Recession’s Newest “Tease”
LYNDSEY ARIEL “Smoke” and Mirrors
America has talent after all
BEAUTY AND THE BEACH Swimsuits and Sand
Why “Cold Case” will never see the light of DVD-ay
Better Halves BAD ROMANCE...
Plus... S E P T E M B E R
2 0 1 0
BAR-CELONA NEW NOISE FROM DRUMFISH FICTION: FROM THE BAR TO THE BEDROOM and THE TRAVELING MODEL
C O N T E N T S
VELOCITY The gorgeous gypsy visits Portland, Oregon, and Jaret Ferratusco. I THE TRAVELING MODEL I 32
LYNDSEY ARIEL Manhattan’s master of shading shows us a clever way to ”Smoke” up a joint. I MAKEUP MINDS I 34
VIRTUOSA - “WRITER’S BLOCK In part one, the immovable object - the piano, meets the irresistible force. I NEKKID I 40
BEACH BELLEZA Sensuality and Sand collide in this breathtaking look at some of the newest swimwear I STYLE I 54
BETTER HALVES Mannequin and Muse burn it up in a wickedly torrid love affair. I COVER I 62
SKIN DEEP Dark, diverse and oh so delightful. I VANITY I 72
ERIK McKAY The actor discusses actors who direct other actors, and Jessica Biel. I ALLOCUTION I 80
THE “BAR” A middle aged woman’s nightcap to remember. I FICTION I 86
Copyright © 2010 by DENOVO magazine. All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form by any electronic, mechanical, photocopying, recording means or otherwise without prior written permission of the publisher. Unauthorized copying of this publication will result in Prosecution. DENOVO assumes no responsibility to return unsolicited editorial or graphic material. DENOVO magazine. Published in the United States by ROBERT ANTHONY. Date of production: September 2010. Custodian of records is Marc Whitaker. All records required by law to be maintained by publisher are located at 329 Clinton St. Brooklyn, NY 11231 (U.S.A.). All models, actors, actresses and other persons that appear in any visual depiction of actual or simulated sexually explicit conduct appearing or otherwise contained in this magazine were over the age of eighteen years at the time of the creation of such depictions. PRINTED IN THE U.S.A.
D E N OV O
ALL OC U T I ON
L IKE A L AT E ‘ 60’ S I N N O VAT I V E I C O N B EFOR E H IM , ER IK M cKAY H AS FOU N D SOL AC E C R EATIN G HIS OWN A RT WH I LE LI V I N G I N A W OR L D WH ER E TH E EN D R AR ELY JU STIFIES TH E M EAN S. HE RE H E D I S C U S S E S H I S O N E - M A N SH OW, “ TABOO” R OL ES, JESSIC A BIEL , AN D H OW TH E R E C E S S I O N C A N B R I NG EVEN TH E M IGH TY TO TH EIR KN EES.
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xactly what defines a “Thespian”? Is he/she the “everything” in relation to the world of acting? Or just merely an actor? John Cassavetes once said:“No matter how old you get, if you can keep the desire to be creative, you’re keeping the man-child alive.” Which brings us to Erik McKay. Not yet the maverick do-it-all, one-stop art shop like his late inspiration. His arc is gradually rising. The Bronx, NY born, now Brooklyn native took a path to his current profession in a slightly different manner. In the actor’s world where waiting tables and having a hack licence are the usual metaphorical springboards to Tinseltown, The New York Tech graduate initially had no interest in that creative side of the world sans elementary school where he played piano and xylophone. opting instead for what he hoped would be an illustrious career in the realm of computer programming, DJ-ing for several colleges, clubs and house parties around the city assisted in paying the rent. After a female friend suggested he try his hand at modeling, he landed an uncredited part as a bar patron in Christopher Scott Cherot’s 1997 indie-film “Hav Plenty” which also featured a slew of future heavy hitters like “Criminal Minds” Shemar Moore, Nia Long, Mekhi Phifer and CSI:NY’s Hill Harper. Another stint as a patron on “Sex and the City” landed him a more significant role in director Jerry LaMothe’s urban love story “Amour Infinity”. He continued to show versatility in small parts as a juror on L&O and an officer on the soap “All my Children”, which enabled him to get larger roles feature length films. His moment of truth arrived when he was cast as Curtis, a cheating husband who can’t come to grips with the fact that his mistress wants out of their tryst in Jonathan Tucker’s fatal attraction in reverse “The Situation”. his performance in “44” as Bistro, a drug dealer’s “right hand” has garnered praise for his ever evolving ability to transform himself. For now, at least until Hollywood comes calling, roles in short films, TV series and some commercial spots (most notably Dairy Queen and Raymour and Flannigan furniture) and the stage is just the ticket. After a quick photo-op, we headed off to the Mexican bistro aptly titled MEXACALI in Cobble Hill, NY,. Over a course of enchiladas, chili, and a few tantalizing Ameretto Pina-Colada’s. Armed only with New York Times film critic Marshall Fine’s bestselling book on Cassavetes, “Accidental Genius”, we cleverly persuaded one of New York’s best kept art-house secrets to allocute. DENOVO: So you had a brief stay at HB studios. McKAY: Yeah, down in the West Village after high School. Legends like De Niro, Pacino, Billy Crystal, Robin Williams all attended at some point. It’s not a conservatory, it’s an actual place where you can work on your craft. I was going when the classes were $65 a piece. DENOVO: Let me guess, 3 classes. McKAY: One.DENOVO: Too expensive I’m assuming. McKAY: Way too much. DENOVO: In a overwhelming sense? McKAY: It was boring. I’m not really sure what possessed me to say “Hey, I want to be an actor”. Plus, I was still involved with comput-
I DENOVO 09.10
ers at the time. I remember it like yesterday. A friend of mine was going so I though it might be cool to at least check it out. I think the acting “Bug” bit me after I got the part in “Hav Plenty”. DENOVO: How important are the “Trades?” McKAY: That’s where the work is if you can get it. “Backstage”, “The Callsheet”, which used to be the “Ross Report”. DENOVO: You feel being an “Extra” is not acting. McKAY: At the time I did. Only because you’re told to sit there and not make any eye contact with the camera. DENOVO: No SAG card for that. McKAY: Not necessarily. Two things can happen. Besides auditioning for a speaking part, which gets you a screen credit, if you accumulate three waivers, you become SAG eligible as well. You still have to pay your dues. And by that I don’t mean just an extensive body of work. I’m talking money. DENOVO: We first heard your voice in “Amour Infinity”. McKAY: Correct. I actually met the director, Jerry LeMothe at the African American Black Film Festival in Acapulco, Mexico. He pitched the story to me there. We’re both New Yorkers, so it was a nice fit. I had a two-bedroom apartment in the Bronx which I suggested he shoot some of the scenes in. For the first time I got to see a film’s progress. And that’s where I came to the realization that you can’t just be an actor. You have to be able to do more than one thing. You have to create your own work. DENOVO: In other words, if not film, then the stage. McKAY: Or if neither one of those, there’s writing, directing, producing etc. DENOVO: Like Mr. Cassevetes, letting everyone with two hands run around with a camera. McKAY: Actors love directing actors. They appreciate them much more. I study at most ninety-five percent of what he’s contributed to the art. I consider myself a disciple. Reading this book is helping me learn to push the envelope more and more as an artist. Hopefully by taking my craft to the next level, I’ll encourage others to do the same. Fuck the script. We live in the moment. And we, as actors, do the very same. The one thing those who are thinking of jumping into this game have to ask themselves is: “Are you ready to be exposed?” DENOVO: So you’re comfortable in a “leading man’s” shoes. McKAY: Most definitely. DENOVO: Character actors are just as, if not more versatile. McKAY: True. But a leading man must be diverse or he becomes typecast. Sure, if you’re an action hero with a franchise, then by all means lick the plate until it’s dry. But if you can truly stretch the acting limits with more demanding projects, that’s diversity. I believe my stage training has prepared me for that. DENOVO: We’re talking Broadway here? McKAY: More like Off, Off, Broadway. DENOVO: You’ve played everything from a cheating husband to a commitment-shy boyfriend to a drug dealer’s right hand to an officer, Juror and Pub Patron and the list goes on. Roles that have been done over and over. Now it’s your turn to play Ted Bundy. During your research, do you draw anything from these past performances? McKAY: In a case where I’m portraying a non-fictional person, I only take what’s factual. Case in point: I was in the play “A Soldier’s Play” after which later became the film “A Soldier’s Story”. I portrayed the role made famous by Adolph Caesar.