Emmys: THR Chats With the Winners Backstage

21 Sep 2015 | Author: | No comments yet »

Big Emmy wins for ‘Olive Kitteridge,’ ‘Transparent,’ ‘Veep’.

LOS ANGELES (AP) — “Transparent” emerged as an early winner at Sunday’s Emmy Awards, capturing a best comedy actor trophy for Jeffrey Tambor and a directing award for its creator, and giving both winners a chance to pay tribute to the show’s trangender themes. “I’d like to dedicate my performance and this award to the transgender community. … After winning a Golden Globe for his work on Transparent, it’s no surprise that Jeffrey Tambor also took home an Emmy for Lead Actor in a Comedy Series for playing Maura Pfefferman on the hit Amazon show.

Jill Soloway, who based the series on the life of her own “moppa,” as she calls her parent, used her directing trophy acceptance speech to ask for equal rights for transgender individuals. Anna Chlumsky arrives at the 67th Primetime Emmy Awards on Sunday, Sept. 20, 2015, at the Microsoft Theater in Los Angeles. (Photo by Jordan Strauss/Invision/AP) (Jordan Strauss/Jordan Strauss/Invision/AP) “It is legal in the majority of U.S. states to refuse to rent to trans people,” she said, saying the country has a civil rights problem that must be addressed. He thanked a long list of people, including the “Veep” writing team of Simon Blackwell, Armando Iannucci and Tony Roche, who’d just accepted their first Emmy for their category. “They make it possible to do what we do, and I am so thankful,” Hale said.

Allison Janney of “Mom” and Tony Hale of “Veep” were repeat winners for supporting comedy acting honors. “Olive Kitteridge,” based on the Pulitzer Prize-winning novel by Elizabeth Strout, nearly swept the limited series categories, with six trophies including the top award and lead acting honors for Frances McDormand and Richard Jenkins and a supporting award for Bill Murray. After its final season with Jon Stewart as host, “The Daily Show” won Emmys for best series, best writing and best direction in variety-series categories. It’s won 60 total Emmys to date, including 10 straight in the best variety-series category from 2003-2012, and Stewart seemed to apologize for his frequent acceptance speeches. “These people I love desperately,” Stewart said after accepting the best variety series Emmy. “I will never work of people like this. … Thank you very much.

Martin, whose novels are the basis for “Game of Thrones.” A smiling Martin was in the theater audience to accept the congratulations. “So many shows, so little,” he sang, before entering a “TV viewing bunker” to binge-view on all the nominated shows. With the help of cameos by fellow actors Jon Hamm, Kerry Washington and Will Forte, Andy Samberg opened the show with a taped musical segment that showed him watching “every show” from a TV bunker. It’s too bad that Tambor’s classy speech came after an awkward, bordering on rude “bit” from presenter Jimmy Kimmel, who committed the ultimate award presenter mistake of thinking that people were there to focus on him. Having cut the name of the winner off the announcement card and chewed it up—it really isn’t worth my explaining why—he noted that he could name any of the nominees as the winner, then he pointed out that no woman has ever won a best actor Emmy and mumbled something about “not a man, not a woman.” As Tambor’s name was finally called, the actor seemed a tad miffed.

It may have a tougher time Sunday, as it faces off in the drama series category against “Better Call Saul,” “Downton Abbey,” “Mad Men,” “Orange Is the New Black,” “Homeland” and “House of Cards.” In addition to “Parks and Recreation,” the comedy series category includes “Louie,” “Modern Family,” “Silicon Valley,” “Transparent,” “Unbreakable Kimmy Schmidt” and “Veep.” Making a last stand are star Hamm, whose portrayal of troubled ad man Don Draper has been nominated for each of the drama’s eight seasons, along with best actress nominee Elisabeth Moss and supporting actress contender Christina Hendricks. After thanking her own trans parent, she noted that her moppa’s application to rent an apartment could be denied in many states simply because she is trans.

When it comes to ratings, Fox is counting on more than the audience’s love of TV as the attraction. “Fox NFL Sunday” is broadcasting from the red carpet and the Philadelphia Eagles-Dallas Cowboys telecast precedes the awards.

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Finding the ‘Joy’ in Jennifer Lawrence

20 Jan 2016 | Author: | No comments yet »

‘Joy’ review: Jennifer Lawrence cleans up in enjoyable biopic.

Writer-director David O. Their latest collaboration — following in the footsteps of Silver Linings Playbook and American Hustle — is a biographical picture about the life and times of Joy Mangano.Jennifer Lawrence groans when she’s asked about singing the classic Nancy and Frank Sinatra duet Something Stupid with co-star Edgar Ramirez in her new film Joy. “David [O Russell, the movie’s director] texted me last night to ask if he could put it on the soundtrack and this is what I texted him back,” the actor says as she digs around for her mobile phone and reads out her response verbatim. “‘David, no!!!’ and it is three exclamation marks.In a very abbreviated nutshell, that actually happened to Joy Mangano, 59, the fabulously successful Long Island entrepreneur/inventor and HSN pitchwoman whose rags-to-riches journey started with the invention of a mop.

Russell has made three kinds of movies: offbeat romances (“Flirting With Disaster”), surreal comedies (“I Heart Huckabees”) and dramas about dysfunctional yet appealing families (“The Fighter”). In real life, Mangano is the Long Island housewife and inventor who became famous and eventually rich after bouts of near-bankruptcy, by creating and marketing her Miracle Mop. Out Boxing Day in Australia, the film stars Jennifer Lawrence in the fictionalised life story of Joy Mangano, a single mum from Long Island who made her fortune selling a mop. On Christmas Day, “Joy,” a movie inspired by her struggles as a divorced, single mother turned mogul by way of that mop, will open at movie theaters across America.

This was before she hooked up with the giant Home Shopping Network, becoming their most effective pitch person and eventually selling her parent company, Ingenious Designs, to HSN. Gross, I can’t listen to it; I have to go to bed.’ And I said yes, but it’s a groaning, reluctant yes.” It’s the kind of unfiltered moment you come to expect when interviewing Lawrence, who may now be one of the most famous actors on the planet but still blurts out whatever she’s thinking with such self-deprecating charm it’s impossible not to be, well, charmed.

Jennifer Lawrence’s performance as Miracle Mop inventor and QVC pitchwoman Joy Mangano glues the movie together, but it threatens to unravel at any time. Lawrence, 25, looks genuinely surprised when complimented about how unchanged she seems from our earlier interviews before the fame and Oscars. “But there would be no reason to change,” she says with a shrug. “I just have a job and I love my job. In the film, Lawrence’s Mangano is a colourful character, a single mom with a unique relationship and friendship with her ex-husband, and an enterprising woman who parlays her creativity into an incredibly successful business.

Mom (Virginia Madsen) stays in her bedroom and watches soap operas, until she falls for a Haitian plumber (Jimmy Jean-Louis) who fixes a hole in her bedroom floor. She landed minor roles on TV shows such as Monk, Cold Case and Medium before her 2010 indie film Winter’s Bone led to her becoming the second youngest best actress Oscar nominee in history. This is true even when the film tilts off its rocker with a bit of Russell-esque madness built into the screenplay, and with the director failing to always keep the energy going. That resulted in not only a string of critically acclaimed films, an Academy Award and another Oscar nomination, but also her very own mega-franchise as Katniss Everdeen in The Hunger Games.

Joy’s grandma (endearing Diane Ladd) delivers messages of empowerment and smooths over constant fights, but she’s opposed by the money-grubbing rich woman (Isabella Rossellini) who dates Joy’s dad and sends negative messages about her. Lawrence’s endearing habit of speaking her mind resulted in a controversial essay she penned on Lena Dunham’s website about her discovery during the Sony hacks that she was being paid less “than the lucky people with dicks” on her recent films, including American Hustle. “I completely understand when people say actors shouldn’t talk about politics and things they don’t know about, but this was my gender at stake and it was being threatened with unfairness and I thought, ‘What is the point of having this voice if it’s not to speak out for myself and for everyone else who can’t?’,” she says unapologetically.

Upon learning that Lawrence would be playing her mom, Miranne says, “I braced myself so I wouldn’t fall on the floor.” As for Mangano, she says Lawrence playing her “made me feel old, number one. Lawrence hangs out with a posse of celebrity girlfriends, including Amy Schumer and singer Adele, but the reason is simple. “The friendship gets expedited a lot when you meet someone you know beyond a shadow of a doubt has no agenda,” she says. Draining her savings and taking out loans, she started off small, selling her mops to local boat owners. “She persuaded QVC to take a thousand, but sales were poor and they tried to send them back,” says Mason. “She suggested letting her demonstrate it herself, and the channel agreed.” Sales skyrocketed and Mangano’s career as a QVC pitch woman was launched. That’s so amazing there aren’t even words.” Mangano and her three children didn’t view “Joy” until the Dec. 13 premiere in Manhattan, though a family outing to see “Trainwreck” included a trailer.

This is, after all, the self-confessed reality-show junkie who confessed in a recent Vogue interview that on the night of her 25th birthday party, friends surprised her with a visit from reality queen Kris Jenner, who presented her with a cake inscribed, ‘Happy Birthday, you piece of shit!’ The only time she seems tongue-tied is when asked about her relationship status, after a four-year stint with X-Men: First Class co-star Nicholas Hoult and a year with Coldplay singer Chris Martin before their breakup earlier this year. “Next!” Lawrence says in a no-nonsense voice, pausing as she decides if she’ll continue that thought. For one thing, Mangano’s childhood is not that interesting for a film, despite some flashbacks to her as a youngster (when she is played by 10-year-old Isabella Cramp, who does actually look like we imagine Lawrence could have at the same age). A satire on the acquisitiveness of the public? (Here, QVC foists unnecessary things on gullible viewers who could better save their money.) Russell doesn’t seem to know. And, of course, the grave ending would be a lie: Mangano is very much alive at the age of 59, still inventing, still pitching products, still a superstar of the American home shopping universe. There’s the Clothes It All luggage system, essentially a rolling suitcase with a removable garment bag, and the Super Chic vacuum, which releases fragrance into the air.

If I even casually say something to a reporter, that quote haunts me for the rest of my life,” she says, “so I am never, ever, ever talking about boys again!” I don’t think any of us brought enough tissues!” A good portion of the film was shot last winter in Boston, and though the always-busy Mangano was twice scheduled to visit the set, snowstorms made travel impossible. He has mixed genres successfully before, as in the anti-war comedy-drama “Three Kings,” but the blender often grinds to a halt in “Joy.” Just as we’re getting used to the realism of Mangano’s fight for respect, Russell photographs Rossellini as if she were a gargoyle.

One of her creations, the thin and velvet-covered Huggable Hanger, remains a bestseller for HSN, at more than 300 million sold, and was endorsed by Oprah Winfrey. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lay back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown.

He had a presence all of his own.” At one point, Miranne says, “Jennifer grabbed Joy’s hand and said to David, ‘Look at the nails, a French manicure.’ ” (That manicure is a Mangano signature.) Lawrence revealed that in studying for her part as Joy, she watched recordings of the inventor’s early pitches on HSN, including ones for “Huggable Hangers” and found her so compelling that she wanted to buy them on the spot. There is something special when creative people get together.” Mangano’s take on Lawrence? “She’s beyond her years, so brilliant, hysterical and so talented.

Critically, Russell’s sense of wonder and beauty turns elegiac moments — especially when Joy Mangano becomes fully realized as a woman and as a business executive — into scenes of great beauty. Lawrence recently said on “The Tonight Show With Jimmy Fallon” that the movie was “half Joy Mangano’s story and half [Russell’s] imagination and other powerful, strong women who inspired him.” The director mined much of his Mangano material by phone.

The cast includes Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Susan Lucci (in a mock TV soap opera that gives Joy some of its silliness) and even Melissa Rivers as her late mother Joan Rivers. There’s no situation Joy cannot overcome or circumvent.” At a Newsday photo shoot at Mangano’s luxurious but serene 42,000-square-foot mansion on 11 acres in St. As for parting advice for the ambitious? “If this movie inspires even just one more person to believe in themselves and to go after their dreams, then it’s made a very special impact in this world.

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