Magazine article Variety

Artisans Made These Shows Shine Bright

Magazine article Variety

Artisans Made These Shows Shine Bright

Article excerpt

THIS YEAR, ll shows were nominated for five or more Creative Arts Emmys in the major craft categories. Variety asked a team of writers to profile a key aspect of the below-the-line work on each program that is likely to help it gain votes as the awards shows approach. Emmy categories have become so numerous that the 2016 Creative Arts Emmys will include two ceremonies, one on Sept. 10 and another on Sept. ll. Both will take place at the Microsoft Theater in Los Angeles.

Game of Thrones (1)

HBO (12 nominations)

"Game of Thrones" has built a sprawling fantasy world that seems every bit as real as our own, and that verisimilitude is thanks in large part to the giants, White Walkers, and Children of the Forest that inhabit Westerns and its environs, all brought to life by prosthetics supervisor Barrie Gower and his team."Our biggest challenge was 'The Door,' which was probably about 80%-90% of our build for the season," Gower says of the Emmy-nominated episode. In addition to the White Walkers and zombie-like wights,"which were all at different degrees of decomposition," the prosthetics for the six Children of the Forest took six weeks each to complete. The makeup department collaborates with the visual effects team, Gower notes. The wights call for a combination of practical makeups, "slight digital augmentation, [where] the vfx department will take away part of the skull or ribcage," and a more vfx-heavy process in which actors wear "makeups that are pre-glued onto green lycra suits, so that visual effects can replicate and key out all the green and animate these skeletal characters."

- Laura Prudom

Fargo (2)

FX (9 noms)

Capturing the style of Joel and Ethan Coen's classic film "Fargo" for the small screen was tricky enough; creating a fresh, period-appropriate look for season two had additional challenges. To achieve an authentic late '70s visual, cinematographer Dana Gonzales used photographer William Eggleston's images of the era as a benchmark for color and tone."I only used the color of light from that era, like sodium vapor, wann tungsten, and small bits of fluorescent accents so the audience that was alive at that time would remember this is what it looked like." He also used some period equipment. "The last bit of tone I used to create this world was vintage lenses from the '60s - rehoused Cooke Speed Panhcros from my vendor Keslow Camera. I really wanted 'Fargo' season two to look like the films of the '70s. I truly believe all these details help season two transport the audience into another time."

- Paula Hendrickson

The People v. O.J. Simpson: American Crime Story (3)

FX (8 noms)

As he was helping to re-create the most documented court case of our time, "The People v. O.J. Simpson" hair department head Chris Clark was determined not to make his contribution to the limited series look "hokeyr'This is hard when practically an entire episode was devoted to prosecutor Marcia Clark's (Sarah Paulson) hair. "It was a tragic hairstyle and we had to play on how bad she felt about it," he says of those infamous tight curls."You see that moment when she walks into that courtroom and everyone sees the haircut and how heartbreaking it was for her. In a small way, we felt that was a success because we helped convey that awful moment for her through this awful haircut." Among the other famous follicles Clark had to re-create was the skunk tail of gray in the center of defense attorney Robert Kardashian's (played by David Schwimmer) head. "I had the world's tiniest wig made that lived right at [Schwimmer's] hair line," Clark says.

- Whitney Friedlander

Grease: Live 4)

Fox (7 noms)

Upon reading the script for Fox's "Grease: Live," Tony-winning costume designer William Ivey Long knew immediately why he had been hired to re-imagine all the poodle skirts, leather jackets and pedal pushers made famous by Albert Wolsky's designs for the 1978 movie: Keke Palmer's rapid costume change from a teenage girl primping in her PJ's at a slumber party to a va-va-voom USO singer slinking around in a red sequin dress for the number "Freddy My Love. …

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