Category: Celebrity

LAST GLIMPSE :ALL EYES ON BREE TURNER

LAST GLIMPSE :ALL EYES ON BREE TURNER

LAST GLIMPSE :ALL EYES ON BREE TURNER
RICK FLORINO

For actress Bree Turner, The Ugly Truth is quite a milestone, and it’s not just because she got to share the s creen with Katherine Heigl and Gerard Butler.

“It was the first movie I’ve been in that I could really swear,” she laughs with a big smile. “Most of my big studio films have been rated PG or PG-13 like The Wedding P lanner, so it was really great to be able to cuss” There’s something to be said for a good R-rated comedy, and Bree’s well aware of the merits of being able to get a w ee bit edgy.

Sitting in a quaint Beverly Hills café, she continues, “The Ugly Truth definitely appeals to the guys as much as it appeals to the girls. There’s real chemistry between Gerard and Katherine. In a lot of romantic comedies, there isn’t that much chemistry going on. You can put two of the biggest stars together, and you won’t get it. So it really is like catching lightning in a bottle when it happens. Plus, our movie has crude jokes, so there’s something for everyone. The only thing that’s missing is a s hot of Gerard Butler’s abs [Laughs].” Even though there’s no 300-esque gratuitous ab shot, Bree confidently steps into her most fun and fresh role yet. In the film, she plays Joy — best friend to morning show producer Abby [Heigl]. By proxy, she’s caught up in the midst of Abby’s reluctant relationship with on-air talent Mike [Butler]. It was a role that Bree instantly took t oo.

She explains, “I tended to make up my own lines, and I could riff more. Katherine and I really hit it off. Rob [Luketic, director] and I had a blast, and Gerry’s a goof b all [Laughs]. It was like I wasn’t working.” The film didn’t feel like work, but it still successfully explores dating in the office. “Everyone dates in the work place no matter what you do for a living,” says Bree.

“It’s just so much more amped up in Hollywood — like everything else [Laughs]. It’s tricky in this movie because Katherine’s the boss and Gerard’s the talent. If you’re around someone 24/7 on a set, why wouldn’t romance spark? I never saw a problem with that. Ironically, I didn’t marry anyone in the business [Laughs].” The Northern California native definitely sees L.A. as a big inspiration for her multiple projects. “I love L.A. You can do whatever you want here.”

DESIGN :SETTING THE TRENDS: FAYE RESNICK DESIGN

DESIGN :SETTING THE TRENDS: FAYE RESNICK DESIGN

DESIGN :SETTING THE TRENDS: FAYE RESNICK DESIGN
KEVIN MORRA

How did Faye Resnick Design first get started?

I have always had a love for art and art history. In the past, I had the fortunate ability to travel and I owned several homes throughout Europe. It was my unique pleasure to take each one of those homes and bring forth the true essence and architecture of each country and weave it into the design. To my surprise, this lead to a barrage of friends and acquaintances asking me to design their homes. Later, I opened an antique store here in Los Angeles where I also had my design studio. Finding it impossible to do both, I went back to my first love… Design, design, design.

Why is designing in Los Angeles different than in other markets?

The difference is our unique clientele. My clients, in particular, are accustomed to ultimate luxury and staying in the hippest and most sophisticated hotels all around the world. Having said this, my clients want their homes to be as luxurious as these hotels but also to reflect their own personal style we encourage and embrace their input. Our goal is to make a magical environment for them so that when they are in their homes, they are able to relax and forget the pressures of the outside world.

As you are working with people on their homes, I imagine there must be a special trust that is formed with you and the clients of Faye Resnick Design?

Trust is essential… all of our clients entrust us with the design and privacy of their homes. Having this trust enables us to make decisions for them comfortably, knowing who they are, since most of them travel and are out of town consistently. We are very thankful to have worked with many of our clients for such a long time, strengthening this trust so that we are now working on their second and third homes… I believe this is one of the characteristics that separates FRD from most design firms; the understanding that each client has a unique sense of self. Their needs must be explored in order for us to enable them to feel as if they are waking up every morning in a surrounding that nourishes their soul and inspires them to continue to achieve greatness in there lives. We refer to this as the Discovery Phase. Everyone’s needs and lifestyle are unique and exciting; therein lies the challenge for us as designers. This developmental period is essential and it allows my firm to exceed the client’s expectations.

You certainly work with an eclectic and fascinating clientele. Do they find you or do you seek them out?

Once again, I am extremely fortunate; they somehow seem to find us. What was the approach to the design of Paris Hilton’s Hollywood Hills house? Paris is the most unique of all my clients. She is the quintessential heiress/starlet. Her work ethic is unbelievable and truly admirable.She films her shows, quite often, at her home. My firm was given two months to create an environment that not only she would love and be comfortable living in, but would also be featured in her first show, “The Simple Life”. This is why I coined the term “Industrial Couture.” We created a chic and glamorous old-Hollywood feel combining French Regency style with young contemporary, since she was 25 at the time. Keeping in mind that she grew up living at the Waldorf Astoria Hotel in New York, we created a hotel-like environment, which for her, was how a home should feel. We are now working on her third home. The goal for this design is not only expressive of her glamorous self and lifestyle but can endure camera crews and the Hollywood parties. Paris and her sister Nicky, who is also a client, love to entertain in their homes with elaborate dinner parties for family and friends. Paris’ new home is yet to be published but is extremely sophisticated with a young, unexpected twist. Paris was intimately involved with every aspect of the design of this home, which includes the most extraordinary recording studio for her next album and an actual dance club, which, of course, is named “Club Paris.” Her 55 magazine covers surround the staircase leading to the club. The projection room is inspired by a French chateau that I fell in love with in Bordeaux, France — Baroque in style with Louis XV appointments; it is my favorite room in the whole house. Her love of animals inspired us to build a mini-version of her home for her dogs, appointed with a chandelier, wall sconces, French settees and a winding staircase that leads to a balcony, which enables her Chihuahuas to be able to have a view of the pool. The dogs love it!

What about Nick Lachey’s?

Nick’s home has a breathtaking, 360° view, which we utilized to dictate the design. Everything about this home is centered around the pool and view creating a straightforward, contemporary space. Sports are very important to Nick, so we concentrated on his projection room to showcase his sports memorabilia and since most of Nick’s friends are athletes we wanted to make it very fun for him to entertain his friends and family. Because he travels so much, being home is extremely special to him. Everything was built with comfort in mind and with a masculine and contemporary sensibility. Nick is one of the most fit and healthy individuals I have ever known, so his gym is a key factor in his life. We designed the gym to open out to the pool and the amazing view for inspiration. His media room is immense with an 18 x 12 foot custom made sofa that will envelope anyone who is fortunate enough be invited and complete with an 8 ft Stewart Screen. It also opens to the pool and is actually very James Bond in that the lights dim and drapes open or close with one touch of the remote. It is appointed with a built-in beverage bar that also has a flat screen above it so he can watch a movie at the same time as viewing a sports program. The den is also full of sports memorabilia, pool table and the perfect lounge. Nick’s pool is one of my favorite creations. We have cabanas draped for lounging that are separated by a walk-through waterfall. The entire home is set up for music indoors and outdoors with exterior televisions, a swim-up bar with pool seating that overlooks the entire cityscape and magnificent ocean view. Nick purchased his home from Seal and Heidi Klum through real estate magnate, and another client, Mauricio Umansky who is the best in the business when it comes to finding the perfect home for celebrity clients.

Entourage star Kevin Connolly?

Kevin is one of my very favorite clients to work with. His home was a typical Hollywood Hills Mid Century but now is anything but that. The Footprint was extremely challenging because a mountain surrounds most of his home. Again, we utilized this environment to our benefit by incorporating it into the design with falling waters that create an amazing backdrop to the view of the city. Kevin was very specific when it came to his pool and cabana areas. He insisted on only the most exotic details so we designed a space with a crystal fire pit that appears out of nowhere, a 300 year old Buddha atop his luxuriously draped cabana and a 60” state-of-the-art Pantel outdoor television. Water is extremely calming for him, so we created waterfalls that can be viewed from all areas of the home. He also loves to cook so we recently created a magnificent indoor-outdoor kitchen that incorporates the presence of the mountainous landscape. We designed the interiors of his home with a sophisticated gray palette and espresso woods that work perfectly to highlight his collection of vintage movie posters. Kevin’s projection room has a spectacular view of the city and once you’re there, you never want to leave.

Color Salon at Caesars Palace in Las Vegas is one of your commercial designs and yet it still retains that feeling of genuine glamour and sophistication one would expect to find within the gated walls of an exquisite private residence — not quite your average salon. Can you take us through that particular motivation?

My firm designed Color Salon for one of my very best friends, Michael Boychuck, who I have known for many years. The design was inspired by one of my favorite designers, Dorothy Draper. Her unique sense of glamour is ever-present throughout the salon. The lighting and color palette are a key element to the design. We collaborated with Fendi to create the glamorous custom furniture and kept the palette in monochromatic whites and silvers. The salon’s clients are surrounded in absolute luxury with 10 foot high Venetian Mirrors, dripping Crystal Chandeliers and beautiful Silver mosaic tiles. The attention to detail is what I am most proud of with this project. We mulled over every last detail from the grand Venetian Corona down to the custom hinges on the doors. Here, we aspire for every woman to feel as if she has finally discovered the true definition of luxury.

Speaking of Fendi, they have celebrated your artistry in the past on several occasions. Can you describe your relationship with them?

I appreciate Fendi’s diversity in design and have collaborated with them on several projects. I adore the luxurious style of a designer that uses couture styling in their furnishings. Fendi has a great attention to detail and an understanding of quality like no other furniture designer. Their pieces juxtapose perfectly with classic design and can provide that extra finishing touch needed to enhance any space.

Is there a minimum budget that your company is willing to work with?

Budget does not dictate our decision to take a project or not. Our motivation is knowing that we can bring something new and unexpected and, more importantly, that we adore the client.

Have you ever fallen in love with any of your projects so much so that it is actually difficult to say goodbye upon completion?

Unfortunately, I fall in love with all of our projects. At the end of each one, I really have separation anxiety. Fortunately, for me, most of my clients become my dear friends so I get “visitation rights.”

Hostin’ Ain’t Easy – Jillian Reynolds

Hostin’ Ain’t Easy – Jillian Reynolds

Hostin’ Ain’t Easy Jillian Reynolds Jillian Reynolds knows how to multitask.

From playing host on “Good Day L.A.”, “American Idol Extra” and “FOX NFL Sunday” to being a mom and a wife, she keeps pretty busy. For her, hosting and parenting aren’t that d ifferent.

“I never know what’s going to happen at home or on the show,” she laughs. “I work from 7am-10am on ‘Good Day L.A.’ — it’s a nice mommy job [Laughs]. I’ve done scripted shows and sitcoms, but live T.V. will always be my favorite because anything is possible. Regis Philbin asked me, ‘How do you do three hours of the same material and keep it fresh?’ We can’t squeeze enough into one hour with ‘Good Day L.A.’!

For me, the bottom line is to have a g ood time doing what you do.” Jillian always looks like she’s having a good time. On “Good Day L.A.”, she’s all smiles, and she delivers tangible exuberance to Los Angeles as it wakes up daily. Her enthusiasm is infectious, and it’s led her to cultivate a hosting style that’s personal, fun and fresh.

Method to Madness – Paul Ben-Victor

Method to Madness – Paul Ben-Victor

Method to Madness

Paul Ben-Victor
Actor Paul Ben-Victor is the real deal. In fact, he knows his characters inside and out. He’s a veteran of the game, whether he’s talking about his days doing commercials for when “Levi’s got cool,” sharing a childhood girlfriend with Laurence Fishburne or working the New York nightclub scene in the ‘80s, he’ll have your attention no matter what. On USA’s hit witness protection drama, “In Plain Sight”, Paul’s character chief inspector Stan McQueen is the glue that binds the WITSEC force together. McQueen only strengthens that bond in the show’s new season because Paul delves deeper into him. Sitting in the Newsroom on Robertson Blvd, he laughs, “The series has the right amount of laughs, but every episode has got a gripping, edgy storyline. The show has really found its groove this season. “

ENTERTAINMENT : Carrie Keagan

ENTERTAINMENT : Carrie Keagan

A Guide to Being No Good:

Carrie Keagan just wants you to have fun. “If you’re not having a great time, we’re not doing it right,” laughs Carrie with a stunning smile. Carrie and her cohorts at NGTV (www.ngtv.com) are definitely doing it right. NGTV is one of the internet’s most popular channels for uncensored celebrity programming. From a plush Beverly Hills studio that’s best described as Austin Powers meets Shaft, Carrie causes trouble with all of your favorite stars on a daily basis. On her two shows, “UPCLOSE” and “In Bed With,” the enigmatic and engaging host allows celebrities to let their hair down.

Everyone from Morgan Freeman and Michael Caine to Christian Bale and Johnny Depp has spent quality time with Carrie talking movies, joking around and, of course, swearing. The vibrant and vivacious vixen of a host combines rock star attitude and wicked humor with sharp intelligence and endless pop culture knowledge

The Smartest Producers in Hollywood

The Smartest Producers in Hollywood

Dan Cutforth and Jane Lipsitz are the principle partners in Magical Elves Productions, and are arguably the most in-demand producers that the television world has seen in quite some time. Though Dan and Jane have extensive experience in all genres of television, it is the style, quality and overall addictiveness of their unscripted fare that has gained a tremendous resonance both in Hollywood and beyond. Their shows “Top Chef,” “Project Runway,” “Project Greenlight” and “Bands on the Run” have all been nominated for Emmy awards and have become fan favorites with the highly sought after 18-49 year old demographic that also registers as wealthy, upscale and well-educated. This success has led to producing deals with NBC Universal, Bravo, CBS and MTV and now Dan and Jane are building a branded entertainment division out of both their downtown and Hollywood offices that will service the corporate and commercial world.

LAX: When did you guys first get together?

Dan Cutforth: I first met Jane in 1998 when I came to VH1 to pitch her some ideas. She didn’t buy any of them, but we hit it off and stayed in touch. I came over to VH1 to produce a late night talk show pilot, and during that time I pitched the idea for “Bands on the Run”, and we developed it together, shot a pilot and it got picked up to series. That was when we really started working together in earnest, and we’ve been working together ever since.

LAX: Entertainment Weekly just listed the “Best Reality Shows Ever” and you guys are responsible for 4 of the Top 12, better than Mark Burnett and Endemol combined. That’s beating some pretty good company.

Dan Cutforth: That was a nice surprise.

LAX: Speaking of Burnett, Dan were you not also involved in the development of “Survivor”?

Dan Cutforth: In the development of the format only. I worked for Charlie Parsons (he’s still on the credits of the show) and in 1996 I was part of a big team of producers who developed the format out of the basic idea of 12 people on a desert island, and they get together every week to vote someone off the island. It was actually very hard work to come up with a format, because nothing like that had ever been done before. We would sit around asking ourselves questions like, “why are they on this island, playing games and voting against each other?” My favorite solution was that there was a mad evil millionaire who was making them jump through hoops and was willing to pay one million dollars to the winner. I honestly never thought anyone would make the show — it seemed completely unlike anything that would ever be on television.

LAX: Jane, I imagine your previous role as the Senior Vice President for VH1 must still be paying off dividends for the development process at Magical Elves Productions.

Jane Lipsitz: Having been on the network side in development definitely has helped inform our approach to development on the production side. I know how difficult it is to get a successful show on the air and mobilize all the different departments at a network, so we always consider how well rounded an idea is and we also never throw an idea out if it doesn’t fit the Magical Elves’s brand.

LAX: Your shows have become renowned for being smart, sexy and extremely addictive for both a very sophisticated and finicky audience. Is the emphasis more on the planning or the execution?

Dan Cutforth: I think you need both for it to work, but anyone who’s worked with us will tell you we’re not the greatest at planning. The name of our company came about because when we were on the road doing “Bands on the Run”, we used to get everything done at the last possible moment. Somehow it always miraculously came together (like the shoemaker who woke up every morning to find that elves had made him a beautiful new pair of shoes while he slept). In fairness, the show was only officially greenlit two weeks before we started shooting.

Jane Lipsitz: All of our shows require a lot of planning and we spend a lot of time on casting and coming up with really creative challenges, but at the end of the day, any great idea can go astray without the proper execution — so I think we’re really proud of our execution particularly under heavy time and budgetary constraints.

LAX: Talk about your alignment with Bravo and how together you guys have managed to corner the most sought after demographic on television.

Dan Cutforth: Jane’s old bosses at VH1 were Jeff Gaspin and Lauren Zalaznick. Jeff went to NBC and ended up bringing in Lauren to revitalize Bravo. Their big shows at the time were “Queer Eye” and “Inside the Actors’ Studio”. “Project Runway” was a surprise hit and it opened up a seam of high end shows that took a look inside the creative process.

“Top Chef” hit at a time when there started to be a wider focus on high end restaurants and cooking. Bravo has built their brand very successfully, and it appeals to high income trendsetting individuals. In terms of our shows, we’ve always tried to make them smart and sophisticated but also accessible. When they work, they usually get a pretty high end affluent viewer.

LAX: Describe the reasons for success for the following shows: “Bands on the Run” Dan Cutforth: I don’t consider it successful Commercially because it didn’t get picked up for a second season, but it did get us our first Emmy nomination and great press. The cast was incredibly entertaining and the competition was life changing for the people taking part. It was a true labor of love for us.

It tapped into the natural competition that exists between bands.

“Top Chef” Dan Cutforth: Chefs are very creative and a breed apart. There have been a million cooking shows, but this show was about creating food. And chefs are competitive with each other.

“Project Runway” Dan Cutforth: It showed people a world that very few people had seen — how clothes are made. Again, the designers are fascinating characters, but not many people think about how much thought, care and love goes into creating anything and everything they wear.

And designers are competitive with each other.

“Project Greenlight” Dan Cutforth: Making a film is really difficult and people had rarely seen the unvarnished truth about what goes into making a movie.

LAX: As you guys were responsible for the huge success of “Project Runway,” I can only imagine how hard it must have been to walk away from that project once it left NBC Universal?

Dan Cutforth: Yes, it was hard. The conventional wisdom is that you don’t walk away from a successful show. But we felt good about the reasons we were leaving the show, and we still do.

LAX: Working in unscripted TV certainly has its challenges. What are some of the obstacles you guys have had to overcome in your productions?

Dan Cutforth: The biggest obstacle is usually not having enough money, which means that you don’t have enough staff or enough time to do the show the way you want to do it. “Treasure Hunters” was probably the toughest series we ever did, but we started Magical Elves to do a show called “The Runner” for ABC in 2001. For the pilot we shot 18 hours a day for a whole week then had three days to edit into a one hour show that had to play out live for the ABC execs.

We just barely pulled it off — there was even a last minute dash through the building with a tape to slot into a machine just as the tape op had to push the button to play it on cue.

It was just like Broadcast news. This was at the end of ten days of no sleep and editors and producers weeping on our shoulders or walking out.

LAX: How has your company, Magical Elves, changed over the last several years?

Dan Cutforth: It’s grown a lot. In 2001 we were working out of Jane’s guest house, and friends’ offices. Now we have a pretty big staff of people and we have two floors in downtown L.A. and half a floor in Hollywood.

I never expected any of this, but it’s been a lot of fun. The thing that hasn’t changed is that we made a very early decision that we wanted to work with creative, hardworking people that were fun to be around. We have had a ton of fun making our shows, and we work with great people.

LAX: Have you ever thought of transitioning your skill set towards the corporate world… Advertising, commercials, webisodes, promotional videos, etc.?

Dan Cutforth: We are investing in our digital business, and seeking more opportunities.

We produced a web series for Panasonic with another production company we’ve worked with a lot, called Swift River Productions.

It’s hard to make money making content for the internet, but we feel it’s important to be in that business. We have never been in the advertising business, but we do a lot of integration in our shows, and we are constantly exploring opportunities in branded entertainment (content for TV or internet directly funded by brands).

LAX: What can we look forward to next from the Magical Elves?

Dan Cutforth: “Top Chef Masters” is currently airing on Bravo, “Top Chef” will be back on Bravo later in the year. We have a new series about Fashion PR maven Kelly Cutrone, and a competition show about the Art world that we’re co-producing with Sarah Jessica Parker. Both of those will be on air early next year. We also have a big secret project we’re working on with CBS. We have a lot of other stuff in the works.

- KEVIN MORRA

Kenny Kerzner : Keys to the City

Kenny Kerzner : Keys to the City

Kenny Kerzner has been renting cars to Hollywood’s main players since 1969.
He’s charming, fit and handsome, and at the tender age of 61, he looks more like a man in his early 40’s. Kenny and his team at Midway Car Rental rent their fleet of high-end luxury vehicles to some of Hollywood’s most famous characters. He provides discreet, personal services, and has been know to take calls and handle matters at 3 a.m. when “Jane Doe” is arriving by private plane and needs some wheels. We poked and prodded for details of any scandalous dirt but, being the consummate professional he is, Kenny would only divulge that when Notorious B.I.G. was gunned down in 1997, just outside of the Peterson Automotive Museum, Kenny had provided the car.

Kenny got into the car business in 1969, and rose through the ranks with great speed. As a student at Cal State Northridge, Kenny was doing whatever he could to stay out of the Vietnam War. He ended up getting a job with Warren Axelrod just as Warren was starting Southwest Car Rental & Leasing. The original car lot was located right in the heart of Beverly Hills on Canon and Brighton. A peace-loving beatnik, Kenny was also still diligent — tirelessly working three jobs, seven days a week. He says that he “wanted to do something big” so Mr. Axelrod gave him a job washing cars in his fleet and within three years, he was running the show as the President of Southwest Car Rental. At the time, nobody was renting high-end, luxury automobiles to the Hollywood elite, and it was Kenny who got the idea up and running. In twenty years, Kenny had built the business from one location to over 14 locations in three states including California, Arizona and Colorado.

As he grew his business, Kenny had a couple of big breaks.He was standing in line to buy lunch at Food King, which was located across the street from SCR in Beverly Hills when he met David Puttnam, who is now Lord David Puttnam, the awardwinning producer of many notable films including Chariot’s of Fire and Midnight Express. Puttnam ran with the British entertainment crowd and introduced Kenny to his clique that included Adrian Lyne, Ridley Scott, George Harrison and Mick Jagger. Almost immediately, Kenny was providing cars to anyone involved in the British invasion of Hollywood.

Kenny also benefitted from his proximity to the studios. SCR stored their cars in Century City, and had so many makes and models that whenever the studios needed a car for a scene, they would call up Kenny.It was Kenny who provided pictures cars for hit movies such as Car Wash and T.V. shows such as The Six Million Dollar Man, The Rockford Files, Tales from the Crypt, ChiPs and Miami Vice.

Kenny has also been successful in winning alliances with top hotels in the area. Back when the W in Westwood was the Westwood Marquis, a young Kenny spent every day for two weeks being kicked out of the General Manager’s office for being “a nobody” until one day he was given the opportunity to provide a Lincoln Town Car with an hour’s notice. Kenny rose to the challenge and was granted a long-standing business relationship.

These days, Kenny is as active as ever. He wakes most mornings before dawn, completes his multiple hour workout, and gets on to his Blackberry to connect with his East coast clients. Kenny and the team at Midway continue to provide transportation services for L.A.’s Hollywood and business elite, and he says that his success is based on “relationship marketing.” Recently, a music star was being hounded by the paparazzi and Kenny was required to purchase a new $100,000 car, have the windows tinted limousine black and then have the car delivered to the star within two hours, the next day he had to switch to a BMW 7 Series and the next day a Bentley. It’s all just another week in the life of Kenny Kerzner, the man with the keys to the city

Denis Leary: Why we need him

Denis Leary: Why we need him

Denis Leary: Why we need him
Rick Florino

Where have all the real men gone?

“We’re here,” exclaims legendary comic Denis Leary with a wide smile. “We shower like once a day, we sweat and we have hair all over our bodies. There are some of us that aren’t going to do all of that metro-sexual stuff, and that’s the bottom line!”

Thankfully, Leary speaks for the guy’s guy. He’s got no tolerance for selfindulgence, pampering, pretense or political correctness, and he tells it like it is in his best-selling book, Why We Suck: A Feel Good Guide to Staying Fat, Loud, Lazy and Stupid. The book is a brilliant, biting and utterly hilarious examination of America, and manhood is on Leary’s mind throughout the entire tome.

He explains, “The female voice can lead to a lot of trouble because guys are willing to do anything women want them to. Every guy has that one friend who shows up wearing clown pants.His friends aren’t really bothered by it because they know he’s going out with a girl who wants him to wear clown pants. In order to get her, he’s got to wear the pants wherever he goes for awhile. At a certain point, you have to go, ‘Sweetheart, c’mon?’ What you see is what you get with men. We’re not going to change. We might change for a little while so women don’t leave, but we’re really meant for a few choice things — blowing stuff up, sex and food. That’s what we do well.”

Leary’s probably better with explosives than the average guy is, but he’s got a lot more going for him. Right now, he’s wrapping up the fifth season of his critically acclaimed Emmy nominated series, Rescue Me. Leary writes, produces and stars in the poignant comedy about a conflicted New York firefighter named Tommy Gavin who battles alcoholism, deals with family dysfunction and fights fires. Plus, aside from being a father of two and a husband himself, Leary’s appeared in countless films, burned up the road on sold-out comedy tours and founded his own charity to aid firefighters, the Leary Firefighters Foundation. He never stops working. However, his heroes never stopped either.

“There’s nobody left like Clint Eastwood,” he sighs. “I love his new movie, Gran Torino. I can’t get enough of the guy. He’s like the last face on Mount Rushmore when it comes to Hollywood. I wish he would keep making westerns. Unforgiven is one of my favorite movies of all time. The first time I saw it, I instantly knew I was going to see it 30 more times, and you don’t get that feeling often enough at the movies.”

Why We Suck elicits a similar feeling. You want to pick it up and read it over and over again because it’s so uproariously funny.However, for Leary there was one good reason to write it.

“Money,” he chuckles. “I have an incredibly busy schedule with Rescue Me. It’s all-encompassing. The publishers came to me and said, ‘We want you to write a book, and we want to give you a lot of money.’ I had never written a book. A lot of my comedian friends have though. There was a competitive aspect to it, but I figured at my age and at this point in my career, why wouldn’t I see if I could do it? I took the money, and then it became like homework. Once there was a deadline, I knew I’d have to fulfill it.”

Leary’s always been one to make lemonade out of lemons though, so in the midst of the writers strike, he buckled down and focused on his book. “After the strike happened, I was home for a solid two or three months. My partners and I, unlike some other people, did not write at all during the strike. I had plenty of time to solely work on the book. I sat there with my dogs and just wrote. When I’d started, I’d never done a book before. One of my writer friends said, ‘Listen, once you start really trying to turn it into an actual book, you’re going to find out that you either love it or you hate it.’ Once I did it, I fell in love with it. Now, I can’t wait to write another book because I enjoyed the process so much.”

Writing became second nature for Leary, and he was able to intertwine his comedy style seamlessly into Why We Suck. Walking around the set of Rescue Me, he continues, “I’m a comedian, and I have a comedian’s brain. It doesn’t matter what day it is, when I wake up I’m always thinking about something. Whether I’m thinking about political news or the human condition, my brain works in a comedy way. This was a circumstance where, instead of saying it on stage, I’d have to write it down, formalize it and turn it into something.”

He crafted a kinetic page-turner that covers everything from growing up in working class Worcester Massachusetts to becoming an A-List comic. He explains, “The freedom in writing this book was I got to simply rant. It’s a cheat for comedians because we’re not real authors. We get to pick 20 subjects and write about any one of them or all of them. It’s not like there’s a plot.”

There is a plot though — it’s all Leary all the time. “I could write about whatever I wanted to. Standup is the only thing I know. Once you get on stage, it’s the most democratic process that exists theatrically. You get up there and say what you want.If they laugh, it’s working. If they don’t laugh, it sucks. I don’t care how good you think the routine is. At 8 o’clock the show starts, and at 9:30 you know if it was good or bad. The book is the next best thing. It’s all of my thoughts and whatever I want to say in a medium where people can carry it around and look at it.”

Thematically, on stage or on the page, Leary’s guns are always aimed at the same pundits. “For me, the theme is always the same — pretentious, politically correct BS. That’s generally the stuff that pisses me off the most. I think that carries over well to the book — politically, pop culture-wise and in terms of raising children. I cut to it quick. Some people think if they say things loudly enough and form an organization they can pass laws based on everything they think people should be doing — whether it’s not smoking in public places or what you should be allowed eat. I think it’s my job to take that down. Most of these people have no sense of humor. For a comedian, there’s no one that makes your blood boil more than a person or a group who has no sense of humor when it comes to the subject they’re involved with discussing in a public platform. I think a sense of humor is a sign of vast intelligence or at least a working brain.”

Leary’s brain is certainly working overtime. He’s always thinking about new ideas and the targets that cause his ire. “It’s the ridiculous behavior that this country has afforded people for so long,” he scoffs. “Denial is one of the funniest things. To me, comedy comes from the seven deadly sins.Whether it’s personal behavior or whether it’s the world at large. Greed, gluttony, jealousy and sloth are where the best comedy lies. There’s no comedy in happiness and perfection.” Comedy does come from a natural place though, and Leary was born for it. “Most comedians come from the working class — at least the ones I’ve liked. That background usually included some kind of heavy oppressive religion that you were supposed to obey the rules of. That’s the breeding ground. Once they tell you, ‘Whatever you do, do not laugh for the next twenty minutes,’ it’s over. There are certain people, myself being one of them, who say, ‘Boy, I’m going to be laughing my [expletive] off now that they told me not to.’ It’s that rebel mentality. It was genetic for me.”

Rescue Me’s forthcoming season is shaping up to be its best yet. “It’s a 22-episode double season, so it’ll run for six months,” he shares. “Having seen this lineup of actors perform for four years, I’ve got to say this is the greatest work that they’ve ever done.I feel like Joe Torre looking at my team’s growth, but they’re all popping. Maybe the writers strike and the potential actors strike scared the [expletive] out of them. They’re working better than they’ve ever worked in the past, which has made us react with the writing. After coming to the end of 22 episodes, instead of running out of stories, we were finding more stories to tell. That’s really all you can hope for.”

About Tommy’s evolution, he divulges just a little bit. “I think it’s finally time for Tommy’s wife to lower the boom. She’s got to say, ‘Either we’re going to get divorced, or we’re going to stay together.’ That’s a big part of what goes on during this season. The two of them try to reconcile. It stems from the basic question that exists in that relationship: are they crazy, or are they so attached at the hip emotionally that one can’t live without the other? Also Tommy’s godson has decided to take his father’s badge number and become a firefighter, which is another big issue for Tommy. It’s full of contradictions in terms of him wanting his godson to have whatever he wants but at the same time knowing how dangerous the job is. Tommy has to figure out whether or not he wants his godson in the line of fire.”

After Rescue Me, Leary’s back to the big screen in Ice Age: Dawn of the Dinosaurs, the third installment of the hilarious hit animated series in which he voices sly, funny saber-toothed tiger Diego. “It’s out July fourth weekend, and it’s another juggernaut,” Leary exclaims. “It is what it is, man. It started out as sort of a lark, and then it basically turned into its own franchise. I have no complaints about it. A lot of my nephews and nieces can’t see a lot of what I do, or any of it, except for A Bug’s Life or Ice Age. Actually I’ve got to be honest, I think this Ice Age is funnier than the first two are, which either means it’s skewed more towards an adult audience or I’m losing my mind [Laughs].”

However, there’s no doubt that it’s the funniest installment yet, since Leary’s chemistry with John Leguizamo and Ray Romano sizzles even more. “John, Ray and I have all known each other for years. John did a lot of improvising on the first one.The filmmakers let him go, and they adapted to that. That set the thing in motion. A lot of the comedy revolves around John’s ridiculous voice, which is one of his fortes. The sloth character does a lot of nonsense, and we have to react to it. That’s the key to the whole series. We’re sometimes the straight men to John’s character.It’s like being in the animated Three Stooges.”

Unlike Moe, Larry and Curly though, Leary is not just here to amuse you.Spend five minutes with him, and there’s no doubt you’ll laugh, however he’ll also make you think. He’ll make you think about politics.He’ll make you think about pop culture. He’ll make you think about the roles men and women play. He’ll make you think about the future. But, most importantly, he’ll make you think before you get too serious — just like his idol George Carlin did. “When George Carlin passed away, they had already decided to give him the Mark Twain award at the Kennedy Center,” says Leary. “He told his daughter that was an award that he was proud of. He was happy that a guy like him would be capable of getting that. He was one of my heroes. We were pulling up to that event, and there were protestors. There were signs about God and Satan saying, ‘God hates gays.’ We were shocked to see these protestors. Then I thought, ‘Wow, that’s a great comment on George’s career.’ He made jokes about God and Satan, and he made jokes asking, ‘Why are we outlawing people’s sexuality?’ All these protesters without a sense of humor thought George was evil, but we were pulling up in tuxedos to honor the guy. I’d rather be in the tuxedo line.”

The tuxedo line isn’t the only place for Leary though. He’s got a spot in the pantheon of great comedians. He continues, “George and Richard Pryor were like Babe Ruth and Ty Cobb. One guy had more records because he played longer, and the other probably would’ve had those records if he’d lived long enough. You don’t have Chris Rock, Jon Stewart or me without Carlin or Pryor. A week before he died, Carlin was still performing and getting his next HBO special ready. It was always about finding the things that were pretentious or outlandish and poking giant holes in them. You’ve got to be born funny because you can’t be taught how to be funny. Within that, you’ve got to have a sarcastic take on life and a certain approach to anyone who tells you what not to do. I hope when I kick the bucket, there are people across the street from the ceremony with those signs. God knows, I’ve done enough anti- Catholic Church material. I’d love to have a nun across the street from my funeral with a giant sign saying, ‘[expletive] Denis Leary, he sucks’.” For now, Leary’s still ranting. “I respond on a cultural and then a political level. I reflect back on the ridiculous things going on in the world and spew back with my take on how ridiculous that stuff might be. I don’t mind making a point. Most of my stuff is tearing down pretension, ridiculous people and events. The point doesn’t come first. I’ve got to make you laugh about it. It’s my rule. Richard Pryor sets himself on fire and almost burns to death in a crazed drug-induced fever. That’s not funny on the surface of it, but when he goes on stage a year later and talks about it, man, it’s one of the funniest [expletive] routines any standup comedian has ever done. That’s the job. As long as they’re laughing, it’s okay to make your political point and your cultural point. I want you to be laughing your [expletive] off first though. That’s my job.”

Slashing through convention: Riki Lindhome

Slashing through convention: Riki Lindhome

Slashing through convention: Riki Lindhome

“It’s so bad. I want to do everything,” exclaims Riki Lindhome.

The Last House on the Left star is certainly capable of anything she decides to do. Not only does the vibrant young actress steal every scene of Last House she’s in, but she constantly has a full slate — acting, writing, directing and making music. To say she’s busy is an understatement, but she still manages to arrive at The Newsroom on Robertson Blvd early. No one’s early in Los Angeles —except Riki.

Sitting in the chic restaurant in the midst of a rare Beverly Hills downpour, Riki is exuberant. Clad in a long sleeve blue shirt and dark jeans, her sapphire eyes glimmer at the very mention of Last House. Riki lit up the screen in memorable supporting roles in Clint Eastwood’s Million Dollar Baby and The Changeling.However, Riki’s performance as Last House’s sadistic and psychotic Sadie will no doubt launch her into the collective consciousness as an actress to be reckoned with. She makes Sadie sexy and sinister, and the part instantly appealed to her.

Riki has quite a musical personality. Not only does she give Sadie a balletic rhythm in Last House, but Riki has her very own band, Garfunkel & Oates. It’s a chance for Riki and her collaborator Kate Micucci to write and perform some smart, sharp and hilarious folk songs. They’re like the female Tenacious D, and Hollywood’s taken notice. One of their songs even popped up on Scrubs. Riki has written and directed various video shorts for the band, including the uproariously funny and clever video for their song “Present Face.”

For Riki, balance has become an art. “I feel incredibly fortunate. The parts I’ve gotten to play are always polar opposites. It makes me feel like more of an artist.I can explore more things, and I don’t have to go on just one side. For me, it took a long time to get started because I didn’t really know where I fit. Every role I’ve played is really different. People don’t know where to put me; they never have. For years, it was always a stumbling block. It wasn’t until I started doing my own thing — writing and doing all this stuff on my own — that it started to gel. I don’t care anymore. I stopped trying to fit in, and I just do what I think is cool.”

Just like any real maverick. Clint would be proud.
- Rick Florino

L.A Hottest Actresses: Michelle Rodriguez and Christina Millian

L.A Hottest Actresses: Michelle Rodriguez and Christina Millian

L.A Hottest Actresses: Michelle Rodriguez and Christina Millian
Kevin Morra

In all of Los Angeles, there is simply no job position with as much competition as that of the Hollywood Actress. Behind almost every female in L.A., there is, or has been at one time, the contagious yearning to be lauded on-stage or featured in a series or film. With the immediate proximity to the studios, talent agencies, and dream making producers at every turn, this quest has become the most dominant motivation of L.A. lifestyle and society. The sheer competition is suffocating for most, but for those rare few that manage to break through and realize this almost unquenchable dream, L.A. is always ready to meet them with an unrolled red carpet, a VIP section, and the emulation of everyone in their presence.

We are happy to introduce our selections for L.A.’s Hottest Actresses. You can be assured that their journeys up to this point were neither effortless nor without several small miracles along the way, and hence, we proudly celebrate them here. In all of their triumph, beauty and glow, we present Michelle Rodriguez and Christina Milian.

Featured Artist: Patricia Clarkson discusses Phoebe

Featured Artist: Patricia Clarkson discusses Phoebe

Featured Artist: Patricia Clarkson discusses Phoebe In Wonderland

“I’m always seeking the high watermark,” exclaims a smiling Patricia Clarkson. That explains why she chose to be a part of Phoebe In Wonderland — one of the most heartbreaking and enchanting flicks to hit screens this spring.In the film, Patricia plays drama teacher, Miss Dodger, who helps a struggling, misunderstood young girl named Phoebe (Elle Fanning) realize her potential by becoming the lead in a production of Alice In Wonderland.

The film is a portrait of self-discovery. “It’s about several awakenings,” says Patricia. “Miss Dodger is on a journey, and she travels a certain distance in this film — as does Phoebe. That’s what makes the movie so beautiful.”

A career actress, Patricia has been on quite a journey herself. She’s cultivated an emotional and tangible performance style. That style led to Patricia’s nomination for best supporting actress for Pieces of April in 2003 and two Emmys for her work on Six Feet Under. Plus, she’s entranced audiences in everything from The Green Mile and Untouchables to The Station Agent and The Pledge. Her performance in Phoebe In Wonderland is undeniable and unforgettable.
- Rick Florino

The Year One: Something to Believe In: Harold Ramis takes us back to The Year One

The Year One: Something to Believe In: Harold Ramis takes us back to The Year One

The Year One: Something to Believe In: Harold Ramis takes us back to The Year One

From Ghostbusters and Caddyshack to Groundhog’s Day and Analyze This, the director/producer/screenwriter/actor has an iconic status. However, The Year One may very well be Harold’s most epic comedy yet.

Written and directed by the humor auteur, the movie follows two hunter-gatherers, Jack Black and Michael Cera, who wander an ancient Old Testament world after being banished from their hometown. As with everything Harold does, there’s a lot more to it than just a whole lot of prehistoric laughs.
“The serious theme of the movie is when we thank God for everything in our lives, we also blame God for everything,” explains Harold. “It takes the responsibility away from us. Taking responsibility for our own actions is essential in life. It’s not simply a part of growing up. It’s part of keeping peace in the world and being a force for good. That’s what scares me about fundamentalism. People can do all kinds of horrible things to each other simply by claiming that’s God’s will. I don’t see God that way. In the film, Jack Black believes God is telling him what to do, and that he has a destiny. Meanwhile, Michael Cera is an existentialist who believes that everything is completely accidental. They argue about it. The movie doesn’t say one is right. In the end, whatever you believe you have to take responsibility for and do something.”

The Year One is an inspired comedy to say the least. Harold’s initial idea came from an old sketch that he did with John Belushi and Bill Murray. In the bit, a modern Cro-Magnon meets a Neanderthal. The idea stuck with him, and now he’s got The Year One.
- Rick Florino

Geek Goddess: Julia Ling

Geek Goddess: Julia Ling

Geek Goddess: Julia Ling

“I’m definitely a nerd,” laughs Chuck star Julia Ling. “I love computers, and I play video games. I studied engineering when I was in college at UCLA too.” However, that’s precisely why she’s so funny, fresh and fiery as “Nerd Herd” tech expert Anna Wu on NBC’s hit action-comedy series.Anna gets into all kinds of misadventures on the show, and Julia’s gotten quite close to the character. “I actually relate to Anna a lot — probably more to her geeky side [Laughs]. She’s into video games and computers. She loves fixing things, and she’s a really nice person. There are sides of her that I’m not anything like though. She can be pretty defiant. That’s what makes her so unique.”

- Rick Florino

Getting Haunted with Elias Koteas

Getting Haunted with Elias Koteas

Getting Haunted with Elias Koteas
Rick Florino

The Haunting In Connecticut was quite an experience for Elias Koteas. “I walked away from the film feeling really rejuvenated and energized,” says the actor sitting at home in Montreal. “I feel like we all went somewhere.”

Audiences will get to take that same unforgettable cinematic trip when the film hits theaters at the end of March, and it truly is a journey to hell and back. Based on true events, Haunting tells the story of a cancer-stricken boy named Matt Campbell (Kyle Gallner).Matt’s mom, Sara (Virginia Madsen), purchases an old house close to the hospital where he’s receiving treatment in Connecticut. However, the house was famous for “amplified” séances that eventually ended in the death of five people and the disappearance of a strange young medium. Instantly upon moving in, Matt becomes tormented by something evil. He meets Reverend Nicholas Popescu (Elias) in treatment, and the two face the darkness of the house together. What ensues is beyond terrifying.Elias shows, “Haunting is not about possession. It’s something altogether different. There’s something in the house. You feel it, and it’s hard to describe. If you’re open to it, you pick up on the energy.” It’s impossible not to feel that energy when watching the movie. It creeps inside your psyche and doesn’t leave. The film doesn’t employ cheap scares, but rather there’s a masterful encroaching terror like a classic ‘70s horror flick. “This evil is all around you,” Elias explains.“The film goes inside what we’re most afraid of when dealing with spirituality and the question of where we go after we die. Some of my favorite horror movies have touched me in that way. As a little boy, I loved monster flicks, but these psychological, spiritual horror movies kept me awake at night. It seems so possible.”

There’s no escaping the darkness in Haunting. For Elias, it was about searching for a benevolence inside his character to combat this supernatural force. “I had to find the humanity in this surreal experience. For me, it was very practical. I’m a very spiritual person, and it’s a big part of my life.
I saw myself in this boy. Great horror films will stay with you. You want to make something powerful that lives with the viewer long after it ends.”

However, the philosophical implications were even greater in the film, which is why it’s often so powerful.Elias continues, “If you’re confronted with a certain illness and you’re really afraid for your life, things start making sense. The things that don’t matter fall to the wayside. I felt a certain freedom in exploring that during the film. There was a very clear focus on what mattered. It gets under your skin.”

Vote for Efren – Efren Ramirez

Vote for Efren – Efren Ramirez

Entertainment: Vote for Efren:

Efren Ramirez talks Crank and keeps us laughing

Efren Ramirez has created a new holy trinity on the back of his guitar. A picture of Kurt Cobain is flanked by snapshots of Robert DeNiro and Al Pacino on the body of the Spanish-style acoustic sitting in the actor’s living room. “Nothing beats DeNiro, Pacino and Cobain,” laughs Efren with a wide grin.

His enthusiasm is infectious, and his Los Angeles home is something of a shrine to all of his influences. He’s got posters of Taxi Driver and Midnight Cowboy and fascinating collections of kaleidoscopes and clocks. “Eclectic” doesn’t even begin to describe him. His fire for art has made him an undeniable screen presence, and audiences will get to see him light up cineplexes once more in Crank: High Voltage this spring

In many ways, Efren pays homage to the ‘70s film renaissance with his devout reverence for character. He stole the show as Pedro in Napoleon Dynamite, fully immersing himself in the role. In the first Crank film, his turn as the kooky gay transvestite Kaylo proved hilarious yet haunting. Even though Kaylo bit the dust in the first Crank, Efren has returned as Kaylo’s vengeful (and straight) twin brother Venus for the sequel. It was another role that Efren instantly took to.

“I fell in love with Crank because it’s so different, and it has such wonderful characters,” he says sitting at his kitchen table. “You have to take intelligent risks. When I did Napoleon Dynamite, it was something that I’d never done before.It was the same thing with Crank. When they asked me to play my own twin brother for Crank 2, I was like, ‘Are you [expletive] kidding me?’ [Laughs]. I had to develop a big difference between one twin and the other. I wanted to study Kung Fu and weapons and get a trainer for the new part. I jumped onto this ride and held on for dear life!”
- Rick Florino