lack of creative, more outside the box thinking. I don’t want to point to anything and say it didn’t deserve to be nominated, since – as explained in my rock-fucking-solid Emmy post linked to above – there’s no way I could have seen all the nominees and evaluate every possible contender. Still, I can point out some nominations that didn’t come to pass, but deserved to. So here are just a handful…

Best Supporting Actor, Drama – Jon Bernthal (as Shane) – The Walking Dead
Things started off hard for Shane in season two of the humans vs. zombies vs. other humans drama, and they only got worse as time went on. And from the beginning, Bernthal did an outstanding job at playing all of Shane’s conflicted emotions. There’s that saying that acting is reacting, and in reacting to a whole lotta problems, he gave us a riveting portrayal of a man coming to a breaking point. His reactions were sometimes subtle and internalized, and sometimes they were explosive and violent. If he had to submit a single episode to showcase it all, the midseason finale “Pretty Much Dead Already”, which centers around the newly-discovered contents of Hershel’s barn, was a perfect vehicle. Shane deals with some hard truths in that episode, some of which he’s doling out and some of which he’s taking in. The episode builds to a shattering climax in which Shane plays an instrumental role. Whatever happened during the rest of the season, Bernthal had earned his seat at the Emmys by that hour’s end.

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Best Writing, Comedy – Lena Dunham & Jenni Konner – Girls – “Welcome to Bushwick aka The Crackcident”
When it comes to writing and directing, pilot episodes often get nominated, as if the voting committees are operating on, well, auto-pilot. But rarely do pilot episodes feature the best work of an inaugural season. Any show usually requires a bit of time to find its footing, so they tend to get better as they go along. Now, I’ll admit that Girls had no such growing pains, arriving fully formed thanks to the wonderfully distinct voice of writer-director-star Lena Dunham. Still, though she was nominated for the pilot episode, the less obvious, more thoughtful choice would have been the season’s seventh episode, in which all the major characters converge at a chaotic warehouse party in Brooklyn. This installment stands out because it was one of the few episodes of the season that provided rich material to all four main characters, while also giving good moments to four of the show’s key male supporting cast. Furthermore, it was a turning point episode. The events that unfold here set-up where things are headed for Hannah, Adam, Marnie, Jessa, and Shoshanna. The humor and incisive observation that marks every episode of Girls is present, but from a standpoint of structure, it was the season’s best.

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Best Directing, Drama – Neil Marshall – Game of Thrones – “Blackwater”
Seriously, not a single Directing nomination for Game of Thrones? It’s already the most ambitiously scaled series on TV, but then they went ahead and took it even further with an episode depicting a massive battle on land and water, as the invading forces of Stannis Baratheon enter Blackwater Bay for their attack on the capital city of King’s Landing. With a budget far below the kind afforded to film projects like Lord of the Rings and Kingdom of Heaven, Marshall – the man behind the acclaimed horror film The Descent – managed to give the episode the epic look and feel it deserved. Thrones is such a well-produced show that its absence from this category makes no sense, but the oversight of “Blackwater” in particular lands like one of Tyrion’s bitchslaps across Joffrey’s face.

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Best Supporting Actor, Comedy – Nick Offerman (as Ron Swanson) – Parks and Recreation
Four years of Parks and Rec, and Offerman still hasn’t been nominated? C’mon people. In a show where the ensemble is jelling like crazy and firing on all cylinders, Offerman’s anti-government government employee still manages to stand out. I wonder if Ron’s dry monotone and unwavering steely gaze cause voters to mistake this for a one-note performance. I hope not, because Offerman brings plenty of shadings to Ron’s beleaguered bureaucrat, and he’s no more one-note than, say, Seinfeld‘s Kramer…a character that earned Michael Richards five nominations and three wins. Offerman is overdue…and frankly, while I love Modern Family, Jesse Tyler Ferguson is not that great an actor. Time to bump him.

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Best Supporting Actor, Comedy – Adam Driver (as Adam) – Girls
I surprise myself with this, because there were times when I could barely stand to watch Driver’s character. He was so skeevy that he often made my skin crawl. At one point, Hannah tells him how charming he is, and I think I started yelling out loud at the TV set, “No! He is not charming! He is the polar opposite of charming. He’s repellant! Why are you with this guy? So gross, so gross, so gross, ahhhhhrrrrrrrgggghhhh.” And yet…credit goes to Driver for making Adam as fascinating as he is creepy. Toward the end of the season, the writers shifted the dynamic between Adam and Hannah, and despite every instinct to be turned off by him, the bastard kinda started to win me over, even while I still found him fifty shades of oooky. Love him or hate him, Adam is a compelling character thanks to Driver’s original and unpredictable performance.

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Best Supporting Actress, Drama – Maisie Williams (as Arya Stark) – Game of Thrones
Unfortunately, because the TV landscape is full of shows bursting with ensemble talent, too few members get singled out for their work. Peter Dinklage is carrying the torch for the Thrones cast, though several other actors on the show are also deserving of recognition. Chief among them is 15 year-old Maisie Williams as the brave and clever Arya Stark, who spent this season incognito as a boy, hoping to elude capture by the Lannisters. So what happens? She gets captured by the Lannisters…except they don’t realize it. She winds up as a cupbearer to the family’s formidable patriarch, Lord Tywin Lannister, who immediately recognizes her for a girl, but doesn’t realize she’s that girl. The scenes between Arya and Tywin were among the season’s best, not just because of the obvious tension, but because Williams is such a capable actress, going delightfully toe to toe with veteran actor Charles Dance (outstanding as Tywin). She excels in all of her scenes, though, and has made Arya into one of show’s strongest and most engaging characters.

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So, anyway…just a few things that should have been included. I’d probably have more, but I wasn’t thinking about it consistently enough during the TV season to make the necessary notes. Maybe I’ll do better next year. In the meantime, this year’s show will air on Sunday, September 23, hosted by Jimmy Kimmel. I’m pulling for Game of Thrones (with Homeland an acceptable substitute), Amy Poehler, Claire Danes, Peter Dinklage, Julianne Moore and Jessica Lange. And with all love and respect to The Daily Show, it’s time for The Colbert Report to win Best Variety Series. Even Jon Stewart knows it.

On that note, let’s end with one of my favorite Emmy moments, taken from the 2006 ceremony.

June 11, 2012

Game Over…For Now

Filed under: Books,TV — DB @ 2:01 pm
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I turned on HBO last night, ready for yet another exciting installment of Game of Thrones. Unfortunately, it was an act fueled by wishful thinking. Game of Thrones ended the previous week. It was quite a blow…and it totally blows. That was much too fast. It seems like the show had barely been back on the air. Ten episodes just isn’t enough. Producers David Benioff and D.B. Weiss have said that ten is probably the most they could do, given how ambitious the scale is, but I’m sure that if HBO ponied up the cash for a normal 13-episode run, and gave Benioff and Weiss the additional time to produce three more episodes per season, they would gladly take up the challenge. (Hollywood Reporter TV critic Tim Goodman makes his case for a longer season here.) Still, they packed a lot into those ten episodes, and with about a dozen plot threads currently unfolding, there’s plenty to look forward to in Season Three.

There isn’t a lot of intel out there yet about what Season Three promises. Benioff and Weiss have said that the third book, A Storm of Swords, is too dense to adapt in one season, so the events of the story will likely be told over the course of two years. Benioff said at last year’s Comic-Con that the third book contains a scene they can’t wait to get on film, referring to it only as the “RW” scene. But whether it will come in Season Three or Season Four of the show, I don’t know. Those of you who’ve read the book probably have a better sense, based on how early or late in the volume this mystery scene falls. As for what we do know about Season Three, Benioff and Weiss recently revealed names and brief descriptions of new characters we’ll be meeting. One friend of mine who has read the books said there were two characters who were introduced in the second book and continue to play major roles going forward, but who have been totally absent from the show. Perhaps they’re on this list? (A couple of these characters – the two Tully’s – first appeared in Book One, but were likewise omitted from the show. At least, I think they were both in Book One. I can’t recall if Edmure appeared or not, but Ser Brynden was definitely around.)

If you enjoy hearing from Benioff and Weiss, here is an interview they gave to Entertainment Weekly about the making of the epic episode “Blackwater”, including their thoughts on needing to ask HBO for more money and still not getting enough to do everything they would have liked. Without being able to compare it to what happened on the page, the scale of “Blackwater” definitely impressed me. And as Steven Spielberg and the crew of Jaws can forever attest, sometimes money shortages result in more creative thinking and solutions. Still, HBO really should fork over some more money to these guys. After two seasons, effusive reviews, award booty (including a Peabody) and huge ratings, Benioff and Weiss have clearly shown they deserve it.

Anyway…now the wait begins. Season Three won’t arrive until April 2013. That’s a depressing thought. I’m going to stick to my plan of not reading book two, A Clash of Kings, until early next year, as the hype for Season Three is ramping up and I really need something to hold me over. In the meantime, there will surely be Emmy nominations and casting news to offer brief spurts of appeasement. And of course, I give you this blog post, for what follows is a Game of Thrones potpourri – some links and videos – that can provide a quick fix anytime you need a small hit over the next ten months. Just speak the words “Valar Morghulis,” and this post will appear on your computer. *

To begin with: on the strength and popularity of Season One, the show achieved pop culture saturation this year. I previously linked to the opening credits homage offered up by The Simpsons (here it is again), but South ParkParks and Recreation and Saturday Night Live (couldn’t embed it, sorry – click here) all paid tribute as well.

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Ben Wyatt speaks the truth.

HBO has provided a site called Cast a Large Shadow as a venue for fans to submit paintings and other artwork depicting the show and its characters. There’s some really impressive stuff in this ever-growing gallery, including the pictures I used at the top of the post. Definitely worth checking out. On the more humorous side, a friend of mine created this site that imagines what the people of Westeros might have done with Instagram. (No pressure Ryan, but you gotta get some more stuff up there!)

This made the rounds on Facebook and the like a while back, but it’s still good for a laugh, and provides a nice snapshot in time:

Here’s a cool video, made during Season One, showcasing the work of the series’ lead visual effects house. It’s amazing how frequently – and seamlessly – effects are utilized to create Westeros and beyond. (If for some reason you’re looking at this but have yet to read the books or watch the show, be warned that a Season One spoiler is revealed just after the 2:40 mark.)

Winding down, let’s give it up for show MVP Peter Dinklage, already the winner of an Emmy and a Golden Globe, with more awards likely on the way. Here he is in a vintage Daily Show appearance from 2003, promoting The Station Agent.

And if you just can’t get enough of Dinklage, well…you could go out and watch his other movies (or track down his guest appearance on 30 Rock‘s third season episode, “Señor Macho Solo”, which is a classic). For more immediate gratification, here’s a profile from The New York Times that came out a few months ago as GoT Season Two was starting.

And finally, because it never gets old, here are three choice moments of that little fucker Joffrey getting slapped across his stupid face.

If you really like that last one, you can see it repeated for about ten minutes, set to Led Zeppelin’s “Achilles Last Stand.” No joke.

And with that, I now move on to other pop culture offerings. True Blood is back, which is cool. Soon enough, The Dark Knight Rises will be here. Not long after that, Homeland returns, and then we’re into the fall movie season (Paul Thomas Anderson!) and then holiday movies (The Hobbit! Lincoln! Django Unchained! The Hobbit!), Oscar season…see, it’s practically April 2013 already!

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* The “Valar Morghulis” method is untested, so you might be better off bookmarking the page.

May 8, 2012

When Colbert Met Sendak…

Seeing as you’re online reading this right now, you’ve probably already learned elsewhere on the internet that Maurice Sendak, author of Where the Wild Things Are and many other classic, award-winning books, passed away today. The New York Times published a thorough obituary online about Sendak’s life and work, and other news outlets have picked up the story as well. But there is an element to this that strikes me as cosmically eerie, and which wasn’t mentioned in any of the three pieces I read this morning about Sendak’s death. Two of those articles touch on the fact that a few months ago, Stephen Colbert traveled to Sendak’s home to interview him. Their chat aired in two parts on consecutive nights, and before I get to the cosmic eerieness, you should watch their hilarious interaction.

[Note: Videos were originally embedded here, but the service used to post them no longer exists and WordPress is sadly way behind the curve when it comes to video embeds, imposing limitations that preclude far too many videos from being used directly in posts. BUT here are links to the two segments of the Colbert/Sendak interview: Part One and Part Two.]

colbertsendak

Though it probably seemed like a gag at the time, Colbert really did find a publisher for I Am a Pole (And So Can You!)…and the book, bearing Sendak’s endorsement, became available today. I almost published a post yesterday about its impending release, mainly as an excuse to share the interview and make sure people knew that a new example of Colbert’s genius was about to hit. I ended up not doing it, though I thought I might post the interview in the future, whenever Sendak passed away. Then I saw the news online today – the release day of the book – that Sendak was gone. Maybe I’m alone here, but I find that pretty damn cosmically eerie. So…enjoy the interview, pull out your copy of Where the Wild Things Are and maybe even pick up Colbert’s story. It’s also available in audiobook form, read by Tom Hanks. Seriously. The proceeds are going to a charity that helps military veterans readjust to society, and besides, what better way to honor the departed author than by purchasing a book he so tepidly recommended?

Thanks for the stories, Mr. Sendak.

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