Tag: interview

Emmys: Edgar Ramirez Talks Stepping Into Gianni  Versace’s Designer Shoes for ‘American Crime Story’

Edgar Ramirez doesn’t look much like Gianni Versace in person. But after he gained 20 pounds and spent hours in the makeup chair, his resemblance to the iconic fashion designer was uncanny. In FX’s limited series The Assassination of Gianni Versace: American Crime Story, the 41-year-old Venezuelan actor plays the Miami-based designer who’s busy building his fashion empire (with the help of his sister, Donatella Versace, played by Penelope Cruz) when he’s murdered by a serial killer (played by Darren Criss). The actor, nominated for supporting actor in a limited series, spoke to THR about taking on the iconic role, working with Ricky Martin (who plays Versace’s longtime lover) and the other nominated shows he loves.

How did you feel about the Versace family not participating?

It was completely understandable and expected for the family not to be involved. We have to remember that the Versace family went through one of the most terrifying experiences that a family can ever go through, and it all happened in the public eye. And it never really crossed my mind to try to reach out to them. But I wanted to try to get some firsthand input, and I was lucky that some of his best friends were willing to talk to me. I was happy that I somehow gained their trust. I will never say who they are because we agreed to that.

What is one surprising thing you learned about him?

He was rather reserved and shy. He was very extroverted, meaning he would speak easily, but the difference was that he was very shy and very private. It was surprising because you would imagine that, because of the images and the culture that he created — his dresses, all the exuberance — that he was a party animal. It was more about an artistic expression than a personal need to be surrounded by people.

What did it feel like the first time you were in full Versace makeup and costume?

In the beginning, it felt very strange because I’d never worn prosthetics before. When they first did the bald cap, and then the robe, it felt to me a little bit too scary — I was scared that it would look fake. But that was more the shock of seeing myself like that and not recognizing myself. But when I was doing the last scene and had on the whole look, with prosthetics and the wig and the clothes, I went to Ricky [Martin], and when I opened the door and when he saw me, he started crying, and he said, “I can’t believe it.” That was very reassuring at the beginning.

You’re nominated in the same category as two of your co-stars, Ricky Martin and Finn Wittrock. Is it awkward to compete against them?

No, I think it’s great. Everyone is so great, even the smallest roles are played by such talented, talented people. I’m very happy to have Ricky nominated next to me — we became such close friends. The recognition that we got from the Academy is a sign in a way that everybody is being recognized. Because it takes a village, so I hope that they will see that their work is reflected in the nominations that we got.

What other Emmy-nominated shows have you enjoyed watching this year?

I loved The Looming Tower. It’s a great show. And Godless is great as well. We’re living in the golden era of television right now. We’re even more proud that we got this recognition because there’s a lot of great things happening out there. I’m very moved by this.

Emmys: Edgar Ramirez Talks Stepping Into Gianni  Versace’s Designer Shoes for ‘American Crime Story’

Emmys: The Shows With the Most Nominations in Creative Arts Categories

When it comes to Emmy nominations for below-the-line talent, traditional broadcaster NBC more than held its own in the major Creative Arts categories, tying HBO and besting juggernaut Netflix. The Peacock network broadcast three of the 13 shows that amassed seven or more noms in such areas as cinematography, production design and editing. HBO also had three shows in that arena; FX and Netflix each scored two, while Amazon, Hulu and Showtime each had one. Here’s an appraisal of those strongly crafted programs by some of the artisans who helped create them.

The Assassination of Gianni Versace: American Crime Story / FX (nine noms)

The 1997 murder of the fashion icon was the culmination of Andrew Cunanan’s cross-country spree. But Ryan Murphy’s retelling flips the script, say the members of the re-recording mixer team, Doug Andham and Joe Earle, nominated for the opening episode. “It starts with this eight-minute operatic build-up to the murder, and then it works backwards,” Andham says. “And for most of that opening sequence, music is the driving force, with sound effects being used more for texture.” Once the murder happens, the team’s soundscape takes center stage. “There’s the violence of the gunshot, the sound of keys in the gate and we fade to black,” he adds. The show then begins its coast-to-coast road trip, “so every week we had to create a whole new soundtrack, and it was like starting a new show,” Earle says.
— Iain Blair

Emmys: The Shows With the Most Nominations in Creative Arts Categories

Emmys: ‘The Assassination of Gianni Versace’ Producers on “Being Respectful” to Victims

Nina Jacobson and Brad Simpson followed up their critically acclaimed (and Emmy-winning) FX limited series The People v. O.J. Simpson with another ‘90s-set true-crime saga: The Assassination of Gianni Versace: American Crime Story. It was an even darker and more Byzantine tale exploring the bloody trail of serial killer Andrew Cunanan and the victims he claimed before murdering the famed fashion designer. For their efforts, the show earned 18 nominations.

As seasoned as you both are, what aspect of this series was unlike anything you’ve ever had to tackle before?

NINA JACOBSON We had the benefit of Maureen Orth’s book, but it was really the only significant text that covered Cunanan and the victims. And there was much more that had to be imagined in the context of what we didn’t know, as opposed to having the abundance of source material to work with [as on The People v. O.J. Simpson]. We wanted to get it right and to be respectful of people whose stories would be told who weren’t around to speak for themselves.

BRAD SIMPSON The victims were all — for the most part, except for Versace — friends with or knew Andrew Cunanan, so it also meant that Andrew Cunanan was the centerpiece of the show. We had to figure out a way to make a character whom you’d want to stay with for nine episodes and invest in. And It was a practical challenge, from a casting level, that every two episodes we needed to find great new members of the cast to come in and give their tour de force performances

JACOBSON Each episode, you would be losing somebody you cared about, but staying with somebody who was responsible for that loss.

How were you able to find the right balance of having an artistic vision, but also staying as true as you can to the story’s particulars?

JACOBSON Make sure to add to the difficulty that we keep telling the story backward — that was also very challenging! Because there would be things that you would realize, “No, you can’t tell that yet, because we don’t know that yet. That hasn’t happened yet.” Having to be mindful on where we were in this complex timeline was a challenge.

SIMPSON It’s a really complicated thing when you’re doing true crime or any true stories. We try to be ethical. We try to be mindful of our responsibility as producers and that there are real people at the center of this. Marcia Clark said something about our “O.J.” show, once she watched it: “Sometimes I would quibble with their facts, but they always caught the correct emotional truth.” You had to look at the evidence that was out there, the police reports, everything else, and say to yourself, “What do we think is emotionally true about what happened?” I think we achieved that. We never wanted to romanticize Andrew. We wanted to humanize his victims while also asking, “How did this happen?” He wasn’t born a sociopath. He wasn’t born a killer. I’m not excusing what he did, but he was made into a killer by his father, society and the shame that he felt as a gay man in the ’90s.

What were the elements that you felt were going to really resonate with the audience?

JACOBSON Right around the time we were just developing the script, I went with my daughter to my alma mater, and she was asking me about my memories of college. So many were about my own internalized homophobia and my desire to not be gay. To bring that shame and both the internalized homophobia and the homophobia that surrounded the investigation — that was something that was really important to us.

Were there elements of the story that struck a chord 
with the audience that you didn’t see coming?

SIMPSON The emotional connection that the audience felt toward not just Gianni Versace but to Judith Light’s character and Ricky Martin’s character — to these normal people who got caught up in Andrew’s murdering spree. It was gratifying to do a show where I hope we did right by the victims but also got to show what was possible for them in their lives.

Who has the most difficult job 
on the show?

JACOBSON I would have to say Darren [Criss] because to live 
in that darkness, rage, shame and 
all of that and yet be the person who he is on set — who is so positive, warm, embracing.

SIMPSON He had to carry the show and do these horrible things 
and not excuse them, but make you want to watch it every week, despite the fact that he was doing terrible things to people he really grew to care about.

What other nominated show are you obsessed with?

SIMPSON I don’t want to sound like a suck-up to FX, but we’re both obsessed with The Americans and Atlanta.

Emmys: ‘The Assassination of Gianni Versace’ Producers on “Being Respectful” to Victims

A Fil-Am actor’s life: Carlin James

LOS ANGELES—For Carlin James, playing Christopher, the brother of Andrew Cunanan (Darren Criss), in “American Crime Story: The Assassination of Gianni Versace,” is one of the highlights of his acting career so far.

The Long Beach, California native considers it an honor to get cast in the recent installment of Ryan Murphy’s true crime anthology series, which garnered praise from critics who cited the entire cast’s performances and collected 18 nominations in the 69th Primetime Emmy Awards.

James talked about the challenge of “being part of a mixed, Filipino-American TV family that contradicts the model-minority stereotype (understatement).”

He added, “Not to mention, working with Jon Jon Briones and Joanna Adler (who played Modesto and Mary Ann Cunanan, Andrew’s parents). Are you kidding me? Those two are A-plus talents and gracious, amazing people. Just watching them work made me a better actor.”

The Fil-Am’s other credits include numerous TV shows and commercials, including ABC’s “The Middle,” Netflix’s “Dear White People” and the CBS shows, “NCIS” and “Criminal Minds.” Among his recent projects are “Brampton’s Own,” “Broken,” “Turner Risk” and “Indivisible.”

How would you describe your journey as an actor so far? It’s been a rough journey, but one I’m so happy to be on. I’ve struggled, failed and been terrible so much throughout the past few years. But I’m at a point in my life where I can look back and be grateful for all those life-lessons. In my mind, I’m always behind, so I feel like I have a lot more to do to get where I need to go.

How do you prepare for an audition? Any good luck rituals, etc.? When I know I have an audition coming up, it hangs over my head like a cloud. Not in a bad way, but even if it’s a few days away, it’s something I can feel. I start working pretty late at night, and realize I get the most done between 1 a.m. and 3 a.m. I do have a terrible sleep schedule, but it’s something that works for me. I have this weird thing about running my scenes in the shower, too. I swear by it. Every job I’ve ever booked was due to an awesome solo shower-rehearsal.

What is the most frustrating part of trying to land roles in Hollywood? When I was starting out, it was frustrating not even getting the opportunity to read for certain roles. But now, the most frustrating part of trying to land roles is getting out of my own way. Life and bills happen, and sometimes, I can’t help but think about how booking the job can help with that. I forget that if I just relax, trust myself and enjoy the process, then all else will fall into place.

How do you handle rejection? Much better than I used to! I always say the hardest part wasn’t hearing “No” because that at least leads to closure. The hardest part is working so hard and investing so much time, energy and emotion, and hearing back nothing at all. And that’s usually how it goes. Over time, you accept it and realize there’s only so much within your control. So we do our best in the room, leave it there, and then move on to the next one… like Jay-Z.

Have there been times when you almost gave up? I never gave serious thought to giving up. Announcing to my family and friends that I was going to pursue a career in acting was big for me. There was never a Plan B, and I couldn’t face them and say, “I give up.” I’m competitive and being told that it would only happen in my dreams may or may not have also played a part in it.

Seriously though, I’ve cried, bled and broken a bone. And I’m pretty sure I’ve gone halfway crazy because of this career-choice. Except Pop-A-Shot (electronic basketball game). I’m really good at Pop-A-Shot.

Do you, as an actor of color, feel that opportunities for minority actors are improving or getting worse? And do you think that the inclusion rider (mentioned by Frances McDormand in her best actress acceptance speech in this year’s Oscars, which is added to an A-list actor’s contract to ensure that the casting and production meet certain levels of diversity) is helping? Absolutely. I feel that opportunities for minority actors are getting better. If you watch a ’90s TV show and then watch a TV show from today, you can’t truthfully tell me it’s not. As a Fil-Am actor myself, I won’t say we’re where we want to be, but I think we’re making good progress. There’s a lot of diverse talent out there building up their resumes and, eventually, they will get the recognition they deserve.

As for the inclusion rider, I can’t say I know for certain its effect just yet. But it can only help. Story is king, and as long as it’s told accurately, I’ll be happy. It’s when you show a group of friends in the ’90s set in New York City and there’s not one POC (people of color), that’s kind of unbelievable.

What’s your stand on whitewashing in Hollywood? I won’t lie. It doesn’t bug my friends and family so much. But for me, it hurts to see it. So much of what we do as actors is dependent on us being comfortable with who we are as people, as real-life, vulnerable human beings. So when I see it happen, it sometimes feels like my self-worth is being slapped in the face. Dramatic, I know. I’m an actor.

This is not a new thing though, and Hollywood is starting to take notice, so that’s good for everyone. We can focus on the problem, but that’d be too easy. I’m just glad that things are getting better, and solutions (such as the inclusion rider) are being talked about.

A Fil-Am actor’s life: Carlin James

How to Audition for the Emmy-Nominated CDs of ‘American Crime Story’

On July 12, “American Crime Story: The Assassination of Gianni Versace” racked up six Emmy nominations in acting alone, plus one for casting directors Courtney Bright and Nicole Daniels. It’s no surprise to see these big names in the context of Emmy nods, but casting known actors to portray the scandalous story wasn’t always a given at the outset. We spoke to the duo about the ups and downs of casting the FX series.

“We did a deep dive on Gianni and Donatella Versace, Antonio [D’Amico], and Andrew [Cunanan]. We had photos all over our walls and watched any clips we were able to find,” Bright told Backstage. “We wanted to make sure that we got both a physical and personal sense of who these people were.”

When it came to the casting process, the two began their search using actors’ physical likenesses to the actual people as a guiding light, “and then once you see the performance, we can quickly start narrowing down contenders,” said Daniels. “The emotional vulnerability of the acting prompts the physicality.”

Although getting names like Penélope Cruz, Ricky Martin, Darren Criss, and Édgar Ramírez was no small feat, Bright and Daniels noted that one major challenge was the sheer number of roles they needed to fill. Once the principal cast was in place, they had to immediately shift focus onto who could hold court opposite the all-star leads. “There are so many good actors out there who have been around for a while and maybe never got the chance to be in a project like this. We search first for those types of actors,” said Bright, speaking on actors she’d seen for years without being given the chance to book them for a part.

So how can actors get the chance to get in front of Bright and Daniels more than once and land a role when the time is right? “Be prepared,” Daniels advised. “Think of it as a job interview. Do your homework and research, show up on time, study the scenes, and know the lines. Take it seriously.”

“We have no problem if someone messes up and needs to start again, but if you come in, haven’t even looked at the material, and haven’t prepared, you can’t expect much patience,” said Bright. “We want actors to feel good about what they’ve done, but they have to put in work.”

Doing the work will likely get you asked back. “Just because someone isn’t right for the role doesn’t mean they’re not a great actor. We’ll remember someone we know is a strong actor and who we also like personally,” said Bright. “If you have a good vibe, are personable and easygoing, and we can tell you would be good on set, we’ll try you for the next project.” Daniels noted: “We’re always keeping a running tab on the people that we’ve liked.” So don’t get discouraged: the next time could be your moment.

How to Audition for the Emmy-Nominated CDs of ‘American Crime Story’