Outstanding-Writing-for-a-Miniseries-Movie-or-Dramatic-Special

On the heels of an incredible night at the Emmy’s  with the finale of Sherlock’s Season Three, “His Last Vow,” earning seven Primetime Emmy ® Award wins including Outstanding Lead Actor in a Miniseries or Movie for Benedict Cumberbatch, Outstanding Supporting Actor in a Miniseries or Movie for Martin Freeman, and Outstanding Writing for a Miniseries, Movie or Dramatic Special for Steven Moffat, BBC Home Entertainment is releasing Limited Edition Gift Set this holiday season – the perfect item for the new comers and ultimate fans!

Street Date: November 4, 2014

Suggested Retail Price: Blu-ray + DVD combo gift set $197.50 ($222.00 in Canada)

Length: Approx. 810 mins + bonus materials/ 7 BD + 7 DVD discs

This holiday season, there is one gift that is sure to be on every Sherlock fan’s wish list: Sherlock: The Complete Seasons 1-3 Limited Edition Gift Set, including a brand new bonus disc that features never-before-seen footage, new commentary from Season Three, and interview footage never before released on disc. Starring Benedict Cumberbatch (The Hobbit films, Star Trek Into Darkness) and Martin Freeman (The Hobbit films, Fargo) as the crime-solving duo of Holmes and Watson, the first ever box set of the Emmy ® Award winning PBS MASTERPIECE series will appear in stores November 4, 2014 from BBC Home Entertainment.

This set includes every episode from all three seasons on both Blu-ray and DVD formats, along with the original bonus features released with each season. Additionally, the set features all new commentaries, never-before-seen outtakes, a deleted scene, and exclusive collectibles including limited edition art cards and busts of Sherlock Holmes and John Watson. This is the ultimate gift set to keep fans guessing until the next game is afoot.

All New Bonus Materials Include:

·         Never-before-seen Outtakes from Seasons Two and Three

·         All New Commentary and an exclusive deleted scene from  Season Three

·         BBC Archive Interviews with Benedict Cumberbatch, Martin Freeman, Steven Moffat (Doctor Who, Coupling) and Sue Vertue (Coupling, The Vicar of Dibley) from the time of the initial Season One premiere (new to disc)

·         “Unlocking Sherlock”: a 60-minute behind-the-scenes program for Season Three (new to disc)

Available for order here http://shop.bbc.com/us/sherlock/sherlock-complete-seasons-one-three-limited-edition-gift-set/invt/19034 

“Sherlock Uncovered”: three 25-minute behind-the-scenes featurettes, one for each episode of Season Three (new to disc)

Exclusive Collectibles Include:

·                                                                                                                           Limited edition collectible busts of Sherlock Holmes (Benedict Cumberbatch) and John Watson (Martin Freeman)

·         Two limited edition collectible Art Cards

Delighted that Allison Tolman has been nominated for an Emmy! Fargo also won nominations for:

Outstanding Actor in a Miniseries or Movie

  • Martin Freeman
  • Billy Bob Thornton

Outstanding Supporting Actor in a Miniseries or Movie

  • Colin Hanks

Outstanding Writing for a Miniseries, Movie or Dramatic Special

  • Noah Hawley

Outstanding Directing for a Miniseries, Movie or Dramatic Special

  • Adam Bernstein
  • Colin Bucksey

Outstanding Miniseries

‘SHERLOCK’ DOMINATED WITHOUT BENEDICT CUMBERBATCH, AND MORE EMMY 2014 FACTS

Many of us banked on a buzzy new show like “Orange is the New Black” or “True Detective” steering the post-Emmy narrative, but instead it’s a middlebrow British crime series in its third season. “Sherlock” was the night’s big winner, with seven awards. The BBC series toppled HBO’s “The Normal Heart” to win two acting accolades (Benedict Cumberbatch and Martin Freeman) and Outstanding Writing for a Miniseries, Movie or a Dramatic Special. That puts it ahead of the six wins “Breaking Bad” saw.

For more on the 'Sherlock’ win go here.

Why Steven Moffat Won an Emmy for His Last Vow 
(Part One: The Rules of the Game)


Part Two: A Scandal in Belgravia


Moffat won his EMMY for Category 103: OUTSTANDING WRITING FOR A MINISERIES, MOVIE OR A DRAMATIC SPECIAL.

The EMMY submission Rules:

  • Sherlock is eligible for an American Emmy because it airs on PBS and is co-produced by Rebecca Eaton (one of the most powerful women in the entertainment industry) for PBS Masterpiece.
  • You can only enter one episode of a series for Emmy consideration. This is the case for most major awards. (ASiP was the entry for most awards for S1 and ASiB for S2.) See a pattern? It’s Moffat’s eps that Hartswood nominates in most cases.
  • Moffat had sole writing credit for HLV. (He shares writing credit with Gatiss for TAB therefore Gatiss will be eligible for an Emmy.)
  • The writing EMMY is awarded to a writer based on an actual script compared against the episode as it actually aired. This is super interesting for several reasons. 

Let’s take a look at the exact wording of the rule….

For [the] writing [category] 103 (miniseries/movies), a CD of the writer’s
choice of the best version
(not necessarily the final version) of the script (PDF) will be needed by July 18 if the achievement is announced as a nominee on July 10. The CD will be dubbed and sent to the judges with the nominated DVD(s) of the program. DVDs will be requested only at the point of nomination.

So.  An episode of a series is nominated for an Emmy (based on the submission from the production company in most cases– composers have to nominate themselves–  I digress) then the BEST VERSION of the script must be submitted within the next week. Once the script is submitted, the Emmy people copy the script CD and pair it up with the DVD of the actual program and ship the package out to the sooper sekrit panel of jurors who read and watch and decide which script/film package indicates that the *writer* of the script deserves an Emmy. 

Why this issue with the BEST and not necessary the FINAL version of the script? Scripts are living things. They start out as draft versions on a writer’s laptop. Then the “final draft” of the writer’s first version goes to the show runner/collaborators and the writer (assuming there is only one) makes revisions and more drafts. There is then a preproduction script which gives the crew enough information to get the ball rolling before the actors come on board. Eventually the writer/production company creates a read through script for the whole cast, crew, producers, investors, etc. so they can follow along with the actors the day they first speak the script together in the same room. Ideally the appropriate crew get the read through script in advance of the actual read through. After the read through the script is revised– sometimes minor tweaks are required and sometimes significant rewrites happen. Voila the production script.

Now given that the read through happens about a week to 10 days before production starts the writer who has to do a lot of changes is a busy little bee. This is one reason why production will begin on filming the parts of the script that don’t need changing while the writer will be revamping existing scenes and writing new ones. With each daily change the crew gets colored inserts to place into the production script. Each round of revisions is a new color. (If it gets to be too much sometimes they’ll even reissue a new script but that rarely happens once production starts. Too confusing.) Sometimes the script changes b/c what’s written is not feasible due to logistics, cost, or schedule.

So you see there is no ONE TRUE VERSION of a script. The closest you can get is a script that’s built after the fact as a kind of “well that’s what we ACTUALLY filmed” artifact. That’s like the ASiP script that Hartswood sold as a novelty in the Sherlock box set. There may be differences between the dialog in those scripts and what was filmed because they don’t sit in a room and make the novelty/after-the-fact script from scratch (in fact they tend not to start any scripts from scratch)– they base it on one of the near-the-end production scripts. (Like the “green” version of the TBB script that the BBC posted which you can compare to a transcript of the ep’s dialog as it aired.) The ASiP boxed-set novelty script has the sunrise and sunset for shooting stamped on the front. I’m told that’s *not* something you’d get on a real script– it’s just there to make the novelty script look official. (The real scripts I’ve seen look even less official than a fic on AO3! And fanfics usually have fewer misspellings and typos!)

ALSO. In the midst of this chaos “the best script” is not necessarily the one that gets filmed. Like scores of people impact the filmed version of an episode (especially the director!) The writer(s) may have given the crew a beautiful thing and the director could have turned it into poo (*cough* TEH *cough*).  

This is where it’s handy to be the writer AND the show-runner AND the writer that gets to turn in his script last (Moffat’s Sherlock eps are usually the last filmed because a) he procrastinates and b) he runs Doctor Who!)  I have not seen the script of HLV, but it it’s anything like ASiB’s or ASiP’s what got filmed looks a hell of a lot like a later draft of a production script. That is a testament to 1) Moffat’s skill as a writer 2) Moffat’s power as a show runner 3) Moffat’s ability to choose which director gets to film his scripts. (Paul McGuigan and Nick Hurran so far– and now, with TAB, Douglass Mackinnon. McGuigan was a film director with no real TV experience, and the other two are veteran Doctor Who directors.)

Paul McGuigan has emphasized in the past that he shoots Moffat’s and Gatiss’s scripts (not Thompson’s). 

…you must have been extra confident with Steven Moffat and Mark Gatiss having written your scripts?

McGuigan: Exactly. I mean it’s when you have a script that you always feel you could maybe make it better, that’s when you feel nervous because you’re always fighting the script a little bit. [*cough* Max Landis’ Victor Frankenstein script *cough*] But here you have two writers who are just at the top of their game and everyday you see them at the computer writing and the stuff that they write goes on to telly. I think that’s the problem sometimes in the film industry in that we don’t do enough work because there isn’t enough good material around. That’s why I’m loving telly at the moment because it gives me an opportunity to work and that’s the main thing you have to do.

…. As a film director, writers are always important anyway, to me they are everything. When you try to write your own script you realise how hard it is and why good scripts are so rare. (x)

IOW what Moffat and Gatiss write is so good– it ACTUALLY GETS FILMED. THAT’S RARE!

Here’s Moffat talking about his role as a writer and a show runner working with others’ scripts: 

Moffat: I get involved in all the scripts at some level, sometimes quite substantially and at a sufficient level that it would be silly all round if I didn’t put my name on it as well. I’ve only started doing that with the third series of Sherlock [see TSo3 and TAB] and the last series of Doctor Who. Where it’s a bigger job and I’m more involved. (x)

How hard is it rewriting other people’s work?

I was more worried a few years ago than I am now. I’ve got slightly less nice… Sometimes you get one in which is quite fully formed, quite rare, and there’s not a lot for me to do on it. That’s great when that happens. From… Mark [Gatiss] you’ll get incredibly polished first drafts. It’s like having a day off. And you think maybe you’ll see your kids this weekend. (x)

Ok. What do other people say about Moffat’s scripts? Here’s something McGuigan said about Moffat’s reputation in Hollywood:

McGuigan: I was in Hollywood the past couple of months there and I went to a meeting and a guy said to me what are you doing now and I said I was working on Sherlock with Steven Moffat and the guy was sort of in awe of Steven Moffat and told me Steven’s written the best script that’s never been made in Hollywood. I’d love someone to figure out what that story is and what it’s doing now! Because everyone says that, it’s an amazing script and just hasn’t been made.

He’s a phenomenal writer. (x)

A lot of those Emmy jurors, many of whom had never seen Doctor Who, would have had familiarity with Moffat’s reputation (he’d been working with Spielberg in Hollywood when he left to do Who and Sherlock) and they might have even read the Best Script That’s Never Been Made before HLV hit their inbox.

YES BUT EXACTLY WHY ARE MOFFAT’S SCRIPTS SO REVERED?

I’ll write more about that later IF there’s enough interest…