Deadline Hollywood - Emmy Preview/Upfronts - 05/15/17

PRESENTS

MAY 15, 2017 EMMY PREVIEW/UPFRONTS

MONSTER SMASH FROM THE SET OF SEASON 2, THE DUFFER BROS. AND THEIR PINT-SIZED STARS ON THE INESCAPABLE ALLURE OF STRANGER THINGS.

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FOR YOUR EMMY CONSIDERATION - OUTSTANDING COMEDY SERIES AND ALL OTHER CATEGORIES ®

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THE FINEST COMEDY CAST ON TV’’ - THE DAILY BEAST

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EMMY 2017

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Emmy Preview/Upfronts May 15, 2017

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 DEP U T Y EDITO R

Damon Wise

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

Craig Perreault

V I C E P R ES ID E NT, CR EATIV E

Nelson Anderson

V I C E P R ES ID E NT, FINA NCE

Ken DelAlcazar

V I C E P R ES ID E NT, T V ENT ERTA INM E NT SA LES

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FIRST TAKE A Breaking Bad reunion, The OA, Emmy rule changes, Ryan Murphy on Feud.

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COVER STORY An exclusive trip to the set of the second season of Stranger Things.

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THE DIALOGUE: EMMY CONTENDERS GALLERY Ron Howard Elisabeth Moss Leah Remini Ian McShane Joshua Michael Stern Sanaa Lathan Giancarlo Esposito Michelle Monaghan Norman Lear Aisha Hinds

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FLASH MOB The Contenders Emmys, AwardsLine Screening Series, Bates Motel, Z: The Beginning of Everything.

ON THE COVER The cast and creators of Stranger Things photographed for Deadline/AwardsLine

by Jared Harrell on set in Atlanta ON THIS PAGE Giancarlo Esposito photographed

by Michael Buckner at The Contenders Emmys presented by Deadline.

Laura Lubrano

V I C E P R ES ID E NT, FILM

Carra Fenton

S EN I OR ACCO UNT EXECUTIV ES , T EL EV I S I ON

Brianna Hamburger Tiffany Windju ACCOU N T MA NAGE R

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

Natalie Longman

DI ST R I B U T IO N D IR ECTO R

Michael Petre

A DV ERT I S I N G INQ UIR IES

Stacey Farish

S FA R I S H@ PM C.CO M 3 1 0 -4 8 4 - 2 553

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Styling The OA p. 6 | Emmy Rule Changes p. 6 | Ryan Murphy on Feud p. 8

BAD BROTHERS: Deadline’s The Contenders Emmys event, which took place this year on April 9th, is

only a couple of years old, but it’s already a star-studded meeting place for the greatest in television talent. Look no further than Bryan Cranston and Jonathan Banks, the former Breaking Bad co-stars, who came to Contenders to rep their respective projects this year. For Cranston, it was Sneaky Pete, Amazon’s con-man drama series, also starring Giovanni Ribisi. And for Banks, Better Call Saul, the Breaking Bad spin-off currently charging through an electric third season on AMC. The pair ran into each other at our backstage photo studio and couldn’t resist a reunion shot.

Banks asked Cranston when his character, Walter White, might make an appearance on Better Call Saul. With a glint in his eye, Cranston laughed back: “I don’t do sequels.” (Our gallery of Contenders faces continues on page 22.)

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PHOTOGRAPH BY

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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 Limited Series or Movie Actor and Actress races. Get up-to-date rankings and make your own predictions at GoldDerby.com

LEAD ACTOR LIMITED SERIES OR MOVIE

SCI-FI AT A SLANT Production designer Alex DiGerlando breaks down the visual inspirations behind Netflix’s audacious original series The OA

APPROACHING BRIT MARLING AND ZAL BATMANGLIJ’S Netflix original series The OA—following a collaboration with the pair on the 2013 indie The East—production designer Alex DiGerlando found an unusual level of creative input, working with Batmanglij to find the “hum of the story” through an extensive and eclectic visual research process.

While the scientific and the spiritual converge in The OA— taking the viewer into territory that is difficult to define—for the production designer, the process began rather simply, creating a Pinterest account, and gathering images that spoke to the spirit of the show.

“The show is sci-fi, but it’s a very analog sci-fi; it’s kind of off-kilter,” DiGerlando says of the show’s aesthetic. “We looked at a lot of photography, fine art, Tumblr, different blogs—pulled stuff from all over the place—but it all went into the soup, so to speak.” –Matt Grobar

New Rules In keeping with the trend of recent years, there will be new categories and new rules for consideration at the 2017 Emmy Awards.

THE TIMES THEY ARE A CHANGIN’ for the Primetime Emmy Awards, with the addition of two new categories—Outstanding Music Supervision and Outstanding Casting in a Reality Series.

The former will recognize the creative contributions of the music supervisor of any TV series, while the new casting honor will recognize casting directors responsible for bringing together the talent for structured, unstructured or

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competition programs within the sphere of reality television.

Between the anticipated yearly Primetime program and two nights of Creative Arts commendations, the Emmys have been in a constant state of flux over the past several years, with new categories added to a sprawling list, along with the addition of new rules.

Of recent, the trend at the Emmys has been expansion— an expansion of nominees, of digital and short-form categories, and final round voting, with the lines between “comedy” and “drama” series becoming more clearly delineated.

With the aforementioned category additions in 2017, Outstanding Cinematography for a Single-Camera Series has also seen a change, branching into two

categories—Cinematography for One-Hour Series, and for Half-Hour Series.

Additionally, the Television Academy has redefined several previously juried awards into a new grouping, which includes Outstanding Creative Achievement in Interactive Media Within a Scripted Program, Outstanding Innovation in Interactive Programming, Outstanding Creative Achievement in Interactive Media Within an Unscripted Program, Outstanding Interactive Program, and Outstanding Original Interactive Program.

Ever restless, the Television Academy’s attention to detail befits the medium of television—unpredictable, and always progressing down exciting new channels that are difficult to anticipate. –Matt Grobar

ODDS

1

Riz Ahmed The Night Of

9/2

2

Robert De Niro The Wizard of Lies

9/2

3

Ewan McGregor Fargo

9/2

4

John Turturro The Night Of

11/2

5

Geoffrey Rush Genius

6/1

LEAD ACTRESS LIMITED SERIES OR MOVIE

ODDS

1

Jessica Lange Feud: Bette and Joan

10/3

2

Nicole Kidman Big Little Lies

4/1

3

Susan Sarandon Feud: Bette and Joan

5/1

4

Reese Witherspoon Big Little Lies

7/1

5

Oprah Winfrey Immortal Life of Henrietta Lacks

9/1

SUPPORTING ACTOR LIMITED SERIES OR MOVIE

ODDS

1

Stanley Tucci Feud: Bette and Joan

4/1

2

Alfred Molina Feud: Bette and Joan

9/2

3

Hank Azaria The Wizard of Lies

8/1

4

Martin Freeman Sherlock

9/1

5

David Thewlis Fargo

11/1

SUPPORTING ACTRESS LIMITED SERIES OR MOVIE

ODDS

1

Judy Davis Feud: Bette and Joan

7/2

2

Laura Dern Big Little Lies

9/2

3

Regina King American Crime

13/2

4

Sarah Paulson American Horror Story: Roanoke

8/1

5

Shailene Woodley Big Little Lies

9/1

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TROUBLED WATERS Jessica Lange as Joan Crawford and Susan Sarandon as Bette Davis.

BATTLE ROYALE Ryan Murphy on Bette and Joan, Charles and Diana and the philosophy behind Feud. BY J O E U T I C H I

called Feud because I loved the idea

eye to eye on a lot. This one was a

of every season doing a two-hander

personal story for me because it’s

that had a really emotional chord

sort of about my feelings about

to it. Two great actors and two

my grandmother. And I knew

great characters. I called Susan and

Bette Davis a little bit because I’d

Jessica, and they said they would

interviewed her and written to her

be interested and willing to do it. I

for years. I think you can tell from

thought it was going to be a really

the work that I have really great

hard sell, because TV shows about

affection for that woman.

two women over 50 … We’re sort of

The show started off being

indoctrinated in this industry to be

a very specific story about how

How long has the idea of detailing

both really interested, and they loved

told that’d be difficult. But I have

women are treated in Hollywood.

the Bette Davis/Joan Crawford

my take on it. Then for six years,

had great success with, and love for,

The deeper I got into it, the more

feud been brewing for you?

we just struggled with it because

John Landgraf [at FX], so I called him

I realized it’s a story about how

Well, it started back in 2009. I’ve

I really wanted to do an in-depth

and said, “Hey, I have this idea.” He

society treats everybody when

been working with Dede Gardner

look at these two women’s interior

greenlit it within 30 seconds, without

they age, but especially women.

and Brad Pitt of Plan B for a long

world and their journeys. Doing it as

even reading a page of the script. I

The fact that Joan Crawford’s last

time. We read this Black List script

a movie, it became clear there just

was very lucky and blessed.

film was [horror B-movie] Trog is

called Best Actress that we bought,

wouldn’t be enough time. We’d do

and a month later I met with Susan

a draft that would be 120 pages just

Is it luck? As you say, you’ve had

approached it all, I hope, with a great

Sarandon to play Bette and Jessica

about the shooting of Baby Jane.

so much success with FX now—

deal of compassion. I think that it

surely you’re golden?

was particularly hard for Jessica and

Lange to play Joan. It was actually

Finally, I woke up one day and

just unbelievable, and really sad. I

the first time I had ever talked to

I realized this had to be a series. I

I just have a great relationship with

I, doing the Crawford stuff, because

Jessica Lange, which predated

had been musing about this idea of

them. I think John Landgraf sees

Crawford had become so indelibly

American Horror Story. They were

wanting to do an anthology series

things in the same way I do. We see

linked to Mommie Dearest. I think

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FX

IT WAS ONE OF OLD HOLLYWOOD’S GREATEST LEGENDS: that Bette Davis and Joan Crawford, who teamed up together just once, for Whatever Happened to Baby Jane?, held such animosity for one another that they spent their lives locked in bitter dispute of mud-slinging, sabotage and disruption. With Feud, Ryan Murphy’s latest anthology series, the prolific creator and showrunner has focused his first season on uncovering the real story behind the legend and the damage it did to the two women at its center. And in his inimitable fashion, he’s reassessing its relevance for today.

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better on the business side. But for actresses, the biggest tragedy of their lives is that, when they turn 40, the phone stops ringing. Whereas for men, they’re just getting started.

You mentioned how early Susan Sarandon and Jessica Lange were attached to the project.

These actors did not just show up on day one and read from a script, and you can feel that.

It’s very powerful. Not only did they star in it, but they are producers on it. They own a piece of the show. Right off the bat, I think that changed the paradigm. I basically said to them, “Look, I wanted you to have as much power and freedom and say here as you can.” Because I knew the roles were going to be difficult, and I know they have a vested interest in it. What they brought to it is 30 to 35 years of experience. They’ve both been stars for 50 years, and from when they were 35 on, they talked about how they noticed that finding the roles was difficult, and how much harder they had to fight. I actually think Susan and Jessica brought a really strong sense of anger to the table in this series because they know what it’s like to be discriminated against.

They’ve grown up in an environment where the Pacinos, the De Niros

WHATEVER HAPPENED? Joan Crawford and Bette Davis on the set of Baby Jane.

work constantly and they struggle to find good parts. They came with an inherent understanding of what Joan and Bette went through.

and deeper than that, and more of a human being, was so essential.

and that was the tragedy.

I don’t think there’s ever a winner in a feud. It’s about emotional pain, and an inability to conquer the pain.

For all the fighting, there was no

“IF THEY HAD BECOME ALLIES, AND LOOKED TO HOW MUCH THEY HAD IN COMMON, I THINK ABOUT HOW MUCH STRONGER THEY COULD HAVE BEEN TOGETHER.”

The difference is that Jessica and Susan were friends and are friends, and approached it from a place of being collaborative rather than combative. So you had this way into the material that was very specific,

victor here—Bette and Joan both

What lessons do you think we can

suffered.

learn from Bette and Joan?

Yeah. If they had become allies, and

I feel like nothing has really changed

looked to how much they had in

in the business. There’s that feeling

common, I think about how much

the show deals with, with women

stronger they could have been

turning against each other because

together. Not only would their lives

they feel there’s only one space

have been easier, but their bank

atop the pedestal. They’re vying for

accounts would have been fuller.

that space. I feel like the way to get

filming of Baby Jane, and also the

They had more in common at a

around this is to have women and

flashbacks to explain how they

certain point in time, when they

minorities in positions of economic

became so angry with one another.

made Baby Jane, than any other

power in the industry. Greenlighting

Then I knew episode four was going

people on Earth. The fortunes

power, development power, running

to be the release of the movie, and

conspired to keep them apart,

companies. And I do think it’s getting

its success, and how that wasn’t

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but also very thoughtful and loving.

Did you always intend to track such a significant period of time in these women’s lives?

I always knew the structure of the show. I always knew that the first three episodes would be the

WAR N ER BROS / RE X /S H U T T E RSTOC K

trying to show her as more than that,

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“MOST IMPORTANT SHOW ON TV” “TV’S WTF MASTERPIECE” “YOUR NEW OBSESSION” E n t e r t a i n m e n t

R o l l i n g

M a s h a b l e ,

W e e k l y

S t o n e

L a u r a

P r u d o m

“UNFAIR TO EVERY OTHER SHOW ON TV” “SCENE-STEALING CHARISMA BY IAN MCSHANE” I n v e r s e

T h e

D a i l y

C a r d i n a l

“ENSEMBLE...THAT WOULD MAKE UP THE TALENT OF MOST NETWORK’S WHOLE SCHEDULES” D e a d l i n e

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difficult of a struggle that is. Not just for women, but for anyone. I always knew that would be the structure.

What did the reception for the show mean to you?

I think the fact that is has become a success, and moved so many people, and launched so many conversations, has been the icing on the cake. The greatest thing for all of is us the fact that an entire new generation has been turned onto the work of Bette Davis and Joan Crawford. Susan, Jessica and I talked a lot about that. Just being able to educate a new generation about the work and craftsmanship that we all grew up with, and loved so much, that meant so much to us… It’s a great experience to be a cheerleader for that.

You humanized these icons in this show. The next season will track the divorce of Prince Charles and Diana, and if any story demands humanizing, it’s that. The tabloids in Britain printed all kinds of fictions.

It’s a different kind of feud because it’s about marriage, but it’s also about regret and misunderstanding, and two people who should have made it work but just couldn’t. That, to me, is the basis for every season of Feud. Charles and Diana will be very emotional, but in a different way. A respectful way, but a gut-wrenching way.

As you say, the thing about this story is that in some ways these were ordinary people, with ordinary needs, wants and hearts, that were thrust into this extraordinary circumstance. At the end of the day, a divorce is a divorce, and a break-up is a break-up. They are essentially small matters of the heart. They Davis, because they were so much a

anything. Then I really wanted a

part of that system.

whole episode, episode five, about

My grandmother was around

UNITED Sarandon, Murphy and Lange at a For Your Consideration event for Feud: Bette and Joan.

are human stories. Theirs just happened to be on a big stage, where everything is fabricated and

the Oscars, because I thought

Joan Crawford’s age when she died,

that moment was so insane and

and I also wanted to be dealing

important in the Charles and Diana

powerful. Then we got into the

with what the last two years of my

story, even though they were royalty,

making of Hush … Hush, Sweet

grandmother’s life was like. What’s

to not lose the beating heart of

Charlotte, and the last episode

it like to be a woman who’s very,

the story. Particularly the idea that

would be about the ’70s. That was

very active and busy, and then the

Diana was a somewhat ordinary girl

the period that marked the death

children were leaving, the empty

thrust into the worldwide stage. She

of the studio system, and it was

nest? When the phone doesn’t ring

was not prepared for it. That’s very

also about the end of Crawford and

anymore, and you get ill, and how

moving right off the bat. ★

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blown out of proportion. It’s very

A NT H ON Y B EH A R/ FX / P ICTU REG ROU P

enough for Bette and Joan to repair

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ON THE SET OF THE SECOND SEASON OF STRANGER THINGS, JOE UTICHI INVITES CREATORS MATT AND ROSS DUFFER—AND THE SHOW’S YOUNG CAST—TO REFLECT ON LAST YEAR’S SURPRISE GENRE PHENOMENON

KIDS IN AMERICA The cast and creators of Stranger Things gather on the set of Season 2. From left: Gaten Matarazzo, Caleb McLaughlin, Finn Wolfhard, Noah Schnapp, Millie Bobby Brown and Ross and Matt Duffer. Shot on location in Atlanta, March 2017.

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F YOU HADN’T SEEN NETFLIX’S RUNAWAY GENRE HIT STRANGER THINGS and were asked to imagine a place creepy enough to house a rift into a world of monsters

and misery, you’d need a severely damaged psyche to conjure anything quite as troubling as Building A of the former Georgia Mental Health Institute in Atlanta. Viewed from the air, the building’s brutalist concrete boxes form a crucifix; on the inside, windows peer through a concrete latticework that evokes a prison more than a hospital. When it was in active use from the mid-’60s, housing adults, children and “the criminally insane”, a series of underground tunnels connected Building A to various residences. The residences have since fallen into disrepair, and not even the most naïve victim of a schlocky horror movie would be clueless enough to venture down these tunnels.

Simply put, Building A is a production designer’s wet dream. So of course it became the site of the fictional Hawkins Lab in Stranger Things, where Matthew Modine’s Dr. Martin Brenner experimented on caged test subjects in an attempt to harness latent psychokinetic abilities. If that kind of pseudoscientific insanity goes on anywhere, it goes on in a place like this.

On a grey spring day in Atlanta, the cast and crew of Stranger Things have assembled once more inside this macabre asylum. Bloodied corpses litter the ground, and a newcomer to the Stranger Things cast, Sean Astin, shines a flashlight over them. With a nervous energy befitting a man condemned to traverse a passageway of the dead, he pushes his way onward. “OK, cut,” yells a voice. And with that, the cadavers rise, stretch their tired limbs back to life, and head to craft services to pour themselves cups of coffee.

It’s not surprising that the show has returned to Hawkins Lab for Season 2. It was, after all, the catalyst for Season 1’s contained narrative about a group of Dungeons & Dragons-playing preteens and their families, whose lives are rocked when their friend Will goes missing one night. While the boy’s frantic mother Joyce (Winona Ryder) starts searching for her lost son, and the town’s world-weary police chief Hopper (David Harbour) is dragged into an investigation he hasn’t the patience for, the three remaining friends stumble upon a feral mute girl who may hold the answers to Will’s disappearance.

Set in an eerily authentic 1980s world, the show pulsed with an electronic score and channeled Stephen King and Steven Spielberg so authentically, it was as though they’d written

“WE KIND OF THOUGHT IT WOULD HAVE MORE OF A NICHE APPEAL. WHEN YOU PITCH IT IN A ROOM, YOU SAY, ‘OH, IT’LL HAVE ADULTS, TEENS & KIDS, SO IT’LL HIT ALL THOSE GENERATIONS.’ BUT WE DIDN’T REALLY THINK THAT WOULD WORK. —MATT DUFFER

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FUN IN HAWKINS Millie Bobby Brown and Ross and Matt Duffer share a joke.

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TEAM PLAYERS Gaten Matarazzo and Caleb McLaughlin swap handshakes, while Finn Wolfhard and Noah Schnapp get ready for action.

it themselves and left it in a drawer for 30 years.

In fact, it was the brainchild of Matt and Ross

directors this year include Things newcomers

they were ready to start taking more chances.”

Andrew Stanton and Rebecca Thomas, as well

Duffer, 33-year-old identical twin brothers who

“Sometimes I ask them why they let us do

had been preteens themselves at the time the

it,” says Matt, who can be distinguished from his

veer off into reveries about the pop culture of

show is set. Both served on the writing staff

brother by a small shock of grey hair above his

their youths. Astin is just the latest star of the

for the M. Night Shyamalan-produced series

forehead, “they say they think they get better

’80s they’ve cast in Stranger Things, further

Wayward Pines, and had written and directed

results when they have the people that are the

cementing the show’s uncanny channeling

a little-seen horror film called Hidden in 2015,

most passionate in charge.”

of the decade that other retro projects have

but Netflix had boarded Stranger Things that

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slightly higher caliber of showrunner. But I think

Passion flows from the Duffer brothers. In

as core creative EP Shawn Levy), they frequently

summarily failed to capture. As well as Matthew

same year with little concern for their relative

the time they make for Deadline, while they’re

Modine, who starred in a string of ’80s hits, the

inexperience. “At the time they took the show,”

juggling a highly complex shoot directing

first season of the show cast Winona Ryder,

says Ross, “they were used to working with a

the penultimate episode of Season 2 (other

who made her big-screen debut in Lucas in

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1986, while Season 2 also adds Paul Reiser, of

to the people of our generation who were

downstairs, Wolfhard confessed he’d already

Beverly Hills Cop and Aliens fame.

nostalgic for this type of stuff, but it’s exciting

quizzed his new co-star at length about his ’80s-

that it reached 12-year-olds out there. We were

era filmography (and if you want to feel really old:

Ross. An already released teaser reveals that the

that age when we were discovering these films

even Astin’s turn as Sam in Peter Jackson’s Lord

episode they’re shooting today is called “The

and books that influenced us.”

of the Rings trilogy was two-thirds done by the

“It gets bigger and bigger, this season,” says

Brain”, but the Duffer brothers will elaborate no further on the specifics. “It’s even more intense,” Ross allows. “But it’s interesting, because we get

“And by the way,” notes Matt, “most 12-yearolds today aren’t even aware of them.”

Finn Wolfhard would be the first to disagree.

time Wolfhard was born). “They were showing The Goonies [on set] the other day,” he recalls.

“It was really funny to see Sean with braces as a

to spend some time with our characters when

He was, admittedly, 13 when he was cast as Mike

kid, because he plays sort of a father figure for

they’re not worried about their lost friend. We

Wheeler in Stranger Things. But he was already

our group. I’ve asked him any and everything I

get to see some other sides to them upfront.”

an aficionado of the pop culture of an era that

could about that. He’s like an open book.”

T

had ended more than a decade before he was

“Goonies, Stand by Me, E.T., I’ve seen them

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born. “Me and Millie and Gaten had seen loads

all,” says Brown, who plays the mysterious

OF STRANGER THINGS went live

of ’80s movies,” he protests, referring to his

Eleven in the show. “And Finn has too, so I think

on July 15th 2016, turning the many

similarly youthful co-stars Millie Bobby Brown

when we got the job we were both like, ‘Oh, we

newcomers in its cast into instant household

and Gaten Matarazzo. “In fact, I think there was

know what to do.’”

names, and cementing the careers of even its

a movie Gaten had seen that even I hadn’t.

more established players. In as long as it took to

Firestarter.”

watch all eight episodes—in other words, less

“Finn is a bonafide movie buff,” concedes

Brown had screen-tested with Wolfhard for a show that was, once, called (and set in) Montauk. It changed to Stranger Things when

than a day—Stranger Things became the year’s

Matt. “When we first met him, he was like, ‘Oh,

the production set up shop in Georgia, which

most talked-about new show. “It seemed to

I’m into early Sam Raimi.’ I was like, ‘What?’”

doesn’t match very well for the East Coast. The

In fact, as Astin went for another take

location then switched to the fictional town of

happen fast,” says Matt. “We kind of thought it would have more of a niche appeal. When you pitch it in a room, you say, ‘Oh, it’ll have adults, teens and kids, so it’ll hit all those generations.’

But we didn’t really think that would work.”

There was a Stranger Things for every audience. For adults who had grown up on the music, genre movies and books of the 1980s— as the Duffer brothers had—it was a trip down memory lane. But even for kids and teenagers, who had no knowledge of its references, the show worked on its own terms.

Like many kids, Noah Schnapp was away at summer camp when Stranger Things premiered. It was his character, Will Byers, who went missing in the first episode of the season, kidnapped by “Demogorgon”, as the boys had nicknamed it, a terrifying monster that had come from the Hawkins Lab rift into an “Upside Down” realm full of decay and death. We saw precious little of Will after that—except in flashback form—as his friends worked tirelessly to figure out what had happened to him.

Still, Schnapp missed out on none of the fervor that greeted Stranger Things’ launch, even if he did have to catch up on it when he returned from camp. “My mom was telling me all the stuff that was happening with it,” he recalls. “It wasn’t until I came back from camp that I started getting recognized. It still feels weird. In the show I have a bowl cut, and when I’m out of the show I usually have my hair up or something, but people still recognize me.”

All of the show’s younger cast members share similar stories, and the Duffer brothers can’t easily fathom why their show had such instant appeal. “We were really just trying to ask ourselves what kind of show we’d want to watch,” notes Ross. “If we could watch anything, what would it be? We knew we were appealing

WE WERE REALLY JUST TRYING TO ASK OURSELVES IF WE COULD WATCH ANYTHING, WHAT WOULD IT BE? WE KNEW WE WERE APPEALING TO THE PEOPLE OF OUR GENERATION WHO WERE NOSTALGIC FOR THIS TYPE OF STUFF, BUT IT’S EXCITING THAT IT REACHED 12-YEAR-OLDS OUT THERE. —ROSS DUFFER D E A D L I N E .C O M / AWA R D S L I N E

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in this habitual pattern where nothing really matters and he can’t make a difference anyway. And what’s key is what sets him off is not the heroic journey. It’s that people start lying to him, and he doesn’t like it when people lie to him. That leads him down a path of heroism. Hopper is just a guy who doesn’t like you to fuck with him. So once that happens, he’s going to go to the end of the rope for that.

Having said that, he does get to become the hero by the end. What does that leave for him in the second season of the show?

I think that breath he takes where he saves the child at the end is like the first breath he’s felt in a long time. He breathes again as Will wakes up. So you’re right, this guy’s OK.

HARBOUR MASTER

As Stranger Things’ beleaguered police chief, David Harbour is the biggest of the show’s breakout stars.

I think the journey, then, has to be something different in Season 2. And it is very different. You get to peel the onion back more and more as the seasons go on, and learn what these people are made of. We start with a guy, in Season 2, who has been on a heroic journey. He’s had this reawakening, and he is a hero, and I think we start with the delusions of what that might bring to you, and the fantasy life that might be dangerous. What does that

You’ve been around the industry for a

were untested in that way. The Duffers had done one

mean for him going forward? You’ll start to see the

while at this point. When Stranger Things

movie that was shelved by the studio, and Winona

pitfalls of that as the season goes on. What I love

launched on July 15th last year, were you

had never played a motherly figure. These kids sure

about Hopper is that he’s not a cartoon. He does

surprised by how quick the reaction was?

hadn’t done a lot, and I’d never been a leading man in

come up against real life.

I’ve never experienced anything like it in my career.

a show. We were all just trying to do our best.

I’m so close to it, I can’t tell if it’s real, but it certainly

I never expected the show to have broad appeal that it has. I have kids who are 12 years old coming

show changed at all, now you know

personal to people. There wasn’t much advertis-

up to me, and also people in their 60s, telling me

it’s been popular with people?

ing; it was something that people discovered for

they love the show. I get people whose kids watched

[Laughs] Yeah, the kids are on Instagram a lot more.

themselves and told their friends about. It’s so pure,

it and told their parents they had to watch it. I’ve

That’s changed.

it wasn’t artificially hyped up. That was what was

had parents tell their kids they have to watch it. I’ve

super gratifying; that it was grassroots. People just

never seen a show like that.

fell in love with it for real. I’ve never experienced

What else?

There are a couple of things. We didn’t know what we

Your character’s journey seems particularly

were making. We didn’t know that it was that special.

unlikely. When we meet him in Episode 1, we

We thought it could be, but now we know that we

Did it feel special when you first read it?

don’t have any sense that he’s on the right

have something special and I think we feel an obliga-

I thought it was the best pilot script I’ve ever read,

side, or he’s going to be able to figure this out.

tion for the fans. We feel an obligation to the people.

and certainly the best character I’d ever been asked

You’re right. We’re making an eight-hour movie.

I’m terrified in that way. I’m more afraid this season

to play, in terms of his complexity and his depth, and

And because of the cliffhangers, you follow the

than I was last. I was very afraid last season, but I’m

the sophistication of the writing. I feel in storytelling,

characters slowly on that journey. It’s very satisfying

more afraid this season because we’re very aware

people are so afraid that you won’t get it unless you

to play something where you’re not indicating the

we do not want a sophomore slump. Each scene I’m

pound them over the head. In this show, he wakes

outcome. You really are letting the person go on the

thinking a lot more specifically, and I’m thinking a lot

up and you see the picture of his dead daughter, and

journey with you. With Hopper. I’m very interested in

harder. We feel the ownership of this great thing and

you’d know this guy’s messed up. But in the next

the drama of the leading man being someone who

the camaraderie, and also we feel this pressure.

scene, he’s making jokes about some other guy’s

is incapable becoming capable. With the superhero

wife, and you realize the sophistication of a guy who’s

thing, it’s like they’re all so capable that the villainy

first season, and it’s so tasty, so delicious, but in

been through tragedy but has lived five years and has

doesn’t really mean anything. I look at older movies.

the second season you can’t redo vanilla. You have

had to develop a way of living with it. Just to have it

Look at The Taking of Pelham 123. You have Robert

to create strawberry. Some people are going to like

be, “We’re not going to tell you exactly who this guy

Shaw who is this badass villain, and then he’s up

strawberry and some people are going to like vanilla

is, we’re going to let him be a real human being,” was

against the dumpy Walter Matthau. That guy is never

better. But you can’t try to recreate vanilla. We’re

really very unique.

going to take him down. So the drama of not really

going to take a lot of risks. I think people are going

believing in your hero is, to me, so much more satisfy-

to be pissed off by things. I think they are going to

ing when they do actually get the guy in the end.

be elated and excited about things. It’s all further in

anything like that before.

But when you’re shooting it, we’re all just in the trenches. I think we were just all neurotic, and we definitely went through some fearful phases. We

20

Has the experience of making the

felt phenomenal. It was something that was so

For Hopper, there needs to be a reawakening. He’s

It’s like, you created vanilla ice cream in the

terms of going on this journey. —Joe Utichi

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Hawkins, Indiana. “But we didn’t want to do the

delivered in a moment of heightened emotion as

Eerie, Indiana or Twin Peaks thing and name it

this family was honored with its first major acting

Season 1,” says Matt of the Duffers’ relationship

after a fictional place” says Matt, “because it

prize, together.

with their actors, young and not-so-young. “We

had been done a lot.”

“At my screen test was one boy, one girl and

“It was just so surreal,” remembers Caleb

“There’s a lot more trust now, especially after

trust them with their characters and they trust us

McLaughlin, who plays Lucas. “We weren’t

a lot with the writing—if something feels wrong

Finn,” recalls Brown. “I went in and was with this

expecting to win, because we had such

to them, they let us know. So much of this show

other boy, and then the other boy left and Finn

great competition. When we heard the word

was in the casting. It’s like 90 percent casting.

came in. Immediately it felt right.”

‘Stranger’, we stood right up. We didn’t even

You want to stay away from them. You cast

need to hear ‘Things’. What really took it to

them, and let them do their thing, ’cause they’re

“And we’ve all become a family now.” The

another level is when they said we each get to

better at it than we are.”

script for Montauk, he notes, morphed into

have our own SAG Award.”

“Acting-wise, we clicked,” echoes Wolfhard.

Stranger Things as each of his co-stars was

“I didn’t know they’d do that,” laughs

The Duffer brothers are reluctant to say that they have a rock solid strategy for where Stranger

cast. “Gaten’s character, Dustin, was originally

Schnapp. “After the backstage interviews they

supposed to be this self-conscious fat kid,”

brought us into this room and there was a line of

Wolfhard says. “When Gaten auditioned, Matt

awards with our names on them. I grabbed it to

so much cool stuff on the day,” argues Matt.

and Ross completely changed it around and

my chest the rest of the night.”

“But I feel like we tend to have guard rails set up,

realized he should be the powerhouse of the

In a filmmaking hub like Atlanta, nobody bats

Things goes from here.

“You have a grand plan, but then you discover

because we do know generally where we want to

group, keeping everyone together. We all add

much of an eyelid when a film unit sets up next

little bits of ourselves. With Noah, his character,

door. On the way to the Stranger Things set from

go. And then you get to play inside that.”

Will, is him, but he’s heightening his shy side.

downtown, several different unit signs point to

admits Ross. “That you had this plan for where

Caleb [McLaughlin]’s sensible, adult sort of vibe

the various shoots around town. But with the tre-

this character was going, and then you get here

“We’ve learned not to fight it as much,”

EERIE IN INDIANA Clockwise from left: Eleven (Millie Bobby Brown) and Dr. Brenner (Matthew Modine) at Hawkins lab; the boys puzzle out Will's disappearance; Joyce (Winona Ryder) and Hopper (David Harbour) help Eleven; Steve (Joe Keery) gets fresh with Nancy (Natalia Dyer).

got put into his character.”

mendous love this show has had from audiences,

and you’re like, ‘Whoa, I don’t believe in it any

critics and awards shows, it’s now hard to miss

more.’” There is, though, an end goal in sight. “We

I ever was a leader, I’d say that side comes from

the Stranger Things roadshow, and so security

have a blinking light that we’re headed toward.”

me—Mike’s confidence,” Wolfhard muses.

has, inevitably, tightened.

As for how much of Finn is in Mike, “I guess if

For the many fan speculators on the

“But we’re still that little show in Atlanta

internet—the Duffers and the cast say that all the

HE STRANGER THINGS CAST

that’s filming,” insists Brown. “We all came back

secrets of Season 2 have already been untangled

SHARED THE SAG ENSEMBLE

here and remembered being here on day one

by fans, albeit by accident, and hidden amongst

AWARD in January. “And it was one of

of Season 1, so we never think, ‘This show is too

reams of incorrect guesses—one popular Season

the best moments of my life,” says Schnapp.

good to fail.’ We could have all been extremely

1 character just won’t die. Shannon Purser’s Barb

“I’ve never really cried tears of joy, but I was

big-headed, but we’re not. We’re all just really

was, herself, kidnapped by the Demogorgon, and

getting teary.”

happy to be together and doing it all over again.”

though there was a pretty clear coda about her

T

On the SAG stage, his grown-up co-star David

“It feels like we’ve never left,” adds McLaugh-

unfortunate fate towards the end of the season,

Harbour delivered an impassioned anti-Trump

lin. “When we all first met, it was so quick. We all

many believe she hasn’t disappeared forever.

speech that made international headlines. It was

have big personalities, we all love to talk to each

So is that the Duffers’ final image? “Yeah,”

“my attempt to make people feel not alone,” he

other, and so it was easy to get to know each

laughs Ross. “It’s going to be Barb’s hand

would say later. It came from the heart, and was

other and have fun actually being kids.”

reaching out from the grave. Cut to black.” ★ D E A D L I N E .C O M / AWA R D S L I N E

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D THE DIALOGUE

EMMY CONTENDERS 2017 PHOTOGRAPHS BY MICHAEL BUCKNER

Ron HOWARD Executive Producer Genius

Why were you interested in making a show about Albert Einstein?

Most enticing were the opportunities to delve into all these aspects of Einstein that you don’t know. As a young guy he was a free thinker—very bohemian, very romantic. This is not like John Nash from A Beautiful Mind; an introvert who hides out. Einstein loved his music, he loved women, he loved nature—and what is that? That’s physics, that’s the physical world, and his determination to understand just kept driving him.

It was the epitome of curiosity that was driving him.

Do you see Einstein’s genius as a kind of superpower—or was it a burden?

That’s the question. It’s a double-edged sword, and I hope that this series, particularly by having the time to let you look at the entire reach of his life, shows that. I’m not sure it answers the questions, but it certainly dramatizes them, especially later in his life. You can imagine what Geoffrey Rush did with Einstein in those years, looking back at what he’d gained, what he’d achieved, what he still wished he could achieve within his field, and also his life. It’s a very humanistic story.

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Elisabeth MOSS “Offred” The Handmaid’s Tale

Did you have any worries about taking on such a dark role?

No, I love that shit. I’m always like, “More, more, more…” It’s my bread and butter, it’s what I enjoy the most.

I get really bored doing things where I’m too happy. And that was one of the huge draws—to be able to challenge myself, and to be able to do something where I felt I was going to be able to go to these darker places that I hadn’t been before. For me it’s just pretend. I don’t actually feel the sadness, thank God! Do you see and similarities between Offred and Peggy, your character in Mad Men? I’m sure we can find one! [Laughs] The obvious parallel you can draw is with Peggy being a woman in the ’60s, with the women’s movement and the second wave of feminism.

And in The Handmaid’s Tale you have this patriarchal society. That’s the obvious parallel. But as an actor, I don’t play that. I just try to play a human being—a wife, a mother, somebody who is quite normal, who is not a hero, who shouldn’t be in these circumstances and who doesn’t know how to handle them. I’m not trying to tell a political story as an actor.

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Leah REMINI

Executive Producer Leah Remini: Scientology and the Aftermath As a former Scientologist, why did you want to make this documentary at this point in your career?

I wrote my book [Troublemaker: Surviving Hollywood and Scientology], and I thought that would be enough. But I was sitting at home watching courageous survivors of Scientology tell their stories, and I saw the Church respond, and I thought, I need to not allow this bully tactic to continue. It started in the 1950s, when the church wrote these policies on how to attack its critics, and I just couldn’t sit by and watch it happen. I felt a responsibility to do something, and this is why the show was created.

Some of your opponents have described you as discriminatory against religion. How do you feel about that?

I’m offended by their trying to hide behind the First Amendment—that really is the only thing they can hide behind, because people can get behind getting discriminated against.

What we’re discriminating against is abuse, and pain, and a fraudulent proposition. That’s what we are against. It’s not about being a bigot. This is not about religious beliefs: this is about a doctrine that calls to destroy people’s lives once they speak out.

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Ian M c SHANE

“Mr. Wednesday/Odin” American Gods

How did you get involved with American Gods?

I’d worked with [producer] Michael Green before. We did a rather ill-fated project— or rather, NBC thought it was ill-fated—called Kings. When Michael and Bryan [Fuller] offered me this, I didn’t know Neil Gaiman’s book. I read it and I thought, What a great foundation for these two to do their magic on—and what a great part to play.

Your co-star, Ricky Whittle, is also a Brit.

Did that add anything to your performance?

We’re from the same country, the same town— and we even support the same football team, Manchester United. And, yes, it added a little bit.

Ricky’s got the most difficult part, I think. His character, Shadow Moon, is the eyes of the audience, so he’s not a proactive character. But we found a way of making it like a buddy road movie, which it is, in a sense, for the first three episodes. Then you find out... The problem with talking about this show is that you’ve got to see it as it’s being revealed. Nothing is as it seems—ever.

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Joshua Michael STERN Showrunner Graves

Did you always see Graves as a vehicle for Nick Nolte?

I always envisaged Nick Nolte. This is a case where the actor completely dictated the part. Greg Shapiro, the producer, came to me and said, “There’s this idea about a retired president living out in the desert,” and for a couple of years I just couldn’t see it. Because, inherently, ex-presidents are not very interesting. They sort of fade away and they’re a bit… dull after their presidency. But Greg kept needling me, and I thought, what about Nolte? He’s this guy with a gruff, whisky-soaked voice—kind of a train wreck. Now that’s an ex-president that I might want to see [laughs].

How did you sell the idea to him?

First of all, when we worked on the script, I had written it specifically for him, and I’ve never done that before.

If he didn’t want to do it, I wasn’t quite sure who would have played the role. It was that specific on the page. But Nick read it and he loved it.

And part of that is that I played on a lot of the themes I intuited Nick was dealing with—issues of mortality, issues of redemption. I think these are things that spoke to him.

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Sanaa LATHAN “Ashe Akino” Shots Fired

What attracted you to the role of expert investigator Ashe Akino?

It was a no-brainer. Ashe is such a force of nature—it’s the kind of role you dream about. I come from the theater, and I’ve been craving this kind of opportunity to step outside the box I’ve had to be in in Hollywood. We call it a ten-hour film—there’s a beginning, a middle, and an end. The cast we have is a dream cast, and it’s epic. You get a perspective from every seat at the table. It was so juicy for all of us.

What would you like people to take away from the show?

There’s a long legacy of artists in general, but particularly black artists, who used their art to galvanize consciousness-raising. So I think, in these times, there is some consciousness-raising that can be done. We hope this is entertainment, but we also hope that it gets people talking, that it gets people to come together and see that we are one race—we are the human race.

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Giancarlo ESPOSITO “Gus Fring” Better Call Saul

After his explosive exit from Breaking Bad, how do you see Gus fitting into the world of Better Call Saul?

That was my big, big question. I’m honored to be coming back, but, primarily, I’m thinking in a new way, about a Gus you’ve never seen before. The difference for me is that I want to be a Gus that’s a little younger, a little more vulnerable, a little more finding his way to being the kingpin that you meet in Breaking Bad. Thanks to some incredible writing and directing, I have the opportunity to create a whole new character, which hopefully will guide you right up to the Gus that you meet in Breaking Bad. What were your initial thoughts about stepping back into a different period of Gus’s life?

There’s no freedom without time—I’m a musician sometimes, and I like to be free, but without the metronome you can’t be free.

You need a parameter with which to deal. So I thought, you have complete freedom—if you deal with the time you’re given.

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Michelle MONAGHAN

“Sarah Lane” The Path

What kind of research did you do into religious cults to prepare for your role in The Path?

What’s been most fascinating for me is all the people I’ve encountered. I’ve delved into fringe movements and selfhelp groups, and it’s been quite cathartic for some of them, I think, because these people are very open and vulnerable about telling their stories.

What the writers have done so well is that we’re not confined by any one idea, so I think it feels very traditional, in respect to faith and religion, but it also feels very contemporary, in terms of the way it handles different cultures. So I’m not surprised to see a lot of people identifying with it.

How does working on a series like The Path compare to making a movie?

From an acting perspective, they’re completely different processes, in terms of creating a character and potentially being able to shape a character for multiple seasons.

Whereas doing a film you certainly know the beginning, middle and end. So having the ability to dip your toes in both mediums is really exciting.

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Norman LEAR

Executive Producer One Day at a Time How did this reinvention of your classic ’70s sitcom come about?

It came to me the way a lot of ideas come to me. Somebody comes in and says, ‘Hey, what do you think about…?’ [Laughs] Brent Miller, who’s the executive producer, was talking to somebody and he said, “What do you think about a Latino version of One Day at a Time?” But [EPs] Mike Royce and Gloria Calderon Kellett are totally responsible for bringing it to life.

Like a lot of your previous work, it’s a multi-camera show. Why does that format appeal to you?

Single-camera reflects a kind of film, and multi-camera reflects live theater. We have a couple hundred people sitting in the audience, and these performers, as they play these roles, develop a back-and-forth with the audience that can’t happen the other way. The audience laughs, and it elongates the moment, or suppresses the moment, or enlivens the moment. It’s a live performance with a live audience that you’re watching.

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Aisha HINDS

“Harriet Tubman” Underground

The real-life Harriet Tubman spied for the U.S. army and rescued many from slavery. Was it daunting to play her?

It was a rich responsibility to take on. The desire to honor her legacy was way more important than my own fears and anxieties, and so, over time, it was easy to begin to transcend what I felt were my challenges and just sort of surrender to her story— because as you see in the show, it is one that is so powerful and so necessary at this time, for this generation, for the now.

Why do you think the show is so timely?

We’re living in a country that was built on the backs of slaves, and that has shaped the souls of our humanity. We need to revisit Harriet Tubman and her story—of her being a revolutionary, being so courageous and so selfless in taking care of those who were outside of her scope.

I think we would do well to take a page out of her book and include many others outside of ourselves, and outside of our families, as we take care of this country.

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THE ACTOR’S SIDE Intriguing one-on-one conversations between Deadline’s awards editor & this year’s Emmy contenders

new vid eos every w ed nesday WATC H NOW AT DEADLINE.C OM

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THE CONTENDERS EMMYS PRESENTED BY DEADLINE SAT, APRIL 9 / LOS ANGELES Top row, clockwise from left: Aaron Paul; Alexis Bledel & Lauren Graham; Marcus Scribner, Marsai Martin, Miles Brown, Tracee Ellis Ross, Yara Shahidi & Anthony Anderson; Mandy Moore & Milo Ventimiglia; Justin Theroux.

This row: The Contenders stage; Tig Notaro.

Bottom row: Wendi McLendon-Covey; Regina King & Felicity Huffman; Dustin Lance Black; Kofi Siriboe & Ava DuVernay; Nico Tortorella.

RE X /S H U T T ERSTOC K

See more photos, videos and stories from The Contenders Emmys online at DEADLINE.COM

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

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DEADLINE PRESENTS AWARDSLINE: SCREENING SERIES UNDERGROUND TUES, MAY 2 LOS ANGELES Left column: Joe Pokaski, Jurnee Smollett-Bell, Anthony Hemingway, Amirah Vann, Misha Green & Aisha Hinds; SmollettBell & Amirah Vann.

TIMELESS WEDS, APRIL 26 LOS ANGELES Right: Abigail Spencer, Malcolm Barrett & Matt Lanter.

KEVIN CAN WAIT WEDS, APRIL 19 LOS ANGELES Right: Erinn Hayes & Kevin James.

FOR YOUR CONSIDERATION EVENTS BATES MOTEL MON, APRIL 24 LOS ANGELES Left: Freddie Highmore, Kerry Ehrin & Vera Farmiga.

Z: THE BEGINNING OF EVERYTHING THURS, APRIL 27 LOS ANGELES Christina Ricci & David Hoflin.

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RE X /S H U T T E RSTO CK ; BAT ES M OT E L: U NI V E RSA L T E LE VI S I O N

DESUS & MERO MON, APRIL 17 LOS ANGELES Left: Desus Nice & The Kid Mero.

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

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RE… U S A E L P RATE MANCES.” T S R I F , STIC ETIC PERFOR A B M O B “… A IOUS, MAGN FEROC S A LO N

O U T S TA N D I N G D R A M A S E R I E S

DAMIAN LEWIS

PAUL GIAMATTI

LEAD ACTOR

MAGGIE SIFF

LEAD ACTOR

TOBY LEONARD MOORE SUPPORTING ACTOR

SUPPORTING ACTRESS

DAVID COSTABILE SUPPORTING ACTOR

MALIN AKERMAN SUPPORTING ACTRESS

CONDOLA RASHAD SUPPORTING ACTRESS

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