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Archive for the ‘awards’ Category

Sentinel Awards to Honor Entertainment That Gives Voice to Topics of Health and Climate Change

sentinal By Armine Kourouyan Writers and producers are now eligible to submit entries for the annual Sentinel Awards, which since 1999 have honored TV shows and movies that inform, educate and motivate viewers to make choices for healthier and safer lives.

The awards are sponsored by the Centers for Disease Control and Prevention and presented by Hollywood, Health & Society, a program of the USC Annenberg Norman Lear Center.

This year, storylines will be recognized in the following categories: Drama, Comedy, Serial Drama, Climate Change, Reality/Talk/Documentary, Children’s Programming and Spanish-language.

“TV writers and producers not only entertain audiences, but they affect them as well,” said Martin Kaplan, director of The Norman Lear Center. “We know this both from our research, and from stories that viewers tell. This award recognizes the responsible and creative use of that power by television writers and producers.”

Kate Folb, director of Hollywood, Health & Society, added that “writers know that accurate and realistic portrayals make for more compelling stories. They contact us because they know we will provide them with information and access to credible experts—fast and for free. We work with dozens of shows across all genres, networks and cable channels on just about any health or climate change topic you can imagine.”

The 2014 winners will be selected through two rounds of judging. Subject matter experts from the CDC and other partner organizations will review entries for accuracy. Judges from entertainment and public health organizations will review finalists in each category for entertainment value and benefit to the viewing audience to determine the winners. The deadline for this year’s entries is May 30, and information for applicants can be found at http://bit.ly/1jNSRfM.

Last year, the Lifetime movie Call Me Crazy: A Five Film received first place in the Primetime Drama (Major Storyline) category for its portrayals of people dealing with mental illness. The ABC hit series Grey’s Anatomy won in the Primetime Drama (Minor Storyline) category for an episode involving a homeless patient whose drinking obscures a serious condition. Enlightened, a TV series on HBO, won in the Primetime Comedy category for a storyline on alcoholism and rehabilitation, and Doc McStuffins on the Disney Junior channel won in the Children’s programming category on the topic of sun exposure.

The first place award for Daytime Drama went to Days of Our Lives for a storyline on Alzheimer’s, and the HBO movie Mary and Martha took top honors in the Global Health category for its story about two women who turn their personal grief into a call for action against malaria in Africa. Real Time with Bill Maher (HBO) won in the Climate Change category for a compilation of the show’s interviews on global warming. Real Sports with Bryant Gumbel (HBO) was the inaugural winner in a new Sentinel category, Reality, for the topic of posttraumatic stress disorder.

Funded by the CDC, The California Endowment, the Bill & Melinda Gates Foundation, ClimateWorks, the Grantham Foundation, the Skoll Global Threats Fund, the Barr Foundation and the Energy Foundation, Hollywood, Health & Society provides entertainment industry professionals with accurate and timely information for storylines dealing with health and climate change through consultations and briefings with experts. Based at The Norman Lear Center, HH&S is a one-stop shop for writers, producers and others in search of credible information on public health and climate change topics. For more information about resources for writers, go to www.usc.edu/hhs.

The Norman Lear Center is a multidisciplinary research and public policy center studying and shaping the impact of entertainment and media on society. From its base in the Annenberg School for Communication and Journalism, the Lear Center builds bridges between faculty who study aspects of entertainment, media and culture. Beyond campus, it bridges the gap between entertainment industry and academia, and between them and the public. For more information, visit www.learcenter.org.

Located in Los Angeles at the University of Southern California, the Annenberg School for Communication and Journalism is among the nation’s leading institutions devoted to the study of journalism and communication, and their impact on politics, culture and society. With an enrollment of more than 2,000 graduate and undergraduate students (as of Fall 2011), USC Annenberg offers bachelor’s, master’s and doctoral degrees in journalism, communication, public diplomacy and public relations. For more information, visit www.annenberg.usc.edu.

Interview: Beau Willimon, ‘House of Cards’

beau_headshot_(2) copyThe debut season of House of Cards (Netflix) was political drama at its best. Now, viewers are waiting to see what House of Cards’ writing staff concocts for Francis and Claire Underwood in the show’s highly anticipated second season, which goes live on February 14th. (Watch the season 2 trailer here).

House of Cards is nominated for “Drama Series,” “New Series,” and “Episodic Drama” at the 2014 Writers Guild Awards. Tickets for the February 1st Writers Guild Awards New York Ceremony are available here.

The WGAE Write On Blog interviewed House of Cards creator and writer Beau Willimon, who will also be a presenter at the 2014 Writers Guild Awards New York Ceremony. Here’s what he had to say:

Congratulations on House of Cards being nominated for multiple Writers Guild Awards. One of the awards you’re up for is “Episodic Drama” for the show’s first episode. Do you mind telling me a bit about your writing process?

The most important part is hiring a bunch of wildly talented writers!  I have a great staff – brilliant minds and tireless workers.  We spend 6 weeks breaking the season grid – all of the major story-lines and how they will progress over the course of 13 episodes.  Then we shift to breaking and writing individual episodes.  We’ll spend about 2 weeks breaking an episode, culminating in an outline.  If I’m not writing the episode myself, I’ll assign it to one of my writers.  They’ll have a couple weeks to write a first draft, then I’ll give notes.  They get an additional week for rewrites, then I take over and give every script my pass.  We repeat this process in a rolling fashion, beginning to break the next episode as soon as a writer heads off to write the previous one.

It takes us about 8 months total to write a season, so there’s some overlap with production.  Often we’ll make big changes to the grid along the way, or come up with a better idea for a script several weeks after it’s been written – so there is a constant ongoing revision process.  And that continues right up until the table read and even rehearsals.

I’m a strong believer in getting the actors’ and director’s input.  Listening to their thoughts and answering their questions usually makes a script better.  And I want them to feel as much ownership over the story as we do.  At its heart, making television is a deeply collaborative process – from the writer’s room to set and eventually the editing bay.  Ultimately I have to make the decisions, but the more I can involve everyone, the better chance we have of achieving sophistication and subtlety.

In addition to being a nominee, you’ll also be a presenter at the New York Ceremony. What do you think makes a good awards show presenter?

Excellent posture, clear enunciation and sparkling eyes.  The first two I was supposed to learn in elementary school, but I was more interested in beating Super Mario Bros. For the third I’m hoping there’s VFX in post.

What propelled you to make the move from working in politics to writing about politics?

I was always a writer – before, during and after I worked in politics.  It wasn’t as though I moved from one field to another. Political campaigns were never really a career for me. I worked for candidates I believed in, because I honestly wanted to see them get elected.  But it wasn’t my vocation.  It was sporadic – intense periods where I’d disappear from my everyday life for a few months and work around the clock until Election Day.  I was drawn to the pace and energy, the adrenalin, and the thought that – in my own small way – I could make a difference.

A lot of people think I’m cynical about politics because of Ides of March and House of Cards – but the opposite is true.  I’m very optimistic about what government can accomplish when it’s populated by the right people and working well.  I just temper that optimism with a good dose of realism – the fact that power can often corrupt and leadership often requires people to have a flexible moral spectrum in order to be effective.

What do you think the best piece of dialogue Francis Underwood has spoken on the show?

I’ve always been fond of “The nature of promises is that they remain immune to changing circumstances.”  One of the more amusing lines is “I despise children.  There – I said it.”  And another one of my favorites is one that Francis didn’t come up with, but which he quotes, stealing from Oscar Wilde: “A wise man once said: ‘Everything in the world is about sex, except sex; sex is about power.”

Many politicians make cameos in movies and television shows. What show do you think Francis would make a cameo on?

I’d love to see him make a cameo on VEEP.  VEEP is such a well-written, well-acted, viciously funny and satirical sharp show.  And it would be a blast to see Frank go head to head with V.P. Meyer.

Whose writing – or what films/shows – grabbed your attention in 2013?

I loved The Top of the Lake.  The commune story-line especially grabbed me.  It’s so original.  Of course Vince Gilligan and Breaking Bad never ceases to amaze.  What a glorious final season.  American Hustle was pure brilliance.  But what blew me away more than anything in 2013 was Vinterberg’s The Hunt.  The writing, acting and direction were so compact and gut-wrenching – not a single frame wasted.  It’s as close to a perfect movie as I’ve seen since Donnersmarck’s The Lives of Others.

If you could write a scene for any fictional film or television character throughout history, who would it be?

I think it would have to be Falstaff.  500 years later we’re all still grasping to touch the wonderfully impossible high bars Shakespeare set in both comedy and drama.  And Falstaff is his greatest creation.  He a mixture of humor and heartbreak, largeness and smallness, the prosaic and poetic – everything that The Bard did so well.  Falstaff is an entire universe – the best and worst of humanity with all the complexity in between.

In terms of more modern characters, I’d have to say Al Swearengen from Milch’s Deadwood, Bubbles from Simon’s The Wire, and GJ from Campion & Lee’s Top of the Lake, because she’s such a compelling, delicious freaky enigma.

Interview: Gary Lennon, ‘Orange Is The New Black’

gary lennonA smart, dark comedy set in a women’s prison that features a magnificent ensemble cast? Count us among the millions of people who binge watched Orange is The New Black (Netflix) and absolutely loved it.

Orange is nominated for “Comedy Series,” “New Series,” and “Episodic Comedy” at the 2014 Writers Guild Awards. Tickets for the February 1st Writers Guild Awards New York Ceremony are available here.

The WGAE Write On Blog interviewed Gary Lennon, a supervising producer and writer for Orange. Here’s what he had to say:

Congratulations on Orange is The New Black being nominated for “Comedy Series” and “New Series” at the 2014 Writers Guild Awards. Can you talk a bit about the writing process for the show and how you personally like to work?

The writing process for the show was fun. We all sat around the writer’s room and told crazy stories, often personal ones and plenty of them wound up in the first season of the show. Jenji was wide open and receptive to bold and innovative stories. She assembled a group of writers who were outside the box, sort of from the island of broken toys and that led to plenty of strange personal storytelling and laughter and sometimes tears. Once a story area code was decided upon, then we all set around and broke the story together and then finally an episode was given to one writer to write, but ALL of the episodes were designed by the entire writing staff.

My favorite way of working on an episode is to talk about a theme and then riff on that theme and our characters and develop a story where our characters can live truthfully under imaginary circumstances. I know that I have had a good week in the writer’s room if I leave on Friday and know something new about one of my co-workers that I never knew before and it should be juicy.

What piece of dialogue/scene from the first season is your personal favorite?

My personal favorite scene in the first season of Orange is The New Black is the scene between Miss Claudette and Piper in Episode 4, where Piper defends herself for the first time to her new roommate, Miss Claudette.

It’s the ‘cut me some slack’ speech that Piper delivers to Claudette. I like that scene because it really shows Piper’s growth as a character, it moves the plot forward, reveals character and it was funny and emotional. I think it was one of the first turning points for Piper and earned her some well-deserved respect. I felt like it was her first big step in not being a tourist in prison anymore, but in fact, she was going native.

If you were to go out with any of the characters, who would it be and why? What do you imagine the topics of conversation would be?

If I were to go out to dinner with one of the characters from Orange, I’d want it to be Taystee.

Taystee would make me laugh and  would want to talk about sex, food and good times which are three of my favorite subjects and I feel like we would have some friends in common and then she would want to go dance all night long and maybe not sleep at all.

Without giving anything away, what can viewers expect from the upcoming second season?

I assume season 2 will be more laughs, more flashbacks and more surprises.

Whose writing – or what films/shows – grabbed your attention in 2013?

My favorite TV show and writers of 2013 are Vince Gilligan/Breaking Bad, Henry Bromell/Homeland, Glenn Mazara/Walking Dead  and Howard Korder and Terrance Winter/Boardwalk Empire…..ohhhh, and Julian Fellowes/Downton Abbey. I love me some Downton!

Fave 2013 Films – 12 Years A Slave/John Ridley, Her/Spike Jonze, Blue Jasmine/Woody Allen.

If you could write a scene for any fictional character throughout history, who would it be?

I’d want to write for Oliver Twist – I’d like to see the man he’d become. Or Terry Malloy from On The Waterfront.

Interview: Joe Weisberg & Joel Fields, ‘The Americans’

TheAmericans1The Americans (FX) is a Reagan-era drama that follows two undercover KGB officers, brilliantly portrayed by Keri Russell and Matthew Rhys, as they infiltrate Washington, D.C. By day, the couple lives a fairly innocuous suburban life. At night, they will do anything – ANYTHING! – to gather intel for their homeland.

The Americans is nominated for “New Series” at the 2014 Writers Guild Awards. Tickets for the February 1st Writers Guild Awards New York Ceremony are available here.

The WGAE Write On Blog interviewed the show’s creator and executive producer Joe Weisberg and executive producer  Joel Fields. Here’s what they had to say:

Congratulations on The Americans being nominated for “New Series” at the 2014 Writers Guild Awards. Can you talk a bit about the writing process for the show and how you personally like to work?

We spend a lot of time taking walks and talking about character and theme before we break story… then we walk more as we talk about story. The colder it gets, the faster we walk and the more motivated we are. Fortunately we work on the East Coast… otherwise there might not be a show. We and our writing staff rely heavily on our network and the other producers we work with who are great creative partners for us and often provide perspective that helps us see the work in new ways. We try to have every script be both an expression of the individual writer’s passion and voice while at the same time having the entire staff weigh in and provide creative support and insight.

What piece of dialogue/scene from the first season is your personal favorite?

JOEL: Elizabeth beating the shit out of Claudia actually brought us to our feet in the editing room, chanting, “KGB! KGB! KGB!”… but the real moment that resonates from that sequence is the scene after, where Philip and Elizabeth walk out of the safe house and confront the cracks in their relationship, and the meaning of trust, love and betrayal.
JOE: Gregory leaving the safe house after refusing to be exfiltrated to Moscow, and then Philip and Elizabeth going to their separate cars, acknowledging each other’s decency in the middle of their painful separation.

What are the key things you need to remind yourself when you’re writing scenes with Elizabeth and Philip?

That’s easy: they are not self-aware or articulate. They feel strongly, but aren’t necessarily in touch with their feelings, so often they have to be expressed in unconscious, non-linear ways.

Season 2 of The Americans debuts on February 26th. What can you tell us?

In Season One, we struggled a lot as we figured out what the show was. This season we started in a very clear place and, for better or worse, we’ve followed that singular path all season. We hope you like it!

Whose writing – or what films/shows – grabbed your attention in 2013?

We’ve been so busy with the show that there is a lot waiting for us to watch after wrap! That said… Joel binged on Breaking Bad, we both loved Game of Thrones. We both watch and love Justified. Joel watched every episode of Masters of Sex and loves escaping into The Mindy Project. Joe has been watching Veep and an Israeli show called Srugim. Joe loved Saving Mr. Banks, which Joel can’t wait to see during hiatus. We both loved Captain Philips and Her. Billy Ray: would you like to write an episode? Spike Jonze?

If you could write a scene for any fictional film or television character throughout history, who would it be?

JOE: NYPD Blue.
JOEL: HILL STREET BLUES… Joel gets to call Steven Bochco for advice from time to time, for which he is eternally grateful!