Golden Globes Producers Interview: On Nikki Glaser’s Joke Prep, Vin Diesel Off Script and That Unusual Camera Setup

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Coordinating an award ceremony is quite a challenging task. It involves striking a balance between presenting the prizes, which essentially form the core of the event, and crafting a show that entertains and captivates audiences watching from home. This isn’t an easy task by any means.

This year at the Golden Globes, I was part of the crew under the guidance of Ricky Kirshner and Glenn Weiss, who steered the show for CBS. As a first-time host, Nikki Glaser relied on us to help her manage the buzzing excitement backstage at the Beverly Hilton, all while putting together an unforgettable entertainment extravaganza.

On Monday, The Hollywood Reporter reached out to Weiss and Kirshner for their thoughts on Glaser’s performance, the spontaneous scene between Vin Diesel and Dwayne Johnson, and attempting to recreate the lively ambiance of the International Ballroom for home viewers.

After the conclusion of the Globes, I’d appreciate hearing your thoughts from this morning. Could you share your impressions of the event last night, and what elements particularly stood out to you?

Now that the awards ceremony is done, could you please tell me what you thought about it when you woke up today, and what parts you found interesting or notable?

Glenn Weiss: Initially, I thought, oh, how great it would be if I could’ve slept more. However, let me tell you, I am incredibly proud and thrilled about Nikki Glaser as the host. She truly took on this role with a clear objective, and she achieved it admirably. But I must say that it required a lot of effort and understanding the nature of the role. She prepared meticulously for this, walked in, and in my opinion, she absolutely nailed it.

Ricky Kirshner: Essentially, I agree. The Golden Globes stand out among other award shows due to its heavy emphasis on the host’s performance, as there are fewer performances and other topics to discuss. Amy Poehler truly excelled in her monologue, but it was also due to her dedication. She performed in four or five shows every night for three weeks, which is a significant effort to shine brightly. So, my hat’s off to her, as all her hard work certainly paid off.

How would you explain what qualities made Nikki Glaser an exceptional host for the show, and why do you believe she was the ideal candidate to balance the tone effectively?

Kirshner emphasized that effort is crucial, as we’ve stressed repeatedly. To prepare for her performance, she performed four or five shows every night in L.A. and other cities for three weeks straight. She tried out numerous jokes to figure out what would resonate with the audience and what wouldn’t, and her team provided feedback on which jokes would work or not based on their relevance and understanding level among the public. After refining her material, she delivered an excellent performance, occasionally surprising us with unexpected humor, such as the “pope-ular” bit where she wore a pope hat and a witch’s staff while performing a musical number, only to declare it unfunny after a fake phone call.

That incident took everyone by surprise since it initially appeared to be typical of an awards show skit, but then it subtly twisted the situation a bit.

Weiss: Her performance was remarkably fitting, as she had spent weeks perfecting her comedy club sets for her monologue beforehand. This demonstrates her and her team’s ability to adapt quickly on our show, a skill that was developed the night before at the Hilton, essentially. They showed remarkable agility in responding to our show and producing material. The prepared monologue was excellent, but it was her performance for the rest of the show that truly impressed – it was just right, as you said, expertly navigating the balance between too much and too little. Her instincts were exceptional, and she has a remarkable understanding for this kind of work.

One distinctive feature that sets the Golden Globes apart from events like the Oscars or Grammys is the reduced number of performances, with a stronger emphasis on the host and interpersonal dynamics within the audience. In brainstorming ways to encourage interactions among Nikki, presenters, and nominees that would create memorable moments for the Golden Globes, I considered various strategies.

What makes the Golden Globes stand out from events such as the Oscars or Grammies is the reduced number of performances and the focus on the host, as well as the interactions between people in the room. I wanted to find a way to position Nikki, along with presenters and nominees, so that we could foster those interactions and generate moments that would leave a lasting impression for the Golden Globes.

Weiss: For me, one key aspect that sets the Globes apart is the ambiance and design. It’s more like a lively gathering than a traditional theater setting. During commercial breaks, people mingle, there are drinks and food available, and it truly feels like a party. Our aim was to replicate this vibrant atmosphere for viewers at home, making them feel as if they were part of the celebration too.

Instead of having winners on stage while everyone else is in the audience, it’s more of a blended setting at the Golden Globes. This setup fosters a unique connection between speakers, whether they are presenters or winners, and their surroundings because they are surrounded by the crowd and almost enveloped by them. Consequently, the Golden Globes have a distinct ambiance that sets it apart from traditional award shows, and we aim to preserve this atmosphere in our coverage.

During the broadcast, I observed that you used a visual aid to indicate the location of the nominees as you announced them. Was this feature intended to help viewers follow along more easily?

As a passionate fan, I’m thrilled to share one innovative change we made this year to enrich the viewing experience for everyone at home. Many viewers often comment on the walk-ups, but it’s not as simple as strolling down an aisle and stepping onto the stage. Instead, there’s a unique layout with tables and paths that nominees need to navigate. So, we thought it would be intriguing to reveal the seating arrangement during the nominee announcements, complete with pins dropping on a map, allowing viewers like you to visualize the relationships between where the nominees are seated and their potential path to the stage.

Another aspect was to enhance the viewers’ experience without interfering with or delaying the show. In other words, we aimed to provide value without prolonging the program. This was accomplished by incorporating additional content during natural pauses in the broadcast, such as announcements. Our goal was to make the viewer feel like they were part of the scene and gain a better understanding of its layout.

Did Entertainment Tonight’s Kevin Frazier interrupt with interesting tidbits while everyone was making their way onto the stage? Can you share some new ideas or experiments from this year that seemed particularly successful, which you believe could be beneficial to repeat in the future?

In essence, I’m asking if there are any innovative concepts or attempts from 2023 that you feel had a positive impact and might prove effective for future endeavors.

Kirshner: I’ve just woken up! Let’s see. Kevin Frazier was an ideal choice since he had already seen or interviewed many of the films or people beforehand, and then conversed with them on the red carpet. This gave him a wealth of interaction with these individuals, resulting in facts that we didn’t even know yet because we were still setting up the show. While we were busy preparing, Kevin was out on the red carpet, where someone would often share new tidbits with him. If you’re familiar with Kevin, he has an impressive memory for such details. It’s truly remarkable!

One of the most challenging aspects when creating something similar is that it’s live, so you can’t predict what might occur. Unexpected incidents can take place. Was there any unforeseen moment that took you by surprise during the production? I’ll bring up a couple, but I’m unsure if they were planned or not. For instance, when Vin Diesel made a joke to Dwayne Johnson, we happened to have a camera focused on him at the time, and there was Zendaya, who was wearing an engagement ring. How do you prepare for and handle events that occur spontaneously during the shoot?

Kirshner: As Glenn is the director, he can explain the camera angles for you, but there are instances when Vin steps out and says, ‘hey, Dwayne,’ that aren’t necessarily premeditated because I trust Glenn will capture Dwayne on camera. However, it does leave you hoping we’ll get that shot, and indeed, our camera team is always prepared to do so. This also highlights the skill of our camera crew.

As a gamer, I’m thrilled you thought the shot was imminent from your perspective. In reality, though, it wasn’t. But our swift and agile camera crew, as they always are, had already reacted by the time we fully grasped the conversation. By then, they’d repositioned the camera, capturing the moment perfectly. It’s a clear demonstration of having an exceptional team on board.

When it comes to award shows, a lot of discussion is sparked by what’s trending on social media platforms. For instance, discussions about Zendaya’s engagement ring or interactions between stars like Timothée Chalamet and Kylie Jenner at the event. Are these topics something you keep tabs on? Moreover, does such popular buzz affect how you report the event live?

Weiss: For me, the Globes are distinct from many other award shows because of the lively party-like environment. During the pre-show, everyone is moving around and chatting, which provides wonderful opportunities for meaningful interactions that we try to highlight as much as possible. Usually, we display a single image, but at the Globes, we show four images simultaneously due to the high level of activity and star power in the room. We wanted to share as many of these moments as we could. These interactions aren’t just entertaining; they also offer insights into those who might appear on stage, and how they may interact during their presentation.

Could you clarify why the presenters were filmed speaking directly to the camera, while the audience was visible in the background during the show? This arrangement appeared unconventional for a program such as this. What led to the choice of this particular setup?

Weiss: Our aim is to transform this show into a lively, festive environment rather than a conventional theater setting. Instead of maintaining a strict separation between performers and audience like in a traditional proscenium setup, we’re striving for a more integrated experience on camera, making viewers feel as if they are actively participating in the party. In essence, our goal is to make those at home feel like they are part of this event, creating a party-like atmosphere rather than a typical theatrical performance.

I observed that one of my coworkers in the room noticed a scoreboard on the wall displaying the number of wins by your studio. Given that we work at a trade publication, it’s relevant to us, but it seems more like an industry-specific detail. Could you explain why you chose to incorporate this aspect?

Kirshner: I’m not sure if you’re aware, but we are employed by a company that publishes trade magazines. This company, named Penske Media Corporation, happens to produce the Globes (Dick Clark Productions), and it also owns The Hollywood Reporter.

Weiss: This idea feels more like something from our professional field rather than a concept suitable for everyone, especially those in Iowa, Missouri, or elsewhere. It seems fitting for those presently gathered, but potentially less so for television audiences.

This interview has been edited for length and clarity.

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2025-01-06 23:55