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PROMOTIONAL ISSUE PRESENTED BY

WILD THINGS WITH STRANGER THINGS, MATT AND ROSS DUFFER HAVE REDEFINED GENRE TELEVISION FOR THE 21ST CENTURY

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CONSIDER US YOUR ONLY OPTION

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FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING OUTSTANDING TELEVISION MOVIE

, “2016 S MOST LIFE-AFFIRMING PIECE OF TELEVISION.” “A BEAUTIFUL LOVE STORY,

HEARTWARMINGLY PORTRAYED BY GUGU MBATHA-RAW AND MACKENZIE DAVIS.”

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“

FIRST TAKE

Master of None’s Italian job

The OA: Anatomy of a Scene

Unbreakable Kimmy Schmidt’s Ellie Kemper and Tituss Burgess

Ava DuVernay on 13th

Gillian Jacobs on the dramedy of Love

FEATURES

Stranger Things Creators Matt and Ross Duffer explain how they made monsters, the ’80s and a cast of kids into a phenomenon

The Crown Claire Foy reveals how she perfected the look—and the voice—of Britain’s reigning monarch

Black Mirror Creator Charlie Brooker and actress Mackenzie Davis discuss bringing a love story to the cult series

A Series of Unfortunate Events A close-up on production designer Bo Welch’s visual approach to the Lemony Snicket story

FINAL FRAME

10 4

Five Came Back Meet the five directors profiled in the doc series by Laurent Bouzereau and Mark Harris

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“THE

MOST ADDICTIVE, PROVOCATIVE, CONTROVERSIAL SHOW ON TV.” “KATE WALSH IS SIMPLY HEARTBREAKING.” “KATHERINE LANGFORD GIVES A CAREER-MAKING PERFORMANCE.”

F O R

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THAT’S AMORE Aziz Ansari pulls up stakes and heads to Italy for Season 2 of Master of None. By Matt Grobar WHILE SEASON 1 of Netflix’s Emmy Award-winning original comedy series Master of None saw the rise and fall of a long-term relationship for romantically afflicted actor Dev Shah (Aziz Ansari), Season 2 promises a new beginning, offering an experience that is intercontinental, tender and ambitiously cinematic. Following Dev's adventures in Italy for the first two episodes, Season 2 begins with an episode shot in gorgeous black and white, and aptly titled "The Thief"—a loving nod to Vittorio De Sica's 1948 classic, Bicycle Thieves and the classics of European art house cinema (a pile of DVDs 6

can be seen on Dev's beside table). “That set of DVDs is basically inspiration for the whole season,” says Ansari. “Fellini, Antonioni, De Sica—I watched all those while I lived in Modena, and loved them all. It was remarkable to me, how many of the ideas they are grappling with are the same things we are still grappling with now.” Before taking the show overseas, Ansari lived in Italy for two months, learning to make pasta while he picked up the language. He even offered roles to some “real friends” he made there—including hilarious young

talent Nicoló Ambrosio—another tip of the hat to Italy's neorealist directors, who preferred using non-actors to professionals. “I really love all those folks in Modena, so I was thrilled to have them be a part of the episodes after they were so welcoming when I lived there,” Ansari says. ★

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TH E OA

BELIEVE AND YOU SHALL SEE The OA creators Zal Batmanglij and Brit Marling discuss the stunning Season 1 scene that fried our minds. By Matt Grobar

TAKING VIEWERS ON

an epic journey through multiple dimensions, Season 1 of The OA begins with the reappearance of a mysterious young woman (who we later know as OA), the survivor of a near-death experience who lives to tell the tale of her abduction by a discovery-hungry scientist. Gaining supernatural powers from her NDE, she returns to her quiet hometown following her escape, recruiting four teenage boys and a local high school teacher and telling them her story, in hope of enlisting their help to free her fellow captives. In Episode 5, titled "Paradise," she relays the story of a scientific trial that went too far, leaving Scott (Will Brill) to bleed out on the ground—until she and her cohorts harness their abilities, bringing him back to life. Here, The OA creators Zal Batmanglij and Brit Marling (who stars) reflect on this pivotal moment in their mind-bending series.

FROM TOP

Zal Batmanglij: We were inspired by the idea that the characters in this basement laboratory are learning this new unconscious technology of movement, and they don’t really know how to use it. It’s the only way to battle against powerlessness, being captive and watching one of their own bleed on the ground next to them. The power of their belief works, and it heals him. It’s a proper miracle. And I think for the boys, who are listening to the story, it’s exciting. Brit Marling: It’s a pivotal moment, because OA has been talking about something abstract, and I think that’s where the story meets up with the power of visual storytelling. OA and [fellow captive] Homer go through something together that can be best explained in cinematic language. Zal Batmanglij: People [behind the scenes] understood it, even from a story level. It kind of was easy to visualize. It was technically challenging, because we had one night to shoot it all, but there was such an energy in the room. My whole big fear was, ‘Can we capture it on screen the way we felt it in the room?’ That was our goal, to try to find ways to do that, but we tried to do it as unvarnished as possible.

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“From Norman Lear, the new

‘One Day at a Time’ is lively and full of voice.

A rare reboot that’s better than the original.”

“Justina Machado is a sitcom star.”

F O R

YO U R

C O N S I D E R AT I O N

“Rita Moreno shines.”

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U N BREA KA B LE K I M M Y S CHM I DT

UNBROKEN PARTNERSHIP

With Season 3 freshly released, Unbreakable Kimmy Schmidt stars Ellie Kemper and Tituss Burgess reflect on their process and relationship behind the scenes. By Anthony D’Alessandro

You both share a great rapport on screen—tell us about the first time you met. Ellie Kemper: On our first day of work together on the pilot, we both said to each other that we knew each other before—not from a past life, but in a way that we’ve known each other for our whole lives. I feel like I had his number from day one and he had mine. Tituss Burgess: When I walked into the room for my audition, I already was a fan of hers, but had never met her. But there was something: It’s like an experience where you’re waiting for a food order, or a train, and you strike up a conversation with someone that’s so intense that by the time it’s over, you miss that person. From the first day, I knew this woman. Given your intense connection, do Tina Fey and Robert Carlock ever allow you to free-jazz on the set? Kemper: Oh my God, no. And I prefer it that way. When days are long, if you do improvise, it would mess everything up. Who wants to improvise when the lines are so well-written? Burgess: I feel we have a non-spoken verbal communication. A lot of our other castmates look at us dumbfounded by our shorthand. Our text exchanges [off-camera] are so detailed, in a funny way. Because we have an intense connection, it makes our camera connection that much more. I can look in my girl’s eyes and know what’s required for the day. ★

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13TH

GREAT INJUSTICE In her acclaimed Netflix documentary 13th, director Ava DuVernay examines a loophole in the United States Constitution that has created a new iteration of slavery within the American prison system—a problem that continues to grow. By Amanda N’Duka

What were your initial intentions when you set out to make this film? My original goal was to focus on the private prison industry, to really understand the transformation of prisons into profit centers. In investigating and researching, it became clear that the tentacles of private prisons reach deep into history. With that, I started to unpeel the layers, and trace how we got to the present moment of mass incarceration and mass criminalization. What lessons have you taken from the experience of making 13th? As a filmmaker, I learned to not be afraid of the big picture. It’s over 100 years that we cover, and it’s not one topic—it’s an idea. When I figured out that it wouldn’t just be about private prisons, that it needs to be larger, the prospect of that was daunting. How do you explain prison? How do you explain the idea of who was a criminal? As a filmmaker, trying and succeeding in doing it has given me a confidence that there are all kinds of ways to tell these stories. It doesn’t have to be a finite period of time; it doesn’t have to be a sprawl. The story knows what it wants to be, and, as an artist, you have to follow that.

“W

I B C

What response did you hear or see from this film? Was there any backlash? There was no backlash at all. We purposely wanted to release the film before the elections. We wanted to put it in the space where people could ask the representatives about it and really think about these issues if they were making the choices. The response was really overwhelming. At one point, in the first three months Netflix opened it up so that anyone could watch it without a public license. So then it became this second life. So many community centers and schools and groups and book clubs watching the film and gathering together. Teachers were allowed to show it because they now have a public license for free online. It was beautiful. It was much more than expected because I didn’t expect the reach of Netflix. ★

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“WAGNER MOURA IS INSCRUTABLY BRILLIANT AT THE CENTER OF IT ALL.

”

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FO R YO U R C O N S I D E RATI O N

outstanding drama series outstanding lead actor

in a drama series

WAGNER MOURA

outstanding directing for a drama series

ANDRÉS BAIZ JOSEF WLADYKA

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LOVE “She’s an impulsive person who has a need to be liked,” says Jacobs, “but also a need for attention, which gets her in trouble. She’s someone who struggles with addiction. She’s somebody who has never really wanted to work very hard, and just sort of hoped that everything would fall together, without her actually having to knuckle down and apply herself. But she’s reaching an age and a point in her life where I think she wants more, and she’s realizing that her old bad patterns of behavior aren’t really getting her anywhere. She’s a person who wants change, but who also has a lot of deepseated issues, so she gets in her own way.” Season 2, which premiered earlier this year, didn’t waste any time, picking up immediately where the first season took off. “So, if Season 1 was about two people Gillian Jacobs reveals how she landed the role of Love’s darkly comic human car‑crash Mickey Dobbs. By Damon Wise who are unsure if they even want to date each other, Season 2 is about them giving it a shot,” says Jacobs. “Which is great, because you go deeper with the characters, and you get to AFTER LANDING PLUM ROLES in Dan Harmon’s see them in their totality, warts and all. And for my characCommunity, Lena Dunham’s Girls and now Judd Apatow’s Love, Gillian Jacobs really ought to have some better advice ter, you meet her father (Daniel Stern), which I think gives a to give to up-and-coming actors. But she doesn’t. “It’s lot of insight into why Mickey is the way she is.” just luck,” she says matter-of-factly. “I was desperate for Jacobs gives a lot of thought to her acting, which makes work, and when Community came along I was just really it all the more unusual to hear that she didn’t exactly lucky that a job that I got turned into a really great one choose it as her vocation. “My mom got a call from the and exceeded all of my expectations.” And once you’ve school when I was around third grade,” she laughs, “saying lucked out and found that show? “From there on out,” she that I had no friends and I was talking to myself on the playreasons, “you try and pick something that you would want ground. They thought that I would do well if she got me into to watch yourself. That, I find, is a good barometer.” some kind of extracurricular activity, and she signed me It’s no surprise, then, to hear that Jacobs’ co-starring up for an acting class. So really, my mom sort of chose my role in Apatow’s Netflix series Love also came when Jacobs career for me, but she chose well because I loved it as soon least expected it—and most needed it. “Community had as I got into that first class, and I never wanted to stop.” just been canceled after six seasons,” she recalls, “so I It’s also something of a coincidence that Jacobs made didn’t quite know what was going to be next.” Jacobs her mark in comedy. “I didn’t start out doing comedy at all,” took a meeting with comedy legend Apatow, where he she says. “I came from a very serious, almost humorless, explained the concept of the show. “Judd said that it theatrical acting conservatory. So it was a real challenge was about a relationship, and that you’d watch it evolve to me when I first started doing comedy. I didn’t have any slowly over time. You’d see all the first moments of getting real training in it, and I was working with all these people together—two people who seem like an unlikely pair on the who are so much more experienced than I was, and so, so surface but who are really drawn to each other. More than skilled.” And now? “At this point I feel more comfortable in that I can’t remember. I just was sort of stunned that I was it, but that’s the nice thing about a show like Love. It kind of being offered a job, so I probably blanked out.” straddles the line between drama and comedy, so I do feel The part was Mickey Dobbs, a loose-cannon drifter like I get to do, you know, ‘acting’ acting, in addition to being whose recklessness gets her into some sticky situations. in a very funny show.” ★

TAKING THE MICKEY

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“IT’S

THE BEST SEASON YET.” WINNER OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES

SCREEN ACTORS GUILD AWARD®

FOR YOUR CONSIDER ATION

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F O R

Y O U R

C O N S I D E R A T I O N

“THE SHOW’S STRENGTH IS ITS CONFIDENT, CONSISTENT VOICE.” “A STELLAR CAST TELLS A COMPELLING STORY.”

BET YOU THINK THIS AD IS ABOUT YOU

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WINNER

SCREEN ACTORS GUILD AWARD

AFI AWARDS OFFICIAL SELECTION

PRODUCERS GUILD AWARD

OUTSTANDING PERFORMANCE BY AN ENSEMBLE

TV PROGRAM OF THE YEAR

OUTSTANDING PRODUCER OF EPISODIC TELEVISION

In a Drama Series

Drama

“THE NOSTALGIC TONE of ‘Stranger Things’

succeeds as an overall ambience; SYNTHY MUSIC and deeply earnest performances... it’s reviving a way of seeing the world.”

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

OUTSTANDING MUSIC COMPOSITION for a Series (Original Dramatic Score)

KYLE DIXON AND MICHAEL STEIN

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t began with four boys playing Dungeons & Dragons on a school night in 1983 and became an overnight global obsession when it launched on Netflix on July 15th 2016. The brainchild of twin brothers Matt and Ross Duffer, Stranger Things might have been a tough sell on paper—a genre show for grown-ups starring a cast of kids, a grizzled chief of police, a desperate mother and an Upside Down monster—but its scale, its ambition, and its eerily accurate ’80s setting turned it into compelling viewing. From the set of the show’s second season, the Duffer Brothers explain how they did it. Were you surprised by how quickly Stranger Things became the topic on everyone’s lips?

of our generation, who are nostalgic for this type of stuff. But it’s exciting that this type of storytelling is also reaching 12-year-olds out there, because when we were that age, we were discovering all these movies and books that inspire the show. Genre television doesn’t usually have such crossover appeal, either. Matt Duffer: I think it’s a good time for genre stuff. When I read Game of Thrones it seemed pretty niche, but then they put it on HBO, and now George R. R. Martin is mainstream. And then there’s The Walking Dead, and any of the Marvel stuff. None of it was mainstream until now. People who don’t read comics and fantasy books are watching this stuff. Ross Duffer: I think what helps, too, is you get to know these characters and spend time with

it just kind of came alive, we got really excited about it. Ross Duffer: This is the first thing we had really done where we just stopped worrying about what other people might want, or what the industry might greenlight. So we were excited about it, but it took a while to get other people excited. In the very early days of pitching it, [networks] would say, “It’s kids, so it’s a children’s show?” It was hard for people to wrap their heads around it. Matt Duffer: There were some companies that said, “We love this, but you can’t be in charge of it.” I asked Netflix why they let us do it, and they said they think they get better results when they have the person it comes from—who is the most passionate about it—in charge. It’s very common sense, but other companies don’t do that.

STRANGE WITH STRANGER THINGS, MATT AND ROSS DUFFER HAVE REDEFINED GENRE TELEVISION FOR THE 21ST CENTURY. BY JOE UTICHI Matt Duffer: I guess we thought it would have a little more niche appeal. When you pitch it, you talk about how it tracks three generations: adults, teens and kids, so it’d hit all those generations [of viewers]. But that’s just because we thought that would sound good in a room. [Laughs] We didn’t really think that would work! Ross Duffer: We were really just trying to think, ‘What is the show we want to watch? If we could watch anything, what would it be?’ So we knew we were appealing to people

them. It’s not just about genre. Little kids can convince their parents to watch this show. Matt Duffer: That’s my favorite thing, when I hear someone say, “I got my mom to watch the first episode, and then she actually watched the whole thing.” Did you have a sense, when the idea was coming together, that it might be special? Matt Duffer: Sometimes writing is a real struggle for us, but when we wrote the Dungeons & Dragons scene, and

The first season had such a self-contained story. Will Season 2 be different? Ross Duffer: It’s interesting, because we get to spend a little time with our characters when they’re not worried about their lost friend [Will Byers, who disappeared in the very first episode of the show]. We get to see other sides of them upfront. But when it escalates, it gets even bigger and bigger than the first season. It gets really intense, even before the finale. ★

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ATOP THE QUARRY Stranger Things executive producer and director Shawn Levy shares one of his favorite moments from Season 1 "As a viewer, the group hug moment at the quarry in Episode 6 is so moving to me. I love it because as much as Stranger Things has been heralded for its ’80s references and film nods, and its genre aspects, the Duffers love and service these characters, above all else. In a moment where so much storytelling can be cynical and ironically winking at us, I love the sincere, authentic

DAYS

emotion of three kids, hugging on gravel at the top of a quarry. It’s so unabashedly heartfelt, and it resists cynicism. For me, that moment is emblematic of the heart that beats in the core of Stranger Things." —Interview by Matt Grobar

EERIE IN INDIANA Clockwise from top: the Duffer brothers at work; young stars Caleb McLaughlin, Finn Wolfhard, Millie Bobby Brown and Gaten Matarazzo; Winona Ryder as Joyce Byers.

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laire Foy was heavily pregnant with her first child when her agent came to her with The Crown—and she didn’t exactly jump at the project. “You think I want to have a threemonth-old baby and do a nine-month TV series where I play the Queen of England?” she wondered aloud. “Are you insane?” In retrospect, it was probably this nononsense attitude that won the 33-year-old the starring role in Peter Morgan’s drama as Britain’s longest-reigning monarch: the serene, unflappable Queen Elizabeth II. “It was an odd experience because at no point did I really consider it a serious possibility,” she recalls. “And at no point did I really think that I would be who they were looking for. But you know, it turns out I was.” To become the Queen, Foy first began to study her. “I did what I usually do, which is to buy thousands of documentaries and watch them all, because you can pretend it’s work.” After that, she worked with voice coach William Conache to perfect the Queen’s accent. “It’s like putting on a French accent,” says Foy. “It’s not just like doing a posh voice—it really is incredibly specific. Actually, it’s quite physically demanding, and for the first few weeks, literally, my mouth hurt, because I was using muscles I’d never used before. That accent is so restrained and so precise that it can only mean that the way you express yourself is slightly more contained.” For hair and make-up artist Ivana Primorac, the challenge was to give Foy the Queen’s look while keeping it natural. “We spent a lot of time trying to get the balance

A ROYAL A of the Queen’s face,” she says, “and we had to use all of our tricks to achieve that: lower the hairline, lengthen the eyebrows. We did that to suit the actors and to achieve the likeness as much as possible, but not copy it exactly because everyone’s different. you can’t just plonk the Queen’s hairstyle onto Claire’s head.” Next came the dresses. “We have the most amazing costume designer, Michele Clapton,” says Foy, “who designs from a character point of view. Certain outfits are identical, like my wedding dress. It didn’t have actual

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L AFFAIR

HOW CLAIRE FOY TRANSFORMED INTO THE QUEEN OF ENGLAND FOR HIT NETFLIX SERIES THE CROWN BY DAMON WISE

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V FOR VICTORY

JOHN LITHGOW EXPLAINS HOW HE BECAME BRITAIN’S WARTIME PM WINSTON CHURCHILL

“I

got a call out of the blue from my agent—he said that Stephen Daldry and Peter Morgan wanted me to play Winston Churchill in a Netflix series, and Claire Foy was already set. By the end of that sentence, I’d already said yes. I have no idea how they came up with me, but I wasn’t about to say no. They offered me the job in January and it didn’t start until July, so I had a long, luxurious period of time. I have to say, I’ve never prepared for any role as long, or as in depth, as this one. Not because I needed to, he just completely fascinated me. “The real hard work started when I got to England. We had a 10-day rehearsal period before we started, and we would take breaks to meet with our various specialists. I had long fittings with Michele Clapton, our brilliant costume designer, and the first couple of days were devoted to getting the fat suit right. After that, I would go to makeup with this remarkable woman, Ivana Primorac. “We worked out a very simple makeup—to my dismay, I’m much more like Winston Churchill in his old age than I realized, so we didn’t actually have to do much. We found the perfect wig, which made me even more bald than I am, but with Churchill’s very long, lank hair plastered down across the top of my head. I then met with this amazing man named Christopher Lyons, who is a specialist in theatrical teeth. He didn’t make me teeth; he made me these wonderful little things called ‘plumpers’—jowl padding that I clicked onto my back teeth. I stuffed cotton up my nose to give me a more bulbous nose and a more nasal voice. I began to feel more and more like Winston all the time.” —Interview by Damon Wise

crystals on it, obviously, and the tiaras weren’t real. But the entire coronation was a pretty accurate replica.” Surprisingly, Foy says that her outfits were actually more tailored than the Queen’s. “Michele said to me early on that a lot of The Queen’s outfits didn’t necessarily fit her perfectly, but she wanted me to look nice, so she changed the cut of them, ever so slightly. But I think you can forgive that, if you get other things spot on. And that’s what we did across the board really. We observed the things we really needed to get right, and then we were allowed a little bit more creative freedom.” The lavish gowns, she explains, helped her find the character, but not in the way you might think. “That’s not who she is,” says Foy, “and imagining how uncomfortable she felt in them, and how uncomfortable I felt, was helpful. In fact, the scenes I loved most were when she was in her brogues, or her wellington boots and a tartan skirt, a mac and a headscarf—because I feel like that’s who she is, really.” But in terms of getting to know the real Queen, that’s as far as it goes. ‘“I’m playing Peter Morgan’s Queen,” she emphasizes, “so the person I know, intimately, is a figment of someone else’s imagination. Peter is inspired by her, but, still, her thoughts and feelings and reactions are all his, not hers. So it’s tricky. For me, personally, when I did my research, getting to know her was fascinating and also mysterious, although I will never really know her, as none of us ever will. But, I have a huge amount of affection and love and admiration for Peter’s Queen.” ★

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AWAR

THE BEST SHOW

OF THE YEAR Winner Golden Globe Best Drama Series 2016 ®

©HFPA

BEST ACTRESS IN A BEST TELEVISION SERIES (DRAMA) TELEVISION CLAIRE FOY SERIES - DRAMA

WINNER

SCREEN ACTORS GUILD D AWARDS

MALE ACTOR IN A DRAMA SERIES JOHN LITHGOW

FEMALE ACTOR IN A DRAMA SERIES CLAIRE FOY

WINNER

GOLDEN GLOBE AWARDS

“‘THE CROWN’ IS MAGNIFICENT.” F O R Y O U R C O N S I D E R AT I O N

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STRANGER THAN F

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aking its name from the shiny surface of a switched-off smartphone, Charlie Brooker's cult anthology series Black Mirror tends to dwell in darkness, telling cautionary tales about humanity's ill-fated interactions with increasingly sophisticated new technology. But with Season 3's "San Junipero," Brooker penned an emotionally powerful love story with a somewhat more optimistic tone—it's easily the first episode of the series to offer fans anything approaching a happy ending. Unfolding in a series of vignettes seemingly set a week apart, the episode begins in a lively late-’80s American bar, where the meek, mousey Yorkie (Mackenzie Davis), a newcomer in the party town of San Junipero, finds herself drawn to the bright, outgoing Kelly (Gugu MbathaRaw). The two become friends, then, in a neat piece of lateral thinking, lovers, after Brooker—who first wrote

N FICTION ALL YOU NEED IS LOVE Gugu Mbatha-Raw as Kelly and Mackenzie Davis as Yorkie in the Black Mirror episode “San Junipero.”

what to expect when the script came her way, but she found herself surprised. “I was expecting the classic, somewhat nihilistic, stark, dystopian Black Mirror world,” she says. “Then, it was just this beautiful coming-of-age story with that sort of undercurrent of a warning sign about the way we’re engaging with the universe. It felt really special, just

BLACK MIRROR CREATOR CHARLIE BROOKER AND ACTRESS MACKENZIE DAVIS DISCUSS THEIR STANDOUT SEASON 3 EPISODE “SAN JUNIPERO” BY MATT GROBAR

the characters as male and female— had a brainwave. “I kind of felt like, well, hang on a minute—what would be more surprising in 1987?” he recalls. “It sort of stemmed from there.” From that point, it is revealed that San Junipero isn’t quite all it seems—and neither are Yorkie and Kelly. “So then,” notes Brooker, “you have a thing going on in the story about people getting a chance to live their lives again, as it were.” Davis was “such a big fan of Black Mirror” that she thought she knew

a really honest love story. It felt like it was letting people be truly in love.” Endorsed by G.L.A.A.D., the romantic tale was inspired by Brooker’s research into nostalgia therapy, which is being increasingly used to treat depression and anxiety. “I guess if it was saying anything,” Brooker says, “it was saying who you love is irrelevant, and that is immaterial in this world, or should be. Your age and your gender and all of these things are kind of meaningless. Love is love.” ★ D E A D L I N E .C O M / AWA R D S L I N E

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PRODUCTION DESIGNER BO WELCH ADDS A DARK VISUAL FLOURISH TO NETFLIX’S WONDERFULLY WEIRD A SERIES OF UNFORTUNATE EVENTS BY MATT GROBAR

UNFORTUNATE E think this material was always meant to be a Netflix series,” production designer Bo Welch says of A Series of Unfortunate Events, “It gives you the room to let it breathe.” Based on the acclaimed collection of gleefully macabre children’s novels by Daniel Handler (writing as Lemony Snicket), it follows the travails of three orphans as their greedy, distant relative—Count Olaf—comes after their enormous family fortune. On these pages, Welch—a four-time Oscar nominee—lays out his visual approach to the show, and the role Neil Patrick Harris played in bringing this dark fantasy so vividly to life. ★

D E A D L I N E .C O M / AWA R D S L I N E

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1 ACROBATIC ACTOR As the director

of two episodes in Season 1, Welch has a deep appreciation for the actors who inhabit his sets—particularly Neil Patrick Harris, who brought such craft to the role(s) of the rotten Count Olaf. “He’s just amazing in this—he vacillates between scary, hysterically funny, profoundly sad, and creepy. Just within a line he’ll do that, make these turns,” he says. “He’s like an acrobat, the way he moves from one feeling to another.” 2 DESIGNING FOR DILAPIDATION The series has become famous for the grimy, gross, and dilapidated buildings that fill its shady world. Following a process involving initial sketches and “fabulous digital paintings,” painters on set help to give the fixtures the feeling the production designer is going for. Explains Welch, “We’ll go, ‘Less … More … How about if you add a streak of dried algae coming down that corner?’” 3 OUT OF TIME One of the more fascinating facets of A Series of Unfortunate Events is the extent to which it exists outside of any particular time, featuring cars and props from various

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decades. While there are few hard and fast visual rules, you won’t see any cell phones or laptops in the series. “We’re sort of antitech, in our world,” the production designer says. 4 AN UNPALATABLE PALETTE In the series, the Baudelaire children are the only “bright spots” in an otherwise drab world, and Welch designed accordingly. “Palette-wise, I describe it as kind of Eastern Bloc Soviet, for the environments,” he says. “Our art department has tried to create a series of unfortunate environments, and that’s where the real fun is.” Pictured alongside Harris and Alfre Woodard is director Barry Sonnenfeld. 5 LAYERED LIBRARIES On screen, libraries are as good a reminder as any of the level of attention to detail that defines the work of a production designer. “You put layers and layers of detail within any given set,” Welch says. “When I started this, I thought, ‘Wow! A lot of libraries, a lot of books,’ and I warned the decorators, because that’s a big deal.” D E A D L I N E .C O M / AWA R D S L I N E

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OUTSTANDING

LIMITED SERIES OUTSTANDING LEAD ACTRESS IN A LIMITED SERIES OR MOVIE

lauren graham alexis bledel

“The return of ‘Gilmore Girls’ is winsome and riotous. It’s a better, bolder, more fulfilling capper to a beloved series.”

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LEA D ACTRE S S IN A COME DY SE RIE S

Jane Fonda

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“Lily Tomlin is on fire right from the start, full of more energy than her typical charged self.

Jane Fonda is an excellent foil. The writing allows each actress to shine under their best light.”

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FINAL FRAME

THE FAMOUS FIVE Meet the legendary directors profiled in Five Came Back By Damon Wise

John Ford (1894-1973) The oldest of the five, Ford was nearly 50 when he joined the U.S. Navy as head of the photographic unit for the Office of Strategic Services. Ford saw service at the 1942 Battle of Midway—where he was wounded by shrapnel—and the Omaha Landing in 1944. Frank Capra (1897-1991) Within four days of Pearl Harbor, the Sicilian-born director of It’s a Wonderful Life gave up his directing career—and being president of the Screen Directors' Guild—at the age of 44, serving as a major to prove that he was a true American. William Wyler (1902-1981) An immigrant from Alsace, Germany, Wyler was the only Jewish director of the five. He signed up at 40 to serve as a major in the U.S. Air Force, filming dangerous bombing missions and fighting to save his family and friends in Europe. George Stevens (1904-1975) Stevens took some convincing to join the war effort, serving as a lieutenant colonel in the U.S. Army Signal Corps. A director of light comedies before the war, Stevens saw its worst horrors, and was present at the liberation of Dachau.

John Huston (1906-1987) The youngest of the pack, Huston went to war with a spirit of adventure, serving as captain in the Army Signal Corps and rising to major. Like Stevens, he received the Legion of Merit award for courageous work under battle conditions. ★

D E A D L I N E .C O M / AWA R D S L I N E

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Netflix

cordially invites you to experience

Visit fyc.netflix.com for details. All of your favorite shows in one place. Featuring the following special events:

May 30 - SARAH SILVERMAN A SPECK OF DUST Special Guest: SARAH SILVERMAN June 1 - MASTER OF NONE Special Guests: AZIZ ANSARI, ALAN YANG and ERIC WAREHEIM June 2 - 13 REASONS WHY Special Guests: BRIAN YORKEY - Creator/EP, TOM MCCARTHY - Director/EP, DYLAN MINETTE, KATHERINE LANGFORD and KATE WALSH June 4 - DEAR WHITE PEOPLE Special Guests: JUSTIN SIMIEN and BARRY JENKINS June 6 - STRANGER THINGS Special Guests: WINONA RYDER, MILLIE BOBBY BROWN, CALEB McLAUGHLIN, GATEN MATARAZZO, DAVID HARBOUR, NOAH SCHNAPP, FINN WOLFHARD and SHAWN LEVY - Director/EP, MATT DUFFER - Creator/Director/EP, ROSS DUFFER - Creator/Director/EP June 7 - NARCOS Special Guests: WAGNER MOURA, ERIC NEWMAN and ANDRÃ&#x2030;S BAIZ June 8 - COMPOSERS PANEL June 9 - A SERIES OF UNFORTUNATE EVENTS Special Guests: BARRY SONNENFELD, NEIL PATRICK HARRIS, ALFRE WOODARD and K. TODD FREEMAN June 10 - THE OA Special Guests: BRIT MARLING - Creator/EP/Star and ZAL BATMANGLIJ - Creator/EP/Director, Moderated by: RYAN MURPHY June 12 - BOJACK HORSEMAN Special Guests: WILL ARNETT and RAPHAEL BOB-WAKSBERG - Series Creator/EP

AND MORE TO COME. Events are by invitation only. Please bring your guild card for admittance.

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F O R

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C ON SID ERATION

“the second season sparkles

a masterpiece even more than the first.

that will break your heart.”

magnificent.

“

simply extraordinary.”

“TV' s most comedy.”

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