Posts Tagged ‘Emmy Awards’

And the Nominees Are…

Thursday, July 19th, 2012

The 2012 Primetime Emmy Award season began today with the official nomination announcement at 8:40 AM EST. Congratulations to all the nominees for the 64th Primetime Emmy Awards!

The Archive of American Television would also like to congratulate our interviewees who were nominated this year:

Mark Burnett for Outstanding Reality Program (Shark Tank) and Outstanding Reality-Competition Program (The Voice)

Kevin Clash for Outstanding Children’s Nonfiction, Reality or Reality-Competition Program, (Sesame Street: Growing Hope Against Hunger)

Robert Dickinson for Outstanding Lighting Design/Lighting Direction For A Variety Special (84th Annual Academy Awards, 54th Annual Grammy Awards)

Michael J. Fox for Outstanding Guest Actor In A Comedy Series (as himself on Curb Your Enthusiasm) and Outstanding Guest Actor In A Drama Series (as “Louis Canning” on The Good Wife)

Vince Gilligan for Outstanding Director in a Drama Series (Breaking Bad) and Outstanding Drama Series (Breaking Bad)

Louis J. Horvitz for Outstanding Directing For A Variety Special (54th Annual Grammy Awards)

Kathryn Joosten for Outstanding Supporting Actress in a Comedy Series, (as “Karen McCluskey” on Desperate Housewives)

Susan Lacy for Outstanding Nonfiction Series (American Masters)

Steven Levitan, Outstanding Directing for a Comedy Series (Modern Family)

Steven Levitan and Christopher Lloyd, Outstanding Comedy Series (Modern Family)

James Lipton for Outstanding Nonfiction Series (Inside the Actors Studio)

Chuck Lorre for Outstanding Comedy Series (Big Bang Theory)

Don Mischer for Outstanding Directing For A Variety Special (84th Annual Academy Awards)

Jonathan Murray for Outstanding Reality-Competition Program (Project Runway)

Sheila Nevins for Outstanding Children’s Nonfiction, Reality or Reality-Competition Program (The Weight of the Nation for Kids), Outstanding Nonfiction Series (The Weight of the Nation), Outstanding Nonfiction Special (Bobby Fischer Against The World, Gloria: In her Own Words), Exceptional Merit In Documentary Filmmaking (Paradise Lost 3: Purgatory)

Hector Ramirez for Outstanding Technical Direction, Camerawork, Video Control For A Series (Dancing With The Stars), Outstanding Technical Direction, Camerawork, Video Control For A Miniseries, Movie Or A Special (54th Annual Grammy Awards, Kennedy Center Honors)

Tim Van Patten for Outstanding Director in a Drama Series (Boardwalk Empire)

Matthew Weiner, Outstanding Writing for a Drama Series (Mad Men, 2 nominations)

Betty White for Outstanding Host For A Reality Or Reality-Competition Program (Betty White’s Off Their Rockers)

View the full list of nominees here and a playlist of clips from nominated Archive interviewees here.

Tune in for the 64th Annual Primetime Emmys on September 23rd at 7e/4p on ABC!

Director/Producer Bob Finkel Dies at 94

Tuesday, May 29th, 2012

The Archive is sad to learn of the death of Bob Finkel, who passed away of age-related complications on April 30, 2012. Finkel produced numerous hits of the 1950s and 1960s, including The Eddie Fisher Show, The Dinah Shore Chevy Show, and The Andy Williams Show, along with multiple broadcasts of The People’s Choice Awards, Oscars, and Emmy Awards. He also produced Elvis: The ‘68 Comeback Special.

Here are some selections from Finkel’s 1997 Archive Interview:

On directing Natalie Wood in Pride of the Family:

There was a scene in which Natalie couldn’t go to the high school graduation, she couldn’t get a date. Paul, her father, ultimately goes with her. When she didn’t get the date she had to look at her father and cry. So we rehearsed that sequence on a couple of occasions, and never did she cry. Normally when you rehearse those things you don’t ask performers to cry, until they get ready. We now got to like the last rehearsal, and I said to Natalie, “I would like to see this scene how it plays, and I want you to cry.” And this little bitty thing looked up to me, and she said, “Mr. Finkel, when I see that camera turn over, then you’ll see my tears.” That’s the way it was. When we rolled the camera, she cried and went all over the floor.

On following key light:

I developed the idea of following the key light. I did my scenes wherever the key light was. “Is this a key light?” I would do every scene where that key light was, so that they didn’t have to re-light the sequence. I would even go very much out of order. I was saving time by following the key light. I did that.

On The Dinah Shore Show:

I must tell you that everybody on the staff had to drive Chevrolets. They gave us Chevrolets. That was the good old days, and each year we got a different one. Because if you were a member of the staff of The Dinah Shore Show, you couldn’t be seen in a Ford. So they gave us the cars; they leased them to us. The format was not unlike the formats that I used in most of these musical variety shows. It was some big production number to get started, and a welcoming from the star, and talking about her guests. Maybe in Dinah’s case, a sketch about a luau in Hawaii, because she was there the last week on a little vacation. The word that we devised for that kind of thing was “true lies.” We based those things on something that happened to her, but then we lied it up a little bit. They were “true lies.”

On the Osmond Brothers first appearance on The Andy Williams Show:

I remember vividly the night that the father of the Osmond Brothers had been pestering us to listen to their barbershop quartet winners: The Osmond Brothers. It was very hard at the end of evening, after you finished taping, to stop and go into another studio and listen to four kids sing “Danny Boy.” Finally the father got to me, and I told Andy, I said, “let’s do this guy a favor and listen to the kids,” which we did. The kids’ barbershop stuff was brilliant, and Andy was terribly impressed. We bought them that evening for, I think three performances. They just became big smash hits. They were so cute. We even had the mother and father on a couple of times. The father played saxophone; the mother sang. They were just endearing. Andy used to sit with them on the stairs in the audience and talk to them. They had these wonderful little faces and they sang so great with him, and they were big hits. Their career just accelerated, and they became big stars.

On winning an Emmy for The Perry Como Show while producing the Emmy broadcast:

I was in the truck, about a block away from the stage. I’m sitting in there, and the guy said, “the outstanding achievement goes to The Perry Como Show. Bob Finkel, producer.”  I couldn’t believe it. I ran out of the truck, and ran down the street to go into the theater. A guy that I knew said, “hi, Bob.” Passing me I said, “I can’t talk to you now, I just won an Emmy Award.” I went into the theater, went up on stage, got my Emmy, took it in my arm, and I started to come back, and the guy was still waiting for me. He said, “I thought you were lying to me. I’ll be dammed. Congratulations.” I said, “I can’t talk to you right now,” and I went back to the truck.

On his Peabody-winning Julie Andrews special:

MCA came to me and said, “you know, there’s a girl we’re bringing over from England that’s been a big hit, by the name of Julie Andrews. We want to do a special with her.” I said, “well I don’t want to do a special with her right away.” I said, “I’ll tell you what we’ll do. We’ll put her on The Andy Williams Show as a guest and let’s see what happens.” Of course she was just as adorable as she always is. She was wonderful. She then went to New York and did “My Fair Lady.” Then we were going to do a special with Julie Andrews, because she proved that she could handle a special. I got a hold of Alan Handley, another legendary name in television. Alan was a producer-director for NBC, and together we designed a show for her. We got Gene Kelly to be on the show.

On Elvis: The ‘68 Comeback Special:

Colonel Parker, Elvis’ manager and mentor, wanted to do a special in order to hype Elvis’ record sales. I was introduced to Elvis at Paramount, and to the Colonel, and we had a great many meetings before it was decided among all of us that I was the guy and that Elvis would do the show. Colonel Parker wanted a concert show, and I didn’t want to do that. I did what now is called The Comeback Special. In order to execute the ideas that I had, which was more or less what I had been doing in musical variety, with the exception there was less talk – there were production numbers and audience participation that Elvis did in that arena situation – in order to accomplish that I hired Steve Binder, who was another up-and-coming creative director, and I gave him producing and directing credit. We formed what became The Elvis Presley Special … Elvis was truly professional. Very, very nice man. Very respectful of a director, respectful of a producer. Expressed his opinion. He never hid his feelings about things, but listened. He was a pleasure to work with.  It was a wonderful, marvelous experience, and we knew that we had a great show. It wasn’t very long into the rehearsal that we knew we had something.

On his friend, Bing Crosby:

Bing was colorblind, but really colorblind. There are different stages of colorblindness. He said to me one time, “do you want to go to the track?” Now most guys when they go to the track they have their driver, they have a car. Bing’s got this old Toyota. Just him in the car and me. We’re driving along, and we come to the stop light. And I said, “Bing, how do you know when to stop?” He said, “Bob, it’s simple. When the top is on that means it’s green, when the bottom is on – no, wait a minute. When the bottom is on… no, when the top, now the middle one…”  I said, “let me out of the car, Bing. If you don’t know which one it is, I don’t want to be driving with you.”  He would get on the stage with a blue sock and a white sock.

Watch Bob Finkel’s Full Archive interview.

The one where “Friends” creators tell their story: Marta Kauffman & David Crane’s interview now online

Wednesday, September 14th, 2011

The writers and co-creators of Friends and Dream On shared their story with the Archive in 2010. The longtime writing partners were interviewed together, and individually about their past and current projects. David Crane was recently nominated for and Emmy for Outstanding Writing for Episodes, which he briefly discusses. Their complete interview is now online at emmytvlegends.org/interviews/people/david-crane-and-marta-kauffman

On the effect Friends had on American pop culture:

“At a certain point the show tells you what it wants, and you know you’re going in a certain direction and you had no idea that this arc would be so powerful and you have to go with it… When you do a show, your intention is not to affect American culture or to have people start wanting to wear their hair like this or dress like that.”

On what Friends means to them:

David Crane on advice to aspiring TV writers, from his solo interview:

On why their writing partnership was successful:

ABOUT THIS INTERVIEW
David Crane and  Marta Kauffman were interviewed for three hours in Burbank, CA. They spoke of how they began writing together, their partnership with Kevin Bright, and the creation of the popular series Friends as well as Dream On and other series and pilots they worked on together. They spoke in great detail about Friends; its development, cast, and writing process. Crane and Kauffman were also interviewed separately, speaking about their early influences as well as more current solo projects. The interview was conducted by Beth Cochran on October 7, 2010.

EMMYTVLEGENDS.ORG Wins Top Honors at 2010 Interactive Media Awards

Thursday, August 12th, 2010

EMMYTVLEGENDS.ORG IMC AwardThe TV Academy Foundation’s Archive of American Television website EMMYTVLEGENDS.ORG has won an Outstanding Achievement in Website Development Award from the Interactive Media Council’s  2010 Interactive Media Awards!

The honor, granted by the Interactive Media Awards, recognizes that the site met and surpassed the standards of excellence that comprise the web’s most professional work. The judging consisted of various criteria, including design, usability, innovation in technical features, standards compliance and content. In order to win this award level, the site had to meet strict guidelines in each area – an achievement only a fraction of sites in the IMA competition earn each year.

To view the online award, visit:

http://www.interactivemediaawards.com/winners/certificate.asp?param=75886&cat=1

About the Interactive Media Awards
The Interactive Media Awards recognize the highest standards of excellence in website design and development and honor individuals and organizations for their outstanding achievement. Sponsored by the Interactive Media Council, Inc., a nonprofit organization of leading web designers, developers, programmers, advertisers and other web-related professionals, the competition seeks to elevate the standards of excellence on the Internet. For more information visit http://www.interactivemediaawards.com.

62nd Primetime Emmy Noms Announced Today

Thursday, July 8th, 2010

With the 62nd Primetime Emmy Nominations, the Archive of American Television congratulates all of the nominees, including our interviewees:
Paris Barclay (comedy series direction, Glee)
Ken Burns (producer nonfiction series, National Parks: America’s Best Idea)
Kevin Clash (producer children’s nonfiction program, When Families Grieve)
Robert A. Dickinson (lighting direction, 82nd Annual Academy Awards)
Dick Ebersol (exec producer special class programs, Vancouver Olympics Opening Ceremony)
Sharon Gless (supporting actress drama series, Burn Notice)
Louis J. Horvitz (variety special direction, The Kennedy Center Honors)
Shirley Jones (guest actress drama series, The Cleaner)
Susan Lacy (exec producer nonfiction series, American Masters)
Christopher Lloyd (producer/writer comedy series, Modern Family)
Sheila Nevins (producer nonfiction special, Teddy: In His Own Words & exceptional merit filmmaking Sergio)
Tim Van Patten (miniseries direction, The Pacific)
Betty White (guest actress comedy series, Saturday Night Live)
Dick Wolf (producer nonfiction series, American Masters)

Special note: With 126 total series nominations, Saturday Night Live has now become the most-nominated series of all-time.

Watch the Emmy Awards Sunday, August 29 on NBC!