Entertainment The Emmys livestream means no afterparties for Westworld nominee Patrick Clair

23:16  19 september  2020
23:16  19 september  2020 Source:   abc.net.au

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Patrick Clair : bio, photos, awards, nominations and more at Emmys .com. Patrick Clair , Creative Director. Westworld . HBO. Nominee . Patrick Clair , Creative Director. Westworld .

Patrick Clair is a creative director on HBO's Westworld . He was nominated for an Primetime Emmy Award for Outstanding Main Title Design. Categories: Crew. Community content is available under CC-BY-SA unless otherwise noted.

James Marsden et al. wearing a hat: HBO series Westworld is about a Wild West-themed amusement park full of androids. (HBO) © Provided by ABC NEWS HBO series Westworld is about a Wild West-themed amusement park full of androids. (HBO)

Patrick Clair is pretty used to an Emmys ceremony — this is his seventh year as a nominee — but 2020 will be like none other he's experienced.

He won't be dressing up to watch the livestream ("that feels like it will be a step too far").

And though he has pre-recorded an acceptance speech — just in case — he won't get to hit the town with his colleagues afterwards.

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Television Academy - Emmy Awards. Social Icons. Nominee Person Details: Patrick Clair . Westworld . HBO Entertainment in association with Kilter Films, Bad Robot, Warner Bros. Television.

72nd Emmy Awards Nominees and Winners. Westworld . HBO. Patrick Clair , Creative Director.

That's because it'll be lunchtime on Sunday and he'll be 12,000 kilometres from Hollywood.

"Most years, I would say that it doesn't really matter if you win or lose, at least you get to attend a good party," the title designer told the ABC recently from Sydney, where he is creative director of the studio Antibody.

"This year is slightly different."

Clair has won two Emmys, and is hoping for a third

He might be one of Australia's brightest Emmys exports (though 2020 could be a strong year for us, with several of our biggest actors nominated).

Clair and his team, including his studio co-director Raoul Marks, have built a reputation for creating opening titles for some of the best-loved series of the current peak TV era.

He won an Emmy for True Detective in 2014, and has been nominated each subsequent year. He won again in 2016 for The Man In The High Castle.

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Television Academy - Emmy Awards. Home. Nominee Person Details: Patrick Clair . Westworld . HBO Entertainment in association with Kilter Films, Bad Robot and Warner Bros.

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This year he's up for his work on Westworld, the dystopian HBO series about a Wild West-themed amusement park full of androids.

He was a huge fan of Michael Crichton, the author and director who's 1973 film inspired the series.

"And so when this show came along that was continuing in that tradition, I was just obsessed with getting a chance to work on it," Clair said.

"We put a lot of blood, sweat and tears into the pitch and we were lucky enough to be victorious."

The Westworld titles marry man and robot

A good opening title should capture the mood and the tone of the show.

But to keep offering something to the audience several episodes in, it has to say something about the characters' journey, Clair said.

"The more you understand the story of the show, the more you get from the title sequence."

If you're bingeing back-to-back episodes, the sequence can be a means of processing what you've just seen.

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Emmy Awards Nominations: ‘ Westworld ’, ‘This Is Us’, ‘Stranger Things’, ‘Atlanta’ Lead Diverse List. By Pete Hammond, Patrick Hipes. The Crown Netflix • Left Bank Pictures in association with Sony Pictures Television Patrick Clair , Creative Director Raoul Marks, Lead Compositor and Animator

Clair, who studied film and visual effects at Queensland University of Technology and the Australian Film, Television and Radio School, has been nominated for all three seasons of Westworld.

For the first, the titles drew on the struggle of artificial beings attempting to have inner lives.

The second season touches on the love between mother and child.

By the third, for which Clair competes against other nominees Watchmen, The Morning Show and others, the focus shifted again.

"Season three is about people lost and alone in a new world, trying to figure out how to become themselves … and going on that struggle of how do you handle that alone."

Though each title is different, all suggest the melding of man and machine through a combination of skeletal, faceless figures and mechanical instruments.

In each, a biological element — a horse, an eagle, a buffalo — tries to outpace a manmade one.

When Netflix lets you skip the titles

Clair says what's thrilling about working in TV right now is everyone wants to do bold stuff. His doesn't need to tone down his pitches.

"It's one of the reasons why you're seeing television become the place where audacious, quality, challenging screen stories are told rather than the cinema," he said.

"As the streamers multiply and fight for audiences, there's just more demand for good content."

But streaming services have changed opening credits, too.

Ozark and Killing Eve have cut their openings down to a single title card unique to each episode.

Partly, that's because Netflix and others let viewers just press skip, a reality that doesn't seem to bother Clair.

"Now that we've decoupled television from appointment viewing, we're free to play with formats" that have been set for 50 years, he said.

"What we see in the era of Netflix is that there's not really any reason to stay beholden to those rules anymore.

"So, I think you're going to see a lot of innovation and experimentation."

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