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Naomie Harris This is your FAULT
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TRIBUTE TO THE FALLEN OK, so the header might be a little over the top. But it’s fair to say that the mood at FAULT HQ has been no less melodramatic since these three lovely ladies told us that they would be walking out of our lives. Art Director Caroline Lawless, North American Editor Leah Blewitt, and Deputy Editor Rebecca Unger all announced that they would be leaving FAULT at the end of 2013 after three (Caroline and Leah) and two (Rebecca) years respectively. It would be all too easy to say that we regret their departures, such was the impact they had on the development of FAULT during their time with us, but – in fact – nothing could be further from the truth. Our overriding emotion is one of gratitude for a wonderful time together. “Thanks” can ring hollow when repeated thousands of times over desks, phones and emails but hopefully it’ll carry a bit more weight in print:
Leah Blewitt with Soulja Boy and his dog, Money. Caroline Lawless models a dress by Priory of Ten for FAULT Issue 15
: PRIORY OF TEN
Thank you, Leah, for your loyalty, passion and drive to make us try harder, go further and be
better. Thanks Caroline for being the creative force and calming influence that you are. Thanks gner behind Becca for stepping up to the plate time and time again when needed – and mostly just for rand Priory of Ten. putting up with us! Thank you all for the late nights, the millions (probably) of emails and for
the positive and the negative (‘Maniaco’, anyone?) criticism. It’s been a privilege to work with you.Given their incredible energy and ambition, we are certain that Leah, Becca and Caroline willyour all continue their successes in whatever walk of life find themselves. We’re excited to What inspired A/W 2013 collection? for suiting). I also lovethey developing new techniques what elseby is Americana to come from and how we in getting future heavy (hint hint!), and was initially see really inspired and them, on leather. For might the nextcollaborate collection, I’m proud to have been men’s a part of their creative journeys. he traditionalwe’re notions of classic American into respective dip-dyeing and laser cutting patterns, which
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workwear. I loved daydreaming about the colours should be really fun. Their only FAULT nd textures that came together inwas thesethat, rusticsometimes, they gave too much. ladies, we’ll miss you! Who is the Priory of Ten woman? nvironments.Thanks The Fallagain collection takes on the xploration of the rustic, traditionally blue-collar, The Priory of Ten Woman is a little bit of a badFor updated contact at please the masthead inside this issue male-dominated industries like old deniminformation factories, ass,FAULT, but in the most refer subtleto and elegant way. She or the on idea FAULT Online – www.fault-magazine.com/ itchens and Japanese fisheries. It explores plays with the idea of bending the rules, whether
f juxtaposing traditionally masculine, rugged workwear with elegant silhouettes and fine fabrics with a touch of femininity. Large components of the collection play on he idea of creating a faux illusion of traditional niforms in these environments that are translated n playful ways.
s there one piece from the A/W 2013 ollection that is your favorite?
it relates to gender roles or societal roles. She is rebellious but always quietly so. She is an individual thinker. She is intelligent and cognisant of current cultural and world issues. She’s comfortable in her own skin, empowered and is not afraid to exude her sexuality. She dresses to represent her way of life and to be true to who she is, rather than to construct an identity. What do you have in store for us
Rebecca Unger poses with Joe Jonas behind the scenes for our FAULT Issue 16 reversible cover shoot with the Jonas Brothers.
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1 OPENER 2 CONTENTS 3 MASTHEAD 4 EDITORS’ LETTER 160 DIRECTORY
STYLE 6 TAKING ON AN ICON 16 WHITE NIGHTS 21 DIRTY GRITTY 27 ONE IMPRESSIVE SMALL PACKAGE 32 INTERVIEWS IN THE GOLDEN AGE OF THE TABLOID Actress Rose McGowan shares her thoughts on her acting and directorial work coming out in 2014, and why FAULT is better than banal journalism
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40 RISING SUN Fashion looks to the East for inspiration in 2014. 45 LES INVALIDES Pretty in pink; brutal in black: welcome to the war against convention. 52 NORTH BY NORTH WEST “When the wind is southerly I know a hawk from a handsaw” Hamlet [Act 2 Sc. 2], William Shakespeare.
MUSIC 58 FACE THE MUSIC In the mix for the title of most sought-after girl band in the world, Perrie, Jesy, Leigh-Anne and Jade get up close and personal with FAULT. 70 LOVE IN A DIGITAL AGE FAULT favourites Digitalism have discovered the secret to surviving in the music industry: make music you love and your fans will love it too. It all sounds so simple... 74 LUCKY DEVIL 80 A FORCE INDEED A Fire Inside (or AFI for short) have shown plenty of determination throughout their musical careers. Not content with breaking into the industry and achieving initial success, they’ve continued to stay fresh and impress over a period of over twenty years. 84 FAULT FUTURE: TEMPLES The Kettering based pysch-rock band are at the forefront of an exciting new wave of guitar groups in 2014.
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BEAUTY 86 STRICTLY BUSINESS FOR SOPHIE ELLIS BEXTER With a new album out in 2014, national TV appearances aplenty and family life with three children to contend with, it’s remarkable that the stunning British songstress never seems to lose her sang-froid. 93 GANYMEDE’S DELIGHT 99 CHECKERED Keep your eyes peeled. 103 BEDAZZLED Read my lips.
FOCUS 109 MY HEAD IS A JUNGLE, JUNGLE Ashley Roberts stalks through FAULT’s latest editorial shoot and shows us her stripes as a versatile and determined species of entertainer. As we watch Ashley pose up a storm to a soundtrack of fierce hits, the thought strikes us of just how appropriate the current song, which coos ‘my head is a jungle, jungle’ is in describing Ms. Roberts. 115 COUTURE CULTURE 123 THE LA GIRL WHO DOES EVERYTHING One of the music industry’s brightest songwriters is finally writing her own story. 128 FAULT FOCUS We shine a spotlight on budding filmmaker Gabriel Gettman.
MEN 130 FROM KING OF HOLLYWOOD TO EMPEROR OF FASHION 140 MILLER TIME WITH DYLAN REYNOLDS FAULT catch up with Mac Miller and singer-songwriter Dylan Reynolds at the rapper’s home in LA. 149 QUANTUM A meeting in Everett’s room. 154 LAST WORD Winter is Coming.
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PUBLISHING DIRECTOR Nick Artsruni iNTERIM ART DIRECTOR Clara Marcus NORTH AMERICA Nancy Lu MUSIC Era Trieman CONTRIBUTORS Lucy Ansa-Addo Louie Banks Frankie Batista Giuliano Bekor Darren Black Leah Blewitt Michael Casker Simian Coates Ben Cope Thea De Gallier Sequoia Emmanuelle Timothy Higgins Benjamin Johnson James D Kelly Ross Laurence Alice Luker Jemima Marriott Mac Miller Tod Pearce Elizaveta Porodina Jessica Prautzsch Kat Rutherford Gemma Sheppard Rachell Smith Anderson Smith Luke Storey Rosella Vanon Juan Carlos Verona Danny Williams (Topshelf JR) Andy Wilsher Annick Wolfers
ONLINE/GENERAL FEATURES Louis Sheridan Chris Purnell FASHION Marika Page India James WOMENSWEAR EDITOR Rachel Holland MENSWEAR EDITOR Kristine Kilty PARIS EDITORS Hans Weinheimer Ruth Kramer Kat Rutherford
SUBSCRIBE TO FAULT 1 year = 4 issues (via air mail) U.K. £35 Europe €45 World €50 1 year online (via Zinio) U.K. £12 MUSIC SUBMISSIONS music@fault-magazine.com ADVERTISING ENQUIRIES advertising@fault-magazine.com
SPECIAL THANKS Clara Marcus Miles Holder Rebecca Unger (Deputy Editor Issue 17) Leah Blewitt (multiple feature productions for Issue 17) Lill Veronica-Skoglund Ben Duncan Simon Jones Julian Ruiz Erica DiFierro @ Studio Navona Gabriel Gettman Spoke Studio Bryan Robinson Charlotte Page LONDON OFFICE Suite 7 40 Craven St. London WC2N 5NG United Kingdom
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EDITORS’ LETTER T
hanks for picking up this copy of FAULT. Before you read any further, we just wanted to tell you that some of us did not initially consider the artists featured in this issue to be all that great. And, frankly, we couldn’t care less. Just to clarify: we’re not saying that we’re totally apathetic to the contents of our publication. Quite the opposite: the sacrifices required to put together each issue of FAULT often make the gruelling three month production schedules between issues seem like three years. We continually push ourselves to maintain and exceed the highest values of production in every aspect of what we do. Perhaps ‘blood, sweat and tears’ is not quite apt but ‘nervous sweats, bleary-eyed tears and caffeine-flooded arteries’ just about covers it. Your next guess might be to assume that we choose to include certain artists for commercial reasons. Wrong again, I’m afraid. If you’re sneakily reading this in a bookstore or magazine kiosk then just take a look to either side of you. There are a lot of other magazines out there. Most of them are imprints of huge, moneygreased corporations who have the ability to pull in whatever talent they like, whenever they like. You can’t sell out when the general public has already been oversold – something has to be different to whatever else is out there. Competition is fierce for both readers and marketing budgets – although FAULT has been ticking over since 2007 so we must be doing something right! So why DO we choose to feature people who, originally, at least, might not have been to all of our tastes? And why don’t we care about it? Simple, really: because we don’t think that we know better than you do.
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Let’s be honest: most magazines up until the mid to late 90s were desperately full of themselves. Like many of our readers, we grew up in an age when the NME, the capital’s leading radio stations and a handful of badly lip-synched television shows told us who we should or should not be listening to. Vogue told us what to wear. Artistic photography was something that you either saw in galleries or in specialist periodicals. Those not part of the pre-determined creative set were brutally taken apart and ostracised by various publications (which we probably shouldn’t name for legal reasons). The Other issue is all about facing up to the fact that, sometimes, society will move in a direction that does not make you totally comfortable. Whether that’s the magazine editor who rues the emergence of social media as a viable tool for establishing the credibility of a particular creative talent, the fashion buyer who is left annoyed by left-field trends shooting to prominence as a result of independent tastemakers or the magazine reader who is left to query why on earth a particular singer is given coverage instead of any number of other suitable candidates. So, are we saying that the old status quo was preferable? That FAULT dreams of the days when art and talent was rubberstamped by the few and approved by the many? Absolutely, categorically, not. The interesting thing about ‘the Other’, as an ontological concept, is that it forces one to confront that which is alien to them. As you might expect, people’s reactions vary to this. Some choose to utterly reject, others condemn what they do not immediately recognise and appreciate. However, others still are enticed and enthralled. They come to the conclusion that the ‘Other’ is actually of great value and significance, and grow
to admire it. Whatever the case, one thing is beyond question: confrontation with the Other forces a person to re-evaluate themselves, their beliefs and their opinions. And that, dear reader, is what this issue of FAULT is really all about. The artists featured in this issue are those who have been prepared to make difficult choices to get to where they are today. Love them or loathe them, that fact alone deserves our respect and admiration. In an era where choice abounds, we are truly grateful that they have chosen to collaborate with us for this issue of FAULT. After spending time with all of the artists featured in the following pages, we have reached the conclusion that each and every one of them are phenomenal talents in their particular field. But that is just our opinion, and we would never do our readers the disservice of not letting them make up their own mind. Each feature in every issue of FAULT is produced to be balanced and objective in the sense that we give artists a platform to express their own thoughts and opinions. We don’t seek to lead our interviewees and we don’t try to influence our readers. Have a read. Confront the Other. Let us know what you think. And remember: This is YOUR FAULT.
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This page: vest by Tim Ryan, Trousers & belt by Herve Leger. Opposite: dress by Tim Ryan, ring by Maria Black
words REBECCA UNGER production LEAH BLEWITT creative direction KRISTINE KILTY photography LOUIE BANKS styling KRISTINE KILTY makeup KENNETH SOH @ FRANK AGENCY, USING GIVENCHY TEINT COUTURE & LE ROUGE hair BEN SKERVIN @ THE MAGNET AGENCY, USING VIDAL SASSOON PRO SERIES manicurist LUCIE PICKAVANCE fashion assistant ARNDT STOBBA photography assistant SABRINA AYLWARD-TARTEN studio assisant LILL-VERONICA SKOGLUND
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he became an international sensation as the latest Bond Girl in Skyfall, and now Naomie Harris has gone to even greater heights with her incredible performance as Winnie Mandela in the new biopic Mandela: Long Walk to Freedom. The London born-and-bred actress spoke to FAULT about the experience of tackling such a challenging role and about her determination for a diverse future in the industry.
It’s not an entirely un-scathing portrayal of her…
Not at all, but she wanted that. She said the most important thing was to tell the truth. And the accent, was that tough to get down?
How did you get into acting?
I always knew that I was going to be an actress and I don’t know how. People always say, how did you know? Even at four I would say to people, I’m going to be an actress. Not, I want to be an actress, but I’m going to be an actress. My mum enrolled me at a local drama school which was an after-school class for inner-city kids. I then joined the professional agency there and started auditioning and getting roles. My first role was at the age of nine, I did a role in Simon and the Witch. What do you look for in a script when you are picking your projects?
I just like to play roles that are completely different from the last one. My body of work is very eclectic and I like it like that because I want to do something that I haven’t done before, that challenges me in a completely different way and that scares me and forces me to grow in a different way. And also to exercise another part of myself that I haven’t had an opportunity to show. What was it like becoming part of the epic and historic James Bond franchise?
It was fantastic! It’s such a huge, huge thing and I had no idea even when I was getting involved in it how huge it is. The level of interest is just extraordinary. We hadn’t even shot one scene yet and people were already double-guessing what was happening in the film and trying to get information out of me. With Bond there are so many things that you can’t say and so it was really tricky actually. Playing Winnie Mandela in Mandela: Long Walk to Freedom must have been a huge undertaking? How did you become involved with the film?
I worked with Justin, our director, on a small film called The First Grader and we shot it in Kenya and there were only five of us who flew
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over from England to make the film. We shot it in a rural community in the middle of nowhere in Kenya at a very poor school. I actually pretended to be a teacher – I was introduced to the kids as their new teacher and we shot it documentary-style in order to keep the kids unaware that they were being filmed. It was such a great collaborative indie experience that I just thought, I really enjoyed working with Justin so when he said, do you want to come on and make Mandela and play Winnie I was like, absolutely, yes! I really wanted to be part of the experience because I wanted to work with Justin and Anant and David, our producers, and also because I wanted to be part of a film that was a celebration of Nelson Mandela’s life. At that point I really didn’t know about Winnie’s contribution to South African history and I thought the film would all just be about Nelson and Winnie was only his wife. I didn’t realise that she contributed a great deal to South African history.
It was really tough. So much work went into that! I had an accent coach who came in and she stayed with me for 1-2 hours a day for a month. It’s a touch accent. I had to speak it all the time. Did you find it daunting to play a person who is still alive?
It is because people have such strong ideas about them and you feel this sense of wanting to honour them the way they want to be honoured, which isn’t actually your job as an actress. My role is to portray them truthfully irrespective of whether that’s the way they want to be portrayed. I was just really lucky because Winnie was also after truth. Apart from Winnie, did you work closely with any other members of the Mandela family?
No. I met Zindzi and Zenani, her daughters, who are really lovely and open and generous and they were really supportive as well, but I didn’t work with any of the others.
How did you get into character?
With great difficulty. I did a lot of research to find Winnie. She is such a polarising character. Some people say that she is Mother Africa and that she is a saint and then other people completely demonise her as a fraudster, as a murderer and as a terrorist. So you have these completely opposing views about who she is. To meet in the middle and find a cohesive character for all of that was a real challenge. What really helped me was meeting Winnie and going to dinner with her and saying, how do you want to be portrayed? And I thought that she’d have a long laundry list of ideas about how she’d want to be portrayed but actually she was really generous and she just said, look, you’re the right person for the role, you portray me as you see fit. And that just suddenly felt like all this pulling in different directions was lifted off my shoulders and I felt ownership of the part. I felt like I was able to be really creative.
What was the most important lesson you took away from the experience?
It’s so much. I think really the value of freedom, because that’s one of the things we take for granted – and we should take for granted, everyone should be at the very base level free – but lots of people in the world aren’t. We still have slavery in the world, it’s a modern form of slavery, but it is slavery essentially and to know that people sacrifice their lives and fought so hard and for so many years to ensure that people had freedom just makes me value that in such a completely different way. I have choices that many people don’t have and never had and that’s just by virtue of where I was born. You’ve touched on how racism or lack of freedom for certain people still persists today – is that something you see yourself getting involved in in an activist capacity?
Jacket by RED Valentino, shorts by Diane von Furstenberg, boots by Stuart Weitzman, earrings by Maria Black
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WHITE NIGHTS photography JEMIMA MARRIOTT styling PATRICE HALL makeup and nails ALEX CHALK USING MAC hair JAMIE BENNY @ RUSH model CHRISTIE @ NEVS photography assistants TRIS COLE, AMBER EGGLEDEN, & MEARA KALLISTA
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This page: jacket by Hockley, dress by Kim West, necklace by Butler & Wilson, shoes by Jimmy Choo. Previous: unitard by Pam Hogg, necklace by Butler & Wilson.
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This page: bolero by Hockley, corset by Kim West, blindfold by Fleet Ilya. Previous: jacket by Just Cavalli, bodysuit by Pam Hogg, necklace by Mawi.
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naomienights harris white This page: bolero by Hockley, corset by Kim West, blindfold by Fleet Ilya. Previous: jacket by Just Cavalli, bodysuit by Pam Hogg, necklace by Mawi.
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ONE IMPRESSIVE SMALL PACKAGE photography BEN COPE words REBECCA UNGER E styling HOLLY COPELAND makeup ANNA BRANSON hair JOHN BLAINE hair JOHN BLAINE special thanks to INDIA JAMES & RICHIE DAVIS
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naomie harris hanna beth Previous: corset by Anthony Franco, underwear by DMondaine, cuff by Mitchel Primrose, choker by Charles Albert This page: skirt by ASHI, necklace by Lillian Crowe
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he may only be 5’2”, but Hanna Beth has a powerful presence in the modelling world and all off the back of her superb social media skills. The L.A. girl spoke to FAULT about the numerous projects she’s got going on and how she keeps centred with such a busy schedule
What do you love most about the modelling industry?
How would you describe your personal style?
I think what I love most is that I’m able to portray so many different looks and try so many different styles. I just get to meet so many different people and fashion has always been one of my favourite things and main inspirations so the fact that I get to work with that is great. I’m only 5’2” so I never really thought modelling would be a career and the fact that I was able to make something out of that, and just prove that you don’t have to be like 5’10” to be able to do modelling.
I guess it kind of changes day by day. I do love to be comfortable but one day I might go for a more edgy late 70s punk vintagy look and then I could be more boho 60s chic type of thing with a goth inspiration. I’m always changing.
You are based in L.A. but have you ever considered moving to one of the fashion capitals for your career?
For now I love living in L.A. A lot of my modelling is based there just because of my size. I feel like they’re more acceptable to tattoos and edginess, but recently I have been doing more out here in London and in Tokyo as well. What do you like most about London?
I think the fashion. I feel like people are a little bit more edgy and daring in London compared to L.A. and I also love the transportation in London. I hate driving and in L.A. you have to have a car to get anywhere, there’s no real public transportation and here it’s so easy to get anywhere. What are your favourite trends of the moment?
Right now for Fall and Winter I’m just loving oversized shirts as dresses and anything comfortable. I love just wearing big oversized clothes and pairing it with a really crazy pair of shoes cause I like height. I love the whole plaid, tartan trend that’s happening right now and I just wear a lot of black. I love KTZ!
What’s a typical day in the life of Hanna Beth?
I guess I don’t really have typical days because I’m always doing something different whether it’s with modelling or something that has to do with my blogging. I’ve been blogging now for 7-8 years so I might be going into Buzz Media and having meetings or I work with a few other fashion brands doing collaborations so I’ve been doing that. When I’m not working I like to just hang out with my friends, go out dancing, go to the cinema, keep it chilled.
and through that I got a following. I don’t think I would have been recognised in the modelling industry or anything like that if it wasn’t for social media and most of the work I still book now I book just through people seeing my Instagram. You can achieve so much through social media, it’s insane. Is there anyone out there who you’re dying to collaborate with?
I can’t think of anyone specifically. I like working with Tokyo brands a lot cause I feel like they’re more daring and edgy. I think I just want to do my own thing at the moment cause I’ve done a bunch of collaborations and I think the next step would be to do my own collection. If you’re live had a soundtrack what songs would be on it?
I love David Bowie’s Pin Ups album. It would probably just be David Bowie. I love Ryan Albums. His album ‘Demolition’ is one of my favourites and when I was in high school I listened to it on repeat all the time. Recently I’ve been listening to a lot of Patsy Cline. Any exciting upcoming plans?
In previous interviews your spoken about your spirituality and about ‘big loves’ and things like that. Can you tell us a bit about this life philosophy?
I guess I just try to live my live to the fullest each day and if something’s not making me happy I don’t want to do it, even if it’s a company I don’t fully believe or style I’m not fully in to – I wouldn’t want to promote something I’m not in to because I just feel like life’s too short. I don’t want to settle. I try to always stay positive and make the most of every situation.
I can’t exactly say who but I have a few collaborations coming out next spring. I’m doing a project with Forever 21 in L.A. and I’m going to be doing all their winter promotions – I’m excited about that. What is your FAULT?
I’m really hard on myself and I also overthink too much.
You’ve created your career and success through social media – do you think being social media savvy is important if you want to be successful these days?
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This page: jacket by Enfants Riches Deprimes, skirt by UNIF Clothing, shoes by Penelope & Coco. Opposite: skirt by ASHI, necklace by Lillian Crowe
Dress by Anthony Franco, cuff & ring by Lillian Crowe
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naomie little mixharris From left to right: Jade wears: skirt by Chic Freak, bodysuit by Pretty Little Thing, jacket by Clon8, beanie by Modu, Bra worn as belt by Hardware LDN. Perrie wears: coat by Chic Freak, bodysuit by AQAQ, cap by Hardware LDN, watch by Matthew Williamson from Signet. Jesy wears: dress by Dr Martens, sunglasses by Cutler and Gross from Then and Now, jacket by Replay. Leigh Anne wears: jacket by AQAQ, bodysuit by AQAQ, necklace by Mawi, shorts by Pretty Little Thing.
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FROM KING OF HOLLYWOOD TO EMPEROR OF FASHION words REBECCA UNGER production LEAH BLEWITT, REBECCA UNGER creative direction KRISTINE KILTY photography JAMES D KELLY styling KRISTINE KILTY grooming LUCIE PEMBERTON fashion assistant WILL BALLANTYNE-REID photography assistant DIETER BRANDENBURG
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e skyrocketed to fame as the ball-busting agent, Ari Gold, in the hit HBO series Entourage, but Jeremy Piven is adamant that his most recent role as Harry Selfridge in ITV’s Mr. Selfridge, is his most exciting to date. The Manhattan born charmer is set to grace the UK’s small screen once again come the end of January when season 2 of the department store drama airs. Piven is full of high praise for his fellow cast members and spoke to FAULT about the unmissable, riveting storylines of the new season.
You come from acting stock – were your parents the ones who led you to acting?
I crawled up on stage with my family for the first time when I was eight and butchered Chekov. I was lucky enough to perform with my mother and my father was directing and my sister was also an actress and now very much a film director. I didn’t have much perspective on how lucky I was to grow up in a family of theatre artists until I went to university. To this day I can call my mother up and run lines with her. You’ve also worked in theatre. Do you have a preference between being on stage or on camera?
I feel like when you’re in front of the camera you’re trying to get back to that momentum you find on stage. It’s been a while since I’ve been on stage and I guess I am pretty hungry to get back. That said, you embrace whatever medium you’re in at that moment. How did you come across your most famous role to date, Ari Gold in Entourage?
I would beg to differ. I think if you and I were walking around London right now. I can honestly say that the season that we just finished is the best season of television I’ve ever done in my life. You never know the result of anything and I’ve learned not to get ahead of myself but the process of doing this show this season was like no other. As proud as I am of the first season of Entourage I think we improved on it. The way that Ari Gold came about was they were already well into their process. By the time I heard about Entourage, it was a small role, a fringe player, if you will. They were looking for a guy to
play the agent and he basically had one scene in the pilot. At that point I had been lucky enough to have been a serious regular on a lot of shows and was forty movies into my career. The people around me really asked me, “Why would youdo a smaller role in an ensemble piece when you could do a lead in a show and be more part of the creative process?” Usually I’m a dummy but I got this one right. I thought, ‘HBO has such great taste in shows and they really nurture and let their artists have their freedom.’ I also knew that this character, which is based on [real-life high profile Hollywood agent, WME’s] Ari Emmanuel, was a very dynamic one that people would be very interested in. I got lucky, and lo and behold, the character grew and it just goes to show you’re never to old to prove yourself. You say that Ari Gold is a dynamic character and that is also true of Harry Selfridge. What attracted you to the character of Harry Selfridge? There are comparisons to be drawn.
They’re both American, obviously. They both embody the American dream and the spirit. Harry is quite different. Harry’s one of these guys who spends most of his time smiling and laughing and embracing the light and Ari is someone who kind of feeds off of any type of drama. Ari is an incredibly reactive character and gets away with a lot because the reality is, and this is one of the reasons people gravitate towards him, is that it’s very hard to pull off that type of behaviour in real life. One of the many things I notice about the British is they’re a very realistic bunch - almost to a fault at times where they’re always trying to be realistic, especially with tough love. Ari
is one of these guys who will have no problem celebrating himself and in the British culture it’s very uncouth to celebrate oneself. They’ve mastered the art of self-deprecation in a very insightful and brilliant way. They are very humble – it’s about just getting on with it. And I’m in awe of the group of actors that I worked with because they’re so well-trained and hardworking and yet would never draw attention to themselves. Ironically, though, although Ari is much more of an overtly nasty character, Harry does some pretty bad things – he cheats on his wife, which Ari never does, really.
You’re on to something there. What’s so interesting is that while Harry continues to embrace the light and lead from the example of positivity with such a great relationship with all of his co-workers and, Ari dresses you down and intimidates, Harry’s actions in his real life can be perceived as more despicable. I find Harry’s dualities even more fascinating. As much as he loves his wife and the idea of monogamy, he can’t help himself. The second season will show another side of Harry. . It’s a beautiful evolution and it’s the reason why I’m doing television: because you get to explore the arc of a character and of the show and the possibilities of where you can go. What can viewers expect from the new season?
The backdrop is the First World War and some have to go off to war and we get to see this ripple effect throughout. I think the writers and everyone did a beautiful job of showing that this season. There are new characters and they all intertwine beautifully and seamlessly. I feel like with the amount of characters that we have, I wish we had more episodes because it’s an embarrassment of riches in terms of what they bring. Any one of them at this point could be our main story and it would be fascinating. I think the only problem we have on our show is trying to figure out a way to cut it.
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Acne acnestudios.com Stockholm +46 (0) 8 522 996 00 Alexander McQueen alexandermcqueen.co.uk UK +44 (0) 8001577811 Alexander Wang alexanderwang.com New York 212-532-3103 Atsuko Kudo atsukokudo.com London +44 (0)20 7700 4631
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Bas Kosters baskosters.com Amsterdam +31 (0)20 617 21 00 Baum & Pferdgarten baumundpferdgarten.dk Copenhagen +45 2670 0733 BLK DNM blkdnmcloseup.com New York +1 212-966-6258 Burberry burberry.com International Butler & Wilson butlerandwilson.co.uk London 020 7409 2955
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H
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United Nude unitednude.com International
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Valentino www.valentino.com International Viktor & Rolf viktor-rolf.com Amsterdam +31204196188 Vivienne Westwood viviennewestwood.co.uk London +44 (0) 20 7924 4747 Vladimir Karaleev vladimirkaraleev.com Berlin +49 30 2201 7704
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Y3 by Yohji Yamamoto yohjiyamamoto.co.jp Tokyo Yves Saint Laurent ysl.com International
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Zadig & Voltaire zadig-et-voltaire.com London
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