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The Hollywood Reporter

The Hollywood Reporter Award Special 17B July 2020

The all-new Hollywood Reporter offers unprecedented access to the people, studios, networks and agencies that create the magic in Hollywood. Published weekly, the oversized format includes exceptional photography and rich features.

United States
MRC Media, LLC
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48 Issues

in this issue

4 min.
is this tv season caught in a time warp?

Time (and our perspective looking back on it) is often analogized as a telescope, but since March 11 — Tom Hanks’ COVID-19 diagnosis, NBA suspension, etc. — time has become more of a kaleidoscope, a jumble of shifting blobs in the foreground, anything in the distance a blur. What that means for Emmy Awards purposes is that this year there are two distinctly different eligibility windows: shows that launched between June 1, 2019, and March 11, 2020, and shows that aired between March 12 and May 31, 2020. It’s hard enough to keep track of the dozens of things that premiered in the second window, but shows in the first can feel like memory fragments from a different age. This isn’t great, because Emmy deadlines already create their own disorienting effect. No…

2 min.
just the facts — and a little bit of flourish

COUNTRY MUSIC PBS Eighteen years after Jazz, Ken Burns returned to the world of music with this eightepisode, 16-hour project. Featuring Burns’ usual blend of archival photos and footage with new interviews (including one of Merle Haggard’s last), it covers the themes of racism and sexism, spawned a Billboard chart-topping soundtrack and landed at 88 percent on Rotten Tomatoes. It’s been criticized for being broad, featuring too-brief musical excerpts and ending with Johnny Cash’s death way back in 2003. HILLARY Hulu Hillary Clinton lets down her guard in Oscar nominee Nanette Burstein’s portrait of the polarizing trailblazer and the times she helped to shape, which features exclusive footage from her 2016 presidential campaign. The fourparter began streaming in March and reportedly attracted big numbers for Hulu, upsetting The Last Dance to win the TV Critics’ Choice…

6 min.
‘the songs came first, the show second’

Music was front and center in a number of this year’s Emmy contenders, from a gritty drama about a Paris jazz club (The Eddy) to a sunny dramedy that finds its characters bursting into Top 40 hits (Zoey’s Extraordinary Playlist). More than just accompanying the action or setting the tone for emotional scenes, music is essential to the DNA of these series, often setting their course in the earliest stages of development. Whether the characters are musicians themselves, professional connoisseurs or just young people overflowing with feeling, music helps viewers understand who they are and what they’re going through. Music supervisors from four of this season’s music-driven series spoke to The Hollywood Reporter about crafting their particular blends of music and storytelling. • THE EDDY Jazz is the heart and soul of Netflix’s…

4 min.
for watchmen, they tapped nine inch nails arsenal

• When Nine Inch Nails frontman Trent Reznor first collaborated with Atticus Ross on the score for David Fincher’s The Social Network, the duo likely didn’t anticipate a prolific career in film — much less an Academy Award for their first joint effort. But in the decade since, the pair have composed scores for Ken Burns’ docuseries The Vietnam War, the upcoming Pixar feature Soul, and three Fincher films including the director’s much-anticipated biopic Mank, about Citizen Kane screenwriter Herman Mankiewicz. While they have alternated between film and their work in Nine Inch Nails (Ross, who has produced the band’s albums since 2005, officially joined the lineup in 2016), they’ve kept a healthy boundary between their film work and their band’s output. For HBO’s Watchmen, however, Reznor and Ross dug deep…

5 min.
‘it was a scene that i feared’

For the ambitious productions in the current golden age of television, it’s not uncommon to see filmmakers crossing over between features and shortform narratives — and that certainly holds true in cinematography. This season’s Emmy contenders include Frederick Elmes, whose credits with longtime collaborator David Lynch include Blue Velvet and who earlier this year received the American Society of Cinematographers’ Lifetime Achievement Award. He’s also a 2017 Emmy winner for The Night Of. Among his fellow Emmy hopefuls are Jeff Cronenweth (son of Blade Runner DP Jordan Cronenweth), a longtime collaborator with David Fincher who earned Oscar nominations for the director’s The Social Network and The Girl With the Dragon Tattoo; and Paul Cameron, a BAFTA winner for Michael Mann’s Collateral (shared with Dion Beebe). Elmes, who lensed the pilot of Amazon’s…

7 min.
more mansions, more problems?

• BIG LITTLE LIES John Paino Paino, who says he sees film and television as mediums to view new worlds and subcultures, was quite intrigued by the opportunity to home in on what “misty, melancholy” Monterey could offer as a setting for HBO’s Big Little Lies. Paino initially likened the series that follows the seemingly perfect lives of upper-class mothers in the quaint California beach town to the soapy Desperate Housewives, but soon saw how creator David E. Kelley and directors Jean-Marc Vallée and Andrea Arnold wanted to create a story that showed “something more than these people living in gorgeous homes.” Paino focused his production design on ensuring that each of the story’s central women — Celeste Wright (Nicole Kidman), Madeline Mackenzie (Reese Witherspoon), Renata Klein (Laura Dern), Bonnie Carlson (Zoë Kravitz)…