“Dickinson” premiered in November 2019 as one of the original series that launched the Apple TV+ streaming service. The comedy tells a 19th century story but with a modern sensibility. Will its unique approach appeal to Emmy voters? Scroll down for our exclusive video interviews with top contenders from the show.
SEEWhy Apple TV+ limited series ‘Defending Jacob’ could be a stronger Emmy contender than you think
The series re-imagines the life and times of poet Emily Dickinson (played by Hailee Steinfeld) as she fights against the restrictive gender roles of 19th century America. She is in love with her best friend Sue (Ella Hunt), but Sue is engaged to marry Emily’s brother Austin (Adrian Enscoe). And her parents don’t approve of her artistic pursuits. The show is deliberately anachronistic in its language, tone and music, trying to capture spirit of her rebellious poetry for a contemporary audience.
The...
SEEWhy Apple TV+ limited series ‘Defending Jacob’ could be a stronger Emmy contender than you think
The series re-imagines the life and times of poet Emily Dickinson (played by Hailee Steinfeld) as she fights against the restrictive gender roles of 19th century America. She is in love with her best friend Sue (Ella Hunt), but Sue is engaged to marry Emily’s brother Austin (Adrian Enscoe). And her parents don’t approve of her artistic pursuits. The show is deliberately anachronistic in its language, tone and music, trying to capture spirit of her rebellious poetry for a contemporary audience.
The...
- 6/6/2020
- by Daniel Montgomery
- Gold Derby
“Dickinson” is “an exploration and a celebration of the creative spirit,” explains production designer Loren Weeks. The show’s subject, writer Emily Dickinson, “was way ahead of her time,” which is something the series tries to capture in its stylistic approach. Watch our exclusive video interview with Weeks above.
See Alena Smith Interview: ‘Dickinson’ creator
Hailee Steinfeld stars in the Apple TV+ original as the famed poet when she was an aspiring writer fighting against the dictums of Victorian society. In telling Dickinson’s story, creator Alena Smith brings anachronistic dialogue and attitudes to the 19th century trappings. Having never worked on a period piece before, Weeks was intrigued by the approach. This clearly “was not going to be ‘Downton Abbey.’ It was very different and very fresh.” It “allowed for a lot of exploration and riffing on the period,” as well as comparisons to our current era, “how it’s very different,...
See Alena Smith Interview: ‘Dickinson’ creator
Hailee Steinfeld stars in the Apple TV+ original as the famed poet when she was an aspiring writer fighting against the dictums of Victorian society. In telling Dickinson’s story, creator Alena Smith brings anachronistic dialogue and attitudes to the 19th century trappings. Having never worked on a period piece before, Weeks was intrigued by the approach. This clearly “was not going to be ‘Downton Abbey.’ It was very different and very fresh.” It “allowed for a lot of exploration and riffing on the period,” as well as comparisons to our current era, “how it’s very different,...
- 12/4/2019
- by Zach Laws
- Gold Derby
This review was written for the festival screening of "Interview".PARK CITY -- Part of a trilogy by slain Dutch filmmaker Theo Van Gogh being remade by American directors, "Interview" is a two-hander pitting a world weary war reporter against a B-movie actress. Directed by Steve Buscemi, the film is an impressive formal accomplishment as it takes place mostly in one room. But while it is never dull, and occasionally sparks, material fails to ignite. Given unique nature of the project, exposure beyond film festivals and specialized cable outlets is unlikely.
Van Gogh -- an author, talk show host and agent provocateur in the Netherlands before a Muslim extremist irate at a short film he made murdered him -- had conceived the film as a battle of the sexes more than a comment on celebrity. Buscemi moves the film to New York but largely follows van Gogh's model.
A political reporter and war correspondent for a weekly news magazine, Peter Peders (Buscemi) is dispatched, much to his chagrin, to interview the TV and film star Katja (Sienna Miller). She arrives an hour late, wearing sunglasses at night, and demands her usual table, even if it means uprooting customers already seated, at a chic restaurant. Peders can't disguise his disgust and the interview soon blows up and they both leave.
However, when Peders cuts his head in a minor cab accident, Katja brings him back to her loft to patch him up. There the interview resumes in fits and starts as both of them drink heavily and toy with each other. In a kind of sick father-daughter or sadistic lover relationship, the two search for the upper hand. Screenplay by Buscemi and David Schechter keeps the sexual tension palpable and one wonders if they are going to sleep together or kill each other first.
Peders whines about his career, whines about having to do a fluff piece; Katja whines about her career and the hardships of celebrity. Neither of them is appealing or sympathetic. Like "Who's Afraid of Virginia Woolf" in a minor key, they keep hammering at each other, stripping away the layers. Whether it's peeling an onion or getting to some deeper truth is hard to tell because the characters are so full of subterfuge.
In a perverse way, it's fun observing how they manipulate each other. Peders confesses some dark secrets that may or may not be true, and even peeks in Katja's commuter looking for ammunition to use against her. For her part, she uses her sexuality and celebrity to dominate. By the end of the evening they despise each other.
Material sometimes plays more like a one-set theater piece, but on a technical level, Buscemi manages to keep the action moving when it threatens to bog down. Loren Weeks compartmentalized design for the loft, Thomas Kist's roving camera and Kate Williams editing give the story continuity and fluidity. Following van Gogh's style, film uses three cameras simultaneously to create a sense of immediacy and intimacy. As a formal experiment, the film is fascinating to watch, just don't expect to learn anything new.
INTERVIEW
Column Productions, Ironworks Production, Cinemavault Releasing
Credits:
Director: Steve Buscemi
Writer: David Schechter, Steve Buscemi
Producers: Bruce Weiss, Gijs van de Westelaken
Executive producer: Nick Stiliadis
Director of photography: Thomas Kist
Production designer: Loren Weeks
Costume designer: Vicki Farrell
Editor: Kate Williams
Cast:
Pierre Peders: Steve Buscemi
Katya: Sienna Miller
Maggie: Tara Elders
Waitress: Molly Griffith
Running time -- 86 minutes
No MPAA rating...
Van Gogh -- an author, talk show host and agent provocateur in the Netherlands before a Muslim extremist irate at a short film he made murdered him -- had conceived the film as a battle of the sexes more than a comment on celebrity. Buscemi moves the film to New York but largely follows van Gogh's model.
A political reporter and war correspondent for a weekly news magazine, Peter Peders (Buscemi) is dispatched, much to his chagrin, to interview the TV and film star Katja (Sienna Miller). She arrives an hour late, wearing sunglasses at night, and demands her usual table, even if it means uprooting customers already seated, at a chic restaurant. Peders can't disguise his disgust and the interview soon blows up and they both leave.
However, when Peders cuts his head in a minor cab accident, Katja brings him back to her loft to patch him up. There the interview resumes in fits and starts as both of them drink heavily and toy with each other. In a kind of sick father-daughter or sadistic lover relationship, the two search for the upper hand. Screenplay by Buscemi and David Schechter keeps the sexual tension palpable and one wonders if they are going to sleep together or kill each other first.
Peders whines about his career, whines about having to do a fluff piece; Katja whines about her career and the hardships of celebrity. Neither of them is appealing or sympathetic. Like "Who's Afraid of Virginia Woolf" in a minor key, they keep hammering at each other, stripping away the layers. Whether it's peeling an onion or getting to some deeper truth is hard to tell because the characters are so full of subterfuge.
In a perverse way, it's fun observing how they manipulate each other. Peders confesses some dark secrets that may or may not be true, and even peeks in Katja's commuter looking for ammunition to use against her. For her part, she uses her sexuality and celebrity to dominate. By the end of the evening they despise each other.
Material sometimes plays more like a one-set theater piece, but on a technical level, Buscemi manages to keep the action moving when it threatens to bog down. Loren Weeks compartmentalized design for the loft, Thomas Kist's roving camera and Kate Williams editing give the story continuity and fluidity. Following van Gogh's style, film uses three cameras simultaneously to create a sense of immediacy and intimacy. As a formal experiment, the film is fascinating to watch, just don't expect to learn anything new.
INTERVIEW
Column Productions, Ironworks Production, Cinemavault Releasing
Credits:
Director: Steve Buscemi
Writer: David Schechter, Steve Buscemi
Producers: Bruce Weiss, Gijs van de Westelaken
Executive producer: Nick Stiliadis
Director of photography: Thomas Kist
Production designer: Loren Weeks
Costume designer: Vicki Farrell
Editor: Kate Williams
Cast:
Pierre Peders: Steve Buscemi
Katya: Sienna Miller
Maggie: Tara Elders
Waitress: Molly Griffith
Running time -- 86 minutes
No MPAA rating...
PARK CITY -- Part of a trilogy by slain Dutch filmmaker Theo van Gogh being remade by American directors, "Interview" is a two-hander pitting a world weary war reporter against a B-movie actress. Directed by Steve Buscemi, the film is an impressive formal accomplishment as it takes place mostly in one room. But while it is never dull, and occasionally sparks, material fails to ignite. Given unique nature of the project, exposure beyond film festivals and specialized cable outlets is unlikely.
Van Gogh -- an author, talk show host and agent provocateur in the Netherlands before a Muslim extremist irate at a short film he made murdered him -- had conceived the film as a battle of the sexes more than a comment on celebrity. Buscemi moves the film to New York but largely follows van Gogh's model.
A political reporter and war correspondent for a weekly news magazine, Peter Peders (Buscemi) is dispatched, much to his chagrin, to interview the TV and film star Katja (Sienna Miller). She arrives an hour late, wearing sunglasses at night, and demands her usual table, even if it means uprooting customers already seated, at a chic restaurant. Peders can't disguise his disgust and the interview soon blows up and they both leave.
However, when Peders cuts his head in a minor cab accident, Katja brings him back to her loft to patch him up. There the interview resumes in fits and starts as both of them drink heavily and toy with each other. In a kind of sick father-daughter or sadistic lover relationship, the two search for the upper hand. Screenplay by Buscemi and David Schechter keeps the sexual tension palpable and one wonders if they are going to sleep together or kill each other first.
Peders whines about his career, whines about having to do a fluff piece; Katja whines about her career and the hardships of celebrity. Neither of them is appealing or sympathetic. Like "Who's Afraid of Virginia Woolf" in a minor key, they keep hammering at each other, stripping away the layers. Whether it's peeling an onion or getting to some deeper truth is hard to tell because the characters are so full of subterfuge.
In a perverse way, it's fun observing how they manipulate each other. Peders confesses some dark secrets that may or may not be true, and even peeks in Katja's commuter looking for ammunition to use against her. For her part, she uses her sexuality and celebrity to dominate. By the end of the evening they despise each other.
Material sometimes plays more like a one-set theater piece, but on a technical level, Buscemi manages to keep the action moving when it threatens to bog down. Loren Weeks compartmentalized design for the loft, Thomas Kist's roving camera and Kate Williams editing give the story continuity and fluidity. Following van Gogh's style, film uses three cameras simultaneously to create a sense of immediacy and intimacy. As a formal experiment, the film is fascinating to watch, just don't expect to learn anything new.
INTERVIEW
Column Productions, Ironworks Production, Cinemavault Releasing
Credits:
Director: Steve Buscemi
Writer: David Schechter, Steve Buscemi
Producers: Bruce Weiss, Gijs van de Westelaken
Executive producer: Nick Stiliadis
Director of photography: Thomas Kist
Production designer: Loren Weeks
Costume designer: Vicki Farrell
Editor: Kate Williams
Cast:
Pierre Peders: Steve Buscemi
Katya: Sienna Miller
Maggie: Tara Elders
Waitress: Molly Griffith
Running time -- 86 minutes
No MPAA rating...
Van Gogh -- an author, talk show host and agent provocateur in the Netherlands before a Muslim extremist irate at a short film he made murdered him -- had conceived the film as a battle of the sexes more than a comment on celebrity. Buscemi moves the film to New York but largely follows van Gogh's model.
A political reporter and war correspondent for a weekly news magazine, Peter Peders (Buscemi) is dispatched, much to his chagrin, to interview the TV and film star Katja (Sienna Miller). She arrives an hour late, wearing sunglasses at night, and demands her usual table, even if it means uprooting customers already seated, at a chic restaurant. Peders can't disguise his disgust and the interview soon blows up and they both leave.
However, when Peders cuts his head in a minor cab accident, Katja brings him back to her loft to patch him up. There the interview resumes in fits and starts as both of them drink heavily and toy with each other. In a kind of sick father-daughter or sadistic lover relationship, the two search for the upper hand. Screenplay by Buscemi and David Schechter keeps the sexual tension palpable and one wonders if they are going to sleep together or kill each other first.
Peders whines about his career, whines about having to do a fluff piece; Katja whines about her career and the hardships of celebrity. Neither of them is appealing or sympathetic. Like "Who's Afraid of Virginia Woolf" in a minor key, they keep hammering at each other, stripping away the layers. Whether it's peeling an onion or getting to some deeper truth is hard to tell because the characters are so full of subterfuge.
In a perverse way, it's fun observing how they manipulate each other. Peders confesses some dark secrets that may or may not be true, and even peeks in Katja's commuter looking for ammunition to use against her. For her part, she uses her sexuality and celebrity to dominate. By the end of the evening they despise each other.
Material sometimes plays more like a one-set theater piece, but on a technical level, Buscemi manages to keep the action moving when it threatens to bog down. Loren Weeks compartmentalized design for the loft, Thomas Kist's roving camera and Kate Williams editing give the story continuity and fluidity. Following van Gogh's style, film uses three cameras simultaneously to create a sense of immediacy and intimacy. As a formal experiment, the film is fascinating to watch, just don't expect to learn anything new.
INTERVIEW
Column Productions, Ironworks Production, Cinemavault Releasing
Credits:
Director: Steve Buscemi
Writer: David Schechter, Steve Buscemi
Producers: Bruce Weiss, Gijs van de Westelaken
Executive producer: Nick Stiliadis
Director of photography: Thomas Kist
Production designer: Loren Weeks
Costume designer: Vicki Farrell
Editor: Kate Williams
Cast:
Pierre Peders: Steve Buscemi
Katya: Sienna Miller
Maggie: Tara Elders
Waitress: Molly Griffith
Running time -- 86 minutes
No MPAA rating...
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