Amy Sherman-Palladino dishes on ‘Gilmore Girls’, ‘Maisel’ in Paleyfest

It is the world of Amy Sherman-Palladino and we all look at it alone.

Or at least that was the starting point of the Paleyfest LA -panel that returned to the hit shows of the productive TV maker, “Gilmore Girls” and “The Marvelous Mrs. Maisel”, and her new ballet comedy “Étoile”.

Sherman-Palladino was greeted by a roar of applause and a standing ovation by fans who took the Dolby Theater in Hollywood on Saturday. She smiled and waved while she walked over the stage, it seemed really happy to have all her actors collected like the Avengers. But she found it a bit difficult to concentrate on the importance of the occasion.

“Sorry, I spent the whole red carpet staring at Lauren’s ass and Rachel’s tits. People kept talking about lines that meant something to me,” Sherman -Palladino joked while she settled in her chair on the “Multiversum” panel, clamped between “The beautiful maisel’s” Luke Kirby; Alex Borstein and Rachel Brosnahan; “Gilmore Girls” mother-daughter Duo Kelly Bishop and Lauren Graham; “Étoile” leads Charlotte Gainsbourg and Lou de Laâge; And her husband, colleague -TV icon Daniel Palladino.

The 90-minute conversation, moderated by Stacey Wilson Hunt, followed the career of Sherman-Palladino Chronological-Engineing with a fatal decision to skip a callback for ‘cats’ to take a writing performance on ‘Roseanne’.

“I had not expected to be here. I had to be a dancer,” said Sherman-Palladino and explained that she was trained as a ballerina from the age of 4 or 5. “Sorry, Mom.” (Her mother, Maybin Hewes, was in the audience and shouted what she told her daughter at the time: “I hope this pays.”)

Has ever done it! The performance of “Roseanne” not only opened the door to a successful TV career, but her writing partner also introduced her to Palladino on a blind lunch date, and the rest is history.

“I really believe that the first thing I’ve ever heard Amy say, except” hello “,” I am in hell! ” And I thought, “That’s the girl,” he remembered “it was done.”

The couple did not wrote together early, a ‘non-Power purple’, Sherman-Palladino but by the late 90s, Palladino made a stable life in ‘Family Guy’ and encouraged her to take the pressure and write what she wanted to write. “She finally wrote” Gilmore Girls, “he shared.

The comedy, with Graham in the lead role such as Lorelai Gilmore, a 32-year-old single mother who raised her teenage daughter Rory (Alexis Bedel), was broadcast on the WB from 2000-2007. But the road to cult classic status was a bit bumpy in the beginning.

The first obstacle was to get Graham on board. She loved the script, but she was locked up in another show on NBC. To make matters worse, Sherman-Palladino refused to see her until she was available. “I didn’t want to fall in love with you,” she explained.

Eventually the casting team took her down and came in Graham to read. “She walked in and after the first line I was like” Goddamn! “And then I had to pray that someone else’s show would be canceled. “(Graham said that a WB -Exec later, drunk, told her that they” exchanged “her for another actor who wanted NBC.)

While the show became a flagship series for the WB – and 500 million hours on Netflix on top of its previous syndication – deal – the studio initially did not show much confidence. While in the early production stages of production, a phone call from the studio would get from the studio once a week and said: “The network is upset. They are disappointed in you and the work you do.”

This went on during the shoot, until one day, Sherman-Palladino had had enough. “I am going,” I know: you are upset; you are disappointed. Listen, you are not my mother. Only my mother can be upset and disappointed, “she said and then launched in an ultimatum. “You’re the boss. It’s your show. You can fire me. I can pack my things. … Or you can’t call me anymore. I don’t know why they didn’t get rid of me. They didn’t call me anymore. The pilot was broadcast. They sent me flowers.”

It might not be the smartest step, but it worked. And there were other ways in which she also navigated around the packs.

“I remember scripts didn’t really come in with enough time [for notes]”Said Graham. Sherman-Palladino would finish the pages at night, and the cast would get them in the makeup trailer in the morning.” So they weren’t even on. ”

The relationship was difficult because “Gilmore Girls” did not fit in the form of the other WB shows.

“It was not a teenage soap, where they specialized in,” Serman-Palladino recalled. “It was not a genre, so it was not ‘buffy’. There were many notes about:” Why didn’t Rory have sex? ” Because she is in high school and not everyone blows someone in a bathroom. ‘

Things were very different with “The Marvelous Mrs. Maisel”-the comedy about a housewife from the 1950s became a successful stand-up comedian (Brosnahan) and her equally bold manager (Borstein)-where Sherman-Palladino and Palladino had the keys for the castle.

“Gilmore Girls” has a bald botting budget-“” Drew Carey “would send us their water and remaining paint, that’s why I would let Lauren walk endlessly in a circle in Burbank because we couldn’t go anywhere,” she cracked “corn”, she and Palladino had the money and crew to pull off. It was a top team that had worked on “The Sopranos” and “Boardwalk Empire” and Fortunately for her, their last show “Vinyl” was unexpectedly canceled at the last minute.

“So I have a whole crew of wonderful people without work, and just like the angel of death I just encouraged and I got them all,” Sherman-Palladino joked. “For the first time we had everything we needed: we had the cast, we had the crew, we had the money and it was as if:” We are the only people who can now ruin it. “

Spoiler alert: they didn’t do that. “The beautiful Mrs. Maisel” ran five seasons and won 22 Emmy’s, including trophies for the head trio (Brosnahan won for protagonists in a comedy; Borstein noted two victories in the supporting actress category; and Kirby won for guest actor), among almost 300 different nominations.

For her next act, Sherman-Palladino returns to the ballet barre with “Étoile”, who debuts on Prime Video on 24 April. It is her second ballet-oriented show after ‘Bunheads’, which was broadcast in 2012 on the ABC family (that series also received a shoutout during the panel, with a video message from Star Sutton Foster and some sweet revelations from Bishop, who also trained like a ballerina.)

Asked how her ballet background influences her writing, Sherman-Palladino said it influenced her rhythm, but has the most consequences when she directs. “Aim is where the pace, the energy, the movement is as a choreography,” she explained.

“A part of my brutality, my Schmuckiness – depending on whether you work at the network or are on the other hand – it stems from the fact that I did not have a concept of ‘I want to be rich. I want money. I want fame. I want to be successful.” I came from a world where you worked for work … Because nobody makes a dime in dance, “she said, comparing the two calls. [the story is] My only focus. “

With “Étoile” the dance drama takes an international turn. Kirby returns to play the director of a struggling ballet company in New York City, while the French legend Gainsbourg plays his counterpart in Paris, who suggests that they are exchanging senior dancers in a stunt to save both ballets. De Laâge delivers a Tour de Force version such as Cheyenne, the excellent ballerina that reluctantly transfers from Paris to New York.

“It was a very magical experience, and comedy is another language is very humiliating,” said Sherman-Palladino. “I am very blessed. The women who have entered my life, I am absolutely not good enough to earn this.”

When the conversation focused on questions from the public, a fan asked how the process of Sherman-Palladino differs from project to project, so she shared some wise advice: “Your process is your processes, but the actors are different.”

Het oppakken van de ritmes van mensen is een vaardigheid die ze heeft geleerd door het werken met Graham aan “Gilmore Girls”: “Als je leert te creëren voor mensen, zal je proces automatisch veranderen, omdat ze niet uitwisselbaar zijn. Je kunt geen acteur benaderen van een verdienste – ze zijn geen plant, zoals het is niet om te zien, niemand is om te zien, niemand is om te zien, niemand is om te zien, niemand is om te zien, niemand is om te Seeing, nobody is to see, no one is to see, it’s no one.

To end the conversation, Huntman-Palladino asked if she can record everything she has achieved.

“No,” she answered quickly, while the audience laughed one last time. “That’s what you do when you’re dead.”

But her attempt to deviate the sentimental demand with a joke, turned out to be pointless when a touch of tenderness took over. “This was great,” added Sherman-Palladino. “You have my favorite people together in one room, and I miss them every day that I am not with them.”