Deadline Hollywood - Special Emmy Party - 06/08/16

JU N E 8, 2 01 6 S P ECIAL E D I T I ON

EXCLUSIVE EMMY GALLERY JULIA LOUIS-DREYFUS

Veep

PATRICK STEWART

Blunt Talk

BOB ODENKIRK & JONATHAN BANKS

Better Call Saul

JENNIFER LOPEZ

Shades of Blue

HUGH LAURIE & TOM HIDDLESTON

The Night Manager

EVA LONGORIA

Telenovela

RAMI MALEK

Mr. Robot

TARYN MANNING

Orange is the New Black

JAMIE LEE CURTIS

Scream Queens

WWW.DEADLINE.COM/AWARDSLINE

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“Sharp writing and equally sharp acting” — THE NEW YORK TIMES

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CONTENTS

JUNE 8, 2016

PUBL ISHER

Stacey Farish

2-8

ED ITOR

Joe Utichi C R EATIVE D IR ECTOR

Craig Edwards

ASSISTANT ED ITOR

Matt Grobar

D EAD L INE CO-ED ITOR-I N -CH I EFS

Nellie Andreeva Mike Fleming Jr.

AWAR D S ED ITOR & COLU MN I ST

FIRST TAKE On Set: behind the scenes with Modern Family & Grace and Frankie.

Pete Hammond on the 2016 Emmy season.

Pete Hammond

D EAD L INE CONTR IBUTORS

Peter Bart Anita Busch Anthony D’Alessandro Lisa de Moraes Jeremy Gerard Patrick Hipes Ali Jaafar David Lieberman Ross Lincoln Dominic Patten Erik Pedersen Denise Petski David Robb Nancy Tartaglione

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THE DIALOGUE Julia Louis-Dreyfus Patrick Stewart Bob Odenkirk & Jonathan Banks Jennifer Lopez Hugh Laurie & Tom Hiddleston Eva Longoria Rami Malek Taryn Manning Jamie Lee Curtis

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C HAIR M AN & C EO

Jay Penske

VIC E C HAIR M AN

Gerry Byrne

EXEC UTIVE VIC E PRESI DEN T, STRATEGY AND OPERATI ON S

George Grobar

FLASH MOB Looking back at The Contenders Emmys presented by Deadline.

SENIOR VIC E PR ESI DEN T, BUSINESS D EVELOPMEN T

Craig Perreault

GENERAL COUNSEL & S.V.P., HUM AN R ESOURCES

Todd Greene

VIC E PR ESID ENT, CREATI VE

Nelson Anderson

VIC E PR ESID ENT, F I N AN CE

Ken DelAlcazar

VIC E PR ESID ENT, TV ENTERTAINMEN T SALES

Laura Lubrano

D IR ECTOR , F IL M & TV

Carra Fenton

ACCOUNT EXEC UTIVES, F IL M & TV

Brianna Hamburger Tiffany Windju

AD SAL ES COOR D IN ATORS

​Kristina Mazzeo Malik Simmons

PROD UCTION D IR ECTOR

Natalie Longman

ADVERTISING INQU I RI ES

Stacey Farish 310-484-2553 sfarish@pmc.com

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ON THE COVER: JULIA LOUIS-DREYFUS PHOTOGRAPHED BY GABRIEL GOLDBERG THIS PAGE: PATRICK STEWART PHOTOGRAPHED BY ERIC SCHWABEL

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BEHIND THE SCENES WITH GRACE AND FRANKIE p. 4 | PETE HAMMOND ON HOW THE EMMYS ARE OUTDOING THE OSCARS p. 6

OUR AMERICAN FAMILY On the set of Modern Family’s season finale.

On one of the last shooting days of its seventh season, Modern Family’s shot list spills over onto a second page of the call sheet. Things move quickly and efficiently on the Fox lot’s Stage 5, as co-creator Christopher Lloyd and director James R. Bagdonas preside over filming for the season finale.

“We’ve even got a bit slower since the first three seasons,” says Eric Stonestreet, who plays Cam. “But it’s testament to the blueprint of the show: we don’t even think about turning around on scenes like traditional shows.”

Modern Family narrowly missed out on making history last year (it’s tied on five wins with Frasier, another Lloyd-produced show), when Veep took the Emmy crown, but co-creator Steve Levitan is proud of the resolve with which his writing staff charged into Season 7. “The legacy of the show is something we take extremely seriously,” he says. “And this was a very ambitious season.

Especially as you get into the later years of a series, just feeling like you’re not starting to be terrible is a victory. We’re really trying hard not to let this series finish weak, and we did a lot of big shows, and a few shows that were very different for us, this year.” ★ 2 D E A D L I N E .C O M / AWA R D S L I N E

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ON SET

GRACE ANATOMY

Behind the scenes of Grace and Frankie’s upcoming third season.

“This is what’s known as running lines,” Jane Fonda says brightly, flipping through the script on her lap. On the couch opposite in a corner of the set, Fonda’s longtime friend Lily Tomlin reads aloud from her own pages. We’re on the Paramount lot shooting Grace and Frankie, already into the third episode of Season 3. Today, Arlene Sanford is directing, and the crew looks to be around 60% women–still a relatively unusual sight on a set.

Co-creator Marta Kauffman is keen not to make a point of the gender balance on her team. “I don’t think it’s anything particularly surprising or unusual,” she says. “It’s just how it should be. I also think that more than having women on the set, we don’t allow intolerance on the set, and women have an equal voice to men, and that’s just how it should be.”

But for Fonda, the prevalence of women on this set is huge. “My career started in the late ’50s and early ’60s,” she says. “Except for the script supervisor, you never saw women in any capacity. We have women directors, and there are women on the crew in all kinds of capacities, and you just don’t feel so lonely.” ★ 4 D E A D L I N E .C O M / AWA R D S L I N E

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P ET E HA M M O ND

COULD EMMY BEST OSCAR? Pete Hammond examines an Emmy season that’s bigger, better and bolder than ever.

EMMY SEASON IS OFF AND RUNNING. If you need proof, all you have to do is look at all the trade and consumer newspaper advertising. Or just check any of the billboards around LA, where the bulk of the 18,500 or so active Television Academy members live and work.

Or the number of networks, broadcast, cable and streaming entities, that are actively campaigning. Or how about the nightly FYC events that include live reads, performances and meet-and-greet receptions?

Deadline kicked everything off in early April with our first ever Contenders Emmys event, which spotlighted 36 different programs live in front of a DGA Theatre packed with Emmy voters. Since then, we’ve

been running videos of each of these presentations, featuring stars, showrunners, writers, directors and others who offered voters insight into just how their projects came together.

And now we’re throwing our big

annual Hollywood party celebrating the season.

But we aren’t alone. Just last week the TV Academy kicked off their own season with the opening of their new theatre and media center in North Hollywood. Balloting for this year’s Emmys will begin this coming Monday June 13 and run through June 27, with nominations announced on July 14. I say all of this because it seems to me that the enthusiasm, the sheer number of players, and most of all the money really seems to be flowing larger than ever. And—dare I say it—even bigger than Oscar season?

Oscar will always reign supreme just for pure prestige, but Emmy is giving the old guy a run for his money—literally. And ABC, the network airing the Emmys in September, is probably also happy that

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FOR YOUR CONSIDERATION

“SWEET AND AWKWARD, HOPEFUL AND CRINGE-INDUCING.” - THE NEW YORK TIMES

”JACOBS’ AND RUST’S CHEMISTRY IS EXCEPTIONALLY AUTHENTIC.” – DECIDER

“SMART.” “A WINNER.” “EXCELLENT.” – HITFIX

- TIME OUT

- THE GUARDIAN

“APATOW IS INDEED A MASTER OF HIS GENRE.” -LA TIMES

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P ET E HA M M O ND

they won’t have to deal with the diversity crisis (#OscarsSoWhite, anyone?) that hit the Academy Awards broadcast in February. TV does not seem to be the subject of any diversity controversies of late, and this year, with prestige contenders ranging from the new Roots to the O.J. Simpson mini-series—as well as a myriad of other shows highlighting diverse casts and storylines—the jokes Chris Rock told on Oscar night won’t be necessary for Emmy MC Jimmy Kimmel.

With all the opportunities TV now offers for creatives, it is no surprise that it would all spill over into the Emmys. To answer that need, the Television Academy has been busy expanding nominees in several acting, writing, directing and program categories, in an effort to create a bigger tent for the contest, with the main event on September 18 preceded by two Creative Arts Emmy shows the weekend before.

No matter what they do, there will always be complaints about what didn’t get in—and what did.

It just goes with the territory. And many questions in that regard remain for this year’s battle. Will cable king HBO pull off the near-clean sweep

of major categories that it did last year with Veep and Game of Thrones leading the way? Certainly those returning shows, which both won their program category for the first time after several seasons of trying, are in a good position to repeat.

The expansion of the voting pool for the finals that was inaugurated last year is just taking hold, and it indicates a tilt for those two series that only triumphed after more members were allowed to have a say on the ultimate outcome. Until then, with blue ribbon panels voting, ABC’s Modern Family had owned the comedy category for five seasons straight, and AMC—between Mad Men and Breaking Bad—had grabbed the drama series crown for six out of seven years.

The latter two shows are now gone, but Thrones faces tough competition to retain its crown. There’s sentiment for Downton Abbey in its final season, and many hope FX can finally get its critically acclaimed The Americans an overdue nod. Can AMC come back with its Breaking Bad spinoff Better Call Saul, which landed an impressive 7 nominations in just its first go around last season? Will Showtime’s past Emmy winner

Homeland prevail again? Or perhaps it’s newbie Billions? What about Amazon’s growing output including The Man In The High Castle or USA’s out-of-the-box awards darling Mr. Robot? Can Netflix finally bring it home for Orange Is The New Black or perennial nominee House Of Cards in this political season? Or Hulu’s compelling The Path?

Oh, and did we forget the broadcast networks which, after all, have done pretty well in this category, not just in terms of wins but also nominations? Can ABC’s Black-ish take on the Modern Family mantle and get into the game? How about a return for Chuck Lorre’s CBS bridesmaid The Big Bang Theory, which was overlooked last year even though it remains TV’s number one comedy?

The Golden Globe went to Amazon’s Mozart In The Jungle. Will that be good enough to get it a spot with the big guys like HBO’s Silicon Valley?

The competition will be fierce, too, in the Limited Series category, where The People v. O.J. Simpson: American Crime Story threatens to swamp everything in terms of sheer nomination power. But FX will be competing with itself with past Emmy juggernauts Fargo and the multi-nominated American Horror Story, and then there’s newbie Hulu with J.J. Abrams’ 11.22.63. One to watch will be AMC and BBC’s thrilling six-hour John le Carré adaptation, The Night Manager, which could be a spoiler if it can muster the votes.

So much to watch and discuss, and so little time before I have to vote (yes I am just one of those 18,500 TV Academy members). Get your viewing ready. Let’s roll. ★

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F O R

Y O U R

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

“ONE OF THE

MOST FASCINATING

TRUE CRIME STORIES EVER TOLD”

OUTSTANDING DOCUMENTARY SERIES

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D THE DIALOGUE EMMY SEASON 2016

Julia Louis-Dreyfus Veep

“I’m a big swearer myself in my own life and I think I’ve become slightly more cavalier about it. I realized the other day, I was talking to someone who’s not in the business and I was using fuck in different ways, as an adjective, and then a verb, and a noun possibly, all in the same sentence without even realizing it.”

PHOTOGRAPH BY GABRIEL GOLDBERG

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Patrick Stewart Blunt Talk

“[In Season 2] Walter is pursuing water corruption to make Los Angeles a better place.

Along the way he gets into all kinds of scrapes, and gets into drag. We English love getting into women’s clothes, don’t we? And that was my first, can you believe it? In a 56-year career, that was the first time I ever put on a skirt and high heels.”

PHOTOGRAPH BY ERIC SCHWABEL

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Bob Odenkirk & Jonathan Banks Better Call Saul

“Breaking Bad ended before people were done with it. That was a big boost for us.

If that show had gone three more seasons, and then we tried to do Better Call Saul, there would have been nowhere near as much goodwill and hunger for more.” –Odenkirk PHOTOGRAPH BY DAN DOPERALSKI

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Jennifer Lopez

Shades of Blue “It’s a cop show, but it’s really about human nature. It’s about people. It’s about what they’d do when they’re put to the test on certain things. How can you be a good person and do really fucked up things? We do all the time. Maybe not to the same extent, but we definitely do make questionable decisions.”

PHOTOGRAPH BY GABRIEL GOLDBERG

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Hugh Laurie & Tom Hiddleston The Night Manager

“The center of the novel is arms dealing.

It was happening in the early ’90s, and of course it’s happening now. In order for the show to have the same impact as the book, it had to speak to our political climate now; updated and wedded to the world we live in.”

—Hiddleston PHOTOGRAPH BY GABRIEL GOLDBERG

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Eva Longoria Telenovela

“I grew up not speaking Spanish in Texas. I was a fish out of water. When I moved to Hollywood, everyone saw my headshot and I would get asked to do [my audition] with an accent or in Spanish.

Sometimes, I wasn’t considered Latin enough. Ana Sofia is the star of the soap who doesn’t speak Spanish.

Everything is fed through her earpiece phonetically.”

PHOTOGRAPH BY ERIC SCHWABEL

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Rami Malek Mr. Robot

“Elliot has a lot of flaws but a very strong moral center. He’s a guy who many of us can identify with. We’re not all perfect, but we’re trying to do the best we can and affect our society in a certain way; leave a positive mark.

Elliot goes about it in some peculiar ways, and he has a unique power to do so.”

PHOTOGRAPH BY MARK MANN

PHOTOGRAPH BY DAN DOPERALSKI

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Taryn Manning

Orange is the New Black “There’s nothing worse than having just one line in something, because it’s almost like starting an engine and turning it off right away. I’m better with a scene and some interaction, and I feed off my scene partner and listen. This show is like an ocean, not a stream. When you watch the whole thing it all makes sense.”

PHOTOGRAPH BY DREW WIEDEMANN

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FO Jamie Lee Curtis Scream Queens

“I still don’t really believe that Ryan [Murphy] conceived the show around me.

It’s hard for me to accept that, because prior to my phone ringing, people weren’t building shows around me. It’s hard to say it, because it sounds crazy that would be the case. But I’ve been told it is the case, and I’m flattered by that.”

PHOTOGRAPH BY STEFAN STUDER

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FOR YOUR EMMY

®

CO N S I D E R AT I O N

A NETFLIX ORIGINAL FILM

RICKY GERVAIS ERIC BANA

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★ | flash mob

THE CONTENDERS EMMYS PRESENTED BY DEADLINE Top row: Gina Rodriguez of Jane the Virgin; Rick Famuyiwa, Kerry Washington & Susannah Grant for Confirmation; Felicity Huffman & Regina King of American Crime; Anthony Anderson of Black-ish; Tom Hiddleston & Hugh Laurie of The Night Manager.

Middle row: Jay Roach, Anthony Mackie & Bryan Cranston for All The Way; Linda Cardellini of Bloodline. Bottom row: Patrick Stewart of Blunt Talk; Daniel Webber & JJ Abrams for 11.22.63; Frank Grillo & Jonathan Tucker for Kingdom; Ilana Glazer & Abbi Jacobson for Broad City; Eva Longoria of Telenovela.

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F O R

“

YO U R

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

THE YEAR’S BEST COMEDY.”

THE BEST-REVIEWED COMEDY OF THE YEAR WINNER AFI

TELEVISION PROGRAM OF THE YEAR

WINNER PEABODY AWARD

WINNER

CRITIC’S CHOICE AWARD

BEST COMEDY

WINNER

BEST COMEDY

ROTTEN TOMATOES 100%

IT FEELS LIKE THE FUTURE.”

“

“SIMULTANEOUSLY

HEARTBREAKING AND HILARIOUS.

IT’S A TREMENDOUS ACHIEVEMENT.” “A GEM OF DEEP HILARITY.

ONE OF THE BEST SHOWS

AZIZ ANSARI

OF 2015.”

“A CONTEMPORARY

COMEDY TOUR DE FORCE.” THE SMARTEST NEW YORK COMEDY

“

OF THEM ALL.”

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FYC FUN YUMMY CUPCAKES

FOR YOUR EMMY® CONSIDERATION

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