Leverage Season 3, Episode 13, The Morning After Job, Audio Commentary Transcript
Frakes: Welcome to The Morning After Job. Jonathan Frakes, Director.
John: John Rogers, Executive Producer.
Chris: Chris Downey, Executive Producer and Writer.
Frakes: And our star of the week, Mr. Spencer Garrett.
John: Did a great job.
Chris: Aw, how fantastic. Now, now, uh, Johnathan, then tell us where- where’d you first work with Spencer?
Frakes: He was on an episode of Star Trek: The Next Generation with the late, great Jean Simmons.
John: With who?
Frakes: C’mon, don’t start with me.
[John and Chris Laughing]
Frakes: And, uh, so I hadn’t worked with him in about 20 years, and then two episodes in a row. I did this show with him and a show called Good Guys with him. And he was just perfect. This burned out hockey player.
Chris: He really is.
John: He’s got a great range.
Chris: Yeah, he plays-
John: He also played a lot of stuff in this.
Chris: He plays a lot of stuff. He plays rage, obviously. Plays fear, he plays arrogance.
Frakes: He’s a wonderful leading man, too. He’s got a great old ‘40s face.
John: Yup.
Chris: Now is- I guess his mom was an actor? Uh, I believe so.
Frakes: I wish I could pull her name. Yeah, still is.
Chris: Yeah, I guess-
Frakes: The Duchess, he calls her.
Chris: Yes! [Laughing]
John: That’s like if you’ve ever- everyone who watches the show knows Mark Sheppard. Mark Sheppard fills up a room.
Frakes: Yes.
John: You go to Mark Sheppard’s house to have dinner, and his father’s there and Mark Sheppard is wallpaper.
[Chris Laughing]
Frakes: That’s right. Oh, his father’s the actor of the family.
John: Mark Sheppard’s father is just- fantastic, giant, British presence. Just really great. Um, what was the inspiration for this episode? Which is what I always ask during the credits.
Chris: Um, well, you know, it’s always-
Frakes: Tell the DVD story!
Chris: [Laughing] Oh, well, there is- there is a movie called The Morning After.
[Frakes Laughing]
John: Which is, uh, Jane Fonda.
Chris: Which is Jane Fonda- which, I believe she was either nominated or won an Oscar for. Uh, in which she wakes up next to-
Frakes: You sure that wasn’t Klute?
Chris: She’s a blackout drunk who wakes up next to-
John: Might’ve been Klute.
Chris: Wakes up next to a dead guy.
John: Yes.
Chris: And, uh, I actually tracked it down on VHS. It was not-
John: Wow!
Chris: Not very, not very helpful.
John: What, uh, what Russian- Russian grocery store did you find that in?
Chris: [Laughing] I don’t know. I don’t know where it was. Somewhere out here. Some, uh, you know, video stores that divide things by cinematographer.
[John Laughing]
Chris: Which is a great thing out in LA. Um, and, uh, I- I guess just the idea was- in doing what we call a gaslight episode.
Chris: These are kinds of throwbacks to Mission Impossibles where we put somebody in a situation.
John: A tightly controlled situation, yeah.
Chris: A very tightly controlled situation where we’re- you know, the team is controlling all the information, trying to find something that is everybody's worst nightmare. And waking up next to the dead girl you picked up in a bar is every dude's worst nightmare. So that was-
John: You’re generalizing a lot there.
Chris: Well it's one of the guys-
Frakes: Just saying.
John: Just saying.
Frakes: Some.
Chris: -worst nightmares.
John: They came quick, that's all.
Chris: Yes.
John: And a little Order 23 actually.
Chris: Yes.
Frakes: Ooh there she is. The Italian is back!
John: The Italian is back.
John: The lovely Elisabetta Canalis proved to be a wonderful young woman, really charming and really found this character. This is great.
Frakes: And luckily for us, found her American accent.
[Laughter]
Chris: Yes.
John: No, the sort of surliness between the two of them was a lot of fun to play. And it was kinda fun because we debated naming her, and her just being The Italian was this kinda throwback to the 60’s spy movies, and it gave her a hook into the character, because her job is to just torment him.
Chris: Yes.
John: She's an outside force. She’s weather, so to speak.
Frakes: She's weather, but she was also very game, she loved this.
John: Oh yeah. Well this- nevermind the finale, we duct taped her to a chair!
Chris: Yeah.
John: And she's like, “No, no, duct tape me! I have no problem.” And we blew her up and we shot bullets at her, she's fantastic.
Chris: And we hadn't seen her in a while this season, so this was a really important scene.
John: It was a good reset cause we'd originally had another episode that might have popped her up and reset the story in the middle but it didn't work out with the story structure.
Frakes: It was smart to pepper her through the season, cause she's sort of a part of the family, and if you don't see her enough, you forget that.
Chris: Yes.
John: And we also were in another situation where we were not sure where the summer break would fall again.
Chris: Right.
John: We didn’t know which episode was gonna wind up being the one we went out on. And this worked out, this was our new format, sorta putting the desk/table down there.
Frakes: This is actually a good call. The L.
John: Yeah, this- well it gave us the thing we had first year; it allowed us to shoot down that table, everyone’s at business, they're at work.
Frakes: Yeah.
Chris: Yeah leaning forward, engaged. When they were sitting in those couches, they tended to, like, sink and disappear.
[Laughter]
Frakes: Well it also does something to you physically as an actor; you have to sit more erect and your posture has to be-
John: We also shocked them, we put electric current through these seats just to wake them up.
Chris: And John I have to give you credit, I think you're the one that sorta pioneered the flash back and forth briefing scene. We kinda tend to do these-
Frakes: It was here. This was the one.
John: No, there was another episode where we did it on the first, and-
Chris: We did it in the first season, and what we typically do is we kinda unload all the exposition and then we start the con, and-
John: Yeah I actually like this, and whenever we run into - in the writing room - a really chunky first or second act, this is the first tool out of the toolbox.
Chris: Yeah.
John: Like can we crosscut in time, as we plan, as we execute.
Frakes: As we lay the plan and exposition.
Chris: And it makes it so much more energetic and dynamic, and I think this is the way we’re gonna do it a lot in the future.
John: I'm trying to remember the first episode we did that in.
Chris: I think it was Juror #6 Job.
John: Yes! Where, as he explained what he was doing in the chess game-
Chris: As he explained the assignments we zhoomed to the people doing the assignment, and we zhoomed back to the next guy.
John: Yeah. There's nothing- there's no law that you have to obey linear time in television. And also this character is based on- at least his violence is based on Terry O’Reilly who is my favorite Bruin.
Chris: Oh, sure.
John: And one of my favorite things is you can go on YouTube and find fights of Terry O'Reilly on YouTube, and they're just unspeakable [laughs].
Frakes: So that's who she’s referencing in this next beat with Spencer, yeah, “I know you from-”
John: Yeah, exactly.
Chris: And this is great, we shot this at the convention.
Frakes: We discovered this location, we shot the shit out of this location, it's so easy.
John: It's the convention center. It's doubled as the airport a couple times, it looks like an airport!
Chris: Yeah, and our special effects people put a plane in the back.
John: Yeah.
Chris: And John and I love this-
Frakes: Boom! Boom! Boom!
John: Now wait-
Chris: That's a beautiful-
John: Beautiful zhoom, but how was-
Frakes: Well I had to out Dean Devlin, Dean Devlin!
John: How was he in sight line for that, I just realized that?
Frakes: That's how the camera works!
Chris: They saw him, they 're up high!
John: That's a great shot by the way, look at that eye. Just one eye peeking over it's a great shot, it's beautifully done.
Frakes: And there’s from Aloha Air, they're there, they're in the airport.
John: Yeah, it's amazing if you tightly constrain your shot how much business you can put through it.
Frakes: Given the number of extras we’re allowed.
John: Our 20 extras turn into 40. “Now take off the stewardess uniform! Now put on a skirt! Now walk through again!” Yeah.
Frakes: “Change luggage! Another ticket!”
John: And that's- by the way, a great bit there that Beth does, just deciding to poke out while he's making the phone call.
Chris: Yeah.
John: She's really working on being a Doctor Who companion in this episode, she's really working the cute-
Chris: And there's the great Gerald Downey.
Frakes: Gerald Downey.
Chris: Who is not my brother!
Frakes: Another recurring member of the family.
Chris: But I feel a member of my TV family, certainly.
John: Yes, it broke our scheduling that we were not able to get both FBI agents. But we did establish that he was off doing- that he was doing very well.
Chris: Yes, doing well.
John: And it really started from throwaway joke in the first season-
Frakes: Oh he had the pentagon job, the pentagon translating job?
John: Yeah he was doing-
Chris: Doing krav maga in Quantico.
[Laughter]
Chris: Which is an Israeli martial art.
John: We did- first season we wanted to start establishing the bigger world in the Leverage universe, and those guys happened to be the first two. And we just loved the actors so much that we started feeling bad for the characters.
Chris: Yeah.
John: So we made the plot point that they start doing better every time we interact with them.
Chris: I think we kind of talked about in the arc of the overall series, every time the Leverage team brings them in and sort of hands these bumbling FBI agents a collar, that they move up the ranks until the final episode you see them being sworn in as director of the FBI.
Frakes: What about your buddy Michael Mahon, you gonna give him some love?
Chris: Oh let me give some love to Michael Mahon. I cast him on King of Queens - twice - as sort of an oily lawyer businessman.
Frakes: Oddly enough, something we use around here!
[Laughter]
John: That is in the Leverage wheelhouse.
Chris: And I knew in conceiving this character of the fixer lawyer that he would be perfect, and he was.
John: This, by the way, was so old school and one of the fun things about doing this show is we are taking absolutely Mission Impossible old school, and take parts of the conversation and cut them together.
Chris: Yes.
John: Which you can do fairly seamlessly with electronic technology now-
Chris: Yeah we're not taking any liberties with technology like that.
John: No. Yeah, it's just fun, it really is, there is no difference between this and some dude cutting up reel to reel in Mission Impossible.
Frakes: What has she got? Bam! Recorded the whole thing.
John: Yeah. Exactly. No problem, great little mini gloat there. This was the cut, what are we gonna do, how are we gonna do it, and we bounced.
Frakes: And you do it.
John: Yeah.
Frakes: Did get us through this exposition of Act 1.
Chris: And there you go, and we're gonna set up-
John: And there's our-
Frakes: Our UPM.
Chris: Our UPM.
John: UPM, James Scura.
Chris: Who is known as the-
Frakes: The Frenchman!
Chris: Yeah, I think the Frenchman.
John: He's the Frenchman.
Frakes: He's the assassin.
Chris: Long-haired bearded guy.
John: Now he is the assassin this episode, he is married to Kari Whurer-
Chris: Yes.
John: Who is the assassin in the other-
Chris: The Reunion Job.
John: The Reunion Job! so in our heads they're like a very bad Mr. and Mrs. Smith.
[Laughter]
John: In the Leverage-verse they're the kind of B-level assassins that always try to get each other jobs. The Leverage-verse is a cruel place.
Frakes: Never too soon to do the 360!
John: Never too soon.
Chris: And this is a great 360.
John: I'd like to- oh and if you're playing the Leverage RPG, I'd like to use both those characters, I'd like to say. She's great as the groupie in this and it's fun, another thing that she could not have done in the first season, but we've established: Parker can do the short con. She's gotten those skills. She can't do the long con. You know, but Aldis in theory can do the long con, but he always goes over the top- pardon me: Hardison always goes over the top. And Eliot’s the next best.
Frakes: She knows a bar!
Chris: Knows a bar right near her place. And here we land on: boom!
John: Yeah right there, nice timing on that turn and we popped to him. When a girl like that says she knows a bar? You go to the bar.
Frakes: Go to the bar, yeah.
John: You go to that bar, yeah. Nice shot through the- oh wow that is a pretty shot.
Chris: And some nice closing time music from Joe LoDuca, our composer.
John: Yeah, really nice. Then and- good drunk by Spencer Garrett.
Frakes: I gotta say he pulled it out, he really did.
Chris: He did.
John: Again, we talk on another episode-
Frakes: You're afraid of going full tar. But you can't go- gotta go full drunk.
John: Never be afraid of going full drunk. You know what a good thing to do if you're playing drunk, by the way? Is, as an actor, close your eyes and spin for 30 seconds, and then start the scene.
Frakes: Oh good technique.
John: That is- that really helps, good for your physicality.
Frakes: So you're one of those guys who pulls their nose hairs when they wanna cry, too?
John: No, if I were playing drunk I would just get drunk. I'm playing drunk now and I'm drunk. Oh this was a lot of fun, we've been wanting some stereography for ages.
Frakes: Now where does this come from? It's a color combo thing?
Chris: Well our research showed a lot of terrorist groups use- actually use photographs to send coded messages. When you decode the photograph it breaks down into language.
Frakes: When you break down the pixels?
John: Yes, when you break down the pixels, they break down to the binary code, the binary codes are different enough, as soon as there's a difference, it’s encryption.
Frakes: Oh look at Beth here!
John: She's great, digging in on this.
Chris: She's awesome here.
John: And I like them-
Frakes: Setting the con, rebuilding Nate's apartment.
John: Yeah exactly. First time we’re in Nate's bedroom. I don't know why there's a praying mantis in there.
[Laughter]
John: It's really disturbing, I'm not gonna lie to you.
Frakes: I gotta say, there's not just one praying mantis as you recall. There's a callback.
John: Yeah, and take the picture, always take the picture. And yeah, you can see the pictures in- the books in theory that are on his shelf.
Frakes: Never been done before.
Chris: No, dosing the glass? First time.
John: Just the little roll, that was a nice shot.
Chris: Time tested.
John: And then play to the camera: I'm done, I'm done, and now we go. I like Gina in these black outfits.
Chris: Yeah.
John: I just noticed that we started putting her more in these black outfits this year and it was nice. Well it's black and black because now we have Nate in thief gear, it’s very iconic.
Chris: Yeah, and if I could be a little pretentious for a moment, and I'll indulge myself.
John: Please, go ahead.
Frakes: You gonna talk about the mise en scène?
Chris: I'm gonna talk about the color scheme.
John: Oh alright.
Chris: We talked about colors being important here and we kinda used red as the color of rage, which is our character’s- our bad guy's fatal flaw, so you'll see red play a lot in his scenes, and some of the other scenes.
John: That's actually- we talk about how different writers approach stuff, a lot of times Chris is the guy in the room who will ask like, “OK, what's this bad guys problem? What's his fatal flaw? What's his emotion? What's the hook?” Everyone writes from different places.
Chris: This guy has a temper, and that's his weakness.
John: And sometimes it just-
Frakes: I didn't think that was too pretentious.
Chris: Thank you!
John: No, and it wasn't too pretentious at all. Great makeup! Great makeup by the makeup department here, fantastic. The little bit of blue there, the marks on the neck. That's an act out.
Chris: That's an act out!
Frakes: You wanna come back and see what happened to Beth.
John: I would like to know, I would like to know. A little disturbing, I have to admit. I'm fond of Beth, so that's a little disturbing.
Chris: And Spencer's fantastic here, he is really just going through all of what you would do.
John: And we do our flashback here rather than later, no it's a nice bit of work. This was a complicated little episode.
Frakes: Different pieces.
John: Unlike most episodes where there's only one timeshift, there's three. There's the shift forward in the set up, there's the shift back in this exposition, and at the end there's the standard flashbacks.
Chris: Well you had to flashback here because you wanted the audience- you didn't want the audience thinking she's actually dead for very long. And you knew that they were gonna key into that.
John: Also making sure like, well why wouldn't he check her pulse? Well-
Chris: He did!
John: We’re making sure he can't.
Frakes: He did that's why she put the piece of leather on her wrist.
Chris: And now who do you call? And this is the question guys ask each other. Who are you gonna call in this situation?
John: Your lawyer! Gotta call your lawyer.
Frakes: You got your guy, right I've got a guy. Gotta set that call.
John: I will also say, to a great degree, this is why you wrote the episode.
[Laughter]
Frakes: For these two doing this?
John: You wrote the episode so the boys could be cops.
Chris: The B story in this was an homage to Cops.
Frakes: Bad boys, bad boys.
Chris: Bad boys, bad boys, playing in our heads.
John: Don't sing it! If you sing it we have to pay.
Frakes: Boy did they want to sing it in this scene, though.
Chris: Oh they wanted to.
John: I know, Jesus. People don't know - that's fifty grand, boom.
Chris: And that's a beautiful shot right there.
John: The mirror shot? Really nice.
Chris: As we find her in the bed, and then find him looking at himself in the mirror. Oh that’s great.
John: Now I’d do a cop show with the two of them, just two surly Boston cops? Could do 13 episodes. We should do that show when we’re in the off season.
Frakes: And no time in the hair department!
John: Cause he's in the cap.
Frakes: Hats go on.
John: Hats go on. There you go. Yeah, we could do that in the hiatus show, we just do the cop show.
Chris: Yeah, and this scene here- we had, I guess, a strep throat outbreak during this episode.
John: Yes that’s right!
Chris: And there were a couple of things we didn't get to, and I believe this was shot a couple episodes later, really late at night, like three in the morning, and they did a great job.
John: Yeah, no, and just-
Chris: And I love them putting the hats on!
John: The hats, both turning.
Chris: And we’re off.
John: And it’s interesting, because they still always play the hostility cause they annoy each other.
Frakes: They can barely stand to be in the same room, but they're fantastic together.
John: But the physical mirror is one of those giveaways. There's a great bit in The Underground Job where he comes in for the high five and Eliot's annoyed and he goes, “For morale!” Which is a call back to when they were in the woods, and Chris actually has Eliot break into a smile, you know? They’re not- oh that's great. “Next time you can get a firetruck!”
Chris: I think I wrote that on set, I think that was a replacement.
Frakes: I think you did write that on set.
John: You know what, that's like in Inside where he's like, “That's fantastic, you’re great, can we get out of here?”
Chris: Yeah, yeah, I think that was exactly it.
John: The mocking tone is flawless. And strategizing, these are two people at the top of their game trying to figure out exactly how to handle something.
Chris: It was nice to put the two of them together, you know, kind of reminiscing. It was a nice little kind of romantic beat, here.
John: Yeah, they do have a shared history, that's what originally drew them together, you know.
Chris: Yeah.
Frakes: That's sorta what's hanging over both these characters heads, is their shared history?
John: Yeah, and then in the end of the season it collides.
Chris: But here she's sending him off.
John: Yeah, and she'll always be better at the con. She's always giving him little confidence moments, little confidence beats and Gina does a lot of that with physicality that's not in the script. Great encountering bureaucracy moment here.
Frakes: And this is a funny scene, actually.
Chris: And they did a great job of just underplaying the debate between the two of them.
John: Yeah.
Chris: Just throwing it away.
John: Just the-
Chris: The harried prosecutor.
John: Eliot, once again, not happy with the lack of prep Hardison has done, Hardison, once again, overestimating his ability to pull off the con on the fly.
Chris: This is just them, you know-
John: Bickering!
Chris: Improving bullshit.
Frakes: This is Blake, whose wedding Tim had just been at.
John: Oh that's right!
Frakes: She was fabulous as a lawyer.
Chris: She was great.
John: And they're out. See we've done, we've- oh and now.
Frakes: Oh no, not the convict.
John: If you’re a young writer remember, the much better solution to we screwed up is we succeeded too well.
Chris: We succeeded too well, we convinced them so well that we now have to take a prisoner back with us.
John: There's really no way to go wrong with we succeeded too well.
Frakes: Also, we see the scene doesn't seem too long cause it has the second beat.
John: Yeah that's right, you'd be out by now, you'd be in the car.
Frakes: “Idiot, now we gotta take this guy to the car with us!”
John: And he winds up being a clue path, by the way. Because he's at the same grand jury.
Chris: Yes.
John: It’s actually- this all hangs together pretty beautifully, I gotta say.
Chris: And now here we go, you've found the dead girl in the bed, your substitute lawyer is here.
John: And your lawyer with the gloves, as one has!
Chris: When you’re the fixer lawyer, you have them.
John: You have gloves!
Chris: Yes. And by the way, there’s no-
Frakes: He's been in messy situations before.
John: He's got a wood chipper.
Chris: By the way, I went to law school; there's no class in fixer law.
John: Really?
Chris: I wish there was.
John: Yeah, you would have gone into that instead of the white collar defense law that you were into?
Chris: I would have gone into that. I would have gone into fixer law, that's much more interesting.
John: Isn't that close, though?
Chris: Oh well, not with rubber gloves.
[Laughter]
John: Oh, worst client you ever had? Worst client. I don't think you've said it on the DVD.
Chris: Oh, well, I think it was the guy that looted the trust funds of Holocaust survivors.
John: Wow!
Frakes: Ohhh.
Chris: And he was actually a lawyer, too.
John: Yeah, wow.
Frakes: Here we go, here's the beginning of our cop sequence.
Chris: Oh I love this, this is my wife's favorite scene in the whole episode.
[Laughter]
Chris: She goes, “That guy in the cage, where did you get that guy?”
Frakes: Well I got him going, too! I said, “You can't do enough, try to get into this scene with these guys.” Remember when we were shooting this? I said, “Do anything you can to get into this scene, because they will not let you,” and he said, “Are you sure?” I said, “I promise you.”
Chris: ‘Just try, do everything you can.’
John: You never have to worry on a Frakes episode with him getting somebody to underplay something, that's not- why are there so many praying mantises?! Alright the Irish whiskey just kicked in, I need a little bit more. I love the realization, the head snap that she does here. I adore- “Oh, what the hell?”
[Laughter]
John: Zero to Parker. In .5 seconds with Nate calling audibles.
Frakes: Yeah, and of course we've all got one of these.
Chris: Of course, it's Leverage! You don't have one of these?
John: And of course she does, yeah. Why wouldn’t she?
Frakes: I could use it. This one fits!
John: We never explain that.
Chris: And by the way, it’ll set up a locked off comedy frame, like we talked about in the previous episode.
John: Yes, exactly. Can't go wrong with that. And now they got the call.
Frakes: I had a field day with these guys.
John: Oh yeah.
Chris: What was nice was that Eliot gave Hardison shit for over investing them, and now we can switch it, now all of a sudden Eliot’s the one over invested.
Frakes: Yeah.
John: Eliot has his own soft spots that he’s-
Frakes: Kids! You don't put kids in jeopardy around him.
Chris: You don’t put kids in jeopardy.
John: And that's one of the tricks on the show is making sure- because there's a great saying that every private eye book is a private I - and I'm pointing at myself - book. So it’s very easy to write these characters to be very cool, but without flaws. And so it's very important to constantly remind- each one has their own specific set of flaws that run, that throw a spanner into the works.
Chris: Oh how fun was this?
Frakes: Really fun.
John: Oh guys, how much time did you spend on the cops pastiche, guys? How much money did you spend on this? Two characters?
Frakes: Boom!
Chris: Shot pretty quickly, too, because it’s all handheld.
Frakes: Two characters, two handhelds.
John: These characters are in the plot, how? They're related to the main storyline, how?
Frakes: Derek Sitter!
John: You're not answering any of these questions, are you?
Chris: Derek Sitter and Erin McGarry.
Frakes: They're in the plot because we stopped to save them!
John: Alright, alright, it's a gimme, I'll give it to you.
Chris: And they went for it, too.
John: The dude with the bat.
Chris: Derek especially got thrown into the deep end.
Frakes: His feet got ripped up, his hands. There was real blood by the end of this scene.
Chris: That was real blood, and he was like in character.
John: Yeah. “Sit your ass on the bumper.” That's great; just he puts on the dad voice right there. Just, “I have had enough of this shit.”
[Laughter]
Chris: And there's always the moment in the episode of Cops where it all seems to be calmed down, but there's some moment of disrespect, and the guy jumps back in.
Frakes: “Don’t you talk about my woman!”
John: Oh and down!
Frakes: That's where the blood came!
John: Big takedown by Aldis Hodge, there you go. I love also, by the way, this is plainly in the bartender's view, he's just used to this. He works-
Chris: Locked off comedy frame folks!
[Laughter]
John: There she goes! And by the way, how lucky are we to have an actress like Beth Riesgraf who will get her as in that harness and do that for us? That's not a stunt girl.
Frakes: Here's a cue!
Chris: How great is he?
John: Look at his face light up, there you go, and the hand shake- the awkward handshake. Yeah, that bartender works there, that bartender knows what's going on.
Chris: He knows the deal.
John: Yeah well cause Cora told him
Frakes: He knows who lives upstairs.
John: Exactly, they saved the bar. That's also tied into my theory of the bar where Fitzy, the old guy at the end of the bar, was a contract killer for the Irish mob back in the 50s, and now he kinda just keeps everything calm here.
[Laughter]
John: He seems innocuous, but you watch, he's got dead eyes.
Chris: Oh, but I'm so glad we were able to keep this storyline alive.
Frakes: With Downey?
Chris: Of his flirtation with her, and he’s just so sweet.
John: This is one of the frustrating things about making television, real human beings are attached to roles. And so availabilities! You know, budgets, schedules. You know, we wanted to bring Tara back this year and Jeri got another show and couldn't come back. You know, it always makes you happy when you can kinda bend reality to fit the show.
Frakes: See that look on Downey's face? That's something everyone feels when they finish playing a scene with Beth.
John: They always have.
Frakes: It is.
John: She's a blithe spirit.
Chris: And this is great, this is a great shot right here in the window. This is done- this is a great special effects shot, look at that.
John: Yeah we put the glare in, right.
Chris: Yeah.
John: And also the reflection, that reflection is CG, too, if I’m correct.
Chris: Now the bat he's carrying was once a dog.
John: Yes, originally it was a dog.
Frakes: Budget eliminated the dog and the trainer and the amount of hours we could use them.
John: Turns out dogs are ridiculously expensive.
Chris: It’s crazy, I think dogs- I learned that dogs are more expensive than trains.
John: Yes.
Chris: Trains, apparently dirt cheap in Portland. Dogs? Ridiculously expensive.
John: Nice push in on that to help set up in a static shot that things are changing, that's a nice choice.
Chris: Oh I love this, this is great. And this is the two of them going mano y mano.
Frakes: This is a great scene, this is a Godfather scene, or a Goodfellas scene.
John: Yes, yeah. This is- Tim really enjoys these too.
Frakes: He also loves when a good actor shows up. He loves to go toe to toe with a good one.
John: This was like in Double Blind when O’Keefe-
Chris: Michael O’Keefe?
John: Michael O’Keefe came in.
Frakes: And the three hander you had at the end of the season.
John: Yeah, you can’t get him out of these scenes, cause actors- and they tend to shoot these- they want to go long, they wind up doing the whole scene a couple times, as long as you set up to get the coverage. We’re very lucky.
Chris: It's a great objective, I mean he's gotta convince a guy that he killed somebody that he doesn't remember.
John: Yeah, I mean prosecutors in the south do this all the time.
[Laughter]
John: Well- the letters, the emails, go to the website!
Chris: Oh. “Close your eyes.”
John: What's that? Oh, “Close your eyes.”
Chris: I love “Close your eyes.”
John: What I love is he's trying to get him to remember and what he's doing is hypnotizing him. He's basically planting these memories into place.
Chris: He’s planting memories.
Frakes: He’s closing the blinds.
Chris: Yes, and I have to give Tim credit because he said, “I wish there was a little something more in this scene where I'm doing something to put it in his head.” And I added it later and it really worked well.
John: The choking?
Chris: I added the just closing your eyes and putting yourself back in the scene. Because we talk about the unreliability of memory all the time.
John: All the time, yeah. A lot of times when we’re talking about credit and who did what, and who should get the credit for stuff they show.
[Laughter]
Chris: Unreliability.
John: Memory is unreliable, it’s really- that's why it's safer to default to us. Spencer's great, great way to play this in the closeup.
Frakes: Also a man comfortable with a glass in his hands.
Chris: Here we go, look at this shot! How did we- how many blocks was that?
Frakes: That was four- three blocks.
John: Three blocks on a zhoom.
Chris: That’s great.
Frakes: Three piece, three piece ninja.
John: Three piece ninja.
Frakes: Look at this guy, lost his shoe.
Chris: Hit him with the bat, and wait for the locked off frame- there!
[Laughter]
John: Oh nothing funnier than being taken out of a locked off frame.
Frakes: That's twice in this episode.
John: This was- I remember actually this- when you were writing this, you were in the- you were in the office, the writers room is right next to the office Chris and I share, because we’re a cable show, and we were breaking something else and you came in and you did not have the linkage.
Chris: I needed the linkage.
John: And we wanted- this was one of the ones where we needed to tie it in. And this is why you have a writers room, cause you never know when someone's gonna come up with- oh you know, this is how to do it. It's good to have ten brains. And again you can do a show with these two as FBI agents. We’re just oh so lucky.
Frakes: Blessed.
John: Yup.
Frakes: This is a long shot.
Chris: That is a long shot, right into the back room.
Frakes: From the exterior door, through the bathroom area, and back room.
John: I think we said it- I had fought building this set. I did not want to build this set; I thought we would never be back there. And the number of great long shots we've had moving back and forth between those sets? It's well worth it, worth it.
Chris: Well Jonathan, it was in the bar episode.
John: Yeah, it was in Bottle Job, we built it.
Chris: That was in your job.
John: Yeah, it was in Bottle Job.
Frakes: Alan Smith in the house.
John: Alan Smith is in the back, lurking, drinking. Drinking, Lurking. All those verbs. And- but it was just gonna be a standalone set and then wound up- and then this is also where your experience as a lawyer is handy because I never would have come up in a million years - you need the deposition, he needs to see his handwriting.
Chris: You need his agreement that he made with the government in order to convince the guy that you can make a deal and get him out of this.
John: Yeah, he needs to see the deal, he wouldn't believe any lawyer who didn't have the deal would be the person he could talk to.
Frakes: Red tie, symbolic red tie.
Chris: Symbolic red tie.
John: This was fun eventually-
Chris: Oh and this is-
John: Yeah she plays a great hardass prosecutor.
Chris: Another of my favorite scenes. And this is good cop, bad cop.
Frakes: When she puts on the glasses, whenever she puts on the glasses.
John: It works!
Frakes: You know she's good to go.
John: Those are great glasses, too. The sort of bored, the sort of just move it along here.
Frakes: [Unintelligible] and wiser girl for me.
Chris: And I love the way it was blocked, too, because you had Tim sitting, and you had the great shot to the blinds, and I mean you really had that kind of like Verdict/Godfather kind of feel.
Frakes: It did feel Godfather.
John: When you have three, by the way, you have to change one person's level, that's how you do a three hander. There's actually a great shot in Laura, which is where the actors are stacked up on different vertical levels, and that's how they handle a four hander, and they have people move in and out of those levels.
Frakes: Wow.
John: Yeah.
[Laughter]
John: I do occasionally know what I'm talking about.
Frakes: You referenced Laura?
John: You know, the noir thing, we’re very heavy into noir this year.
Chris: Here we go!
John: And then they fight! And that's what I love is-
Frakes: He just- this is the beat where Tim goes behind, which is wonderful.
John: But whenever you can make the mark- and Apollo told us this, whenever you can make the mark feel like he's the audience rather than the guy being worked-
Chris: Yes, absolutely.
John: They want to be involved in it, they don't want to feel like you're left out of it.
Chris: You don't feel like you're being conned by two people that are fighting each other and one of them is on your side.
John: Exactly. If they’re working you, you're being conned. If you’re seeing it, they let you do your own work. No, it's really spectacular, yup. And then-
[Laughter]
John: Just the little note to ‘hey this actually ties into the entire plot for the season’.
Chris: Yes. And worked out nicely in the end.
John: Yes! Yeah, absolutely.
Chris: And she looks great in that power suit, boy.
John: I will say that we didn't have the absolute ending con written yet, that was the great thing with you coming in like, “What do we need to have in that office?” and I'm like, “I don't know yet! we haven't written the finale!” we wound up cobbling the entire finale together, the plot of it-
Chris: Oh I mean it was all planned from the beginning, right John?
[Laughter]
John: Oh c'mon we don’t lie to them. They’re well past that by now.
Frakes: Oh wait, how do you tell these guys are cops?
John: Shoes.
Chris: They got cop shoes!
John: This is actually based on a thing that used to happen to me in New York. When I used to go to Times Square I'd get mistaken for a detective, cause I wore cop shoes.
Frakes: You still do.
John: I don't still-
Chris: And paramedic shirts!
John: Not paramedic shirts then. But when I lived in New York-
Chris: Were you ever mistaken for a paramedic for your shirt?
John: No.
[Laughter]
John: Oh you know, people gave me a television show and everything, you've had pilots, you know what the process is like. Your own show, top lining, Jonathan, you know.
Frakes: Ohhh.
John: Anyway, yes it's cop shoes are a dead giveaway.
Chris: There we go, here's our action act, now this is where all hell’s gonna break loose.
Frakes: Dave Connel again, props.
John: Yeah, that’s a beautiful light. That looks like the verdict, too, right there, very nice. Yeah, we grabbed this on the fly was her trying to maneuver him. And a lot of that is playing the catcher, she's kinda just put people in play in different locations.
Chris: Yeah, and that was also tricky here was, since everyone was more or less in the same location, it's just keeping track of who was where.
Frakes: Who could see what, and who would hear what.
John: I don't think this foyer actually existed originally, we kinda cobbled it together like, “Oh, remember the other times you've seen us walk through here? This is here. You just haven't noticed it before.”
Frakes: “It's a little bigger than it used to be.”
John: Yeah, exactly.
Frakes: Big enough to shoot in now.
John: Yeah, exactly. Now that's a beautiful shot, that's a movie shot right there. And then look! “I trust you, that person is the antagonist and you're my friend.”
Chris: And here we go!
John: And he's not good. Let's face it, he’s not a good assassin.
Frakes: Oh that slow mo.
Chris: Oh that was good.
Frakes: Remember this night, Chris?
Chris: Oh god, how many times did we do the windows?
Frakes: We had to walk away.
Chris: Yeah, we had to leave.
Frakes: Went over to the bar and shot a scene and came back.
John: Nice slide slam by the stuntie, by the way.
Chris: Oh she did great.
John: Nice work. And then Gina dodging squibs all over the place.
Chris: Yeah, this is fantastic.
Frakes: This is actually a good sequence.
John: This is a great sequence! This is act four- by the way, you can do this, this is not magic; hacking this is eminently doable.
Chris: Yeah, clone the phone to track them.
Frakes: That's the bump!
John: Yup.
Frakes: I have a bump.
John: You have a what? John, please, no.
[Laughter]
John: The- oh he's shooting the candles, now he's just angry, now he's not getting the job done now he's just- yeah.
Chris: Well we are gonna explain that it's not his chosen profession, he got the job from his wife.
John: That's right.
Chris: Who sent it over to him.
Frakes: Now’s the moment I've been waiting to ask, I have both of you in the room. I was on the set with Chris Downey, who I've done two shows with now, who I've learned to trust.
John: Yup.
Frakes: I’ve been in many rooms with you, we've had many conversations. I said to Downey “Whose idea was this with the wire and the water running down the wire?”
John: The water dripping down the wire? That’s mine.
Frakes: Did you get that?
Chris: I said that!
John: I'm sure Downey said that. He knows, because he had read the script that I had originally wrote it in for a movie that will never get made and he was like “I love this bit!”
Chris: I love that - it’s an awesome bit!
John: And we wound up just turning the lights off cause the flicker was too tough to do.
Frakes: Believe me, what we went through to get the water down the wire.
John: I know, and then, but this is one of those things where you're like, “Oh, we'll be able to do it in post.” And it turns out no, you can't do it in post. But-
Frakes: We got bad information.
Chris: It was supposed to be a strobe fight.
John: Yeah, it was supposed to be a strobe fight. But you know what? This is just as great.
Chris: This is great.
John: This is great. He's Batman.
Chris: Aaaaand-
John: And the locked POV, and- boom!
Chris: There we go.
John: And down. Yeah, and then the spinning flashlight.
Frakes: Dean Devlin did this?
John: No, Marc Roskin did this, and shot the hell out of it, really nice.
Frakes: Do you remember us in here with these wires and the water bottle in the ceiling?
Chris: Yeah, I know.
[Laughter]
John: Yeah, that’s- by the way, why I wrote it in a movie. Cause it’s a sequence that you need, like, movie time to do. You can’t do that on a TV show - that's fucking crazy! I don’t know why the hell you thought you could do it in that episode.
Frakes: I said to Chris, “Whose idea is this?” He said, “It’s Rogers! It’s Rogers! It’s Rogers’ idea! It’s great, it’s gonna work!”
Chris: I did. I loved it.
John: I did, I was wrong, I was drunk. Don’t trust me, that only ends in tears.
Chris: I thought it was great.
John: Oh, that's so sweet. You actually had a kiss, originally.
Chris: I originally had a kiss, but you said that was too much.
John: You know, I just don’t think she’s physically intimate enough for that. But if she’s gonna kiss anybody, it's him.
Frakes: Bam!
Chris: Oh here we go- boom, great stunt.
Frakes: Rockford.
Chris: Gut punch.
John: There you go, not afraid to use the bat.
Frakes: Worked better than that dog would have worked.
[Laughter]
John: That would've been like- where's Hardison?
Chris: The dog was supposed to jump out and attack him.
John: Now he’s really pissed, he’s blowing up the offices.
John: He's just having a bad day!
Chris: He's really going crazy on Pottery Barn.
Frakes: Everything that explodes.
John: “Maybe shrapnel from a vase will get in your eye and you'll die!” It's just- he's shooting blind now.
[Laughter]
Frakes: “You don't think I brought enough bullets! I’m French!”
John: “I’m French!” Maybe he's got-
Chris: Why do we think he's French?
John: I don't know! I don't remember. Oh, lovely overhead shot. Oh, and the French hate to get wet, there you go.
Chris: They don't like to get wet when they're shooting.
[Laughter]
Frakes: “That's it, I'm done, I'm wet.”
Chris: We had-
Frakes: “You turned the water on, I'm leaving. It’s bad for my gun.”
Chris: We had a little bit here that also helped the finale, cause we had Eliot come in and- I thought he did- he played this really nicely, saying this is the way Moreau does things.
John: Yeah.
Chris: Which I think, people are paying attention, kind of helps foreshadow the end.
John: Here is the thing. We did know that Eliot would know Moreau from the beginning of the season. And so there is a lot of stuff during this season that you can go back and watch now that you'll see it indirectly.
Frakes: You can attach it to him.
Chris: That was a little clue right there.
John: And then him panicking, as one does.
Frakes: That’s it, I don't trust any of you, I'll take my chances.
John: And it was interesting, at one point somebody asked, “Why is he running?” Somebody just shot you up, man! You're gonna run, absolutely.
Chris: He's gonna he's not gonna give up Moreau; he’ll take his chances in jail.
John: And that was one of those great times, too, “How the hell do we get him out of there? Wait, is there an elevator in that hallway?”
Frakes: Yes!
John: Yeah, and we never shoot it, we never use it, but it's been in that set since day one. Or day one of this set, which is season 2.
Chris: Now we gotta figure out where we’re all gonna go.
John: They gotta call an audible, ok.
Frakes: Glasses off, now she’s gonna get this.
Chris: Now she's all business.
John: Glasses on is a role, the glasses off is Sophie using her giant brain.
[Laughter]
John: I don't remember what the- yeah there you go, and that was great cause we get to do the whole everyones coming up with a plan and they're in different places.
Chris: And he's gonna drive. Cause now that they're back to being bickering brothers again.
Frakes: Bickering brothers, exactly.
John: Now the danger’s passed, they can go back. I remember we wrote Eliot particularly brutal in that fight too, it's just- this is what he does when other people aren’t around.
Chris: Right.
John: He moderates his violence when there's other people around, but when they're not, he's as ruthlessly efficient as one can be.
Chris: Mike Mahon, again, as the fixer lawyer.
John: “Where the hell were you?” And here's the-
Frakes: This is a good scene, I like the cutaways in this scene, what he sees and how he's been conned.
John: How he's perceiving it.
Frakes: Yeah.
John: There was an interesting new story today where a guy got conned out of between 6 and 20 million dollars by computer consultants. He brought his laptop in and- allegedly, the people examining the laptop told him he was the victim of a giant conspiracy and they got him to pay. He had a lot of money, he had inherited a lot of money, and got him to pay a ridiculous amount of money for 24/7 computer security. And they did it by controlling information and convincing him that he was the subject of a conspiracy.
Chris: Oh, so kind of a gaslight.
John: They gaslit him! They did the thing we do.
Chris: Teah.
John: And, well, they're real con people they're turned out- but anyway, what's interesting is how- when we do our research, how far you can drive someone in a tight situation with little information, you know, you really- all you have is what you see.
Chris: Yeah, and now he plays this- I mean, again, we talked about how many shades that Spencer has to play in this episode, and here it's just panic and rage all in one.
John: All at the same time.
Chris: And we did it a bunch of times and he brought it every single time.
Frakes: Oh he did bring it.
John: And great shit eating grin by Beth there, that's a nice- this is a big part of what Dean calls the gloat, is the part of the episode where you have to make the bad guys suffer. We must gloat and the bad guy must suffer.
Frakes: Schadenfreude. [pronounced shoo-den-freud]
John: Is that the word for it? Schadenfreude [pronounced correctly]. I like [shoo-den-freud] cause he's about to start shooting people.
Chris: Here's our guys.
John: And of course they would be, of course you wouldn't question two cops who were arresting him.
Chris: No, the guys going batshit in court, two cops in the hall are gonna go grab him.
Frakes: Good thing they were there.
Chris: And then, “Moreau wants to talk to you.” Now he's really gonna lose it.
John: And then go for the gun.
Frakes: I never use a gun, slow mo.
John: Nice lock. And the taser, which we pay off in the season finale.
Chris: Oh she loves the taser.
John: She loves the taser. She's beginning to realize she loves the taser a bit too much.
Chris: She is a little self aware.
Frakes: Right here she realizes it.
John: And the neck crack.
Chris: And there’s a smile!
John: I love the neck crack, she just enjoys tasering people, that's just a good day for her.
Chris: And remind people that Eliot doesn't like guns.
John: Exactly. Although we did not know at this point whether we were gonna do the gunfight. We talked about saving the gunfight for season 5 and we wound up using it here, because we had never had a villain that was so tightly tied to him before, so it made sense.
Frakes: This is funny, this is a oner.
Chris: This is a great shot, what a great shot.
John: And a great how to tell a story in one shot. Conservation of energy and momentum.
Frakes: Few producers will let you do it; Dean did.
Chris: Now where did she- did she stop and buy the bow? I know people have asked me that, but she comes prepared with a green bow wherever she goes.
[Laughter]
John: I think she has gift wrapping in her car.
Chris: She has gift wrapping in her car!
John: Cause she likes to give people little gifts. Sometimes it's their own wallet.
Chris: Oh, and that's great.
John: And this is- this became kinda an iconic shot in the show just the three [unintelligible] just, you know, her enjoying it too much. This was a big fan favorite.
Chris: And now-
Frakes: Here it comes.
John: And now the showdown. The place is trashed, and this really-
Chris: Oh and I gotta give credit to our- Becca Molino, who just dressed this office, and I love- you'll see it in the backshot, but the kind of Warhol-like shot, that lithograph she did of-
John: Oh, of him, yeah.
Chris: Of him, it was great.
John: Him at the height of his fame as a hockey player, yeah, really nice. And this is a great- this is a great screw you scene. Now what's interesting is there's a reason her back is to you later in the scene. We shot- we wrote two pieces of dialogue, one where she lays in that they're going off on their own, and one where we laid in that she was working for Moreau.
Chris: Yeah.
John: Because we had not broken the season finale at this point, and we were kinda in the writers room-
Frakes: Luckily we shot her facing away!
Chris: Yes we did. Lucky we made that call.
John: But to be fair, this is a thing- you know, in a writers room there are multiple humans and you don't always- you know, it's nice when creators say, “I knew what was going on from moment one.” On 99.9% of shows, that's bullshit. And we were in a dead tie in the room at this point, like is she working for Moreau or isn't she? And so we pushed. We pushed the bet to the finale which was two weeks later, we were breaking it then.
Chris: Well ultimately it just didn't get us anything. I mean her being in cahoots with him kind of meant that it split the focus on the bad guys, and what was she doing that was different from this big bad guy?
John: Exactly, we got down into plotting the first half of the season finale-
Chris: It sounded great as the ending of this! Oh my god!
John: This was the summer season finale, this was fantastic.
Chris: And here was great this was another- Derek Frederickson, our-
John: The fifth Beatle.
Chris: The fifth Beatle does a great job here.
John: And again, absolutely true. Great way to transmit information if you're trying to overthrow the government, or plan some sort of insurrection, do that. Don't mention you heard it here though, don't tell the FBI that. Tell them you picked up on Boing Boing or Cory Doctorow, something like that, an already known subversive human.
Chris: And now he says sayonara to-
John: Yeah, this is, again, one of those places where Nate- the Nate of first season wouldn't have made this speech. Nate’s been to prison, Nate’s a hardass, Nate’s a thief, Nate plays by his rules now, and is cut loose in thief world. And now she makes the phone call.
Chris: Boy, good call that her back was turned, huh?
John: Well it gave you a nice silhouette.
Frakes: It’s a better shot.
Chris: Jonathan, you must've known that we were gonna go back and change it, right?
Frakes: Unfortunately you added this last scene.
John: What do you mean unfortunately?
Chris: Well, we were a little short.
[Laughter]
John: Things happen.
Chris: It was so fast paced. But I think it worked.
John: Yeah, what was this scene? Cause the sounds off when we watch these.
Chris: Oh this is the- you know we don't have to go after Moreau. This is just kinda reiterating to the audience that this is a war of choice, not of necessity. That now that The Italian is out of the way-
Frakes: Yeah, you've chosen to be in it and we haven’t.
Chris: Yes, yes.
John: Which is why later on we have him then saying, “I'm asking you,” instead of him bullying them into it.
Chris: Yes, exactly.
John: And this a part of the fact that Nate’s hubris is- when Nate’s in the game, he loses track of the goal line, he just needs to win. It's what made him a good investigator, but not necessarily the best guy to lead a crew.
Chris: And I gotta say, to go out on the summer season, I would prefer to go out on our guys than on a bad guy.
Frakes: Yeah, fair enough.
Chris: So it kinda worked out, even though we were a little short.
John: Also I like the fact we had Sophie start drinking this year. She never really drank a lot, but you know, she's a thief. To me, they are a lot like stand up comics. They work in bars at night, you know, they hang out that way. That's a great- that's the last image of the summer, right there.
Chris: That’s it.
Frakes: Damn.
Chris: Frakes!
Frakes: What fun.
John: What a pleasure!
Chris: What fun. I had to wait two seasons to do this.
Frakes: To get back. Because the first time we worked together, The Wedding Job- too funny.
[Laughter]
John: Too funny, let’s not rehash.
Frakes: That’ll never happen again!
John: There you go, alright say goodnight to the folks.
Frakes: Thank you for coming.
Chris: Thank you.
John: Put another DVD in, they get funnier as we get drunker.
[Laughter]
Frakes: Can we watch one more, dad?
John: No we can't!
Frakes: C’mon!
John: You gotta direct another show!
Frakes: I wanna watch the whole season tonight!
John: Alright we’ll put them in, fine.
22 notes
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Fantasy Hockey Oscars
Inspired by Sunday night’s Academy Awards, which I didn’t watch, I will attempt to put a fantasy hockey spin on the old classic. There will be no red carpet fawning or lists of the best and worst dressed players, that stuff is for The Hockey News.
Costume Design
Rest assured, those awful Toronto Maple Leafs white uniforms (sponsored by Wite Out and Benjamin Moore Paints) they wore during Saturday night’s outdoor game did not make the list. There are four Original Six franchises amongst the nominees. This award is subjective and very much in the eye of the beholder.
Western Conference Nominees
Chicago Blackhawks
St. Louis Blues
Winnipeg Jets
Eastern Conference Nominees
Detroit Red Wings
Montreal Canadiens
Toronto Maple Leafs
Winner – Toronto Maple Leafs. Just a classic look with that old school maple leaf on the front. Take how great those jerseys look, along with how bright the future appears to be and you’ve got a winning combination in Hogtown.
Best Performance in a Comedy
Western Conference Nominees
Brock Boeser (Vancouver Canucks) – 61-29-26-55 (next best on team has 46 points), tied for 10th in NHL with 10 power-play goals, 23 power-play points, second highest rookie scorer
Patrick Kane (Chicago Blackhawks) – 66-24-38-62 (next best on team has 45 points), fifth most shots on goal in NHL (236)
Eastern Conference Nominees
Josh Bailey (New York Islanders) 62-16-48-64, ninth in league with 28 power-play points
Mathew Barzal (New York Islanders) 66-18-49-67, top rookie scorer, two more points than John Tavares
Mark Stone (Ottawa Senators) 55-20-40-60 (next best on team has 47 points)
Winner – Mark Stone. The Senators season has been a circus with talk of dealing their franchise player, trading of veterans and poor attendance numbers. Through it all, Stone has weathered the turmoil and is four points away from a career best campaign with 18 games remaining on the slate.
Foreign Language Film
Western Conference Nominees
Leon Draisaitl (Germany, Edmonton Oilers) – 61-21-37-58
William Karlsson (Sweden, Vegas Golden Knights) – 65-35-24-59, tied for third in NHL goal scoring, leads league in plus/minus (plus-39)
John Klingberg (Sweden, Dallas Stars) – 65-7-48-55, leads NHL in defence scoring
Anze Kopitar (Slovenia, Los Angeles Kings) – 66-27-44-71
Patrik Laine (Finland, Winnipeg Jets) – 65-35-23-58, tied for third in league goal scoring, first in power-play goals
Eastern Conference Nominees
Nikita Kucherov (Russia, Tampa Bay Lightning) – 64-33-52-85, tops league in points, seventh in shots on goal (229), tied for fourth in NHL power-play points (31)
Evgeni Malkin (Russia, Pittsburgh Penguins) – 62-36-43-79, tied for fourth in NHL power-play points (31)
Alexander Ovechkin (Russia, Washington Capitals) – 65-40-32-72, leads NHL in goal scoring and shots on goal (279), 117 hits
Andrei Vasilevskiy (Russia, Tampa Bay Lightning) – 38-12-3, 2.41 goals-against average, 0.926 save percentage, leads NHL in shutouts (7), third in saves (1591)
Jakub Voracek (Czechia, Philadelphia Flyers) – 66-14-57-71, tied for fourth in NHL power-play points (31)
Winner – Nikita Kucherov. Admittedly, there was a heavy Russian presence in the nominations. Kucherov has 21 points in his last 14 games. He will have to fend off Connor McDavid among others down the stretch if he is going to win his first scoring title, but the Russian has a strong supporting cast to help bring the title home.
Directing
Western Conference Nominees
Gerard Gallant (Vegas Golden Knights) – first in Pacific Division, 89 points
Peter Laviolette (Nashville Predators) – first in West, 93 points
Paul Maurice (Winnipeg Jets) – second in Pacific Division, 87 points
Eastern Conference Nominees
Bruce Cassidy (Boston Bruins) – second in Atlantic Division, 88 points
Jon Cooper (Tampa Bay Lightning) – first in NHL, 94 points
John Hynes (New Jersey) – fourth in Metropolitan Division, 74 points
Winner – Gerard Gallant. When you take an expansion team to the top of the division in your first year, you’re gonna win some hardware
Hairstyling Lifetime Achievement Award
Awarded post-humorously to Jaromir Jagr. You haven’t been gone long, but we already miss your flowing mullet.
Sound Mixing (Complaints Falling on Deaf Ears Award)
Western Conference
Jeff Carter (Los Angeles Kings) – 11-3-3-6, averaged 28 goals and 66 points over each of the last three seasons
Oliver Ekman-Larsson (Arizona Coyotes) – 64-9-23-32, league worst minus-35, making him unusable in roto leagues where plus/minus is a category
Duncan Keith (Chicago Blackhawks) – 66-1-27-28, minus-18, 22 penalty minutes, 32 hits, eight power play points, 40.5 average draft position in Yahoo
Eastern Conference
Max Pacioretty (Montreal Canadiens) – 64-17-20-37, minus-16, snaps string of four straight 30 goal seasons, 31.0 average draft position in Yahoo
Justin Schultz (Pittsburgh Penguins) – 47-3-15-18, 12 penalty minutes, seven power-play points
Shea Weber (Montreal Canadiens) – 26-6-10-16, prior to this season, averaged 48.5 points per year over the last four campaigns
Winner – Max Pacioretty. Tough season for Patches, Habs fans and fantasy owners alike.
Short Film (Animated)
Western Conference Nominees
Jake Allen (St. Louis Blues) – 19-19-2, 2.83 goals-against average, 0.904 save percentage
Cam Talbot (Edmonton Oilers) – 22-26-2, 3.12 goals-against average, 0.903 save percentage
Eastern Conference Nominees
Craig Anderson (Ottawa Senators) – 18-20-5, 3.29 goals-against average, 0.900 save percentage
Brayden Holtby (Washington Capitals) – 29-14-4, 3.00 goals-against average, 0.908 save percentage
Matt Murray (Pittsburgh Penguins) – 23-13-2, 2.82 goals-against average, 0.909 save percentage
Carey Price (Montreal Canadiens) – 15-22-6, 2.98 goals-against average, 0.904 save percentage
Winner – Carey Price. The Price was wrong this year. The consensus top-ranked goaltender in fantasy hockey heading into the season had his fantasy owners animated this year and dropped many fantasy teams out of contention early in the campaign. This season is well off his usual fantasy excellence. Over the previous four campaigns combined, Price has a 2.16 goals-against average and 0.928 save percentage.
Documentary (Feature)
Western Conference Nominees
Connor Hellebuyck (Winnipeg Jets) – 34-10-8, 2.40 goals-against average, 0.922 save percentage, six shutouts (second in NHL)
Carter Hutton (St. Louis Blues) – 16-7-3, leads league in both goals-against average (2.02) and save percentage (0.934)
Pekka Rinne (Nashville Predators) – 35-9-4, 2.33 goals-against average, 0.927 save percentage, six shutouts (second in NHL)
Eastern Conference Nominees
Frederik Andersen (Toronto Maple Leafs) – 32-17-5, 2.74 goals-against average, 0.920 save percentage, leads league in saves (1722), five shutouts
Tuukka Rask (Boston Bruins) – 26-11-4, 2.28 goals-against average, 0.919 save percentage
Andrei Vasilevskiy (Tampa Bay Lightning) – 38-12-3, 2.41 goals-against average, 0.926 save percentage, leads NHL in shutouts (7), third in saves (1591)
Winner – Andrei Vasilevkiy. The top fantasy goaltender this season. Great value if you were able to draft the 16th ranked (pre-season) Yahoo goaltender.
Actor in a Supporting Role
Western Conference Nominees
Dustin Brown (Los Angeles Kings) – 65-19-26-45, plus-24, 156 hits
Evander Kane (San Jose Sharks) – 64-21-24-45, tied for fifth in NHL shots on goal (236), 131 hits
Jonathan Marchessault (Vegas Golden Knights) – 62-22-43-65, third in NHL plus/minus (plus-32)
Eric Staal (Minnesota Wild) – 66-34-31-65, tied for fifth in NHL goals, 182 shots on goal, three short-handed points
Eastern Conference Nominees
Mathew Barzal (New York Islanders) – 66-18-49-67, top rookie scorer
Sean Couturier (Philadelphia Flyers) – 66-29-34-63, plus-26, 195 shots on goal
Vincent Trocheck (Florida Panthers) – 63-24-33-57, 110 hits, 220 shots on goal
Tom Wilson (Washington Capitals) – 61-11-18-29, second in NHL penalty minutes (154), eighth in hits (185)
Winner – Vincent Trocheck. A mild upset, but the under-rated Panther contributes in just about every roto category there is.
Actor in a Leading Role
Western Conference Nominees
Brent Burns (San Jose Sharks) – 66-10-42-52, second in NHL shots on goal (271)
Nathan MacKinnon (Colorado Avalanche) – 57-31-46-77, averaging 1.35 points-per game, tops in league
Connor McDavid (Edmonton Oilers) – 65-30-49-79, new face of the NHL
Tyler Seguin (Dallas Stars) – 65-34-26-60, fifth in NHL goals, third in shots on goal (260)
Blake Wheeler (Winnipeg Jets) – 65-18-56-74, second in NHL in power play points (34)
Eastern Conference Nominees
Taylor Hall (New Jersey Devils) – 61-30-42-72
Nikita Kucherov (Tampa Bay Lightning) – 64-33-52-85, tops league in points, seventh in shots on goal (229), tied for fourth in power-play points (31)
Evgeni Malkin (Pittsburgh Penguins) – 62-36-43-79, tied for fourth in power-play points (31)
Alexander Ovechkin (Washington Capitals) – 65-40-32-72, leads NHL in goal scoring and shots on goal (279), 117 hits
Steven Stamkos (Tampa Bay Lightning) – 66-27-50-77, plus-23, tied for fourth in NHL power-play points (31)
Winner – Alexander Ovechkin. Still the king. Multi-category stud still wears the crown atop the fantasy hockey throne in rotisserie leagues.
Best Picture
Which team looks as though they will go all the way and have their names etched on the Stanley Cup after all is said and done this season.
Western Conference Nominees
Nashville Predators – 93 points (most in West), plus-46 goal differential
Vegas Golden Knights – 89 points, plus-45 goal differential
Winnipeg Jets – 87 points, plus-45 goal differential
Eastern Conference Nominees
Boston Bruins – 88 points, plus-51goal differential
Pittsburgh Penguins – 80 points, two-time reigning Cup champs
Tampa Bay Lightning – 94 points (most in East), plus-58 goal differential
Washington Capitals – 81 points, less pressure
Winner – Tampa Bay Lightning. The Bolts have what will prove to be the right mix of depth, high end talent, veteran experience, skilled youth and goaltending. It will be difficult to get past the Penguins, but the final pieces were put in place when they acquired J.T. Miller and Ryan McDonagh.
from All About Sports https://dobberhockey.com/hockey-home/eastern-edge/fantasy-hockey-oscars/
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