COVER 04 Looking Through The Glass
E N T E R TA I N M E N T 28 2 Dudes And A Dream 56 LA Theatre Beat
F E AT U R E D 15 Health & Beauty 36 SoCal Top Photographers 42 Hollywood Weekly’s Top Picks For Acting Coaches
PUBLISHER, EDITOR IN CHIEF Prather Jackson VICE PRESIDENT Bernice Harris VP MARKETING Michael D. Coxson ExEC. ASSISTANT Danielle Dietrich
STAFF WRITER Brea Tisdale WEBMASTER Autumn Hawarden PHOTOGRAPHY Edgar A. Santacruz LIFE & STYLE EDITOR Niki Shadrow
DIR. OF MARKETING Launy Rhem
OPERATIONS Erskine D. McSwain (1991-2000)
SENIOR EDITOR Pamela Spyrs
PRODUCTION MANAGER Hector Santacruz
ADVERTISING Danielle Dietrich
CONTRIBUTORS Anthony Calderon Leah Michele Yananton Sarah Klegman Adam Freeman Pockross Andy Nguyen Rachel Stuhler Leah Yananton Rayne Sieling Steve Zall Sid Fish Jeffrey Jaggers Iman Lyons
DISTRIBUTOR NEWSWAYS ASSISTANT EDITOR Jenny Werth ASSOCIATE EDITOR Anthony Calderon CREATIVE DIRECTOR Autumn Hawarden
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Looking Through the Glass
By: Brea Tisdale
www.lifespaceart.com www.triviewglass.com 562-694-4444 I was driving out on the 60 freeway for what seemed forever, not really knowing exactly where I was heading or what I was about to witness. When I arrived, the building appeared from the outside as a normal office/ warehouse. What I didn’t know when I was parking my car was how special the place I was about to walk into really was. LifeSpace Art is an incredible operation, lead-
me into their offices, and gave me an elaborate tour
ing the visual revolution in the art and glass industry.
of the space, which involved, learning the ins and outs
What they have achieved is the ability to print fine
of making glass. They also showed me the top secret,
art, photographs, images and anything really directly
segregated room, where the magic and machine be-
onto glass. This is quite an achievement because most
hind LifeSpace comes to life.
people can’t print directly onto glass without loosing the quality of the image.
I began to notice how these two were so complementary to one another. I think it works because
Alex and Ken are the two driving forces behind
they both have a great senses of humor ( Alex is al-
Lifespace. They are two peas in a pod, which is funny
ways poking around at Ken, but he really enjoys it and
because when looking at the two together, they phys-
it keeps the office moral from getting stale or boring).
ically couldn’t be more different. They are the odd
I was shocked at how expansive their space was and
couple without all the dysfunction. They welcomed
how much machinery was involved. They have a
was born in Chicago as a first generation American, his parents fled the Ukraine. His dad was in the building glass machinerary business. At the mere age of 12 Alex started working for the family glass company, earning 20 cents a day (20 cents today won’t even get you 15 minutes at a parking meter). As Alex got a bit older he learned how to do other tasks, such as loading the machine, thus allowing him to get bumped up to one dollar an hour (Maybe get you 20 mingreat team of 40 people working
utes at a meter now). Then at
for both companies (Triview Glass
16, when most people are con-
and LifeSpace Art). As we walked
cerned with who they are going
around, the employees seemed
to invite to their sweet 16 birth-
welcoming and happy to be do-
day party, Alex decided he was
ing what they do (which makes
going to buy 5 acres of property
a huge impact on how the qual-
in Vegas for 1500 dollars. I knew I
ity of the product is going to turn
was talking to someone special
when I walked into his office, but To really understand what
LifeSpace Art is, I think we need to understand where the people behind it came from and how they got there. The main “honcho” behind Lifespace is Alex Kastaniuk. He
after hearing this I knew he was really special. To have that much understanding at such an early age is really something incredible (just so you know Alex sold those 5 acres in 1999 for $112,000). Growing up working at the family
crating, truck driving, production, accounting, pretty much everything. At 24, he took over “design force” which was a division that manufactured
He took this division from making $30,000 to earning $200,000. The family business began branching out to selling supplies to glass
Looking Through the Glass
originally during his five year noncompete. Ken was a customer of his family’s company and had his eye on Alex for sometime, but what really bonded these two was that they both had handicap children. This duo seemed inevitable to form; Alex’s background in glass and Ken’s back-
prevent anyone from being laid
ground in graphic design. After
taking over as president and CEO This also began Alex’s 5-year
non-compete, where he couldn’t own anything in the glass industry. During these five years (where Alex jokes about how he was sitting on his arse), three of them were spent working for the company that bought him out as the
of Lifespace, Alex started seeing how much it was costing to buy glass and decided he wanted to be the company they bought the glass from. So he became owner of TriView glass. Eventually moving both Triview and LifeSpace Art under one roof. (Triview is the glass company and Lifespace is
companies. Times were shifting…
head of West Coast Sales. He
Mexico and China began taking
took the last two years to spend
over in production. In 1981 two
more time with his family, as he
The “mad scientist” behind
partners at a glass door compa-
has two handicap children and
Lifespace Art is Ken Fong. Ken
ny approached Alex to partner
having significant amounts of
was born in the southern part
up. He did and after only 3 years
quality time with them was very
of China, and was 12 years old
took the company to 10 million
important to him. - Businessman
the first time he met his father,
in sales. In 1986 he sold this com-
and family man.
but not because either of them
pany and went back to his roots at the family business where they were doing under 4 million in sales. Alex pushed them back up with the heavy hitters and started doing 18 million in sales by 1988. In
passed away. After the passing of his father, Alex sold the company to a big “corporation” in Florida. Alex did this to protect everyone that worked for him. He knew that the company had to rebuild if he was going to stay in ownership and he wouldn’t be able to keep everyone’s job, so he sold it to
was brought to his attention
It was July 15th 2008 when Alex bought Lifespace Art, which
the art on glass company)
wanted that to be the case. Ken was stuck in China because of
communism in 1957/1958, you couldn’t eat, you couldn’t go to school everyone worked. When I say everyone works…everyone works. In fact, his aunt gave birth on the rice fields, where she worked 16-hour days with no pay. Things were so strict that you weren’t even allowed to get your hands on pen or paper. So when he tried to send his dad letters (who was back in America) he had to write wrote on napkins or whatever he could get his hands on. As I am listening to this incredible story (like something out of a film), Ken reveals that in 1958 his dad hired someone who was sent over to China to smuggle him out. He was held up for two years in immigration in Macaw. When he got there he couldn’t get into school, because he was so behind in education (he had to get a tutor to catch up). Finally in 1961 he made it to America (at age 12) where he went to Catholic School in San Jose (his uncle lived there). He was speaking Portuguese at the time but within six months he picked up English.
they might call graffiti). At 15, Ken started school at the San Francisco Academy of Art. After High School he went on to Cal Arts where he studied Fine Arts. It was the era of ‘hippies”, so Ken packed up and moved down to Los Angeles with three roommates. He then enrolled at LA Art Center and switched his major over to illustration (ironically, he never finished school
Photos by: Edgar A. Santacruz
Ken has always been an artist; at a young age he picked up paintbrushes and drew on the ground (which I think
but went for five years). Ken moved to NYC for a month as an illustrator, by the age of 22 he was the Art Director for Nova Art Triangle and was with the company for 10 years. He then went on to work at Disney and formed Katowas Studios. In 1972 Ken welcomed a beautiful baby girl into the world. At 2 and half she was diagnosed with autism. Ken quit his job to take care of her (his wife was a toy designer for Mattel). Being that both of her parents were artistically inclined she naturally turned into a very talented artist. At this point Ken decided he needed to look into something someone hadn’t done. Here the idea and hard work behind Lifespace Art was born. Ken tried art on glass and failed. He did research on how to do it… he believed he could figure out a way… “if you are hungry enough and have the power of intention, you can achieve anything.” So Ken entered the laboratory week after week, undergoing extreme tests to find a way to print fine art directly unto glass, without it peeling or melting off. Alex and Ken, as wonderful as they both are, could not do all the things they have been doing without a “right hand
Looking Through the Glass man”… Kent Leung. They say he
They have mastered the print-
unfortunately cannot tell you, be-
is the ‘best person they have ever
ing on glass after hours and hours
cause then I would have to kill you.
worked with”… “He’s not just an
(perfection takes time) of research,
I will tell you this much…. but only
artist, but also a talented admin-
time and money. They thankfully
because I trust you, the secret is
istrative person…multi- talented.”
have realized what the technical
in the coding. They do work to fit
Kent is a designer and manager at
formulation is, involving the equip-
all budgets, for example instead
LifeSpace. He was introduced to
ment as well as the operator. I
on having the photo, or artwork
the company through friends and
printed directly on the glass you
co-workers. He runs the machine
can have it printed in vinyl then
that does the printing at LifeSpace
put on existing glass, by doing this
as well the graphic designs. Lueng
you can keep you cost down.
has 8 years experience in Graphic
As I was walking around tour-
Design (one could say this is not
ing the rather large warehouse
his first rodeo). He graduated from
space they had ,they told me
Cal-State Fullerton with a degree
about a story when someone
in animation, and worked part
called in on a Monday night say-
time doing graphic design. He has
ing they needed a picture they
been with the company for two
had (which was a photo of stained
years now and says: “It’s constant-
glass) printed on a large piece of
ly challenging, with new technolo-
glass by Wednesday night. Mission
gies that just keep getting better
and better.” He is an integral part
glass piece in a church for a film
of pioneering this industry.
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Looking Through the Glass they were shooting to make it look
not reflect through and eventually
like stained glass. I kid you not,
over time will deteriorate. In fact,
when you held this piece of glass
most places can only print up to
in the window with the light com-
300 dpi, because the heat when
ing through, I don’t think even a
printing will distort the picture if the
stained glass expert could have
quality is any better, but LifeSpace
told the difference. Now some of
prints to the quality of 1200 dpi. Also LifeSpace has put their pieces through testing in harsh environments to ensure they will hold up against the test of time.
Lifespace Art and it’s team of seasoned artists, printers, and designers, with their printing technologies
Also, they have no production
process to print fine art onto glass;
line, so there is no sending back
enabling the creative and inspired
“mistakes” or re-dos. Like I mentioned before everything is done in house one project at a time. Ken did look over at us and say, “Just because something is from China doesn’t mean it is cheap.” They can print anything on glass.... I mean anything. They work
you may be thinking, “I was down at my local Home Depot store and I saw them printing patterns
to apply art into environments and
on glass… so what makes what they are doing so special and se-
functions unimagined. This makes
cretive?” Well, Home Depot only
Lifespace Art a one-of-a-kind cre-
prints four patterns and the qual-
ative solution to any of your needs.
ity is not the quality that LifeSpace
Step out of the box and begin to
has. If you use a cheap ink or if it’s
look through the glass…. not at it!
not printed properly, the light will
with all sorts of clients, from Studios, to architecture firms, to collectable memorabilia and wedding pictures.
Most pictures can be
made to size (custom sizing). The largest piece they can make is 60 x 120, anything over that has to be broken up into sections.
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Martha recently started a school – the “Remar” Postgraduate School of Estheticswhere she will teach estheticians, from all over the world, the practical steps to utilize the facial toning machine and “The Stay Young System”, but more importantly support and empower them to move confidently in the direction of their dreams. This is just one of the ways that Martha is a gleaming example and model of following your desire at any age. A documentary on the life of Martha Weinstein could truly serve as an inspiration and remind us all that there is no need to grow old, but rather just grow.
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2 Dudes and a Dream
The next “Swingers” or the next indy film nobody hears about? The independent comedy “2 Dudes and a Dream” debuted On Demand December 1, 2009. The story pokes fun at the beast that is Hollywood as it revolves around 2 aspiring stars that become best friends as they set out to conquer the trials and tribulations of making it in Tinseltown. Cole Payne, the producer behind the film gives us a look at what it’s like to be an independent filmmaker. A quote I read about your movie from Hollywire. com says “it has potential to become a cult classic, like Napoleon Dynamite,” do you think this is true? I wouldn’t try to say it’s like or the next anything, I’m just hoping people actually watch it... you know, people besides my parents. I finished a film that made it out into the world and thats an accomplishment in itself. Most of the people involved were first time filmmakers that had pretty high hopes for 2 Dudes right from the beginning, but now, a few years later I think they understand every small film that gets a few laughs doesn’t turn into a major theatrical release, but I think everyone is happy with what is going on with the film. So you don’t want to brag about the film at all? Of course I do, I’m extremely proud of the film and everyone that put it together with me. We did this thing for peanuts, well peanuts and favors, and in the end I think we got a great movie for what we had. Since we didn’t have any money we had to get extremely creative with the writing, the camera work, the...everything, which is satisfying to see on screen. Can you give me a for instance? One thing we did to make it stand apart from a traditional comedy was shoot it differently. The producing team, director, and cinematographer got together and decided to film it with a dramatic style to give the movie a different feel. Also, we had the writers really focus on incorporating broad and smart humor to make it appeal to a bigger audience, especially with our already somewhat limited audience in the regards that the story is very Hollywood based. We really tried to make it so the viewer doesn’t have to know anything about the entertainment industry to enjoy it. What does saying “we didn’t have any money” really mean? Exactly that, when we decided to film this
thing we had nothing. We set a start date and ended up getting our first investment of $2,500 shortly after, from there investments ranging from $1,000 to $20,000 came in until we finally finished the film in 2009 at right around $100K. How long did the movie take and why did it take that long to complete?
How do you feel about how your film is being put out into the world? Do you think a big studio distributing it would have helped? I think everyone who goes into making movies wants to see their ideas and hard work up on the big screen, but I’m happy with the release 2 Dudes has. The On Demand or digital release for the movie is actually going through Warner Brothers, but they don’t really individually market the film so the views are based on the title and outside advertising, i.e.
DVD and Blu-Ray will be out on January 12, 2010 through Empire Film Group, you can pre-order on Amazon.com and Netflix. And finally, I’m excited about this deal because the digital release of today could be the same as the theatrical release of the past.
As an independent filmmaker, what do you think about the studio system? I think they should take more chances on up and coming filmmakers like they did in the 90’s. Some of todays most prominent filmmakers came from that era, so I don’t see why it can’t happen again today. Look at the Weinstein’s and Miramax during that time, they linked up with Quentin Tarantino his partner Lawrence Bender, Kevin Smith his partner Scott Moiser, and put Doug Liman together with Jon Favreau for “Swingers.” Columbia took some chances on some on up and comers during that time too, John Singleton for example. I’m not trying to compare myself to them or my films to theirs, but during these times of war and want studios could use filmmakers that live by pinching pennies and generating some innovative ideas. So where can I watch “2 Dudes and a Dream” right now? As I mentioned before it came out December 1 On Demand, you can also stream it from Netflix, Amazon.com, and iTunes. This part of the 2 Dudes distribution deal is through Gravitas Ventures that has an output deal through Warner Brothers. The
Hair color: black Eye color: brown Height: 4’ 6” Weight: 62 lbs
Filming began at the end of 2006 so it took about 3 years to complete. We had to take a break in the beginning of 2007 because I had to go to Canada to produce another film “Downloading Nancy,” for which Maria Bello was just nominated for a Spirit Award by the way...anyways, we had to wait until I got back to pick up filming. Then after filming we had to put it together and make a movie out of it, so this is where a lot of those favors I’ve been talking about came into play. Basically we would talk friends or friends of friends into working on it for little to no money and when a real paying job came in 2 Dudes went to the back burner, and on top of that, we weren’t just going to settle for mediocrity, well..except on a few occasions, so we worked on it until we thought it was the best it could be, and with a few different views that proved to by quite time consuming. So finally December 2009 the film came out.
the filmmaker or hopefully cross promotion from another distributor putting it out in a different medium. A big studio doesn’t necessarily mean the best thing for a film, studios may not have the time to focus on a small film like this, plus all the marketing dollars spent to put it out have to be paid back, so in some cases it may be better that the distributor doesn’t have the extra money to spend. I think the marketing campaign just has to be tight no matter what the film is or who puts it out. You can sell anything to anybody, you just have to market it to them in the right way.
Aloha, meet 9-year-old Shaun Twiddy from Hawaii He is an actor, model, singer, ukulele player, bowler and aspiring director. By the first grade, he had already gotten a role as an extra on “Lost.” Shaun was very curious about how television shows are produced, and how the cameramen and director work. Shaun’s agent believes Shaun will be the next Ron Howard because of this. He also likes being in front of the camera and meeting new friends.
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A Fresh New Look
To those who are familiar with the entertainment industry, and nowadays even to those who are not, the word “publicist” is likely to institute some sort of scoff, sneer, judgment, or for some, maybe even fear. Sure, one could always credit miserable past experiences, and it doesn’t help that some of the most popular TV shows, “real life” or scripted, often personify the publicist as a “bitch on wheels” who gets what she wants and actually prefers stomping on other people in the process.
Life isn’t always Entourage, The City or Melrose Place though and Chris Detert, the owner and CEO of American Rebel PR, is shifting the paradigm of what people think publicists and PR companies are all about, adding a young, fresh, and dare we say, friendly approach to PR. Detert’s company, American Rebel PR (ARPR) is a boutique agency located in the heart of Hollywood. At American Rebel, branding begins with a company that understands how to represent a wide array of clients, and takes the time to understand and believe in a client’s purpose, passion and long-term goals, in order to achieve mutual successes. The young company also prides itself in being on the pulse of the next best thing, be it product, event, media or even a social or dining recommendation, ARPR knows how to balance a clients needs and take them to the next level. What started as an under-
aspects of direct consumer rela-
interview process. I thought, why
tions. Last year, ARPR teamed up
not allow cameras in to capture
with rock stars Jacoby Shaddix
it on film?”
of Papa Roach and Josh Todd of Buckcherry for JVC Mobile’s viral video campaign, Turn Me On, which garnered over 5 million online views. “If what you want is a run-of-the-mill experience, then we’re not the agency for you. We specialize everything, and make your PR experience personal. You won’t be plugged into an equation,” says Detert.
ground, rock & roll-centric business based upon celebrity relationships and guerilla marketing, evolved into a full-service firm with high profile clients spanning a range of industries. ARPR utilizes a passionate team of individuals to offer services such as Media Relations, Strategic Consulting, Branding, Event Planning, Social Networking,
Placement and more.
only great in the media industry, but also specialize in something different. “2010 is all about bringing in variety at American Rebel. We are focusing on tapping into the female market, and branching out into more high-fashion,” explains Detert. “Our team right now is so strong in women’s fashion, and we want to utilize that
such exciting approaches, and
expertise to help turn up-and-
comers into the next big thing.”
Detert’s company previ-
ously landed him on shows across A&E, Bravo and VH1, highlighting clients, and celebrity product placements. In Spring 2010, MTV is set to air a new show, and this time it gets personal, with Detert and the ARPR team searching for a new employee to join the ranks. “It’s very hard to find good help, and the process is always
comes out of their unique dev-
amusing. Not to mention, there is
so much for others to learn from
process of engaging all these
getting an inside scoop of the
ness is to hire people who are not
People are taking notice of
At ARPR, the true success approach
Detert’s approach to his busi-
Detert’s backyard project is now an integral part of the media and entertainment world, seen as a blueprint for creating exposure for brands through the use of celebrities and the mass media. His goals are not only to continue practicing public relations in all its forms, but also to change the perceptions of the industry, making it more accessible, and ultimately more effective.
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H ollywood W e e kly- Ph ot ograph y
Nicholas Paulos Photos That Get Jobs To see more of their work please visit: www.nicholaspaulos.com Or you can call Nicholas personally, he would love to chat with you: 310.694.9894
By: Brea Tisdale
If you are an entertainer in Los Angeles, than you know that a photo is worth a 1,000 words or a 1,000 dollars. A headshot can be the difference between getting into the room, booking the job and making that 1,000 dollars or sitting at home waiting. It’s a hard life for an actor: constant struggle, patience, perseverance and mostly trying to avoid people scamming you. Who will “understand” them enough to get the ‘shot’ that will get them the job? Enter Nicholas Paulos and wife Catheryn. Nicholas was a child actor, But before all this, he was a photographer, at age 7 Nicholas picked up his first camera, by age 14 he convinced his parents to let him have a dark room. Nicholas decided to combine the things he loved, photography and acting. He started this by doing black and white headshots for friends. As photography morphed into the digital age, Paulos began morphing with it. Nicholas is aware how important the connection between actor and photographer is. What really makes his business special is his wife (they say behind every great man, is a great woman) Catheryn and Nick actually met in third grade… but reconnected in 2001 after running into each other out and about in LA. They quickly fell in love and were married. It was then that they decided to collaborate and combine both of their talents… making them the ‘go to duo” in Los Angeles. Catheryn’s background is as a stylist; working as a personal shopper/ stylist for Giorgio Armani and Macy’s. Tailoring up outfits for clients for the photo shoot as well as for auditions… you could say she “revamps” the actor. In fact many top agents and managers turn to them because they know they will deliver the results they need to get their client in the right rooms. Nicholas and Catheryn are taking their combined talents one step further by spreading out into the world of fashion. Catheryn’s background in fashion and Nicholas’s undeniable talent behind the lens makes their splash into the fashion world the only next natural step for this power duo. As an actor, every little thing you can do to set yourself aside is important… and knowing the right places to get these things is the number one key. Nicholas and Catheryn have put the passion, knowledge and all around human experience back into the world of photography. It’s more than a photo with them- it’s an experience. To see more of their work please visit: www.nicholaspaulos.com
Michael & Emi
Discovering the Moments
By: Brea Tisdale When it comes to that time in your life when you are ready to get married. There are so many things one has to think about: a: Do I love this person enough to put up with all of this, B: Do I really think it’s going to work out? C: How do I plan a wedding? A lot goes into the planning of a wedding; one of the most important elements I think is to find the right person to capture your wedding. So you can remember it the way others saw it, and not by all the craziness that was going through your head the day of the wedding. Searching for a wedding photographer can be daunting, and knowing where to turn always seems to be the hardest part. This is where Michael over at Evoke Photography comes in. Michael and his wife partnered up to start Evoke in 2004. But this is not Michael’s first rodeo; he has been doing photography since he was 12 years old. In fact, at 16 he was published in National Geographic’s, by always keeping what he shot personal and true… the great outdoors. He met his wife because she was set up with his friend, but it was in Yosemite the “sparks” flew, they were both on photo assignments when he was walking down the mountain and she was walking up, they reconnected and the rest is history. They started freelancing together which took off rather quickly, they found themselves doing any where from 50 to 60 weddings a year; which eventually led them starting Evoke Photography. However this power duo does more than just weddings, in fact they are responsible for a lot of the lifestyle editorial’s you see from major University’s. The reason I think they capture student life so well is because they are young, and they can relate to the students and the ‘vibe’ of the University. So if is wedding photos to last a lifetime you are looking for, or an experienced photographer with the natural ability to capture the truth in situations, than Evoke Photography is the place to turn.
You can contact Evoke Photography at: www.evokephotopgrahy.com HOLLYWOOD WEEKLY
An image that can stand-alone
Dana got into photography as a teenager and on a visit to Art Center College of Design in Pasadena he realized hat he might actually be able to make a living with photography, and so went on to study at Art Center. Two years after graduating he started teaching at Art Center (yes after only two years). He taught classes on and off when he had time; classes such as the business of photography, basics of photography, and a class on digital photography. Also after graduating Hursey started working as a studio manager where he thought he wanted to be strictly a fashion photographer. He then switched over to portraits and would now be labeled a “generalist” because he does everything except for automotive. The unique thing about Dana is that he has had his own business for 22 years, but if you talk to him, it feels like it’s only been 5 or 6. He has the experience of the 22 years but the same passion and energy he has always had. He’s always trying to learn and evolve and grow. Dana does his portrait and lifestyle images with more of a concept… so you get more out of the photo. The really interesting thing I learned about Dana was something he is working on for corporations, where he creates libraries of images for companies, which allows them to have access and rights to a vast amount of proprietary photos at any given time, without having to always be licensing and re-licensing them. To me, anyone that can shoot product stills that pull you into the photo and portraits that tell a story is a talented generalist, someone who can do anything and do it well. Dana Hursey is your “one stop” go to guy in Los Angeles, but don’t trust me, see for yourself (I wouldn’t let you down) go to Dana’s website at: www.hursey.com.
By: Brea Tisdale
Or if you would like to get in contact with him, he is represented by:
Jodie Zeitler Phone: 312 467 9220 E-mail: firstname.lastname@example.org
Here in the city of lights we have millions of artists (some insanely talented and some just insane), so its hard to find someone who really knows what they are talking about and also deliver incredible results… a gift that few have. I have seen many a photographer in my day, but when I saw Dana Hursey’s work it was quite different to say the least. I knew I had to share what many people already know to everyone else (Well, everyone that will listen). I called Dana up and he was gracious enough to let me pick his brain (lucky for you I’m a person that likes to really pry).
Carrie Sandoval Capturing a Child’s Most Precious Moments
We all experience certain moments in our life when our mothers bust out the baby photos to you potential beau. As embarrassed as we may all get, we really appreciate the fact that our mother took the time to have someone capture us in moments we will never remember. Capturing the innocence, beauty and unforgettable moments of early childhood, is renowned photographer Carrie Sandoval. Carrie notes that she never considered her photographs anything more than “snap shots”. Graduating from college with a Bachelor of Fine Arts in Graphic Design she was soon hired as an art director at an Orange County advertising firm. Carrie thought this career path was her calling, little did she know; it was merely a stepping-stone. In 2000 Carrie had her first baby and like most mothers began taking hundreds of snap shots of By: Brea Tisdale Mikey. The difference between her and us is that she has a talented eye behind the lens. Two years later, she delivered a set of twin girls, Kalynn and Makenna. When they were ten months old she decided to take her snap shot craze a step further and began looking into upgrading to a better camera. This only lead her to frustration with the “consumer end camera”, so she ended up buying a professional camera. Which was quite extravagant for someone that was only calling her photos “snap shots.”
Since Brittany’s move they have been specializing in newborn babies and pride themselves on continually pushing the envelope by using different poses and props. Together, Carrie and Brittany receive an average of 1500 unique visitors to their blog daily; many are photographers visiting for a dose of inspiration. I would say the most important part of treasuring your child and letting them life forever as a baby, is a photograph… something your family will have for generations to come.
Carrie is located in North County San Diego but works nationwide. For more info or to contact Carrie visit her websites: www.capturedbycarrie.com www.babyasart.com
After the purchase of the camera she began diving into books, the Internet and children photography forums. In all of her research she not only gained knowledge, but friendships and clients as well. In 2005, she met her long time “cyber-photographer-pal” in person, Brittany Woodall. Brittany was only 17 at the time and so naturally Carrie was worried about how she would entertain such a youngster. One year later, in 2006, Brittany visited her again... and continued visiting her many times throughout the year and eventually moved here in early 2008.
Hollywood Weekly’s Top Picks for Acting Your Artistic Coaches Community
H ollywood W e e kly- Art s
By: Brea Tisdale
As an actor, one is always
schools. Founded by renowned
to its approach to Acting, the BHP
looking for a trusted solid com-
instructs its students in the areas
munity one can be apart of. A
Katselas, the BHP has for over thirty
of Career Administration and the
community that will allow them
years offered ongoing intensive
proper Attitude that will help you
to spread their wings, and grow
scene-study classes for both the
survive and handle any negativity
as a person and as an actor.
professional actor and those who
that comes up in the pursuit of a
Unfortunately for some they fall in
are looking to develop themselves
life in the arts.
the wrong place and fortunately
into professional actors.
for others they fall into a place
Breaking into the entertain-
The BHP trains actors in a
ment industry is hard enough, so
down-to-earth fashion, with easily
don’t let the training and guid-
applied techniques to create full,
ance you choose be a burden,
The BHP is one of Los Angeles’
believable performances that en-
trust a place that was trusted by
oldest and most respected acting
lighten and entertain. In addition
so many others.
that is established and trusted, The Beverly Hills Playhouse.
Non- Method www.leslykahn.com
Lesly Kahn & Company is not a conservatory program promoting love and passion for the craft of being unemployed! Most acting schools teach one of the several derivatives of Method Acting (like Strasberg, Adler, Meisner, etc) For those of you unfamiliar with it, Method is an acting technique originated by Stanislavski at the Moscow Art Theatre in Russia in the late 1800’s. It’s an incredible thing, but it’s also old. More importantly- it was created for the stage before film and television exsited. Method acting probably isn’t the reason an actor quites college/ the family business and/ or pissed off their parents/ dumped their high school sweetheart to do. So what do people come to Lesly Kahn for? They come to
get an audition today and be able to book it tomorrow, to instantly figure out what the writer wrote and make it their own. To learn to immediately translate casting director “language” into actor “language”- so that you can execute the requested adjustments. Here you will also learn to survive the ups and downs of life as an actor and conquer. At LK and Company you will rarely hear about actions, objectives, substitution or sense memory. There will be no personal objects, no repetition or private moments. At Lesly Kahn they are teaching you to be prepared for real life situations you will face as an actor in Los Angeles in 2010. So ditch the method, because it won’t get you the job!
How to Ignite Your Acting Fire By: Brea Tisdale
www.kimberlyjentzen.com multiple times. Jentzen captures the essence of artistry in each individual, incorporating Chekhov, Adler, Strasberg and Meisner - she is THE expert in artistic creation.
In acting, we often hear CD’s, directors and coaches talk about listening, connecting and finding your center. Actors have to stay grounded and learn to navigate through life experiences, emotions and fears. We don’t come out of the womb prepared to go after a career in acting; we need someone to guide and direct us. We need a teacher who can help us tap into our creative force and access our inner-selves. Luckily, actors in Los Angeles have premier acting coach, Kimberly Jentzen. Jentzen has been coaching successful film, television and theatre actors for more than twenty years. She has been featured in numerous publications and voted “Favorite Acting Coach” in Los Angeles
Jentzen’s students have booked roles on hit TV shows such as Dexter, Lost, Flashforward, The Forgotten, Grey’s Anatomy, Madmen, Heroes and 24 and in feature films including The Notebook, Confessions of a Dangerous Mind, Flags of our Fathers, Zodiac and Resident Evil, to name just a few. Under her tutelage, her actors have also gone on to star in Broadway productions such as Rent and Mama Mia. Classes start with a warmup, a visualization exercise that connects actors internally and channels their imagination and concentration. She teaches techniques that build the actor’s process: scene work, monologues and cold readings as well as on-camera work, character development and script breakdown. Actors develop confidence and hone the skills necessary to book jobs and build successful careers.
Jentzen has created a unique series of Power Tools that enable actors to go beyond their limits to bring out their best performance. “The Jentzen Technique” generates consistently strong auditions and characters that stand out from the pack. “A career is built on one good audition after another,” says Jentzen. “When you consistently give better and better auditions, you generate the confidence to create professional breakthroughs.” She goes on to explain that a great actor doesn’t get caught watching themselves, but rather lives into the life of the role. Just by talking with Kimberly Jentzen, one will begin to feel empowered, feel that little acting light inside begin to flicker. Jentzen believes there is a fire inside all of us and that we must find the energy that ignites it. Her book, Acting with Impact: Power Tools to Ignite the Actor’s Passion will be available soon and is a must read for anyone wanting to find their fire.
Discovering The Playground By: Brea Tisdale
They say kids are some of
unique because they absorb
involve into the superstars we
the most honest people, they
so much, so you are inevita-
all know them as.
haven’t been around long
bly making a large impact
enough to be “tainted” or jad-
on who they will become.
ed by society. They don’t un-
Spatz explains that kids keep
derstand tact, or the concept
you grounded, forcing you
behind a “white lie.” They are
to be a better teacher, more
real, honest and define the def-
engaged, conquering chal-
inition of living in the moment.
lenges. You have to keep the
For Gary Spatz, Director of the “The Playground”, this is exactly what he does. When I met Gary I walked into what looked like the most amazing place to hang out, play, discover and find my inner child. His studio consists of multiple rooms, with different types of sets, and “playgrounds.” Even though it was silent when I was
children constantly involved, so they aren’t “skipping” out on you. So he is constantly updating his material and lessons, in fact he has a huge library scripts ranging from television shows, past and present, films and theatre. So there is always something for everyone, allowing a young actor to really expand his or her wings.
there, I could tell these walls
Gary worked as an acting
were graced with the presence
coach and creative consultant
of innocent creativity, laugh-
on the Mickey Mouse Club,
ing children and kids learning
and he said it was such a plea-
what it is to be an actor.
sure to watch the kids (which
Gary says it is his privilege to be working with children. He spends all his weekend down at the studio, running around “The Playground”. Spatz explains
I think we all know who these very famous group of young ones are) stay on the path and continue their journey. I suppose that is one of the major benefits to coaching young children, you get to see them
The challenges Gary and the teachers (who by the way are all actors themselves) find is that you have to keep everything playful. Gary says that acting is a child’s art form, adults have to give themselves permission to pretend, children on the other hand, are escaping reality at all times. They will trust in the reality that you tell them to be true. So when they escape to the moments on the script, they exist in this world, they are apart of it. Let’s be honest though dealing with children can be very difficult at times too, it takes a special person to be able to do the things Gary Spatz does. He has the essence of a child, the insight of an adult, and a heart of gold. The magic that happens over at The Playground you can tell is real, honest and empowering, if I wasn’t 25 years old I would have been down at The Playground myself!
The World of Imagination By: Brea Tisdale
www.stuartrogersstudios.com You don’t have to travel all the way to Russia to learn about some of the wonderful
things to come from there (and
. Which he won an Ovation
no I am not talking just about
award for directing and has
been nominated for several
Here in Los Angeles
you can find someone who is founded in the teachings of Stanislavski, Chekhov and many other incredible Russian acting teachers, that set the foundation for what is know as “the method”. Locally, Stuart Rogers has his studio founded in the core and “imagination” of these great Russian acting teachers.
knowledge, experience, creative
So what makes his teaching so special? The classes are
to really enter the world of imagination.
no more than 26 people, and the students are put together not based on how long they have been there, or any sort of interview process. They are placed with people that are at the same level of them professionally.
Stuart is a third generation entertainment
At Stuart Rogers studio you will find yourself filled with
are surrounded by a group
of your peers, meaning the
coming from a father who was
things that you are experienc-
a prominent theatre producer.
ing and going through profes-
Stuart himself was an actor for
sionally, everyone around you
12 years and was a member of
in your class is going through
the Circle Rep. Theatre; in fact
the same thing. You grow with
he has been in over 50 equity
your professional experience.
plays. Not only did Stuart em-
Another thing I enjoyed about
brace himself into the perfor-
Stuart’s set-up was that all of
mance aspect of things, he
the teachers involved in the
also put himself through the
studio are not teaching be-
entire spectrum of the film
cause they couldn’t make it
and theatre; from sweeping
as an actor, they all at some
the floors, to stage-managing,
point made it as an actor and
writing, directing and produc-
are teaching because they
ing. Eventually leading him to
want to be teaching, not be-
have his own theatre compa-
cause they have to.
ny here in Los Angeles; Theatre
Let’s Make Believe By: Brea Tisdale
www.aaronspeiser.com Let’s face it Los Angeles is
15 years experience as an actor;
home to the land of entertain-
he got his MFA on the east coast,
ment, dreams and endless pos-
where he continued to perform
sibilities. Many of us come here
in countless Broadway shows.
of multiple rehearsals. It is of up
to try and “make” it. Trying to
He finished his studies at the Uta
most importance to him that his
achieve what everyone back at
Hagen studio. Speiser made it
students be prepared for the
home said was impossible, scary
his point to understand all the
real world, be prepared to be a
or “too risky.” The problem is dis-
techniques out there on acting,
working, paid actor. It’s also very
covering what is real and what is
because he believes techniques
important to him that every one
someone trying to take advan-
are a process to get you to living
of his teachers at the school are
tage of you? Especially for ac-
in the imagination in the script.
teachers, not “part time” actors.
tors, where does one go to find a
He likes to minimize the faking
He says that if you are a teach-
good mentor, someone who will
and use the imagination, when
er, than you are committed to
guide them and teach them in
talking and listening. Saying it’s
teaching and to the training of
an honest way? And when they
about knowing how to make the
teaching the craft.
do find these teachers, are they
imagination real, his bottom line
going to give them the tools to
is “make yourself believe.”
work professionally or are they
Most of Aaron’s students are with the studio for two years, and
The unique thing about
he says that when they leave
Aaron is his specialty is film and
they are ready for the profes-
television since we are locat-
sional world and not the world of
ed in Los Angeles, the hub of
class. Aaron knows the hard work
Enter Aaron Speiser, a man
Film and TV. He believes this is
and dedication it takes to being
who truly is inspiring and infor-
the 21st century and that there
an actor and he knows how to
mative to listen to. I found myself
should be no rehearsal, in fact
harness, prepare and achieve
getting off the phone with Aaron
he doesn’t let any of his students
results to get actors ready for the
wanting to know more, learn
rehearse, he says that in the real
more, discover more. Aaron has
world, you don’t have the luxury
only going to teach them how to rehearse and perform in a closed private classroom?
Exploring Your Voice
By: Brea Tisdale
Sometimes we let our nerves, feelings or just plain lack of knowledge get in the way of letting our true ‘voice’ come out. Understanding one’s voice and how to use it properly is the most important tool one has when giving a speech, communicating on a daily level or most importantly when acting. Actors are not only sometimes required to speak in different dialects; they must be understood/ heard by the audience. To better do this one needs to explore how their breath works inside their body to produce speech. This can seem overwhelming to anyone who is thinking of working with the voice as a means to reach a deeper or different level of acting, however with the help of Amy Sue Fall this process can be much less daunting and perhaps even fun. Amy Sue is a certified Associate Teacher of Fitzmaurice voice work® and a certified Colaianni Speech Practitioner. She received her MFA from Roosevelt University Conservatory in Chicago & Linklater trained by a Master Designated Linklater Teacher. Amy Sue was introduced to Louis Colaianni when having problems with a dialect teacher. A friend of hers recommended him and put them in touch. Through Louis and his “phonetic pillow” technique, Amy Sue fell (even deeper) in love with voice and speech work. After apprenticing with him, she started teaching Louis’s work at universities across the US, but eventually the warmer weather called and she made the move to Los Angeles seven years ago.
Amy owns and teaches out of Isis Studio just a few miles north of the No Ho Arts District. In addition, she is a dialects, voice and speech teacher at the Idyllwild Arts Academy and just finished coaching CSUN Opera, “Street Scene”. By combining Fitzmaurice with all that she has learned along her journey she has developed her own unique way to help students and clients access their emotions and bring those emotions onto text. Amy Sue strives for truth; so much so that what she works towards in her teaching is honesty. One can be truthful in what they say, but it may not always be honest. Amy Sue is constantly growing and learning herself, from other teachers and from working directly with people. She believes in the importance of constantly expanding and moving forward yet always staying in a very honest ‘space.’ To this end she has created the “Methods Workshops”. Here she gathers teachers from around the globe, from different English speaking disciplines (voice, speech, Shakespeare, movement etc.) to teach together in one week. This allows dedicated students an “all in one” studio training experience by working directly with Masters of a specific field. Amy Sue Fall believes in the power of the Voice and has the love, honesty and dedication to back up her extensive training and certification.
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H ollywood W e e kly- th eat re
LA THEATRE BEAT BY STEVE ZALL AND SID FISH
With the holidays over and the quick return of warm Southern California weather, you may be wondering what to do for entertainment this month, and our local theatres have the answer with such great shows as: “Picasso at the Lapin Agile” Albert Einstein and Pablo Picasso sit down at a bar in France to discuss the coming of the 20th century, and with the help of a special guest from the future, they realize that both art and science define and are defined by beauty. Written by Steve Martin and directed by Justin Gordon, it runs January 8 through February 13 at The Complex’s East Theatre in Hollywood. For tickets call 323-960-7714 or visit www. plays411.com/picasso.
“Ordinary Days” four young New Yorkers trying to find their way become intricately connected through a series of funny and fortuitous events that prove ordinary days can be simply extraordinary. Music and lyrics by Adam Gwon, and directed by Ethan McSweeny, it runs January 8 through January 24 at the Julianne Argyros Stage at the Orange County Performing Arts Center in Costa Mesa. For tickets call 714-708-5555 or visit www. scr.org. “Hellz Kitchen Ablaze” narcotics officers rendezvous in a warehouse to divvy up the loot they confiscated during a drug raid, but a detective is dispatched to retrieve the money arousing suspicions that one of them has betrayed them. Written by Tommy Carter and directed by David Fofi, it runs January 8 through February 6 at Elephant Space Theatre in Hollywood. For tickets call 323-960-7711 or visit www.plays411.com/hellzkitchen. “Camelot” is the story of a mythical kingdom in the middle ages ruled by a king and his knights, the best of whom has a covert affair with the queen thereby sacrificing his position and jeopardizing his life. Written by Alan Jay Lerner with music by Frederick Loewe, and directed by David Lee, it runs January 8 through February 7 at the Pasadena Playhouse in Pasadena. For tickets call 626-356-7529 or visit www.Pasadenaplayhouse.org. “11, September” an accident of fate changes everything in this provocative drama about coincidence, truth, denial, and the secrets we keep, where incredible circumstances bring two strangers together in a chance meeting that alters their lives forever. Written by Paul Kampf and directed by Gita Donovan, it runs January 8 through February 7 at the Odyssey Theatre in Los Angeles. For tickets call 310-477-2055 or visit www.11SeptemberPlay. info.
“Six Degrees of Separation” a man posing as Sidney Poitier’s son cons his way into the home of a wealthy couple by claiming he was mugged and is their son’s classmate until the truth is discovered. Written by John Guare and directed by Don Schlossman, it runs January 8 through February 13 at the Westchester Playhouse in Westchester. For tickets call 310-645-5156 or visit www.kentwoodplayers.org. “Ray Bradbury’s Wisdom” actually two stories 200 years apart, the first explores an elderly man who visits his grandson and his companion to tell them about a special friendship he made one summer a long time ago, while the second is a musical where a husband and wife married 40 years each secretly buy android replicas of their younger selves as gifts for each other, leading to unexpected consequences. Written by Ray Bradbury and directed by Alan Neal Hubbs and Steve Josephson, it runs January 16 through February 27 at the Fremont Centre Theatre in South Pasadena. For tickets call 323960-4451 or visit www.Plays411.com/raybradbury.
“West” an unwilling gang member is chosen to be in a one-on-one fight against a rival gangs’ leader in order to avenge a slaying by the rival gang with no support from his friends, family or girlfriend. Written by Steven Berkoff and directed by Bruce Cooper, it runs January 15 through February 6 at The Electric Lodge in Venice. For tickets call 310-823-0710 or visit http://www.hellionpictures.com/west.
“Blood and Thunder” in New Orleans during Hurricane Katrina this is the story of a con artist whose plan to ride out the hurricane in his Lower 9th Ward apartment is interrupted by an unwanted visitor, forcing him to face both the flood waters and the ghosts of his past. Written by Terence Anthony and directed by Sara Wagner, it runs January 8 through February 28 at the Moving Arts- Hyperion Station in Los Angeles. For tickets call 323-666-3259 or visit www.MovingArts.org. “Shakespeare Unscripted” is an improvisational comedy created at each performance from the 16 comedies of William Shakespeare and a few suggestions from the audience to kick off the show. Directed by Brian Lohmann and Dan O’Connor, it runs January 10 through February 14 at Theatre Asylum in Hollywood. For tickets call 323-401-9793 or visit www.plays411. com/shakespeareunscripted.
“Riverdance” is a thunderous celebration of Irish music, song and dance that has tapped its way onto the world stage thrilling millions of people around the globe. Composed by Bill Whelan and directed by John McColgan, it runs January 12 through January 24 at the Pantages Theatre in Hollywood. For tickets call 800-9822787 or visit www.broadwayla.org. “Baal” takes a hallucinatory slide on the downward spiral of a drunken, dissolute poet, into his journey of excessive, sensual experiences. Written by Bertolt Brecht with translation by Peter Mellencamp and directed by Ben Rock, it runs January 14 through February 20 at the Sacred Fools Theatre in Hollywood. For tickets call 310281-8337 or visit www.sacredfools.org.
“Orpheus Descending” a drifter arrives in a small town looking for work and the opportunity to renounce his wild ways where he meets a woman with a tragic past who longs for rebirth. Written by Tennessee Williams and directed by Lou Pepe, it runs January 15 through February 21 at Theatre/Theater in Los Angeles. For tickets call 800-838-3006 or visit www.BrownPaperTickets. com/event/92508. “The Sensuous Senator” A senator who has just announced his candidacy for President of the USA is running his platform on morality and family values, but he’s more devoted to monkey business than he is to the people’s business and winds up with a group of unexpected guests. Written by Michael Parker and directed by Ken Salzman, it runs January 15 through February 27 at the Sierra Madre Playhouse in Sierra Madre. For tickets call 626-355-4318 or visit www.sierramadreplayhouse.org.
“Confusions” is a quintet of interlinked plays that illustrate the hilarious consequences of quirky, neurotic, self-important characters who are not listening to one another. Written by Alan Ayckbourn and directed by John Pleshette, it runs January 15 through March 7 at The Lost Studio in Los Angeles. For tickets call 323-960-5775 or visit www.plays411.com/confusions. “It’s Criminal, The Comedy” recounts a lawyers courtroom adventures with dangerous clients, loony judges, sexy DA’s, and his own neuroses. Written by Murray Meyer and directed by Laurel Ollstein, it runs January 16 through February 13 at the Santa Monica Playhouse in Santa Monica. For tickets call 323-960-7780 or visit www.Plays411.com/ItsCriminal. “On the Air” an actors’ murder during a live radio broadcast is covered up when the station manager quickly substitutes a “sound-alike” imposter, but police arrive to investigate and things turn chaotic. Written and directed by Shane Houston, it runs January 16 through March 6 at the Whitefire Theatre in Sherman Oaks. For tickets call 323-960-4420 or visit www.plays411.com/ontheair.
LA THEATRE BEAT “Loyalties” Set at the height of America’s war on terror, this play explores what happens when two couples’ long-term relationship loyalties are called into question as their sons enlist in the military. Written by Tony Pasqualini and directed by David Gautreaux, it runs January 16 through March 28 at the Pacific Resident Theatre in Venice. For tickets call 310-822-8392 or visit www.PacificResidentTheatre.com. “Who Is Curtis Lee?” an African-American bar owner who refuses to sell his business to a greedy white developer ready to use physical force against him is rescued by a powerful drifter who arrives on the scene and quickly falls in love with the owners daughter. Written by Ashford J. Thomas and directed by L. Flint Esquerra, it runs January 22 through February 28 at The MET Theatre in Hollywood. For tickets call 323-957-1152 or visit www.themettheatre.com. “The City” a man who is at the top of his world in a small town moves to the big city because he wants to play the power game in business and have a prominent career in politics. Written by Clyde Fitch, adapted and directed by Stan Mazin, it runs January 22 through February 28 at the Lonny Chapman Theatre in North Hollywood. For tickets call 818-700-4878 or visit www. thegrouprep.com.
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“Bobrauschenbergamerica” this kaleidoscopic play is a fantastical road trip through the American landscape as Robert Rauschenberg, one of America’s greatest artists, might have conceived it, through a collage of vignettes. Written by Charles L. Mee and directed by Bart DeLorenzo, it runs January 23 through February 28 at the [Inside] the Ford theatre in Hollywood. For tickets call 323-461-3673 or visit www.FordTheatres.org.
It’s a world of laughter, a world of tears, it’s a world of hopes and a world of fears, so these plays that we share just to make you aware it’s a show world after all.
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A place safe enough for Couture By: Brea Tisdale I pride myself on being someone that is always finding really unique “one of kind” vintage pieces of clothing. The thing about buying these “unique” pieces is that you don’t always/can’t really wear them without having them cleaned first, because honestly who knows where they have been…(Really who wants to know)? But, I get really nervous about taking my stuff to the cleaners…who hasn’t had your favorite one-of-a-kind coat ruined or misplaced…. I sure have! Recently however, I found a place that is different then all the rest…. Beverly Crest Cleaners.
have time to be fooling around with their clothes. They are often expected to be wearing certain things at certain times or they might even be wearing something that is on loan to them… so they can’t afford costly mistakes. In fact, a good friend of mine owns a high-end boutique on Third Street and someone had come in to pull clothing for a photo shoot. Before returning it to the store they had it cleaned and the random “Joeblow” cleaners ruined the clothing… which is a loss of merchandise. My friend then started having everyone take the borrowed merchandise from her store to Beverly Crest and it’s as if the items never left.
Something else I witnessed while in Beverly Crest was a woman whose clothing had been around a lot of smoke from the fires and her clothing reflected that. At Beverly Crest they offer smoke damage cleaning which gets that ever lingering smell of smoke out of your clothes, so they They have been around since don’t have to be replaced. Another 1927. The current owners Harry and convenient thing I saw, is that they David have owned the place since offer pick up and delivery service of 1978. They are brother- in-laws that your items. They will come to your are both engineers, electrical and house or office to pick up what you need to be You can find Beverly Crest Cleaners at: 10301 cleaned and drop Santa Monica Blvd. West Los Angeles, CA 90025 it off.
or online at: www.beverlycrestcleaners.com mechanical. They saw an opportunity for a unique business and jumped on it. The thing I quickly discovered about what makes the way Harry runs his business different than the average “Joe-blow” cleaners you see out there, is that with “Joe-blow” cleaners you get “Joe- blow” service. Beverly Crest caters to upper estate/ celebrity clientele as well as studios. Which I know you are thinking so what, who cares…? Well I do and so should you frankly. As you may or may not know, most celebrities don’t
Also for the environmentally friendly person out there, they offer what they call “wet cleaning” where they don’t use any chemicals on your clothing… but if you are a germ-a-fob and really want to make sure to get the junk out of that jacket you brought in… you can rest assured they only use the best products out there. The reason I think this business works so well, is because they are solid from the inside out. Most of the employees have been with the
company for 10 plus years. In fact, a man who had worked for the company 9 years when Harry and David took over, continued working with them for another 20 years before he retired. The reason for this is because what I noticed from just being in there, you can see it’s a friendly lowpressure environment, where they are more about the quality than the quantity. What I mean by that is most cleaners have their employees doing 25 or 30 presses an hour where at Beverly Crest they do 7 or 8. This is because each garment is inspected before the cleaning and then inspected after the cleaning by a separate department to make sure there aren’t any tears/ discoloration or any damage. Volume doesn’t matter here, it’s quality. So, if you have a couture piece or are a production studio or someone like myself who really cares about your unique piece - this is the place to go. Every garment is treated and cared for as if it were their own personal treasure. And don’t worry about them losing anything because every item has a computer tag on it that allows them to track every movement of your piece, so they know where everything is at all times. Just ask James, who has been going there for 75 years…. Obviously they are doing something right!
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