TELEVISION SERIES, DRAMA
* Dexter
* House
* In Treatment
* Mad Men
* True Blood
ACTRESS IN A TELEVISION SERIES, DRAMA
* Sally Field, Brothers & Sisters
* Mariska Hargitay, Law & Order: Special Victims Unit
* January Jones, Mad Men
* Anna Paquin, True Blood
* Kyra Sedgwick, The Closer
ACTOR IN A TELEVISION SERIES, DRAMA
* Gabriel Byrne, In Treatment
* Michael C. Hall, Dexter
* Jon Hamm, Mad Men
* Hugh Laurie, House
* Jonathan Rhys Meyers, The Tudors
TELEVISION SERIES, COMEDY OR MUSICAL
* 30 Rock
* Californication
* Entourage
* The Office
* Weeds
ACTRESS IN A TELEVISION SERIES, COMEDY OR MUSICAL
* Christina Applegate, Samantha Who?
* America Ferrera, Ugly Betty
* Tina Fey, 30 Rock
* Debra Messing, The Starter Wife
* Mary-Louise Parker, Weeds
ACTOR IN A TELEVISION SERIES, COMEDY OR MUSICAL
* Alec Baldwin, 30 Rock
* Steve Carell, The Office
* Kevin Connolly, Entourage
* David Duchovny, Californication
* Tony Shalhoub, Monk
MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
* A Raisin in the Sun
* Bernard and Doris
* Cranford
* John Adams
* Recount
ACTRESS IN A MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
* Judi Dench, Cranford
* Catherine Keener, An American Crime
* Laura Linney, John Adams
* Shirley MacLaine, Coco Chanel
* Susan Sarandon, Bernard and Doris
ACTOR IN A MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
* Ralph Fiennes, Bernard and Doris
* Paul Giamatti, John Adams
* Kevin Spacey, Recount
* Kiefer Sutherland, 24: Redemption
* Tom Wilkinson, Recount
ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
* Eileen Atkins, Cranford
* Laura Dern, Recount
* Melissa George, In Treatment
* Rachel Griffiths, Brothers & Sisters
* Dianne Wiest, In Treatment
ACTOR IN A SUPPORTING ROLE IN A SERIES, MINISERIES OR MOTION PICTURE MADE FOR TELEVISION
* Neil Patrick Harris, How I Met Your Mother
* Denis Leary, Recount
* Jeremy Piven, Entourage
* Blair Underwood, In Treatment
* Tom Wilkinson, John Adams
“Leverage” is old-fashioned entertainment, a little bit “Mission Impossible,” a little bit “A-Team,” a touch of “It Takes a Thief,” and a lot of fun. It premieres tomorrow night on TNT at 10/9 Central.
Tim Hutton plays Nathan Ford, a former top insurance investigator turned agent of justice, who has assembled a crack team of experts who can turn the tables on any bully or big shot. It plays into the audience’s fantasies about the ability to use all kinds of cool skills, from breaking and entering secured locations via bungee cord or breaking and entering secured data banks and computer systems via hacking. And of course each of the characters has some attitude and some issues along with the skills. I spoke to producer Dean Devlin (“Independence Day”), who created the series, and Aldis Hodge, who plays Alex, the team’s master tech guy.
One of my favorite parts of the pilot episode was the scene filmed in Chicago’s magnificent Millennium Park. How did that come about?
Devlin: When Barack Obama gave his acceptance speech we were all watching it together and going “Hey! That’s where we shot the scene!” When I was young I worked on a film my dad made in Chicago called “My Bodyguard.” I always wanted to go back. We were filming there and had a scene that was supposed to be set in an intersection, but when we saw Millennium Park we had to move it there. It is such a great space. We shot the pilot in Chicago and the rest in LA but we go everywhere in the show.
I liked your episode about the disabled Iraqi war veteran.
Devlin: The actor is a real Iraqi war veteran, stoplossed for years of duty. His manager also manages my wife and James Franco and he said, “I have the real guy.” He was great in the role. I think he will be very successful as an actor.
How did this series come about?
Devlin: I created The Librarian for TNT and when we finished the second one, they asked, “When do I get a series out of you?” I immediately told them I wanted something not heavy, dark, cold, and procedural, which is what we have a lot of on TV right now. I wanted to do very smart, mainstream con stories like “The Hot Rock” and the original “Oceans 11.” I always wanted to do a show about high tech thieves who become modern day Robin Hoods. Coincidentally, John Rogers, who is a top writer, said he was thinking of doing something like those kinds of shows, too.
Aldis, you play a member of a team where everyone has skills that almost amount to a super-power. Which are the most important?
Hodge: One thing I’ve learned is that every skill gets used equally, On some shows some are more necessary than others but everybody is vital. Beth’s character (the fearless, athletic break-in artist) is absolutely crazy. She will jump off any building any time. You also have to have the classic grifter, someone who can convince anybody of her reality. And Eliot (expert in defense and hand to hand combat played by Christian Kane) saves me many times.
How are your tech skills?
Hodge: I can type. I can also do graphic design, art and architecture, super geek, but don’t know how to hack into anyone else’s computer.
Devlin: We hired Apollo Robins to teach us how to be thieves, not just how to steal but to think like a thief. It was so much fun. When he came in everyone would be holding their wrists or checking their wallets, and you could see the actors react start to adopt the pattern of thinking. Beth was the best at pick pocketing. If we don’t get picked up, she has a new career.
This was your first time directing, right? How did you like it?
Devlin: It was an absolute ball. The trick is to surround yourself with good people. We had one of the best scripts ever, an amazingly talented cast, talented director of photography, a phenomenal editor. So all I had to do was say, “Okay, do it again!” “Are we done?” “Can I go home?” “Thank you!”
What did you look for in assembling the cast?
Devlin: Talent! Well, you might say, duh, but these days it is against the trend. More often they want to know who had a sex tape and is really famous. Celebrity has trumped talent. But Michael Wright from TNT is a former actor and I am a former actor and we know what matters is who can act.
We needed people who were going to be outstanding. I had someone else in mind for the role, but the agent kept saying, “You should see this kid.” He knocked it out of the park, really redefined the character for me. And he got the word that he had the part on his 21st birthday.
What was your idea of the character that was so different?
Hodge: I didn’t see him as a geek, He is a nerd, don’t get me wrong, but I didn’t see the general geek outlook, to me he was just a person not a character. What I wanted to show was that he loves his job and he loves his life.
You certainly see that in the brief flashback showing him living it up on Mick Jagger’s credit card!
Devlin: Yes, and a shout-out to George Lucas, who gave us permission to put the girls in the “Star Wars” costumes!
Darby Hinton played Israel, the son of Daniel Boone on the classic 1960’s television series starring Fess Parker. From the moment he got on the phone to talk with me about the series and its new release on DVD he made me feel like we were old friends.
I’m so excited to talk to you! When I told my husband I’d be interviewing you, we both started singing that Daniel Boone theme song!
Did you remember all the words?
Well, maybe not all of them!
You know, when we all got together in honor of the DVD release, we couldn’t get it straight between us.
That makes me feel better! How did you originally get the part?
I got it on kind of a fluke. I thought I was going on an interview for “The Sound of Music. At that time the youngest one was supposed to be a boy so I was dressed in lederhosen. My mother was driving me to the audition and she was always late to everything. She dropped me off to find a parking spot and I went into the building and got into the first line of kids I saw. I went in and met with the producer and everybody and came out of the interview. My mom said, “You were supposed to be upstairs!” and I said, “But whatever that is, I just got it.” I started out as Nathan Boone for the pilot with an older brother, but by the time the show began it was just one son named Israel, and that was me.
I always wanted to be Veronica Cartwright.
It was fun to reconnect with her.
And with Fess Parker, too, I imagine.
I stayed close to Fess Parker. We had a great couple of hours, shooting a documentary on the real Daniel Boone, in the places he really was. It was so much fun to sit down and talk with him, talking about america’s first legend with a current legend. It was a magical moment. And Ed Ames’ voice is still so magical.
Did you have a favorite episode?
A lot of them! I always loved animals, so it was always fun to work with the animals for the show. My mom was an only child with strict German parents so she wanted us to have the pets she did not have. I had my own raccoon, foxes, and snakes, even a wild boar! There was the episode where Israel fell in love and had his first screen kiss. The first time we shot it they said Israel shouldn’t kiss that well so we had to reshoot. A little frontier boy wasn’t supposed to be that well-versed.
Did you know the other television child stars of that era?
I was one of four kids from TV that Art Linkletter brought to Washington, DC for a show called “A Kid’s Eye View of Washington.” We had tours of everything, the Smithsonian, the Bureau of Engraving and Printing, where I got to shred a million dollars worth of bills. We got to meet Nixon and see the Hope Diamond. Maureen McCormick from “The Brady Bunch” was one of the other kids, but I didn’t rate a mention in her new book!
What television shows did you like when you were a kid?
“To Catch a Thief” — there was nobody cooler, nobody more suave with the ladies than Al Mundy. I once crept onto the set and saw Robert Wagner tied up with his arms around the beautiful girl. He looked over at me and said, “Hey kid, do they treat you this good on your set?” It meant the world that he knew who I was. I also loved “The Wild Wild West.”
“Leave It to Beaver” rejuvenates me. I need its gentle tone and mild-manneredness, its absence of deep drama and complicated characters, and its simple, predictable, formulaic story lines, in which nothing seems to have lasting consequence. And I need Beaver’s innocence, his youthful ability to trust and believe completely, his state of confused wonderment (“Gee whiz, Dad, has it always been hard on kids being kids?”), and his wholly natural, small-boy approach to life. When my cancer refuses to slow down for sentiment, “Beaver” helps me feel embraced by life, not tossed around by it….
It’s easy to lose one’s perspective in the suffocating web of cancer. I don’t know if watching “Leave It to Beaver” is pathetic or liberating. But for now, I’ve put my faith in the idea that these stories from my childhood — realistic or not — possess the kind of redemptive power referred to by William Maxwell. “Stories,” he wrote, “can save us.” Such is the reality; such is the hope.
“Of course, I’m really proud of ‘Leave It to Beaver’ and my directing career in television,” said Dow. “Those are great accomplishments. I’m really proud of them, but this is interesting because I don’t think they know anything about that at the Louvre.”
Still, I suspect Dow and his fellow castmates will be most fondly remembered for their 1950’s television show. It does hold up remarkably well, not just for the way it evokes a more innocent time, but because it evokes the worldview of a child. Sweet but not sugary, it is a family classic.