Amy Sherman-Palladino Bio, Âge, Email, Bunheads et Gilmore Girls

BIOGRAPHIE D’AMY SHERMAN-PALLADINO

Amy Sherman-Palladino is an American screenwriter, director and television producer. She is best known as the creator of the comedy-drama television series Gilmore Girls (2000–07, 2016), Bunheads “2012-2013” ​​and The Marvelous Mrs. Maisel 2017–present.

She received four Primetime Emmy Awards for her At Work, including Outstanding Comedy Series, Outstanding Directing for a Comedy Series

Outstanding Writing for a Comedy Series and Outstanding Musical Supervision, all for “The Marvelous Mrs. Maisel”. She is the first woman in history to win in the comedy writing and directing categories at the Primetime Emmy Awards. In 2019, she received the Norman Lear Achievement Award in Television from the Producers Guild of America.

She is the founder of Dorothy Parker Drank Here Productions. She is known for her rapid-fire dialogue, which is often full of obscure pop culture references; and also for his favorite filming style.

HOW OLD IS AMY SHERMAN PALLADINO | AMY SHERMAN PALLADINO’S BIRTHDAY

American writer, director and television producer. She is best known as the creator of the comedy-drama TV series Gilmore Girls, Bunheads and The Marvelous Mrs Maisel. He was born on January 17, 1966 in Van Nuys, Los Angeles, California. She turns 53 in 2019.

COURRIEL AMY SHERMAN PALLADINO

https://variety.com/exec/amy-sherman-palladino/

Sherman-Palladino’s sarcastic, quick brunettes became his signature style, whether in present-day Stars Hollow or 1950s New York. The latter, “The Marvelous Mrs. Maisel,” was not only one of Amazon’s best-received pilots, but he also became the first to earn a two-season pickup for the OTT provider.

And though ‘Maisel’ differs from Sherman-Palladino’s ‘Gilmore Girls’ and ‘Bunheads’ in era, its themes of female empowerment, feminism and self-esteem are ever-present. . Fittingly, the show’s eight 2018 Emmy wins push Sherman-Palladino into record territory as the first woman in the ceremony’s 70-year history to take on comedy writing and directing. It’s no wonder Amazon Studios locked its Dorothy Parker Drank Here into a multi-year contract

AMY SHERMAN PALLADINO BUNHEADS

Bunheads
ABC Family picked up Sherman’s pilot, Bunheads, in the series. It premiered on June 11, 2012. The series stars Sutton Foster as a Las Vegas showgirl who, after impulsively getting married, moves to the sleepy coastal town ‘Paradise’ and ends up working in the her new mother-in-law’s dance studio: The Paradise Dance Academy.

Kelly Bishop, who portrayed Emily Gilmore in Gilmore Girls, plays the recurring role of Fanny Flowers, her stepmother. On July 22, 2013, five months after Season 1 ended, it was announced that Bunheads would not be renewed for a second season.

AMY SHERMAN PALLADINO GILMORE FILLES

On April 20, 2006, it was announced that Sherman and her husband Daniel could not agree with The CW to continue their contracts. As a result, the Palladinos’ participation in the Gilmore Girls ended

The official statement read: “Despite our best efforts to return and secure the future of Gilmore Girls for years to come, we have been unable to reach an agreement with the studio and are therefore leaving when our contracts expire at the end of the year. end of this season. . Our sincere thanks go to our amazing cast, hard-working crew, and loyal fans. Writer and producer David S. Rosenthal replaced them.

LIVRE D’AMY SHERMAN PALLADINO

“Gilmore Girls” originally ran for seven seasons, with the final season airing on The CW, and ended its run on May 15, 2007.
Gilmore Girls is an American drama television series, created by Amy Sherman-Palladino and starring Lauren Graham and Alexis Bledel. The show debuted on October 5, 2000 on The WB and became a flagship series for the network.Amy Sherman Palladino Twitter

CHAPEAUX AMY SHERMAN PALLADINO

During the show’s production, Sherman-Palladino and her husband wore many hats as the show’s creative forces, writing many of the episodes and also serving as directors, producers, and showrunners for six of its runs. seven years.

INTERVIEW WITH AMY SHERMAN PALLADINO

Daniel Palladino: That’s the secret. Clockwise on Tuesday, counterclockwise on Wednesday.

AMY SHERMAN PALLADINO

So when she walks in, we let the audience walk in with her and experience her as she would.

Interviewer: Also, her entry into comedy comes with Susie, played by Alex Borstein, becoming our kind of buddy comedy. So we can do scene after scene after scene of two women having discussions that pass the Bechdel test.

The only time they talk about men is Susie talking about how much she hates her ex-husband and doesn’t want him around. Other than that, it’s two women, a very unlikely partnership, who are each stuck in their own kind of rhythm. Midge was on a path she always thought was the only path she could take, and she discovers that there are other paths for her. And Susie is a bit more mysterious. She’s a woman who at one point closed down in her twenties, and even we’re not quite sure why –

Amy Sherman Palladino : Well, I don’t think we totally don’t know. Susie is someone who, again, didn’t fit the times. She was not a beauty. Where does Susie fit in with the kind of clothes she wears and the views she has? And the difference between Midge and Susie is: Midge has no idea that there are no boundaries for her. Susie is incredibly aware of every boundary that has been erected.

And suddenly this Tinker Bell flies into her life, and she realizes: if I can harness this, I might have a chance for some kind of life that isn’t me dying to this, at the Gaslight, making a cup of coffee. It is therefore this dynamic between two women who at the time were women of very different fashions. Susie’s life will never be about finding a husband, having children – that’s just not an option. And once you took that option off the table in 1959, women had a lot less choice. It does not come from money.

It’s not like she’s saying, “Well, I’m going to live in France.” With what? She’s got no money, no support system, and suddenly [there’s] a person and a friend — even though she’s still, deep in season two, ‘We’re not friends!’ It’s so hard for her to allow herself to recognize how important Midge is to her, because if Midge leaves, Susie leaves. As much as the show is about Midge and her life, it’s a comedy between friends. And the scenes in between have become incredibly important.

Despite how much the show leans on these two women, it doesn’t feel like you’re trying to build something in a timely manner. Why do you think it feels so contemporary even though it’s so rooted in a bygone era?

Amy Sherman Palladino thinks it’s depth. The world is changing so fast. Who knew that while we were doing press in London, Harvey Weinstein was finally going to be revealed as the gargantuan creep that he is? It was “come to Jesus” time for everyone. So…I don’t believe you go into a project with a chance of succeeding if you have a specific zeitgeist desire. It just can’t work. You have to fall in love with your story and what you want to tell people, live in a world you’re going to enjoy for a while, and hope to drag people along with you.

Interviewer : Yeah, the best way to tap into these things is accidentally. And we understood that from the start. Once the series came out, everyone was reading it. And even if it wasn’t what we wanted at all, it’s like people are taking advantage of it, so great. They read very strong female characters. Even this year, [Midge’s mother] Rose is starting to step in, because she’s also playing a role expected of a woman of her time, and we find more and more that that’s not all she wanted in life.

So, we still have the “MeToo” things, and we deny that we intended to do this, but we don’t deny that these issues are being addressed, because this woman is in this world and facing a lot of issues. And I think if you pay attention to the characters and their motivations, their psychology and all that, people are going to read these universal things into it. That’s our ultimate goal, to get people to read what they want to read. Make it theirs.

One of the things we wanted to do that had nothing to do with a political message or what was going on in the world was, we needed Midge to feel energetic and young and not like, ‘I’m looking at my grand- mother going for a walk, and everything smells of schmaltz. We wanted young girls to be able to watch Midge and find her as fascinating as their grandmothers would. We didn’t want to create a sepia-toned Hallmark card. We wanted her to be a vibrant heroine of today. And because of that, the issues she deals with are issues that women face: love, marriage, betrayal, family, success in life. How ambitious should I be? How ambitious is he? Do I’ have something to do? Was I meant to be a mother? I’m a mother, what do I do now? These problems are problems whether you are alive today or [in] 1950.

Speaking of which, earlier in your career you faced a lot of negative labeling, like, “Oh, she’s tough…”
Amy Sherman Palladino : Well, yeah I did [laughs].

There was none of that around this show. Why do you think that is? Is it because Amazon lets you do whatever you want? Is it because we’re in a time where people don’t care anymore, where women can be in charge and not automatically labeled as sluts? Is the show such a hit?
Interviewer : I kinda think about all that.

Amy Sherman Palladino Yeah, it’s a hodgepodge. Look, at this point, when I go into the room, they’re gonna be like, ‘Ugh, the hat, I get it’…you know, ‘We know, with the words and the blah.’ So it would be naive of them at this point to say, “She’s going to be so great.” This ship has sailed. But I also think that this change in the television landscape and the possibility of being in a place like Amazon or Netflix is ​​also important. I don’t think places like this can afford to be as dumb as others. They can be quietly silly if they want to, but their job is to eat ABC’s lunch.

They saw a wasteland of, like, every show is kind of the same, and they were like, “We could do something different. There are more stories than are told. And I think having that as a mandate, suddenly the ‘difficult’ becomes more, ‘Oh wait a minute, they’re not difficult, they just have a different way of thinking and doing things.’

Interviewer : When we started in television, the sitcom structure was very, very rigid. Basically, the networks had a formula and if you went out of there to try to tell the story in a different way, the network structure was there to bring it all back. They wanted everything to be TGIFridays. Then if someone like Amy comes along and says, “I want to do an hour-long comedy” – Gilmore Girls, people said it should take half an hour. There have been many battles like that. And we would have battles over episodes that they hated that became some of the most beloved episodes.

And quite frankly, the guys got pounded too. But sadly, honestly, when women get pounded, it becomes, “She’s tough; she is mad; she is wearing a hat. For me, it was probably, “He’s a dick, he’s tough.”

Amy Sherman Palladino : So we got together [laughs]!

Interviewer : But cable and streaming outlets don’t have a set formula for how you should behave. So for people who have new ideas, it’s like ‘Cool, let’s try it’. You go to Amazon, they don’t want to hear the next CSI, they actually want to hear a variety of things. And they probably decide through algorithms [laughs]. You know, like they ask Alexa, ‘Alexa, is Amy Palladino still picky?’

Amy Sherman Palladino : [Laughs] ‘Yeah, she is!’

“And fuck you!”

I don’t think it was a hit, because after Gilmore Girls, I wrote a few scripts that I really liked, and I still said, “Look, we don’t think this is going to work.” And I’m like, ‘OK, I literally proved that this can work if done right because we literally did it.’ I’m not even saying, watch someone else’s show, I could do it; I say watch my show. Look at my hats, I have a hat room! I have a whole room for my hats that I bought on this show!

Interviewer : Security usually accompanies him out of the building at this point.

Amy Sherman Palladino: What I never understood with the notes is that if you see something so clear, it’s not pretentious to say, “Midge wouldn’t say that.” Like, fuck, she wouldn’t say that. If somebody comes up to you and says, “Well, do it that way,” it’s not a dick to say, “Well, I don’t want to do it that way.” It’s literally like, “The trip is over here. So you tell me to write something that I don’t see. And writing isn’t like carpentry. It’s not like assembling a car, where you know if you put the steering wheel on the thing, it will eventually disappear. It’s a different thing. You have to see it, otherwise you can’t do it.

So what do you see for Midge? Do you have an arc where you know what its endpoint is?
Amy Sherman Palladino: We have a general idea. It’s not as clear as Gilmore – who, I knew the last four words from day one – but we have a trajectory. What we don’t know is how long we’re going to take him to get there. As wonderful as the 10-episode structure is, sometimes we find ourselves wishing for more time.

Will she end up with Joel? Do you like Joel?
Amy Sherman Palladino : Oh, I love it. Crazy about him.

Interviewer : Obviously Joel is a very flawed person.

Amy Sherman Palladino : That’s what I like about him.

Interviewer : It’s our incredibly weak person who, by a big mistake, will gain strength.

Amy Sherman Palladino: Sometimes the people with the biggest journey are the most interesting characters in the end. What I don’t like about a lot of female-centric shows is that they tend to cast men as universal villains. Like they must be a bit of a jerk, or they have allergies, or they eat tuna all the time, or they’re a bit of a geek, or they’re dog loving, he’ll get his dick in somebody and say, ‘ I don’t know, what are you talking about, honey?’

We wanted to make sure that Joel was an imperfect man of his time. You know, 50s men had their own line on their feet. They [had] things they were supposed to do and ways they were supposed to act. And he’s a guy who thought he’d break free from his dad and that would solve the problem, and that didn’t happen. He thought, ‘I’m going to have this big dream’ [to become a stand-up comedian], and it didn’t happen. He’s a searching guy. And he made a fucking big mistake, and he’s going to spend the rest of his life fighting for that mistake. He’s also the first person outside of Susie to see [Midge] and understand exactly what she is and how good she is. I will always love him for that.

Because I think he knew what she was subconsciously when he chose her. You know, he picked the strongest in the room. There were plenty of cute pies around that could do a fucking breast that would shut their mouths and not want to take the mic at their own wedding. There was just something that drew him to the most special person, not just because she was a hot chick. Because hot girls with big mouths sometimes get a lot less hot, especially in the 50s.

He was drawn to her bravado and her energy, her wit, her humor and her wit, and that’s what destroyed them. And I think there’s something really interesting about that. He is with us for life. There was never five seconds where we thought, “We could just get rid of Joel and bring in more men.” He is incredible. And he was the catalyst for her to find that voice. If it wasn’t for him being a dick, she would never have found that thing inside her. So, many years from now, she will be able to say thank you [laughs].