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  • Riley
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    Oct 11th, 2010
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    #1202138571

    See also the thread for guest acting. I think that there was a main title thread, but it seems to have gotten swallowed by the spam filter.

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    Riley
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    #1202138578


    2017 Emmy Race for Best Comedy Casting: Modern Family Hopes to Extend Nomination Record to Eight
    By Riley Chow, Gold Derby

    The Outstanding Casting for a Comedy Series ballot is simply a list of series—seventy-four this year. No casting directors are listed, nor are specific episodes, as the latter are only submitted for judging after nominations, like in the Outstanding Comedy Series race. There were sixty-three titles on the comedy casting ballot last year and the nominees were:

    Modern Family season 7 (Jeff Greenberg)
    Silicon Valley season 4 (Jeanne McCarthy & Nicole Abellera Hallman & Leslie Woo)
    Transparent season 2 (Eyde Belasco)
    Unbreakable Kimmy Schmidt season 2 (Cindy Tolan)
    – WINNER: Veep season 5 (Allison Jones & Ben Harris)

    First seasons have accounted for 25/87 nominees in the comedy casting category’s seventeen-year history; only 14/96 nominees for Outstanding Comedy Series in the same time have been first seasons and only 8/17 years have included one. Last year marked the third year that no new comedy was nominated for its casting, after 2003 and 2013. “The Neighbors” was the only new comedy to score a 2013 Emmy nomination in any category, for an original song; new comedies were variably nominated in 2003, but none for Comedy Series. What was remarkable about the shutout last year was that Master of None was nominated for Comedy Series, becoming only the second such new comedy to be snubbed for comedy casting, after Silicon Valley in 2014.

    With seven nominations in seven seasons, Modern Family has already received more casting nominations than any other series in Emmy history. It is the most vulnerable of last year’s nominees, as it was snubbed this year by the Casting Society of America, which includes Emmy voters. Transparent was their winner, although consecutive Emmy winner Veep was ineligible for a nomination because its casting director was not a CSA member. Instead of Modern Family and Veep, the lineup included a breakthrough nomination for black-ish and a comeback nomination for Girls. Crazy Ex-Girlfriend won the CSA’s award for new comedies.

    This category is one to watch because of its correlation with the Outstanding Comedy Series winner. Comedy casting has at least nominated the Comedy Series winner 14/17 years; the exceptions were The Office in 2006 and Everybody Loves Raymond in both 2003 and 2005. The casting categories have been extra predictive the last two years when voting has been open to entire branches of the academy, instead of small viewing panels numbering in the dozens. The Best Drama, Comedy and Limited Series winners have each also won their respective casting races the last two years.

    The casting categories are probably extra predictive lately also because directors and producers as well as casting directors have been eligible to vote on them for the last three years. Louie was never nominated in its five seasons by the CSA and it was snubbed at the Emmys for its casting for its first three seasons when only casting directors were voting, but Louie—a three-time Directors Guild of America Award nominee and two-time Producers Guild of America Award nominee—was nominated for casting its fourth and fifth seasons when directors and producers were also voting.

    Top contenders:

    Atlanta season 1 (Alexa L. Fogel)
    black-ish season 3 (Alexis Frank Koczara)
    Crazy Ex-Girlfriend season 2 (Felicia Fasano & Venus Kanani)
    Fleabag season 1 (Kelly Valentine Hendry & Victor Jenkins & Alex Irwin)
    Girls season 6 (Jennifer Euston)
    I Love Dick season 1 (Eyde Belasco)
    Modern Family season 8 (Jeff Greenberg)
    A Series of Unfortunate Events season 1 (Ronna Kress & Corinne Clark & Jennifer Page)
    Silicon Valley season 4 (Jeanne McCarthy & Nicole Abellera Hallman & Leslie Woo)
    Transparent season 3 (Eyde Belasco)
    Unbreakable Kimmy Schmidt season 3 (Cindy Tolan)
    Veep season 6 (Allison Jones & Dorian Frankel & Sibby Kirchgessner)

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    Macca
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    #1202138610

    Casting Predictions

    Comedy:

    Atlanta
    black-ish
    Modern Family
    Transparent
    Veep

    Drama

    The Crown
    Orange Is the New Black
    Stranger Things
    This Is Us
    Westworld

    Limited

    Big Little Lies
    Feud: Bette and Joan
    The Night Of
    Witness for the Prosecution
    The Wizard of Lies

    Reality

    The Bachelor
    Dancing with the Stars
    RuPaul’s Drag Race
    Shark Tank
    The Voice

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    Macca
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    #1202138637

    Stunt Predictions

    Comedy

    Ash vs the Evil Dead
    Saturday Night Live
    Scream Queens
    Shameless
    Trial & Error

    Drama

    Iron Fist
    Luke Cage
    The Walking Dead
    Westworld
    Westworld

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    Macca
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    #1202138639

    Visual Effects Predictions

    FX

    Black Mirror
    Black Sails
    Penny Dreadful
    Vikings
    Westworld

    Supporting FX

    The Crown
    The Handmaid’s Tale
    Into the Badlands
    Luke Cage
    Ripper Street

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    Macca
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    #1202138654

    Production Design Predictions

    Contemporary/Fantasy

    American Horror Story: Roanoke
    House of Cards
    The Night Of
    Penny Dreadful
    Westworld

    Period

    The Crown
    Feud: Bette and Joan
    Harlots
    Vikings
    The White Princess

    Comedy

    The Big Bang Theory
    The Great Indoors
    Silicon Valley
    Transparent
    Veep

    Variety

    Drunk History
    Lip Sync Battle
    Portlandia
    Saturday Night Live
    The Voice

    Special

    74th Annual Golden Globes
    Hairspray Live!
    Not the White House Correspondents Dinner
    The Oscars
    Super Bowl Halftime Show

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    Riley
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    #1202142771


    2017 Emmy Race for Best Comedy Single-Camera Editing: Can Master of None Break Through with Season 2?
    By Riley Chow, Gold Derby

    There are 126 episodes from 71 series on the 69th Primetime Emmy Awards nominating ballot for Outstanding Single-Camera Picture Editing for a Comedy Series this year. There were 121 episodes from 64 series last year and the nominees were:

    Crazy Ex-Girlfriend season 1:
    WINNER: “Josh Just Happens to Live Here!” (Kabir Akhtar)

    Silicon Valley season 3
    “The Uptick” (Brian Merken)
    “Daily Active Users” (Tim Roche)

    Veep season 5
    “Mother” (Shawn Paper)
    “Inauguration” (Steven Rasch)

    Occupying two out of three nomination slots for the first time in Best Half-Hour Editing at the industry-voted American Cinema Editors’ Eddie Awards and winning for the second non-consecutive year, Veep seems to be more popular among editors than ever, although it has never won the relevant Emmy. It helps their nomination chances that they submitted only two episodes this year instead of three, so support will be consolidated. Submitting two was not enough for black-ish last year and they have submitted only one episode this time.

    The trajectory of Silicon Valley gives hope to Master of None. Although both received Oustanding Comedy Series, Writing and Directing nominations for their first seasons, neither was nominated for Editing. Silicon Valley then received Editing nominations for both its submissions from its second season and went on to win for its finale.

    Crazy Ex-Girlfriend became the seventh series to be nominated for its pilot and the fifth to win in the fourteen-year history of this category. Catherine Haight contends this year with the I Love Dick pilot, having been nominated two years ago for the pilot of Transparent, another Amazon dramedy starring Kathryn Hahn from director/executive producer Jill Soloway. Fleabag is another contender with a series premiere in contention, fresh off a BAFTA nomination for it in Best Editing. Fleabag was the first comedy nominated there since “The Thick of It” four years ago, as the four-slot category also considers dramas, limited series and movies. Stuart Bass contends for the debut episode of A Series of Unfortunate Events, having won previously for the pilot of Pushing Daisies, another hour-long dramedy from director/executive producer Barry Sonnenfeld. The other editor of A Series of Unfortunate Events is Skip MacDonald, who has won an Emmy from seven nominations and three Eddies from nine nominations for his work on Better Call Saul, Breaking Bad and Fargo this decade. The “Atlanta” pilot (“The Big Bang”) faces internal competition from the episode that received a Directors Guild of America Award nomination (“B.A.N.”) and the episode that received a Writers Guild of America Award nomination (“Streets on Lock”); those two are on the Emmy ballots for Outstanding Writing and Directing without the pilot.

    Submissions from top contenders:

    Atlanta season 1
    “Streets on Lock” (Isaac Hagy)
    “B.A.N.” (Kyle Reiter)
    “The Big Bang” (Ivan Victor)

    black-ish season 3
    “Lemons” (John Peter Bernardo & Jamie Pedroza)

    Crazy Ex-Girlfriend season 2
    “Can Josh Take a Leap of Faith?” (Kabir Akhtar)

    Fleabag season 1
    “Episode 6” (Gary Dollner)
    “Episode 1” (Paul Machliss)

    I Love Dick season 1
    “Pilot” (Catherine Haight)
    “The Conceptual Fuck” (Christal Khatib & Julie Cohen)
    “A Short History of Weird Girls” (Darrin Navarro)
    “This is Not a Love Letter” (Sunny Hodge)

    Master of None season 2
    “Thanksgiving” (Daniel Haworth)
    “The Thief” (Jennifer Lilly)

    A Series of Unfortunate Events season 1
    “A Bad Beginning: Part One” (Stuart Bass)
    “A Wide Window: Part One” (Skip MacDonald)

    Silicon Valley season 4
    “Server Error” (Brian Merken)
    “Success Failure” (Tim Roche)

    Veep season 6
    “Groundbreaking” (Eric Kissack)
    “Chicklet” (Roger Nygard & Gennady Fridman)

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    Riley
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    #1202143146


    2017 Emmy Race for Best Half-Hour Single-Camera Cinematography: Comedies Contend for New Award
    By Riley Chow, Gold Derby

    Outstanding Cinematography for a Half-Hour Single-Camera Series is a new category at the Emmys this year.  Half-hours have seldom been nominated when competing opposite hour-long programs.  The last were Everybody Hates Chris in 2006 and Doogie Howser, M.D. in 1992.  A general Outstanfing Cinematography for a Half-Hour Series category existed from 2008 to 2010, with slots reserved for multi-camera comedies; this is the first time that single-camera half hours will fill an entire category.

    The cinematography categories employ a two-step nominating process.  Instead of a popular vote of the relevant branch of the academy determining the nominees like in most other categories, a popular vote of the cinematographers’ branch narrows the ballot to ten, then a panel of branch members votes for the nominees after viewing clips from those contenders—four continuous minutes each (indicated by the submitters) for this category.

    None of the fifty-nine series—represented by sixty-six episodes—on the ballot has ever been nominated for its cinematography (opposite hour-long shows for Outstanding Cinematography for a Single-Camera Series) at the Emmys and only two have been nominated at the industry-voted American Society of Cinematographers Awards (in the defunct Outstanding Achievement in Cinematography in Half-Hour Episodic Television Series category): Modern Family for 2011 and Drunk History for 2013, with the latter winning.

    Submissions include:

    Atlanta season 1: “The Streisand Effect” (Christian Sprenger)
    – PICTURED: Dear White People season 1: “Chapter I” (Jeffrey Waldron)
    Divorce season 1: “Pilot” (Reed Morano)
    Divorce season 1: “Another Party” (Richard Rutkowski)
    Drunk History season 4: “Legends” (Blake McClure)
    Documentary Now! season 2: “Globesman” (Alex Buono)
    Girls season 6: “Goodbye Tour” (Tim Ives)
    I Love Dick season 1: “Cowboys and Nomads” (Jim Frohna)
    Insecure season 1: “Racist as Fuck” (Anette Haellmigk)
    Just Add Magic season 2: “Just Add History” (Mark Doering-Powell)
    The Last Man on Earth season 3: “Got Milk?” (Carl Herse)
    Master of None season 2: “Buona Notte” (Mark Schwartzbard)
    Modern Family season 8: “Snow Ball” (James Bagdonas)
    Mozart in the Jungle season 3: “Now I Will Sing” (Tobias Datum)
    Silicon Valley season 4: “Success Failure” (Tim Suhrstedt)
    Transparent season 3: “If I Were a Bell” (Jim Frohna)
    Veep season 6: “Qatar” (David Miller)
    Vice Principals season 1: “A Trusty Steed” (Eric Treml)
    Z: The Beginning of Everything season 1: “Lights, Camera, Fitzgerald” (David Franco)
    Z: The Beginning of Everything season 1: “Playing House” (Eric Moynier)

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    Macca
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    #1202143284

    If the gods are just, Fleabag will be nominated and will win for editing.

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    jacob121
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    #1202143417

    Oo what a great new category. Thanks for the info Riley! I love branches who have processes like this one – I think it tends to result in a stronger set of nominees. Based off of that list I think the list will look something like this:

    -Atlanta
    -Dear White Pople
    -Girls
    -Master of None – WINNER
    -Mozart in the Jungle
    -Transparent

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    Riley
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    #1202144053

    All of my thoughts about the new cinematography category:

    There will be only four or five nominees, not six.  It is a really interesting process and probably to blame partly for the long wait between voting and nominations.  I am baffled by Master of None not submitting the black-and-white episode, but I suppose good for them for playing more honestly without the help of a gimmick.  One interesting part of the process is how only four continuous minutes are actually submitted from the listed episodes, so if you have the episodes and scan quickly through them, you can probably figure out what part the judges are seeing.  The part of the Master of None finale that the panel saw is surely from about 04:35 to 08:35.

    I love the cinematography in The Last Man on Earth, but I think that they messed up their submission because I could not figure out which four-minute chunk they would want voters to see when I was skipping through the episode.  Kristen Wiig’s episode is mostly just inside that bunker, so it is not that visually dynamic.

    The biggest challenge for Atlanta will be getting into the top ten.  I see it as no coincidence that Lost and Homeland were first nominated for their second seasons.  I think that the cinematographers’ branch is not always the most on-the-ball about new shows and might need to learn about them through high-profile wins in other categories.  Consider how Mr. Robot was snubbed for its first season by the Emmys and American Society of Cinematographers, then won the latter’s award for its second season.  So I think that there is a good chance that Atlanta does not get nominated because it does not make the top ten.

    In recent years, the cinematography category has been overrun by past and present series nominees.  There were seven nominees in 2015 and it is not too difficult to figure out what rounded out the top ten.  The nominees were four episodes of Game of Thrones and single episodes of Boardwalk Empire, The Good Wife and House of Cards.  Given that four episodes of Game of Thrones definitely made the top ten, I bet that their one submission that was not nominated did as well.  And given that Homeland was nominated the two years before and the year after, I bet that it was in there too.  That is a really boring top ten and it explains why the nominees have been so bland, despite the tape system.  The series nominees are taking up too many slots for inspired choices to make it into the top ten.

    Given that Transparent, Veep and Silicon Valley dominate everywhere else, I am sure that they are in the top ten.  And given how the cinematographers clung to Downton Abbey, The Good Wife, Homeland and House of Cards years after so many other branches dropped them, I bet that Modern Family makes a top ten, given how it is a past ASC nominee too.  Master of None has to make the top ten, given how much is written about its cinematography and it is a past directing nominee.  First seasons do not always make it in, but they do sometimes and comedy is not drama, so I would say that Atlanta makes the top ten.  Mozart in the Jungle is becoming a real force in technical categories (sound mixing win, ADG win, MPSE win), so that is another.  I think that The Last Man on Earth makes the top ten because vaguely similar shows My Name is Earl and Scrubs were nominated when the Emmys briefly had a half-hour cinematography category previously, The Last Man on Earth is a past directing nominee and it still has a reasonable level of respect below the line, given its continued ADG nominations.

    I included the Netflix children’s series Just Add Magic as a contender because its cinematographer is the only person nominated for a comedy in the last two decades against dramas at the Emmys, for Everybody Hates Chris.  That is not even a show that I would expect to make the top ten, let alone get nominated, so maybe he has some name recognition.  Another with name recognition is obviously Reed Morano, director of The Handmaid’s Tale and perhaps more relevantly, the youngest member ever admitted to the ASC.  Pretty much the only other woman on the ballot is Anette Haellmigk for Insecure; she is a two-time Emmy nominee and three-time ASC nominee for Game of Thrones.  Another who could get name-checked is Jim Frohna for I Love DickTransparent has certainly pushed the boundaries of comedy cinematography and he has directed both Transparent and I Love Dick.  The last person to watch out for with name recognition is David Franco for Z: The Beginning of Everything.  He is an Emmy winner for Bury My Heart at Wounded Knee and more significantly in terms of name recognition, he is a six-time ASC nominee for five different programs.  Z: The Beginning of Everything might really stand out on the ballot among all of the sitcoms, given that it is a period drama, so if he makes the top ten through name recognition, you would think that the material would carry him to a nomination.

    I never saw In Treatment, but from what I understand, it was pretty much just filmed therapy sessions, yet it was nominated when the Emmys previously tried out a half-hour cinematography category.  Drama gets more respect than comedy.  That half-hour cinematography category was even pretty receptive of dramedies, awarding Californication twice, Weeds after that and also nominating Nurse Jackie and HungGirls fits that bill and it helps that we know that Emmy voters are aware of it, unlike Insecure, I Love Dick, Divorce, etc.

    Vice Principals is not a dramedy, but its cinematography is kind of in that same aesthetic.  Maybe it is a premium cable thing.  I remember watching the show and noticing that the cinematography was better than it needed to be.  Their submission is surely the section from 13:10 to 17:10, which is their funniest scene of the season and makes great use of handheld and slow motion.  It would be a fine nominee.

    The only show that was nominated all three years of the half-hour cinematography category was 30 Rock, which is why I am predicting Veep, even though it is not the most visually ambitious show.  A certain number of voters are just going to mark their favourite show and Veep has won the last two DGA Awards.  To its credit, Veep is much more dynamic than Silicon Valley, with its handheld, pseudo-mockumentary aesthetic.  30 Rock also had a fast camera that was always whipping around.  The half-hour cinematography category then had a slot reserved for multi-camera, which meant that 30 Rock was a top-four single-camera half-hour, which seems a little ridiculous.

    If Dear White People makes the top ten, it will probably be nominated, given how well House of Cards has done in nominations.  But I am not sure that it makes the top ten.  I talked above about how this branch is slow to new series, even hits like Lost or shows that have been out for almost a year like Mr. Robot, so it is a bit hard to believe that a show that came out toward the end of the eligibility period (and has no buzz from TCA nominations) will have the necessary visibility.

    I would say that Drunk History is more likely.  Its first season won the half-hour award the last year that the ASC had that category, defeating dramedies House of Lies and Alpha House (points for any Amazon contender).  It and Documentary Now! are the only variety (sketch) series on the ballot.  It is tough though because the ASC is always more adventurous with their drama picks than the cinematographers’ branch of the Television Academy.

    So my guesses for the top ten and the nominees are:

    1. Veep
    2.
    Transparent
    3. Silicon Valley
    4. Modern Family
    5. Master of None
    6. Atlanta
    7. Mozart in the Jungle
    8. The Last Man on Earth
    9. Girls
    10. Drunk History

    If Drunk History is in the top ten, it will be nominated, but given how I said that the Emmys are less adventurous than the ASC, I am not confident that it will make the top ten and that was three seasons ago that it got ASC, so cinematographers might have cooled on it by now.  Mozart in the Jungle is a safer choice.

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    Anonymous
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    #1202144068

    Wow, thanks for all the info.

    Do we get an unofficial list of the top 10 before nominations as we did back in the day when the series and acting races had a similar-ish system?

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    Riley
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    #1202144110

    It is not really the kind of writing that we have on the Gold Derby blog, but it is a category that I have thought about a lot for some reason. Analysis will be more focused next year when we actually have some data.

    They unfortunately do not put out the top ten lists. Also, I did not note it in the article, but before this year, the rule book always said that the popular vote narrowed each cinematography category to ten, but they removed the word “ten” from that section this year. Given how we have more cinematography categories now and the number of nominees vary based on submissions, my guess is that the popular vote now gets the list down to twice the amount of however many nominees we are going to get, which is ten for this category, but only six for multi-camera and fourteen for dramas. So the drama nominees might be particularly inspired this year, as whatever is in those last few slots should be able to oust the likes of Homeland when voters watch the tapes. Exciting!

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    Anonymous
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    #1202144209

    Main Title Design Predictions

     

    Anne with an E
    A Series of Unfortunate Events
    The Crown
    Feud
    Westworld

     

    Personal list

     

    Anne With an E
    A Series of Unfortunate Events
    13 Reasons Why
    Westworld
    The Young Pope

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    jacob121
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    #1202144357

    They unfortunately do not put out the top ten lists.

    Remember when we used to get top tens for acting…I miss that.

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