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PRESENTS
G EN ERA L MA NAG E R & C HI EF R EV ENUE O FFICE R
Stacey Farish EDI TOR
Joe Utichi C R EAT I V E DIR ECTO R
Craig Edwards
AS S I STA N T E D ITO R
Matt Grobar
DEA DL I NE CO - E D ITO RS - IN- CHIE F
Nellie Andreeva Mike Fleming Jr.
AWA R DS ED ITO R & CO LUM NIST
Pete Hammond
DEA DL I NE CO NTR IBUTO RS
Peter Bart Anita Busch Anthony D’Alessandro Greg Evans Lisa de Moraes Patrick Hipes David Lieberman Diana Lodderhose Amanda N’Duka Dominic Patten Erik Pedersen Denise Petski David Robb Nancy Tartaglione V I DEO P ROD UCE RS
David Janove Andrew Merrill
C HA I R MA N & CEO
Jay Penske
V I C E C HA I RM A N
Gerry Byrne
C HI EF OP ERATING O FFICE R
George Grobar
EX EC U T I V E V ICE PR ES ID E NT, B U S I NES S A FFA IRS A ND G ENERA L CO UNS E L
Todd Greene
EX EC U T I V E V ICE PR ES ID E NT, B U S I NES S D EV E LO PM E NT
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FIRST TAKE Charlie Brooker’s Black Mirror George C. Wolfe on directing Henrietta Lacks The rich color palette of Legion Jude Law is The Young Pope
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COVER STORY Dan Fogelman reflects on the success of This is Us, with his cast.
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THE DIALOGUE: EMMY CONTENDERS John Turturro Lauren Graham & Alexis Bledel Aubrey Plaza Mandy Patinkin & Claire Danes
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Carra Fenton
S EN I OR ACCO UNT EXECUTIV ES , T EL EV I S I ON
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London Sanders
A D SA L ES CO O R D INATO RS
Kristina Mazzeo Malik Simmons
P RODU CT I ON D IR ECTO R
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DI ST R I B U T IO N D IR ECTO R
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p. 10
| Papal Law p. 12
VIEWS OF THE WORLD Charlie Brooker’s Black Mirror pushes our technological revolution to its breaking point BY MAT T GROBA R
Black Mirror has always been frightening. This is by design: Charlie Brooker’s sci-fi anthology series, which started airing in the UK in 2011, takes its creator’s patented sideways look at the technological revolution and twists it to terrifyingly plausible extremes. One critic summed it up perfectly with a faux-synopsis for a new episode: What if phones, but too much? Now he’s back, with a third season produced for Netflix and starring Bryce Dallas Howard, Mackenzie Davis and Gugu Mbatha-Raw. S
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Black Mirror often feels frighteningly prescient. Do you see the series as a document of our times? Perhaps weirdly, I try not to think about the timeliness of the stories a lot of the time. I’m thinking about the “What if?” scenario, and in doing that, there are things that are clearly influenced by what’s going on in the world at the moment. I was toying with an idea for this season coming up that was literally torn from today’s headlines, and I kind of thought, Well, the problem is, things are moving so quickly at the moment; who can say where we’ll be in six months? I wouldn’t want to, in a way, in case I ended up doing something that looked massively dated. I’ve probably gone more conceptual with the next season; partly because I think the world has become so unpredictable, it would be a fool’s errand trying to see which way things are going to land. So no chance Trump’s unique style of Presidency is going to reflect in the show? Well, it’s an interesting one. We had kind of a dry run in the UK, because we had Brexit, so if you were one of the 48 percent who publicly didn’t vote for Brexit, you got your shot out early in 2016. That was a sort of psychological test run for Trump, I guess. On a personal level, I thought, I TRUES ASKEW Above: Kelly Macdonald (far right) comes up against nanobees. Below: Gugu Mbatha-Raw and Mackenzie Davis in “San Junipero”.
don’t know how much bleak nihilism I want to wallow in. So in a way, I’ve possibly reacted by tackling some slightly more esoteric subjects, because I’ve been writing this season over the last couple of months. It’s still hard to see how that’s all going to pan out. It probably meant that I retreated slightly more into my own head, because the outside
Where does the concept of Black
plays. It was always something that
but you also get novelty, and it’s
world’s been so much more danger-
Mirror originate?
I enjoyed when I was younger, these
not a huge commitment if you’re a
ous all of a sudden.
For me, it was nostalgia. I remem-
idea-based dramas. I think it’s a
viewer. You can become commit-
When I’m not doing Black Mirror,
bered growing up enjoying shows
way in which you can explore lots of
ment phobic in this day and age—
I do comedy shows in the UK. I had
like The Twilight Zone, which we
interesting concepts, and reinvent
you can sort of think, “I’ve been told
a bit that I did in this end-of-year
had late at night in the UK. But we
the show from week-to-week—epi-
I’ve got to watch The Good Wife, and
show [Charlie Brooker’s 2016 Wipe]
also had Tales of the Unexpected
sode-to-episode, really—in the brave
there’s like 17 seasons of it. When is
where we were just commenting
[an often sinister British anthology
new world of streaming.
it too late for me to jump in? At what
on the pointlessness of satire—the
point is the amount of available
meaninglessness of it, when you’re
series from the mind of Roald Dahl],
Hopefully, you get the best of
and the BBC used to show lots of
both worlds, in that you get a lot of
footage going to dwarf my remaining
faced with what’s going on in the
one-off, weird and wonderful TV
idiosyncratic content being explored,
lifespan?”
world at the moment.
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I find it hard to fathom exactly how you would tackle that in a way that would seem more farfetched than reality, you know? I kind of feel like you’ve got to let the skittles fall a little before going, “Okay, what’s going on here?” and then sort of tackling it. There may be the odd reference—I’m not sure—but very oblique. And it’s sort of early days, isn’t it, really? Surely everyone’s struggling to know quite how to deal with it. Obviously, you’ve got shows like Saturday Night Live— which isn’t shown in the UK, but we see clips of it now online. And obviously, they’ve been doing a pretty amazing job. They seem to have risen to the challenge. Unless you’ve got that degree of week-by-week topicality, it’s hard to know how you’d tackle something this crazy. With your Season 4 premiere date as yet unannounced, where are you in the process, and what can we expect from the next run of stories? I can say that we’re currently shooting the fourth season in London. The one thing I can say is that it’s the same, in that it’s completely different, again. I
HELA POWERFUL The Immortal Life of Henrietta Lacks director George C. Wolfe describes his approach to honoring an historical figure who never lived to learn her true power
don’t think any of them are the same as any stories we’ve done before, and genre-wise, they’re
HOW DOES ONE HONOR AN
Lacks to be recognized for her
mighty different as well. I think
INDIVIDUAL swept away in
contribution.
length-wise, there’s going to be
history—who died, unaware of
“I think the way you honor
not to do that, because I don’t
more variance. That’s so bor-
the impact they would have on
people is by not beating yourself
need to contribute to that phe-
ing, though—I wish I had a better
the future of mankind? This is
up trying to honor them,” Wolfe
nomenon,” the director explains.
revelation [laughs].
the challenge director George C.
explains. “It’s doing your job,
“But also, I was very intrigued by
Wolfe faced with HBO film, The
doing the research, so that what
the collaboration between Debo-
except I think there’s quite a lot
Immortal Life of Henrietta Lacks.
you’re doing is coming from the
rah and Rebecca.”
of stuff that’s quite out there. I
Based on the bestselling
deepest, smartest piece of who
I can’t really say much else,
“I was rigorously determined
Stepping with some reluc-
don’t know if I’ve lost touch with
book by Rebecca Skloot, the film
reality, or what. But then what
tells the true story of Lacks, an
often tends to happen is I think,
African-American woman who
becomes a character, contra-
experience—executive producer
Oh my God, this is completely and
made a radical contribution from
dicting the journalistic credo of
Oprah Winfrey nonetheless
utterly farfetched, and then reality
beyond the grave, as the HeLa cell
staying outside the story. Serving
brought everything Wolfe could
catches up, so I was consciously
was discovered within her—a cell
as a partner to Lacks’ daughter,
have asked for to the table. “Once
trying to cast further afield, I think,
type that was used to create the
Deborah (Oprah Winfrey), in
she joined, whatever hesitance
in terms of the stories we’re doing.
polio vaccine and continues to
bringing her mother’s story to the
she had, I never saw it,” he says.
And partly also because I think I
spur medical breakthroughs.
was so terrified about the state of the world, I thought, I’m going to
you are.”
explain the situation.
In Wolfe’s film, Skloot
tance into the role of Deborah—a woman so removed from her own
world, Skloot never becomes the
“She came every day to set with
While this discovery was
final word on Henrietta’s story—
a ferocity and an openness that
revolutionary, it took years for
the white woman stepping in to
was astonishing.” –Matt Grobar
entertain myself by having some kooky thoughts. ★
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CHARTED TERRITORY
Gold Derby’s Emmy Odds At press time, here is how Gold Derby’s experts ranked the Emmy chances in the Drama Series Actor and Actress races. Get up-to-date rankings and make your own predictions at GoldDerby.com
LEAD ACTOR DRAMA SERIES
CLOCKWORK Orange Legion cinematographer Dana Gonzales explains how he arrived at the show’s rich color palette
FOLLOWING SHOWRUNNER NOAH HAWLEY
shooting. “I had lights that lit every set, and I could
from Fargo to Legion, Emmy-winning cinematog-
pretty much do any color that I wanted to in the
rapher Dana Gonzales found another platform for
world,” Gonzales adds. “There are a lot of differ-
some truly ambitious visual work. Unlike the world
ent colors in there that you’ve probably never seen
of Fargo—indebted to the framework established
before, because of the access that I had to that
by the Coen brothers in the original film—the visual
color. Literally, finding a color in seconds and saying,
world of Legion was open to experimentation.
‘Let’s make it this color.’”
With its color palette alone, Legion is unrivaled
Finding additional inspiration in Michael Wylie’s
on TV. For Gonzales, the work of defining the show’s
production design, Gonzales made most color deci-
aesthetic began with two specific inspirations: A
sions purely out of his “emotional response” to the
Clockwork Orange and Paolo Sorrentino’s The Great
material. “When you’re working with Noah, that’s
Beauty. “Both those films, stylistically, dealt with
the fun thing. You don’t know exactly where every-
color and compositions,” he says.
thing is going, but we’re able to experiment and
Given his shorthand with Hawley, the DP was free to experiment with color even moments before
interpret.” he says. “Noah is confident in pushing me to be bolder.” –Matt Grobar
CINEMAGIC The Young Pope DP Luca Bigazzi pushed visual boundaries with the high-contrast HBO limited series
real opening shot, The Young Pope
visual choice after another, Bigazzi
brings Paolo Sorrentino’s visual
focussed on a “strong, anti-TV
flair to television with effortless
contrast”, with celestial whites, “at
a sterile challenge against the old
grace, in no small part thanks to
times, blinding,” and the darkest of
outdated TV conventions, but
cinematographer Luca Bigazzi,
blacks, “to the limits of the visible.”
also wished to be a visual mode
Sorrentino’s creative partner of
and personal power. “Ours didn’t wish to be merely
The two men have long shared
of interpreting a story that speaks
15 years (and the DP behind Dana
interest in pushing visual boundar-
about saintliness, perdition, reality
Gonzales’s Legion inspiration, The
ies, but this particular choice was
and mystery,” Bigazzi explains.
Great Beauty).
rooted deeply in the themes the
“About mysterious secrets, and
series explores, about godliness
revealed truths.” –Matt Grobar
Determined to make one bold
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1
Sterling K. Brown This is Us
7/2
2
Bob Odenkirk Better Call Saul
9/2
3
Rami Malek Mr. Robot
5/1
4
Matthew Rhys The Americans
6/1
5
Kevin Spacey House of Cards
10/1
LEAD ACTRESS DRAMA SERIES
ODDS
1
Claire Foy The Crown
7/2
2
Elisabeth Moss The Handmaid’s Tale
4/1
3
Keri Russell The Americans
5/1
4
Viola Davis How to Get Away with Murder
9/1
5
Evan Rachel Wood Westworld
11/1
SUPPORTING ACTOR DRAMA SERIES
ODDS
1
John Lithgow The Crown
10/3
2
Jonathan Banks Better Call Saul
9/2
3
Jeffrey Wright Westworld
13/2
4
Ron Cephas Jones This is Us
10/1
5
Ed Harris Westworld
10/1
SUPPORTING ACTRESS DRAMA SERIES
FROM ITS PAINTERLY and sur-
ODDS
ODDS
1
Chrissy Metz This is Us
4/1
2
Thandie Newton Westworld
5/1
3
Millie Bobby Brown Stranger Things
11/2
4
Winona Ryder Stranger Things
9/1
5
Uzo Aduba Orange is the New Black
11/1
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F O R YO U R C O N S I D E R AT I O N
OUTSTAN DIN G LIMITED SERIES THE NEW EDITION STORY O UTSTANDIN G LEAD ACTOR IN A LIMITED SERIES O R MOVIE WOODY MCCLAIN AS BOBBY BROWN
BRYSHERE Y. GRAY AS MICHAEL BIVINS
OUTSTANDING SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE ELIJAH KELLEY AS RICKY BELL
ALGEE SMITH AS RALPH TRESVANT
LUKE JAMES AS JOHNNY GILL
WOOD HARRIS AS BROOK PAYNE
KEITH POWERS AS RONNIE DEVOE
MICHAEL RAPAPORT AS GARY EVANS
OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE LISA NICOLE CARSON AS DOROTHY BELL
SANDI MCCREE AS CAROLE BROWN
A N D A L L OT H E R C AT E G O R I E S
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THE WEIGHT OF POWER Jude Law shares 10 insights into his papal journey in HBO’s The Young Pope BY M AT T G RO BA R
1. Jude Law had wanted to work
Beauty, prepped Law for what
with Italian writer-director Paolo
to expect. “I knew that it would
Sorrentino for a while when he
be visually sumptuous. I knew
got the call to discuss The Young
there would be a certain amount
Pope—about a cocksure pontiff and
of ambiguity and poetry to his
the first American to wear the papal
storytelling. I knew that there would
robes. “I loved his work, and he
be humor and drama.” But he wasn’t
was someone I’d talked about with
prepared for the level of detail in the
anyone who would listen, really,” he
scripts for the 10 episode limited
explains. “It felt like a kind of gag
series. “As they started to arrive,
that somebody suddenly wrote to
what was really interesting to me
character, Lenny Belardo, in the
part of the evolution of it was truly
me out of the blue like, ‘Oh, Paolo
was how specific he is, both in
moment, soaking in the added
one of the best work experiences
has this piece he wants to talk to
what you’re looking at when you’re
depth a limited run offers over a
I’ve had.”
you about.’”
reading it, but also in what you’re
feature. “Lenny unfolded as this
listening to; he references all of it in
extraordinary, contradictory, deeply
4. As much as he enjoyed playing
the script.”
knotted and complex human, with
a true antihero—almost a villain at
an incredible backstory and past,
the heart of his own story—Law
2. Revisiting Sorrentino’s previous work, including This Must Be the
ROMAN HOLIDAY Main image: Pope Law. Below: Director Paolo Sorrentino.
Place and the Oscar-winning
3. The actor immersed himself
but also a present life that required
was particularly compelled by
Foreign Language hit The Great
in the challenge of finding his
all sorts of understanding. Being a
Lenny’s honesty and integrity. “I
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“I could barely move, and I have no idea how a 70- or 80-year-old chap does that, because I’m a quite healthy 44-year-old, and it was really uncomfortable.” 8. Not a single shot in The Young Pope actually takes place in Vatican City. “Getting that kind of access would have taken way too long and been far too complex,” Law reveals. Instead, the production set up shop at any number of Vatican-owned locations around Rome. “We did have access to some pretty special and private rooms around the city, and gardens that have otherwise never been filmed in before,” he says. “Rome is itself an open museum; it’s a spectacular place to live and be able to film.” 9. Law learned a lot from his fellow castmates in the series, including screen legends Diane Keaton and James Cromwell. “With someone like Diane Keaton, who is mischievous, and inspired, and incredibly warm, for her to come on every other week is a great injection of energy, and it was the same with James Cromwell.” 10. While The Young Pope was
AFTERNOON STROLL Jude Law and Diane Keaton on set.
think there was something at the
inevitably follows. And Law found
heart that I like—that whilst he
the full papal regalia helpful in
was contradictory, he was never
inhabiting the character. “When
a liar,” Law says. “I think there was
you’re wearing very recognizable,
an element of truth, that he had
ornate, and ritualistically historical
conviction even if he changed his
garb, obviously it helps hugely to try
mind, or seemed to contradict
and get your head into a person that
himself.”
you’re playing,” he says. But he never lost sight of the human story inside
5. Law played another narcissistic
the marbled walls of the Vatican. “It
American in Italy in Anthony
was always about the people within
Minghella’s Oscar-nominated The
these great, great, great luscious
Talented Mr. Ripley, but there the
scenarios.”
similarity ends. “To be honest, other
“THE MEDIEVAL PAPAL OUTFIT I WAS WEARING WAS LIKE WEARING TWO GOLDEMBROIDERED CARPETS, WRAPPED AROUND WITH METAL, WITH A GIANT METAL CROWN ON MY HEAD.”
conceived prior to Trump’s election, Law feels that there are lessons we can take from Lenny; a Trumpian sort of figure, in his own particular way. “Given the climate that we were making it in, and given the world we now live in, I think it’s really important to show that people can burrow out to change their mind; that with an open mind, people can learn to open their hearts, too.” To the actor, the fact that the series was conceived pre-Trump is telling. “What that should tell us, perhaps,
than two very happy experiences
7. Law’s most challenging scene
is that this kind of political
living in Italy—it’s a great country
in the series involved the same
maneuvering has always been
to live in and work in—I didn’t really
finery that helped him to shape the
there. For a writer to construct
draw any parallels,” he says. “That’s
character. “The first speech to the
this based on the past just tells
the kind of interpretation I quite like
cardinals; the medieval papal outfit
you that it’s another chapter in
audiences to make.”
I was wearing was like wearing two
which someone is playing the
gold-embroidered carpets, wrapped
people. I think that should both
6. When the Pope’s in Rome, a
around with metal, with a giant
terrify us, but also hearten us; that
good deal of pomp and ceremony
metal crown on my head,” he recalls.
it is only a chapter.” ★
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TEAM US Sterling K. Brown, Milo Ventimiglia, Mandy Moore, Chrissy Metz and Justin Hartley.
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Creator Dan Fogelman talks to Nellie Andreeva about the ensemble family drama that has defined the 2016/17 TV Season PH OTOGRAPH ED BY MARK MANN EXC LU SIVELY FOR DEADLINE
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IN FEATURES, DAN FOGELMAN had written big several hits, including the blockbuster Cars franchise. In TV, he had been known for quirky shortlived half-hour comedy series with cult followings, including The Neighbors and Galavant on ABC. But after Galavant, and Fox’s Grandfathered, which he executive produced, came to a premature end in May 2016, Fogelman made a big change. He switched studios, moving from ABC Studios/Disney, where he had been based for years, for a deal at 20th Century Fox TV. Fogelman also switched genres, venturing into hour-long drama with This is Us and Pitch, both of which went to series and earned strong reviews. While Pitch was another cult hit, This is Us was an instant breakout. The ensemble family drama, which featured no major stars and no highconcept gimmicks, made an immediate connection with fans, with its trailer amassing tens of millions of views in a matter of days. It went on to give Fogelman a giant hit, TV’s version of a feature blockbuster. Here, Fogelman talks about the humble start to This is Us—as an unfinished feature script about sextuplets (!) titled 36—and its transformation into a TV series. He discloses the biggest change he had to make when the project went to broadcast instead of cable/streaming and lifts the curtain a bit on Season 2, Jack’s death reveal and the kind of ending he is planning for the series.
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This is Us originated as a feature
contemplating what I might do next. I kept
script, right?
thinking up characters that reminded me
It did. A few years back I was considering it
of characters from that old screenplay,
as a next feature. I actually wrote about 75
but I didn’t like the new ideas/characters
pages. Initially it had about 7 characters all
as much as I did those older characters.
sharing the same birthday, and the reveal
And one day I just decided to open it back
at the end of the film was going to be that
up, lose some characters, and try thinking
the Jack and Rebecca characters were giv-
of it as a TV series instead of a film. And
ing birth to sextuplets 36 years earlier. Kind
suddenly I was excited to write it again, not
of a Sixth Sense-type ending with babies.
just because it could be shorter and was almost done—though that was enticing
What was the original inspiration
too—but because suddenly I didn’t need
for it?
an ending. The ending was just a begin-
There wasn’t really a ton of inspiration. I
ning, and the thing I liked most about the
wanted to sit down and write something
script—the characters—they could keep
about people; people I knew. I was in my
evolving over many, many stories. And
late 30s at the time—about 38—and I was
you could see how the family grows and
struck by how wildly different the lives of
informs itself over years and different time
my peers could be, even though we were
periods. As soon as that locked in, I knew I
all the same age. I had friends who were
was going to do it.
married, some single. Some had preteen
children, others none. Some were satis-
Did you consider making the show
fied in their careers, others less so. Some
for cable or streaming? Why was the
had experienced great loss—of parents,
decision made to go with a broadcast
of friends—others hadn’t even lost a
series?
grandparent. And I thought, I’m going to
At one point early on I did, but there didn’t
write something about all these people,
seem to be a need to. There was noth-
all exactly the same age and born on the
ing in the show—save for Jack’s ass—that
same day. Halfway through I thought, Huh,
begged for the show to be on cable. I think
maybe one story is the parents of all the
the initial script had like six “shits” and
others. Then I just sat down and wrote.
three “fucks” in it. None were spectacularly funny, none were integral to any of it.
Did you try to get it made as a movie?
Actually, there was one. In the pilot
I didn’t. One of the only times in my life I
Sterling K. Brown’s character punctu-
wrote something and just put it away. It
ates a monologue by telling his biological
wasn’t gelling for me as a film. I loved the
father that he came to see him to tell him,
characters, I loved the idea of it, but I just
“I didn’t need a fucking thing from you.”
couldn’t wrap my head around it as a film. I
I was so stressed taking “fucking” out,
struggled to find the point of the ending, or
that the speech wouldn’t have the same
even to find “the ending”. So I put it away
impact. Then Sterling comes and does
and said, “Well, shit, that was 6 months
the monologue on the day, no f-word, and
wasted.”
says, “I didn’t need a THING from you...”
and spit flies out of his mouth on “thing”
How and when did the idea come
and you feel his wound and his rage as if
about to turn it into a series?
he’s said “fucking” a thousand times over,
I’d had a TV series cancelled in heartbreak-
and I loved him more than I’ve ever loved
ing fashion as per usual, and I’d started
an actor in that moment.
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WRITE STUFF This is Us creator Dan Fogelman.
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Yeah, I guess it can be considered
death—how and when it would be
“cooler” to be on streaming or cable. And
revealed. We are sticking to the plan. I
you think of that when you are first decid-
can’t say a ton, but yes, it’s fair to say that
ing where the show should air. But I’ve got
Season 2 holds a lot of the remaining cards
a populist sensibility. I like the fact that
re: Jack’s death.
people can access this show easily—not
just emotionally, but also literally. It could
Do you have trepidations about keep-
have been on cable, yes, but it would have
ing viewers interested after that? Fans
been us trying to be cool. And when you try
tuned out of Twin Peaks once Laura
to be cool, but aren’t just naturally cool, I
Palmer’s killer was revealed. Are you
think it’s incredibly lame.
planning another mystery after that?
If Sterling taught me anything it’s that
Nah, no more “mysteries” but I think we
sometimes you can say “fuck” without
have some things in store that will keep
saying “fuck”.
people talking and on their toes.
How and why was the title changed
How far ahead have you mapped out
from 36 to This is Us?
This is Us?
No one liked 36 as a title. Most obviously,
We know a lot. Obviously we know more
because it only relates to the pilot and
specific details and storylines about Sea-
then has zero to do with the series. Also
sons 1 and 2 than we do about Seasons 3
because it’s a number. But I’d made a
and beyond—it’s impossible to really map
bunch of films and shows without a title
out an entire series when you’re doing as
and it becomes a shitshow. Everyone
many episodes as we are—but globally
pitches you titles, no one ever agrees on
I know the shape of the series, where it
a title, and you have yellow “Untitled Dan
ends, where each season goes, and what
Fogelman” signs all over town. So I put 36
the spread of the show is.
on the script but no one liked it—myself
included—and thus began the unavoidable
Do you have an end point for each
shitshow once again. There was something
character that you are building
about This is Us that felt lyrical to me. I’d
toward?
been pitching the show to people, say-
Generally speaking, yes. Characters tend to
ing, “It’s a show about people,” and, “It’s
evolve over years, and you discover things
a show about us.” Not everyone agreed
in making a show, so things will evolve. But
it was a good title, as per usual. But not
in general, yes.
everyone absolutely loathed it, which was a start. When I did my first cut, I put it in
It is a happy ending?
the title card, hoping that people would
Of course. C’mon. At the worst it will be in
like the pilot and get attached to the title
the vicinity of happy.
after seeing it in the show they’d just watched. That kind of happened... Also, I
What is the most plot-wise you can
may have just worn everyone down. I hon-
tell us about Season 2? Any major
estly can’t remember.
twists coming? I can tell you that we really dive into
And yes, there’s something coming in
Do you have an explanation for why
the next chapters for the present day
Season 2—I’m not sure if it’s a “twist” or
the series resonated with viewers in
lives of our adult children—Kate as she
what one would call it, but yes. We’ve got
such a big way?
embarks on a singing career and plans a
something.
I don’t. If asked to pick one thing, I always
wedding with Toby, Randall and Beth as
point to the cast. It’s a win finding one
they consider adopting a child, and Kevin
Will we be crying less?
actor who can deliver both as a serious
as he takes the next steps in his acting
That, I can’t say. For now let’s say “crying
actor but also as a winning person you
career and battles some new demons
the same” and see what happens.
want to see on your TV screen every week.
in his quest to be a full, realized dude.
We lucked into finding eight.
We’ve left Jack and Rebecca in a really
In 2014, The Good Wife built its Emmy
fragile place in their marriage, so there’s
campaign around the fact that it pro-
How long before you reveal how Jack
lots to do there—and of course we have
duces a lot more episodes a year—22—
dies? Is it coming in Season 2?
the ticking clock of Jack’s death looming.
than any of the cable and digital drama
There’s always been a plan for Jack’s
So lots coming.
series in contention. It didn’t lead
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FAMILY FORTUNES Main image: Mandy Moore and Milo Ventimiglia. Right panel, clockwise: Ron Cephas Jones & Sterling K. Brown; Chris Sullivan & Chrissy Metz; Lonnie Chavis & Milo Ventimiglia; Justin Hartley; Jon Huertas, Milo Ventimiglia, Mandy Moore & Wynn Everett.
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to a series nomination, and it’s been
is even in the conversation. It’s a popular,
up in a banner over the bottom of our
five years since a broadcast drama
very populist show that wears its heart
TV screen, but we also get to have more
has cracked the top category. This is
on its sleeve. Those type of shows aren’t
people watching on a TV screen than other
Us produced 18 episodes, still more
often in the conversation. They are often
cable shows.
than any of the drama series currently
dismissed as light or sentimental when
touted as contenders. How do you feel
placed in a conversation against grittier,
really have a pitch. We’re thrilled to be in
about that, and what is your pitch to
darker cable shows—all of which I love.
the conversation, we’re thrilled people
Emmy voters?
So who the hell knows? In terms of
My pitch to Emmy voters is that I don’t
dig the show, and I’d be thrilled to see our
I’ve never worked on anything in film or TV
the amount of episodes, yeah, it’s not
actors get recognized because they’re
that’s really been in the conversation for
easy trying to keep quality control up for
spectacular and also happen to be really
fancy award stuff so this stuff is all beyond
18 episodes. But I’d venture to say that
nice people.
my scope of understanding. You know
it’s not easy for shorter order series to tell
how people say stuff like, “It’s an honor to
complete stories in fewer episodes. Yes,
and like it, and wanted to vote for it, I cer-
be nominated?” I’m just thrilled our show
we sometimes have Adam Levine popping
tainly won’t stop them.
Beyond that, if people watch the show,
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MANDY MOORE
MILO VENTIMIGLIA
GETTING THE PART: I was hesitant about throw-
GETTING THE PART: It was literally an audition. I
ing myself in the ring after three failed pilots, but
was close to people who were close to John Requa,
the script was undeniable. I’m a huge fan of Dan’s
Glenn Ficarra and Dan Fogelman. I walked into the
and felt certain that I was Rebecca and was dying
room, and the second I mention our mutual friend,
to be a part of it. I felt OK after my initial audi-
they’re smiling. As much as I heard great reviews
tion—which is huge for me because usually, I’m
about them, they heard also about me. I did what
super critical—but I waited a month to hear back
came out of me in regards to Jack, and I felt this
from them because I think I came in right in the
very blue-collar tie to him. It was an easy process
beginning of the audition process. I ended up being
to tap into the character. My own father is the
asked to take part in a chemistry read with a few
biggest influence in playing Jack personally. I saw
guys, but then only read with Milo in the end. Of
the same heart in Jack that was in my father. He
course, I walked away wanting to be part of the
was a man who was passionate about his family,
show even more because the chemistry with Milo
wanting to give to them, not just roof and clothes,
was so effortless and palpable.
but give them lessons to be learned for our suc-
Rebecca Pearson
Jack Pearson
cess. My father was in the printing business, grew TAKEAWAY MOMENT: Jack’s drinking in Episode
up in Chicago, went into service in Vietnam, and
2 and the fight in the finale highlight the differ-
coached little league teams. Every Friday night, he
ent colors of this woman and their marriage. It’s
was always around and present.
easy to understand the deep, kinetic love between them, but I’m happy that we have the opportunity
TAKEAWAY MOMENT: That fight in the season
to show a fully fleshed-out marriage of challenges
finale is less of a fight and more of Jack’s final mes-
and obstacles, too.
sage to his wife. Given the audience’s knowledge of his pending death, he’s not aware of that. He’s
HOW THE SHOW CHANGED HER LIFE:
laying it all out to his wife like he’s always done. The
Life feels completely different from this time last
message is that the kids will be fine, but without
year. To be a part of a project that seems to have
his wife and partner, he’s not OK. Seeing Rebecca’s
struck a chord with a broad swatch of people and
reaction there is hope, and in the landscape of
help unite us all during tumultuous times, isn’t lost
TV, this fight wasn’t as bloody as other battles on
on any of us. The job security isn’t so bad, either.
TV. In reality, those things being said, how does he
—Matt Grobar
get back on track with his wife? That’s the real life struggle. We all make mistakes and accidentally hurt people. At the end of the day, how do you direct yourself back to the joy in that partnership? In regards to the occurrences leading up to Jack’s death, people should pay more attention. Yes, Kate has been the only one vocal about it, but what about Randall, Kevin, and Rebecca? People shouldn’t set their sight on just one view. HOW THE SHOW CHANGED HIS LIFE: I meet a lot more people on the streets. When someone approaches me with a smile on their face, I’m grateful for the opportunity to give some positivity and therapy to people. I feel the show has opened my heart up to more humanity, to understanding that life is hard enough. We all experience difficult times and I try to be the light of hope to other people I’m around. —Anthony D’Alessandro
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STERLING K. BROWN
CHRISSY METZ
JUSTIN HARTLEY
GETTING THE PART: I met John and Glenn in
GETTING THE PART: The script was incredible
GETTING THE PART: This started before I met
New York City a couple of years ago when I was
from the moment I started it; it felt different. I des-
[John, Glenn and Dan]. I had a script in my inbox
doing the Public Theater and auditioned for
perately wanted an audition and begged my agent
from my agent and I was going to sit down and
Whiskey Tango Foxtrot, and shot the movie with
for the opportunity to read for casting. This was a
spend four or five hours, and read a couple of
them. They recommended that I meet Dan. Now,
role that finally broke down the real issues behind
them. One of them was a pilot by Dan Fogelman,
if I hadn’t done the play at the Public Theater, the
weight; inadequacy, codependent relationships
and I thought, I want to read that baseball pilot
meeting wouldn’t have taken place, and I would
and living in the shadows. The callback—which I
[Fogelman’s cancelled series Pitch]. Turned out
have never been in Whiskey and met Dan. When I
didn’t think was coming—was unlike any other I
the pilot I read was This is Us, which then went
met Dan, he was cool. I felt no pressure. I was still
had ever experienced. Dan, John and Glenn really
by the name the Untitled Dan Fogelman project.
shooting The People v. O.J. Simpson, and I had been
worked with me through every scene. Glenn even
I thought it was fantastic. I called my agent and
a fan of his Crazy, Stupid, Love. So, I gushed about
asked me to grab my purse out of the lobby and
said, “You got to get me in the room.” I knew I had
his work and the pilot script, which was the best
walk into the scene through the door. It was as if
a special take on Kevin. I wanted to tap into where
thing I had read in network television. There was
they were already directing me.
he came from, and what created this mess. I went
Randall Pearson
Kate Pearson
no attachment to the meeting at the time, it was
Kevin Pearson
into the room before Glenn, John and Dan, and it
an opportunity for me to go in and tell him how
TAKEAWAY MOMENT: There’s something really
was a monologue I had to deliver about the Chal-
much I appreciate his work. When you enter into
wonderful about shooting the pilot and finding
lenger explosion, and Kevin was ready to explode
a room like that, the love of the project translates
your footing as you go. The Hollywood party in
and have a nervous breakdown. I thought Kevin
into work.
Episode 2 was a riot; have you seen Chris Sul-
was funnier than being a nut job and he had this
livan’s moves?! We worked ’til the sun came up
interesting, humorous take on his situation, like he
TAKEAWAY MOMENT: Any opportunity to work
and it was amazing. The painting episode with the
was searching for answers. I made them laugh and
with Ron Cephas Jones is true wonderment. He’s
most moving monologue featuring Justin Hart-
left the room feeling good with what I did.
such a pure, present soul. When you look in his
ley just cracked me wide open. We were sobbing
eyes, you really recognize something special. I also
at the table read. I have to say seeing Rebecca
TAKEAWAY MOMENT: That monologue about
love how Randall parents his girls and doesn’t
walk in Randall’s home with the moon necklace
the painting; even though he was trying to explain
apologize for it. It’s something I relate to as a par-
and another man—Miguel—by her side still gets
it to his niece, it was the first time that Kevin real-
ent. I have two young children myself and you pray
me. The fight scene in the finale with Jack and
ized what he was saying. He was learning as he
you’re doing right for them. Your best guess is to
Rebecca was shocking and hard to watch; even
was saying; that changed his approach from that
commit and move forward. Then Episode 15, “Jack
when you sympathize with them individually, you
point forward. He took the play more seriously.
Pearson’s Son”, was tremendous; trying to portray
see and understand people change, nobody is
When he explains the moment to his nieces, it sets
the realities of social anxiety and how debilitating
perfect and when our egos are challenged, the hurt
him on a path where he feels better; this is how he
it can be. In Episode 16, having lost my father at a
is hard to stomach.
wants to live his life. The moment that he left the
young age, it was a cathartic moment for me to
play to be with Randall; that was the only choice in
have the opportunity to say goodbye to William.
HOW THE SHOW CHANGED HER LIFE: Just
Kevin’s mind. Kevin in general is really discovering
When I was 10, I had to stay home from the hospi-
about in every way possible. From recognition to
himself, living his life as an adult.
tal when I lost my own father.
opportunities, to crying with strangers in bathrooms, living my dream daily and traveling to
HOW THE SHOW CHANGED HIS LIFE: It’s a
HOW THE SHOW CHANGED HIS LIFE: I was
places I never thought I would see.
show that even if I wasn’t on it, I’d watch every
always cognizant of the fact of the power of art
—Anthony D’Alessandro
episode. I’ve slowed things down that needed
to transform life. That’s why I got into the game in
to be slowed down in life. You tend to, in life, get
the first place, but I don’t think I had a job that has
away from your center. Especially in this business,
fulfilled all those directives as completely as This
if you don’t constantly remind yourself of the little
is Us. A number of times, people have approached
moments, you’re 50 and the kids are out of the
me, not just about how wonderful the work has
house. [The show] has helped me appreciate;
been, but how important and therapeutic it has
made me recognize the little interactions. Run-
been for them, in allowing them to deal with loss
ning into complete strangers, you suddenly have
and grief in way that helps them move forward.
something to bond with them over: the meaning
That sort of healing power in a TV show is some-
of the show. You’re friends with these people you
thing that I’ve never encountered before in a TV
don’t know because you have a common love of
show and to be part of that is a dream come true.
the show. —Anthony D’Alessandro
—Anthony D’Alessandro
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D THE DIALOGUE
EMMY CONTENDERS/ DRAMA
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John
with my feet and my makeup every day, I was there so early, and I was always the
TURTURRO
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After a colorful canon of character roles, the maestro plays a washed-up Manhattan criminal attorney in The Night Of BY A N T H O N Y D ’A L E S SA N D RO
last person to leave because of everything to take off. It’s like my attrition—you sink in. And sometimes something happens and you feel very, very free and you feel like you can do it anyway; you can do the scene ten different ways. Was there a particular prosecutor you consulted in crafting Stone? Kenny Montgomery, who is a star prosecutor and a defense lawyer, he really helped me a lot because he was able to delineate what he actually goes through. And even though he’s really successful, it does cost him a lot. We met a bunch of times, and he showed me films of cases, and he was able to pinpoint certain things for me. He’s like the guy maybe that Stone could be, you know? But a lot of these people, their lives are a mess. It’s hard to have a family.
JOHN TURTURRO’S PORTRAYAL of Manhattan criminal court attorney John Stone in HBO’s The Night Of is one of the Brooklyn native’s most sublime 180-degree turns. Wrinkly clad and plagued by eczema like it’s a cross to bear, Stone is a joke among cops and his legal peers. But one night the attorney encounters Nasir Khan (Riz Ahmed), a PakistaniAmerican academic college student who has been accused of murder. In a racially divided post-9/11 city, Stone may be Naz’s only hope for a fair trial. Based on the BBC drama Criminal Justice, The Night Of was a passion project of late Sopranos actor James Gandolfini, who both executive produced and starred as Stone in the 2012 pilot.
Sometimes people are divorced three, four times, and they’re nightcrawlers. You don’t get material like that. I’m a big book reader so it’s like I’ve been in a lot of adaptations of books and in two hours you’re always thinking you lost this and you lost that, and in this case you didn’t lose anything. Before earning your MFA at Yale School of Drama, when did you get
Let’s talk about how the project came
was interested, and then I asked to read all
the acting bug?
to you. I know that you starred in Spike
the episodes. It’s Richard and Steve and I
I was a little kid. I always played small
Lee’s Clockers which was also penned
thought it was like reading a novel.
parts in plays. But watching old movies I
by Richard Price.
think; watching the Million Dollar Movie,
I was also in The Color of Money, another
You completely wore this character.
watching Channel 5, watching movies
Richard Price screenplay, and I almost did
It’s like you stayed up for five days
from the ’30s, ’40s, ’50s. Yes, that’s
Mad Dog and Glory which he wrote. I’ve
straight. Did you already know this
what gave me the bug, because I never
known Richard since ’85 and I know his
Stone?
traveled anywhere, so it was a form of
books, and as far as Steve Zaillian, I talked
I know a lot of people in different
emotional traveling. In high school I used
to him about being in Searching for Bobby
professions who have tremendous abilities
to do impressions, and then I wound
Fischer and that didn’t work out schedule-
and are tremendously talented and skilled
up doing a version, not the full play, of
wise, but I really loved that film. They
and capable, and they’ve never had the
Pippin. I was obsessed with Pippin.
approached me, and then obviously I was
stomach for it, or the constitution to
really close with James [Gandolfini]; we
survive what may be in Stone’s case:
Who were you?
knew each other from the early ’90s. When
to hold someone’s life in his hands, and
The leading player; the part Ben Vereen
he was on The Sopranos, he was the lead in
maybe it didn’t work out the right way.
played. I just thought what an amazing
the film I directed, Romance & Cigarettes, and we became very good friends.
presence on stage he was. And I had the record of Jesus Christ Superstar—he
wiseass and has all this black humor and
played Judas—and then I started going
then I saw the pilot and I was like, “Oh
everything, and his body is betraying him.
to see plays. I saw a lot of great actors, I
God, I don’t know if I want to watch this,”
He’s got all these obstacles, and yet he
saw Pacino when he was really young; my
and it was a very long cut of it. James only
has this connection with this kid. And I
mother took me to see his play. So when
had one scene as Stone, the character I
think it helped that Riz and I had a nice
I saw theatre I thought, Wow, maybe this
would play. I read a couple more episodes
connection, we had an organic one.
is something I could do, because I never
I read the first couple episodes and
and then I met Steve. He was very happy I
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But I thought there was something so human about that; a guy who’s a
Mark Mann
By the end, I had so much stuff to do
knew anyone who was in the movies. ★
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L a u re n
we’d been asked about for years—“What’s
GRAHAM ★
was gratifying. Alexis, Rory is a practiced journalist in viewers been giving you tips?
BLEDEL ★
so to be able to have an answer for that
this iteration of the show. Have inter-
Alexis ★
going on? Is there going to be a movie?”—
★
Bledel: [laughs] It’s not a conversation that has come up a lot, but I think I have felt a sense of appreciation from journalists for the character and the story. When we pick up with her in A Year in the Life, journalism has been through a huge transition and she has been trying to spin her
The Gilmore Girls return for A Year in the Life
wheels and catch up to the way things are done now. I think she’s struggling, so peo-
BY JOE U T IC H I
ple can identify with her. But her spirit and her resourcefulness are strong. I’ve always admired that about her, and about journal-
HEN NETFLIX ANNOUNCED a return to the Gilmore Girls for A Year in the Life, a four-part series of 90-minute specials, fans of the original CW show rejoiced. The show crashed out in 2007, after a year without creator Amy Sherman-Palladino at the helm, yet it had become—and remains—a beloved classic of 21st Century feminism. At the heart of its cast, Lauren Graham and Alexis Bledel return to play Lorelai and Rory Gilmore, still struggling with life’s challenges and frustrations, and still bemused by the colorful denizens of the fictional Stars Hollow, Connecticut.
W
ists, because it’s not a job I could do. To go out and ask the hard-hitting questions and not be intimidated by people. She also makes some very silly choices, which is at the heart of this show. These are our heroes, but they make mistakes, like we all do. Bledel: Absolutely. Graham: You can’t have 90 minutes with no conflict. That’s not a show. When you feel such a sense of ownership of these char-
Where were your minds at the end of
Even if the voice is this fast.
acters, and you’re going to enact a choice
Season 7 of Gilmore Girls, with Amy
Graham: Especially, in fact. It’s something
that is dubious, you want to feel it’s justified
having departed and the show axed?
so specific, and from the minute I first read
and that it’s part of this person’s journey. I
Lauren Graham: We didn’t know it was
it, I thought, I know what this is. It was love
always thought, Here’s a woman who’s had
the end; we shot a final season and a final
at first sight, so to get to revisit it with a
a child at 16 and she never really got to be a
episode with a lot of questions up in the
sense of appreciation was a gift.
teenager. So there’s an aspect to her that is
air, and—I’ll speak for myself—a desire to
youthful and teenage and kind of immature.
keep going, too. But it really did feel like a
Was A Year in the Life a chance to com-
There’s still this aspect of arrested develop-
different show to me. I remember being
plete unfinished business?
ment to her, and I love that.
in a scene and thinking, Something’s odd
Bledel: Yes—it was almost like getting
here. I realized I had spent a long time in
another chance at something, and how
Rory has to become the grown-up.
the scene without talking, and it just didn’t
often does that happen in life? We were
Graham: She always has been, really. And
feel the same.
also able to be very present in every
one of the things I love about this relation-
moment, which wasn’t the case with
ship is there’s no jealousy. Lorelai is such
You must have felt especially close
the original shoot. I was always trying to
an independent character, who, yes, asks
with these characters at that point.
catch up and keep up, so in this I felt more
her parents for help in certain ways, but in
Alexis Bledel: I loved my character right
capable.
certain ways, she did so much on her own
away, from reading the pilot. She was
Graham: One thing that was different
and was never a victim about it. And she
so well-written, and there were so many
for me about this, is when something has
wants that for her daughter as well, like,
layers to her experience in each episode. I
lasted this long, it’s still yours, but it also
“You don’t need a man. You don’t need
was always very proud of what she repre-
belongs to the fans of the show, and that
anything. You’re enough on your own.” Yes,
sented in the original series.
has its positives and negatives. On the
these people make mistakes, but I just
Graham: I’d never had a connection like
positive side, when we went back, people
always loved that. Of course you’re fine.
it, and I’m not sure I ever will. At my age at
would stop me in the grocery store and
Of course, you’re a career woman. That’s
that time I felt it was true love, but that I’d
say, “We’re so excited.” But there’s a pres-
a way in which I think this show has just a
get to have that three or four more times.
sure in that, too, where normally you start
feminist core, where it’s saying, “There’s
The perspective with age is how rare it is,
a new show and nobody knows what it is,
nothing lacking in your life. You’re enough.
and to really be the voice of the writer.
and nobody cares. This was something
You’re all you need.” ★
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Aubre y
I had to make a lot of choices for myself, and I was really given a lot of freedom to
PLAZA
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explore, and to come up with whatever I wanted to do with Lenny. Really, I kind of created a journey for my character that is fully focused on David Haller. He is Lenny’s everything, so that was my approach: Who am I to David, and how am I going to get what I need from him?
The Legion star on her way into the role of Lenny, who is not all she initially seems B Y M AT T G R O B A R
How much did the look of the character inform your approach? I, like everybody else in the cast, was operating script by script. Once I started reading scenes with Lenny where she’s appearing to David, and talking to him in a different way, I made a choice that I would change my look up, and Noah let me do that. I made a decision early on that Lenny, the human, is very different from Lenny, the hallucination, if you
OR ANY FAN OF FX’S superhero series Legion who also tuned in for NBC comedy Parks and Recreation during its seven-season run, one thing should be abundantly clear. In all her darkness and playful bedevilment, the shapeshifting character of Lenny Busker seems to embody Pawnee resident April Ludgate’s highest aspirations. Entering a superhero universe for the first time, Aubrey Plaza brought her signature style to a role that allowed her to embrace the dark side, as she took full command of the screen, and David Haller’s psyche.
F
want to call it that—at least up front. The creative team was so involved in all of that. I would go into the hair and makeup trailer on my days off for hours and hours, and do different tests on my own with them—different hair tests, and makeup tests, and wardrobe tests—and they were all game. They were really excited to come up with these different iterations, and I think that the physical changes that happened really helped me morph into these other Lennys.
Before Legion came your way, did you
to me when I read it initially, so I went back
ever give much thought to the idea of
and reread it, and tried to imagine what that
Does any of the work you put in this
taking part in a superhero series?
could be like, and what I could do with that,
season take you back to your early days,
I honestly never thought about it that much.
and that got me really excited. Just the idea
honing your craft as an actor, building
I’m a fan of superhero stuff, and some of
that Noah would make a change like that,
characters through playful physical
it’s really good. I think I always had fanta-
and trust that I could pull it off.
expression?
sies about playing certain characters in
Totally. It felt very experimental at times,
those universes. But I never thought about
Many cast members were unaware of
and like performance art. We were forced to
it beyond that, my own delusions, weird
the season’s full story arc when they set
go back to that place, where we had to use
daydreams.
out. How much did you know about your
our imagination and just surrender to the
character’s true nature in early talks?
playfulness of it all, because we had no idea
What was the process in getting
I would say that I knew a little bit more than
what was coming. It was a very weird feeling,
involved with Legion, and what
anybody else about my character’s trajec-
to not know exactly what we’re doing, but try
attracted you to the part of Lenny?
tory. I knew the place that I would end up,
to make really bold choices.
The process was interesting because I did
but I didn’t know how I would get there. The
not audition. I met briefly with Noah, and
episodes in between were a surprise for
background is really helpful in those situa-
some of the producers and the casting
me, but I did know, ultimately, what I would
tions, because it’s all about the choices that
director after reading the script. I thought
become in the universe of the show.
you’re making. It’s not the kind of show that
the writing was really amazing, and I loved
I think that having an improv and theater
you can just show up and say your lines—you
the work that Noah had done before that,
What do you latch onto when inhabiting
have to really work, you have to rehearse.
on Fargo, so I was drawn to the project really
a character like Lenny, who is intention-
There were some times that we would
because of him.
ally a mystery for the audience to puzzle
rehearse and block scenes for an hour, which
over for most of the first season?
I’ve never done before, when we’re shooting,
for an older man, so I didn’t read the script
I approached it like I would any other role, I
because normally you just get in there and
thinking about that role. In our second meet-
think. I don’t approach anything differently
you have to shoot. The emphasis was on
ing, when it was just Noah and I, he pitched
depending on the genre, or how crazy it is,
that, on the preparation and the rehearsals,
me the idea of playing Lenny, and changing
or if it’s a villain or not. I just tried to focus on
which is my favorite way to work, so it was
it to a female. That idea had never occurred
the human aspects of the character.
perfect for me. ★
The part of Lenny was originally written
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C l a i re
He’s watched them all, and he’s very critical. He said, “This one wasn’t even close to
DA N E S
the truth; it was beyond the truth. It was just terrifyingly accurate.” I wish we had to stretch further for material than we had to stretch this season. We were overwhelmed with frighten-
Mandy
ing choices in the real world to choose
PAT I N K I N
★
★
★
★
from. I think the genius of this season is this man who represents fake news, and the system that Max finds his way into, with Carrie’s guidance. Our team, they don’t screw around. They really research shit. This isn’t made up.
The Homeland stars on their hopes for the series’ final two seasons B Y M AT T G R O B A R
Do you have specific hopes for your characters and the series as Homeland heads into its final two seasons? Danes: Carrie’s been on the periphery for a while now, and opted out of the intel-
N AWARDS MAGNET for Showtime throughout its run, Homeland went “beyond the truth” in Season 6, at least for actors Mandy Patinkin and Claire Danes, who have found themselves disturbed by unreal events playing out in the real world on a daily basis. To put things in perspective, as Season 6 begins, Carrie Mathison (Danes) is heading a non-profit aiding Muslim-Americans harassed by the U.S. government; and by the time the first few episodes of the season had aired, Donald Trump was sworn in as President, instituting the first of two unsuccessful travel bans and inciting further tensions around issues of race and immigration.
ligence game, and I think she’s ready to re-
What were your first impressions when
the nature of her job, and defending this
personally, deeply important to me, that
you read the scripts for Season 6?
young man, and what would happen to the
I hope the show can attend to in some
Claire Danes: It’s interesting, because the
young man. But then, as the world around
way—one, being the refugee crisis. These
writers started trying to anticipate what
us changed very quickly, they went with
are the most vulnerable people among
the outcome would be on Election Day.
the world, not with previous conceptions…
us in the world. There are over 60 million
They did an extraordinary job of creating a
Danes: …Adapted to that tack.
refugees displaced by war; right now, there
format that would sustain us throughout
Patinkin: Yeah. I like that way of not hav-
are 60,000 refugees in Greece, 7,900 in
this period. We were waiting, and at the
ing everything in front of us.
Serbia. The numbers are climbing, and
midway point [of the season], Trump was
Danes: I think it distinguishes television
there are no legal options for these people.
elected, and suddenly, the themes became
from every other medium. It’s what makes
These are the victims of the real world’s
very clear, and they pursued that. I think
it kind of radical, and risky, and fun.
crises that the Homeland world reflects on,
the season just collected momentum and
Patinkin: It’s not improvisational comedy
and almost takes a Polaroid of these days,
strength as it went along. I marvel at their
theater, but it is improvisation. We might
versus a fictional tale of it.
ability to surf these phenomena as they’re
get a call that morning, while we’re doing
occurring, almost in real time.
something, and the change goes in that
Israel, and the Palestinian crisis, because
is something that just happened an hour
for me, it’s the epicenter of the world crisis.
ago, in the world.
I don’t have the hubris to think that we’re
A
enter it, and re-engage—put her spy back on. I look forward to that, because she’s excellent at what she does, and it’s really enjoyable to play that. Patinkin: There are a couple of things I’m hoping; one, I think will happen because it has to happen, which is the attention to the truth, and facts. Real facts—not false information, not bots, not sock puppets, but truth, which has become an essential concern all over the world. There are two other areas that are,
I imagine a good deal of the season’s arc must have been outlined before
I hope there is a continuing attention to
going to solve the world’s problems, but we
you began shooting.
For you, what extra resonance does
have the attention of some people in the
Danes: Yeah, they have a pretty sound
Homeland—and Season 6, in particu-
world, and maybe—on purpose, or even by
sense of how we’re going to start, but
lar—take on, in light of the election
accident—something will come out in our
invariably, they get outpaced by filming,
results?
story that might strike a note with some-
and they end up writing as we film. It’s a
Patinkin: I think a character came to the
body who hasn’t been listening.
high wire act.
forefront that wiped all the rest of the
Mandy Patinkin: They stay fairly flexible,
characters away, and that was the charac-
to have a platform that this show has given
and it is fluid. They certainly have a clear
ter of truth. I got a call from a friend that
us. That’s an unbelievable gift that you
structure, where Claire would be working,
said this was his favorite season to date.
don’t get every day. ★
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DEADLINE HOLLYWOOD EMMY SEASON KICKOFF PARTY JUNE 5 / CATCH / LOS ANGELES Top row, clockwise from left: Jon Voight; Rhea Seehorn & Michael Mando; Sydelle Noel, Aisha Hinds & Logan Browning; Patrick Fabian, Seehorn & Matt Walsh; Chrissy Metz & Justin Hartley. This row, from left: Freida Pinto & John Ridley; Ray Liotta & Sylvia Lombardo. Bottom row, from left: Noah Schnapp; Ben Barnes & Pablo Schreiber; Jonathan Tucker & Byron Balasco; Paul Scheer & June Diane Raphael; Evan Peters.
RE X /S H U T T ERSTOC K
See more photos from the Emmy Season Kickoff Party online at DEADLINE.COM
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