Innholdsfortegnelse for Aug-Emmy 3 i The Hollywood Reporter

DRAMA F. Murray Abraham, Homeland (SHOWTIME) This first Emmy nom for the Oscar winner comes for his portrayal of a Black Ops CIA agent in a year when his show roared back from the dead. His episode submission is the heart-pounding season finale. Alan Alda, The Blacklist (NBC) The TV legend has six wins in five categories, but never in this one. Playing a veteran intelligence officer with a pipe bomb strapped around his neck, he has an incredible final scene that ends with a bang. Beau Bridges, Masters of Sex (SHOWTIME) This is the seventh guest acting nom (and second in a row for this show) for this three-time winner, whose married, closeted gay character tries to eliminate his homosexuality and then tries to eliminate himself. PROJECTED WINNER! Reg…

In order to shape a story, a show’s editor must select the actors’ best performances from multiple takes, oversee the pacing as the various takes are assembled and, sometimes, even remove sequences altogether. So it’s no surprise that the edit often is referred to as the “final rewrite.” The first episode of Fox’s The Last Man on Earth, called “Alive in Tucson” — written by the Emmynominated Will Forte and directed by Christopher Miller and Phil Lord — originally was designed to take the audience on a solo journey with Forte’s character, Phil Miller, who believes himself to be the sole survivor of a viral epidemic, for the first 20 of its 22 minutes. Then there were to have been flashbacks to his life before the virus wiped out most…

“I’ll do it if the part calls for it and it makes sense.” TATIANA MASLANY The Orphan Black star, on her policy of addressing the all-too-often sexist demands of the entertainment industry that she “shave her armpits” and “wax [her] mustache.” “He sees the sun coming up, and he has this peaceful moment, and he realizes, ‘I’m an ad guy.’ ” JON HAMM The actor, on his interpretation of the final moments of Mad Men, when his character, Don Draper, meditates on a cliff overlooking the ocean with a smile on his face. “A group of us from the cast had dinner with her, and she’s amazing and gorgeous and very dedicated.” JEFFREY TAMBOR The Transparent star, on meeting Caitlyn Jenner for the first time. “That one right there? That’s…

NETFLIX’S ODE TO ambition-tinged moral decay, House of Cards, has its roots in a four-episode 1990 BBC miniseries set when British Prime Minister Margaret Thatcher had just left office and the Conservative Party was scrambling to reform its leadership. The series won Andrew Davies an Emmy for his writing in 1991. But while the accents may be different, the Machiavellian backstabbing is eternal. Ian Richardson, whose ruthless Francis Urquhart became Kevin Spacey’s Francis Underwood in the U.S. series, once said he had based his character on Shakespeare’s portrayal of evil incarnate, Richard III. (It’s no coincidence that Urquhart is referred to as F.U.) Many critics felt the British version had the edge in bleakness, the way Ricky Gervais’ David Brent in the U.K. original of The Office is bleaker than…

ONE OF THE YEAR’S MOST stirring performances came from Ben Mendelsohn, whose Danny Rayburn — the bad seed of a prominent Florida Keys family — in Netflix’s Bloodline has landed him a nomination for best supporting actor in a drama series. The 46-year-old Aussie, who broke out in the 2010 crime drama Animal Kingdom and recently was cast in the Star Wars spinoff film Rogue One, spoke with THR about his roller-coaster career, bad-guy typecasting and the two things that terrified him about acting. How did you hear the news that you’d been nominated for an Emmy? I was doing a film scene in a prison stall while feces was being rubbed on me, so it was something of a yin and yang moment. I was happy but mostly glad…

COMPETITIVE reality shows might be hard on the contestants, but they even can be harder on the cinematographers and camera crews that capture the often unpredictable action. Here, the five nominees this year reveal the real behind-thescenes risks. THE AMAZING RACE CBS For the globe-trotting series’ cinematography team, everything happens in real time. “There’s no going back and re-creating it; you’re running after people who are racing around the globe for $1 million,” says director of photography Peter Rieveschl. “The fear factor is not so much, ‘I’ll be hanging from a helicopter,’ as it’s, ‘I don’t know where they’re leading me,’ ” he adds. “Safety is a huge issue. But also, the idea is to operate in reality; there are very few scenes where we will intervene.” There occasionally are…