Amy Sherman-Palladino Biography
Table of Contents
- 1 Amy Sherman-Palladino Biography
- 2 How Old Is Amy Sherman Palladino | Amy Sherman Palladino Birthday
- 3 Amy Sherman Palladino Email
- 4 Amy Sherman Palladino Bunheads
- 5 Amy Sherman Palladino Gilmore Girls
- 6 Amy Sherman Palladino Book
- 7 Amy Sherman Palladino Hats
- 8 Amy Sherman Palladino Interview
- 9 Amy Sherman Palladino
Amy Sherman-Palladino is an American television writer, director, and producer. She is best known as the creator of the comedy-drama television series Gilmore Girls (2000–07, 2016), Bunheads “2012 -2013”, and The Marvelous Mrs. Maisel 2017–present.
She has received four Primetime Emmy Awards for her Awork, including Outstanding Comedy Series, Outstanding Directing for a Comedy Series,
Outstanding Writing for a Comedy Series, and Outstanding Music Supervision, all for “The Marvelous Mrs. Maisel”. She is the first woman in history to win in the comedy writing and directing categories at the Primetime Emmy Awards. In 2019 she received the Norman Lear Achievement Award in Television from the Producers Guild of America.
She is the founder of Dorothy Parker Drank Here Productions. She is known for her trademark rapid-fire dialogue, which is often full of obscure pop culture references; and as well for her preferred master shot filming style.
How Old Is Amy Sherman Palladino | Amy Sherman Palladino Birthday
The American television writer, director, and producer. She is best known as the creator of the comedy-drama television series Gilmore Girls, Bunheads, and The Marvelous Mrs. Maisel. He was born on January 17. 1966 in Van Nuys, Los Angeles, CA. She is 53 years old as of 2019.
Amy Sherman Palladino Email
Sherman-Palladino’s sarcastic, fast-talking brunettes have become her signature style, whether in present-day Stars Hollow or in 1950s New York. The latter, “The Marvelous Mrs. Maisel,” was not only one of Amazon’s best-received pilots, but it also became the first to earn a two-season pickup for the OTT provider.
And while “Maisel” differs from Sherman-Palladino’s “Gilmore Girls” and “Bunheads” in period setting, her themes of female empowerment, feminism and self-worth are ever present. Fittingly, the show’s eight 2018 Emmy wins push Sherman-Palladino into record territory as the first woman in the ceremony’s 70-year history to nab comedy writing and directing. It’s no wonder Amazon Studios has locked her Dorothy Parker Drank Here into a multi-year deal.
Amy Sherman Palladino Bunheads
ABC Family picked up Sherman’s pilot, Bunheads, to series. It premiered on June 11. 2012. The series stars Sutton Foster as a Las Vegas showgirl who, after impulsively getting married, moves to the sleepy coastal town ‘Paradise’ and winds up working at her new mother-in-law’s dance studio: The Paradise Dance Academy.
Kelly Bishop, who portrayed Emily Gilmore in Gilmore Girls, plays the recurring role of Fanny Flowers, her mother-in-law. On July 22. 2013, five months after the end of Season 1, it was announced that Bunheads would not be renewed for a second season.
Amy Sherman Palladino Gilmore Girls
On April 20, 2006, it was announced that Sherman and her husband Daniel could not come to an agreement with The CW to continue their contracts. As a result, the Palladinos’ involvement with Gilmore Girls came to an end.
The official statement was as follows: “Despite our best efforts to return and ensure the future of Gilmore Girls for years to come, we were unable to reach an agreement with the studio and are therefore leaving when our contracts expire at the end of this season. Our heartfelt thanks go out to our amazing cast, hard-working crew, and loyal fans.” Writer and producer David S. Rosenthal replaced them.
Amy Sherman Palladino Book
“Gilmore Girls” originally ran for seven seasons, with the final season moving to The CW, and ended its run on May 15. 2007.
Gilmore Girls is an American dramedy television series, created by Amy Sherman-Palladino and starring Lauren Graham and Alexis Bledel. The show debuted on October 5.2000, on The WB and became a flagship series for the network.Amy Sherman Palladino Twitter
Amy Sherman Palladino Hats
hIn producing the show, Sherman-Palladino, and her husband wore many hats as the creative forces of the show, writing a large number of the episodes and also acting as directors, producers and showrunners for six of its seven-year run.
Amy Sherman Palladino Interview
Daniel Palladino: That’s the secret. Clockwise on Tuesday, counterclockwise on Wednesday.
Amy Sherman Palladino
So as she enters it, we let the audience enter it with her and experience it as she would.
Interviewer: Also, her entrance into comedy is accompanied by Susie, played by Alex Borstein, which becomes our sort of buddy comedy. So we can do scene after scene after scene of two women having discussions that pass the Bechdel Test.
The only time they ever talk about men, it’s Susie talking about how much she detests her ex-husband and doesn’t want him around. Other than that, it’s two women, a very unlikely partnership, who are each stuck in their own kind of grooves. Midge was on a path that she always thought was the only path she could take, and she discovers that there are other paths out there for her. And Susie is a little more mysterious. She’s a woman who basically at some point shut down in her twenties, and even we don’t quite know why —
Amy Sherman Palladino: Well, I don’t think we don’t know totally. Susie is somebody who, again, did not fit the times. She was not a beauty. Where did Susie fit in with the kind of clothing that she wears and the views that she has? And the difference between Midge and Susie is: Midge has no idea that there are no boundaries for her. Susie is incredibly aware of every single boundary that has been put up.
And suddenly this Tinkerbell comes flying into her life, and she realizes: If I can harness that, I could have a shot at having some sort of life that isn’t me fucking dying at this, at the Gaslight, making a cup of coffee. So it’s that dynamic between two women who are acutely women in their times in very different fashions. Susie’s life is never gonna be finding a husband, have some kids — that’s just simply not an option. And once you take that option off the table in 1959, women were left with a lot less choices. She doesn’t come from money.
It’s not like she’s, “Well, I’m gonna go live in France.” With what? She has no money, no support system, and suddenly [there’s] one person and friend — even though she’s still, deep into Season Two, “We’re not friends!” It’s so hard for her to let herself even acknowledge how important Midge is to her, because if Midge goes away, then Susie goes away. As much as the show is about Midge and her life, it’s a buddy comedy. And the scenes between the two of them have become incredibly important.
Despite how much the show leans on those two women, it doesn’t feel effortful, like you’re straining to construct something timely. Why do you think it feels so contemporary even though it’s so grounded in a bygone era?
Amy Sherman Palladino thinks it’s depth. The world changes so fast. Who knew that while we were doing press in London, Harvey Weinstein is finally gonna be outed as the gargantuan creep that he is? That was the “come to Jesus” moment for everybody. So… I don’t believe you go into any project with a shot in hell of succeeding if you have a specific zeitgeist desire. It just can’t work. You have to fall in love with your story and what you want to tell people, and live in a world that you’re gonna enjoy for a while, and hope to drag some people along with you.
Interviewer: Yeah, the best way to tap into those things is accidentally. And we got that from the very beginning. Once the series came out, everybody was reading into it. And while it wasn’t at all what we intended, it’s like, if people take from that, then good. They’re reading into very strong women characters. Even this year [Midge’s mother] Rose starts stepping up, because she also is in a role that was expected of a woman of her time, and we’re finding out more and more that that’s not all that she wanted in life.
So, we still get the “MeToo” things, and we deny that we intended to do it, but we don’t deny that those issues are dealt with, because this woman is in this world and is dealing with a lot of the issues. And I think if you pay attention to the characters and their motivations and their psychology and all that stuff, people are going to read into it these universal things. That’s our ultimate goal, to get people to read into it what they want to read into it. Make it their own.
one of the things we did want to do that had nothing to do with a political message or what’s going on in the world was, we needed Midge to feel energetic and youthful and not like, “I’m watching my grandma walk around, and everything smells like schmaltz.” We wanted young girls to be able to watch Midge and find her as fascinating as their grandmothers would. We didn’t want to make a sepia-toned Hallmark card. We wanted her to be a vibrant heroine of today. And because of that, the issues that she deals with are issues that women deal with: love, marriage, betrayal, family, success in life. How ambitious should I be? How ambitious is attractive? Do I care? Was I meant to be a mother? I’m a mother, what the fuck do I do now? Those issues are issues whether you’re alive today or [in] 1950.
Speaking of, earlier in your career you faced a lot of negative labeling, like “Oh, she’s challenging— ”
Amy Sherman Palladino: Well, yes I did [laughs].
There hasn’t been any of that around this show. Why do you think that is? Is it because Amazon lets you do whatever you want? Is it because we’re in a time where people don’t care anymore, where women can be in charge and not automatically be labeled a bitch? Is it that the show is such a success?
Interviewer: I think a little bit of all of that.
Amy Sherman Palladino Yeah, it’s a hodgepodge. Look, at this point when I walk in the room, they’re gonna be like, “Ugh, the hat, I get it”… y’know, “We know, with the words and the blah.” So it would be naive of them at this point to go, “She’s gonna be so great.” That ship’s sailed. But I think also a great deal is that shift in the landscape of television and being able to be at a place like Amazon or Netflix. I don’t think places like that can afford to be as dickish as the other places. They can be quietly dickish if they wanna be, but their jobs are to eat ABC’s lunch.
They saw a wasteland of, like, every show is kind of the same, and they were like, “We could do something different. There’s more stories out there than are being told.” And I think just by having that be the mandate, suddenly the “difficult” become more, “Oh, wait a minute, they’re not difficult, they just have a different way of thinking and doing stuff.”
Interviewer: When we first started in TV, sitcom structure was very, very rigid. Basically, the networks had a formula and if you stepped outside of that to try to tell the story in a different way, the network structure was there to pound all that stuff back in. They wanted everything to be TGIFridays. Then, if someone like Amy comes around, and says, “I wanna do an hour-long comedy” — Gilmore Girls, people were saying it should be a half-hour. There were a lot of battles like that. And we would have battles about episodes that they hated that became some of the most beloved episodes.
And quite frankly, guys also got pounded. But unfortunately, honestly, when women get pounded, it becomes, “She’s difficult; she’s crazy; she wears a hat.” For me, it was probably, “He’s a dick, he’s difficult.”
Amy Sherman Palladino: So we found each other [laughs]!
Interviewer: But cable and the streaming outlets don’t have any preset formula of how you should behave. So, people who have new ideas, it’s like, “Cool, let’s try it.” You go to Amazon, they don’t want to hear the next CSI, they actually want to hear a variety of things. And they decide through probably algorithms [laughs]. Y’know, like they ask Alexa, “Alexa, is Amy Palladino still difficult?”
Amy Sherman Palladino : [Laughs] “Yeah, she is!”
“And fuck you!”
I don’t think it was success though, because after Gilmore Girls, I wrote a couple of scripts that I really loved, and I still got, “Look we just don’t think it’s gonna work.” And I’m like, “OK, I literally I proved that it can work if it’s done properly because we literally just did it.” I’m not even saying, look at someone else’s show, I could do that; I’m saying look at my show. Look at my hats, I have a hat room! I have a whole room for my hats that I bought off that show!
Interviewer: Security is usually escorting her out of the building at this point.
Amy Sherman Palladino: What I’ve never understood with notes is, if you see something so clearly, it’s not pretentious to go, “Midge wouldn’t say that.” Like, she just fucking wouldn’t say that. If someone comes to you and says, “Well, do it this way,” it’s not being a dick to say, “Well, I don’t wanna do it that way.” It’s literally like, “The journey is this way. So you’re telling me to write something I don’t see.” And writing is not like millwork. It’s not like putting a car together, where you know if you put the wheel on the thing, eventually it’ll go. It’s a different thing. You have to see it, otherwise, you can’t do it.
So what do you see for Midge? Do you have an arc where you know what her endpoint ultimately is?
Amy Sherman Palladino: We have a general idea. It’s not as clear as Gilmore — which, I knew the last four words from day one — but we have a trajectory. What we know less is how long we’re gonna take her to get there. As wonderful as the structure of 10 episodes is, we are finding ourselves sometimes desiring more time.
Is she going to end up with Joel? Do you guys like Joel?
Amy Sherman Palladino: Oh, I love him. Mad about him.
Interviewer: Obviously Joel is a very flawed person.
Amy Sherman Palladino: That’s what I like about him.
Interviewer: He’s our incredibly weak person who through a big mistake is going to gain some strength.
Amy Sherman Palladino: Sometimes people who have the biggest journey to take are the most interesting characters in the end. What I don’t like about a lot of shows that center on woman is, they tend to make the men universal villains. Like they have to be a little douche-y, or they have allergies, or they eat tuna fish all the time, or they’re kind of geeky, or they’re such dogs that like, he’ll have his dick in someone and be like, “I don’t, what are you talking about, honey?”
We wanted to make sure that Joel was a flawed man of his time. Y’know, men in the Fifties had their own sort of line to toe. They [had] things they were supposed to do and ways they were supposed to act. And this is a guy who thought he would break free from his father and that would solve it, and that didn’t happen. He thought, “I’m gonna have this great dream” [to become a stand-up comic], and that didn’t happen. He’s a guy searching. And he made a big fucking mistake, and he’s gonna spend the rest of his life beating the shit out of himself for that mistake. He’s also the first person outside of Susie to see [Midge] and understand exactly what she is and how good she is. I will always love him for that.
Because I think he knew what she was subconsciously when he picked her. Y’know, he picked the loudest broad in the room. There were plenty of cutie pies in the corner who could make a fucking brisket who would shut their mouths and wouldn’t want to take the microphone at their own wedding. There was just something that just drew him to the most special person out there, not just because she was a hot chick. Because hot chicks with big mouths sometimes become a lot less hot, especially in the Fifties.
He was drawn to her bravado and her energy and her mind and her humor and her wit, and it’s the very thing that undid them. And I think that there’s something really interesting about that. He’s with us for life. There was never five seconds where we thought, “We could just get rid of Joel and bring in more men.” He’s amazing. And he was the catalyst for her to find this voice. Without him being a dick, she never would’ve found this thing inside of her. So, many years from now, she can say thank you [laughs].
Why does Midge never fall apart, with all the turmoil in her life?
Amy Sherman Palladino: I feel like I see women falling apart on TV all the fucking time. I just want some woman to keep her shit together.