"The Emmy should be an ensemble award, too. I kept howling at everyone else's performances"
About this Quote
Tambor’s line plays like a gracious acceptance speech with its teeth showing. On the surface, it’s humility: the Emmy, he argues, is misassigned when it’s handed to a single face in a medium built out of timing, reactions, and the invisible architecture of other people’s choices. The word “should” isn’t just polite suggestion; it’s a soft rebuke of how prestige gets distributed in TV, where awards culture loves the myth of the lone genius even when the product is essentially a relay race.
“I kept howling” does a lot of work. It’s not “admiring” or “applauding,” it’s animal, uncontrolled, slightly ridiculous. Tambor frames his praise as bodily compulsion, the kind of reaction you have when something lands so hard you can’t keep your composure. That’s a performer’s compliment: he’s telling you the other actors were so good they blew past professionalism and dragged him into pure audience mode. It also slyly raises his own status. If he’s “howling” at their performances, he’s in the room where excellence is happening, a connoisseur of craft, not just a beneficiary of it.
Context matters: Tambor’s career has been defined by ensemble ecosystems (The Larry Sanders Show, Arrested Development, Transparent), where the comedy and drama depend on friction between players. The subtext is a defense of television as collaboration, and a reminder that a “lead” often looks great because everyone around them is taking the same risk at the same time.
“I kept howling” does a lot of work. It’s not “admiring” or “applauding,” it’s animal, uncontrolled, slightly ridiculous. Tambor frames his praise as bodily compulsion, the kind of reaction you have when something lands so hard you can’t keep your composure. That’s a performer’s compliment: he’s telling you the other actors were so good they blew past professionalism and dragged him into pure audience mode. It also slyly raises his own status. If he’s “howling” at their performances, he’s in the room where excellence is happening, a connoisseur of craft, not just a beneficiary of it.
Context matters: Tambor’s career has been defined by ensemble ecosystems (The Larry Sanders Show, Arrested Development, Transparent), where the comedy and drama depend on friction between players. The subtext is a defense of television as collaboration, and a reminder that a “lead” often looks great because everyone around them is taking the same risk at the same time.
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| Topic | Movie |
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