Darren Criss: Millennials Want One Thing At A Piano Bar – FULL INTERVIEW (August 9th, 2018)
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Judith Light on ‘The Assassination of Gianni Versace: American Crime Story’
Judith Light, who earned an Emmy nod for her work in Ryan Murphy’s limited series, opens up about the importance of women speaking out, her LGBTQ advocacy work, and the future of “Transparent.” | 10 August 2018
LOS ANGELES, CA – JULY 30: Actress Judith Light visits ‘The IMDb Show’ on July 30th, 2018 in Los Angeles, California. This episode of ‘The IMDb Show’ airs on August 9th, 2018. (Photo by Rich Polk/Getty Images for IMDb)
Emmy-Nominated Director, DP, Designer, Editor, VFX, Composer, Costumer POVs
The Assassination of Gianni Versace: American Crime Story
The Assassination of Gianni Versace: American Crime Story (FX) tallied 18 Emmy nominations, the most of any limited series this year. Spread across 13 categories, the noms include three in the Outstanding Single-Camera Picture Editing for a Limited Series or Movie category: Editors Chi-Yoon Chung for the “Manhunt” episode, Emily Greene for “Alone,” and Shelly Westerman for “House By The Lake.”SHOOT caught up with Greene and Westerman who reflected on their respective episodes and the honor of being first-time Emmy nominees. (This is Chung’s second career nomination; she won the Emmy in 2016 for “The Race Card” episode of The People vs. O.J. Simpson: American Crime Story.)
Emmy-Nominated Director, DP, Designer, Editor, VFX, Composer, Costumer POVs
How “American Crime Story” Star Judith Light Barely Held It Together to Get an Emmy Nom
Judith Light reveals the challenges of her restrained role in “American Crime Story.” | 9 August 2018

Emmys: Limited Series Makeup Artisans Honor History on the Small Screen
The Assassination of Gianni Versace: American Crime Story
FX
The crowning achievement for Eryn Krueger Mekash and her team was turning Edgar Ramirez into the legendary, titular designer. “To make him look even more like Gianni, his lip shape was changed, his nose shape was changed, and that was all done with highlight and shadow,” she says. While the pressure of recreating some of the most iconic figures of the ’90s was a challenge, some tasks were lighterhearted than others. “Robyn Beauchesne, who was the department head with me, covered all of Ricky Martin’s tattoos. He had tons of them and he was always shirtless or in a Speedo, so we all pitched in,” laughs Mekash. “That was really fun.”
Finn Wittrock ‘The Assassination of Gianni Versace’ | Meet Your Emmy Nominee
Emmy nominee Finn Wittrock joins THR to talk about his nom for Outstanding Supporting Actor in a Limited Series or Movie for ‘The Assassination of Gianni Versace.’ | 9 August 2018
Maya Hawke, Ari’el Stachel, and 7 More Stars to Know Now
Cody Fern, Actor
Hometown: Southern Cross, Australia
Age: 30
You Know Him As: David Madson in American Crime Story: The Assassination of Gianni Versace (FX).
Breakthrough Roles: An undisclosed role in the final season of House of Cards (Netflix).
Role Models: “The divas of the daytime movies: Cher, Bette Davis, Meryl Streep, Cate Blanchett. I saw these women on my television as very antithetical to the culture I was growing up in.”
On Storytelling: “I think people have reached a point of gender-stereotype exhaustion. People are waking up. They no longer want to switch off; they actually want to get to the heart of the problem.”
Mantra: “Do it your way, as long as you’re true to it and own every aspect.”
From ‘The Crown’ to ‘Black-ish’: Costume Designers Dissect How They Curate the Perfect Looks
Lou Eyrich
‘The Assassination of Gianni Versace: American Crime Story’ (FX)Eyrich has been collaborating with Ryan Murphy for decades, since his early Glee days — from Jane Lynch’s iconic tracksuit look on that show to Lily Rabe’s demonic nun getup on American Horror Story: Asylum. And now, Eyrich has her eighth Emmy nomination (she’s won two twice) for her work re-creating the designs of a fashion empire on The Assassination of Gianni Versace, which chronicles the weeks leading to the 1997 murder of the iconic designer.
“We scoured the internet for weeks and weeks,” Eyrich says of her early research. Despite a tight budget, her crew built the looks using a combination of vintage Versace and custom-made pieces. However, her favorite look from the nominated episode, “The Man Who Would Be Vogue,” is not based on an outfit that Versace wore or designed at all.
“Ryan Murphy, who is very hands-on with costumes, said that he would love it if we could make some kind of a pink and gold robe,” she says of the wrap that Versace (Edgar Ramirez) dons at the beginning of the episode. “So, a tailor custom made it. When we came to shoot the scene at the casa in Miami, we had him in the black T-shirt and white shorts that he eventually gets [killed] in, and Ryan called me and said, ‘Do you have that pink robe?’ ”
Perhaps the robe was meant to add some color to an otherwise bleak day. Or maybe Murphy just likes pink.
“I do not know why pink,” Eyrich admits. “That’s just something that Ryan came up with, and I always follow his instincts. They’re always spot-on.”
From ‘The Crown’ to ‘Black-ish’: Costume Designers Dissect How They Curate the Perfect Looks
Penelope Cruz Calls ‘American Crime Story’ Role Her ‘Personal Homage to Donatella and Gianni’
Before Penelope Cruz signed on for Season 2 of Ryan Murphy’s American Crime Story, there was one person she had to call.
“I called [Donatella Versace], and I said, ‘I need to know how you feel about me doing this.’ I knew Ryan wanted to portray her in a very respectful way. She told me that she was not involved with the show, but if somebody was going to play her, she was happy it was me.”
Cruz needed that blessing in order to take on the project. “That was what made me decide to do it. I could not say yes before that phone call, because I didn’t think that would be respectful.” During that conversation, Cruz and Versace discussed the day she received the news about her brother and the pressure to continue working.
“What an amazing love story, this brother and sister. They loved each other so much, and I’m so sad she lost him that way.”
Finding Donatella’s Voice (and Her Own)
Once Cruz said yes to the role, then the intimidation set in. For one thing, the first season of American Crime Story (The People v. OJ Simpson) was a huge success. Second, she was playing somebody that she knows and likes.
“We all know how she talks, how she moves. At the same time, I didn’t want to do an imitation, and Ryan didn’t want that from any of us. He didn’t want an imitation or caricature of any kind. I tried to capture an essence without trying to do an imitation. And it was such a pleasure to play her because she’s a very inspiring woman, very strong. Imagine the challenges she’s had in her life, everything she had to do in the moment that she lost somebody that she loved so much. So I did my own personal homage to Donatella and Gianni because I feel a lot of affection for them, even if I never met Gianni, but I always admired him so much and same with her. All of these things made me feel a healthy kind of pressure, to be able to do our own tribute to them.”
When it came to developing character, of top priority, of course, was finding Donatella’s unforgettable voice.
“That was the most difficult thing and the most scary thing for me and the thing that took longer than a month of work. I prepared for many, many months with Tim Monich (voice coach), and we worked really hard on it. I love when I have an interesting character, that time of preparing and research, and I love Tim Monich as a coach. I think he’s really one of the best in the world.”
In order to get that voice down, Cruz spent hours watching videos of Donatella.
“If I was on set, all the time in between shooting, maybe some days I was watching three or four hours of Donatella backstage and interviews. In those four or five months of preparation, I would watch material of her every day and that was really helpful.”
On Fashion and Ryan Murphy
No stranger to the red carpet herself, Cruz found new appreciation for all of the behind-the-scenes moving parts in fashion, what goes into putting together a couture collection.
“It takes a lot of talent, because they are very talented, and they are true artists, but at the same time, they have to have a business mind and have to be incredibly hard workers. It’s a combination of a lot of things that create that success, and it’s a big team of people. I love, for example, to see that a lot of the people who are with Donatella have been with her for years, and they all love working with her. I think that says a lot about a person.”
Donatella to fashion is a bit like Ryan Murphy to television, with frequent collaborators and cutting-edge style.
“What Ryan has done, with flashbacks, telling the story out of order in time, it’s a very modern and interesting structure that keeps you on your toes for the whole series. He’s an amazing storyteller.”
“I Need to Feel Insecure When I Begin a Movie”
On the series, Donatella faces scrutiny for her own creations, demonstrating unexpected vulnerability from one of fashion’s powerhouses. Cruz sees a bit of that vulnerability in herself, with each role she takes.
“I was lucky to be starting work so young, to be traveling and learning, and the thing I love the most about our job as actors is that we are students. Some movies can be more successful than others, but everything can teach you something. It can be an experience for you. I need to feel insecure when I begin a movie, and every day when I’m on a set, that insecurity, if I didn’t have that, I think I’d have to do something else.”
Penelope Cruz Calls ‘American Crime Story’ Role Her ‘Personal Homage to Donatella and Gianni’







