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Details interview: Matt LeBlanc

Saturday, January 22nd, 2011

Matt LeBlanc Gets Wise to the Game

With a smart new Showtime series, Episodes, the 43-year-old actor formerly known as Joey Tribbiani has finally found a way to turn his signature role to his advantage

Originally appeared in February 2011 issue of Details

DETAILS: You grew up in blue-collar Newton, Massachusetts. When did you realize you wanted to be an actor? Matt LeBlanc: I went to New York to visit a friend and was walking down Park Avenue—this sounds so made-up—and this really pretty girl was walking towards me. As she walked by, I turned to look at her ass, and she turned to look at mine. We both started laughing, and we got to talking, and it turned out she was an actress on her way to a soap-opera audition. She introduced me to her manager.

DETAILS: We’ve become so used to a certain image of you that some people seem surprised by the graying hair. Matt LeBlanc: I started going gray in my early twenties. I remember on Friends, in the very beginning, putting the stuff on the sides. Then it became a full shampoo job. People are saying, “Oh, he’s going for the George Clooney thing.” I’m not going for the George Clooney thing—I’m getting old. I’m going for the inevitable. Click to continue »

Prototype: Growing Grapes as Part of a Real-Life Script

Saturday, January 22nd, 2011

Originally appeared in the New York Times, Jan. 22, 2011

By AMY WALLACE

ONE way to understand Emilio Estevez’s backyard vineyard might be to recall a scene from “Close Encounters of the Third Kind.” Remember Richard Dreyfuss, after a run-in with a U.F.O., obsessively fashioning mountains out of mashed potatoes and shaving cream? Except for the U.F.O., that’s kind of how Mr. Estevez is about growing grapes.

“One day I came home and he had dug up all the grass,” recalled Sonja Magdevski, Mr. Estevez’s fiancée. “He was like: ‘We’re going to plant! We need more space!’ ”

The year was 2005, and Mr. Estevez was working on “Bobby,” a film he wrote and directed, about the assassination of Robert F. Kennedy. The couple lived, as they still do, in a Spanish-style home on a one-acre lot in Malibu — not exactly a prime locale for vintners.

Mr. Estevez had already planted the front yard with vines, ignoring the protests of his parents, Martin and Janet Sheen, who live right down the street. (According to him, they said: “You’re out of your mind. What are you doing?”) Now, excepting the house, the pool and the bocce court, he was determined to fill almost every square inch of the property with 800 vines.

“We were just a couple of rubes,” Mr. Estevez said, acknowledging how little he knew about what he and Ms. Magdevski were embarking upon at the time. “Now, I’m a zealot.” Click to continue »

Prototype: Dead Celebs for Charity

Sunday, November 28th, 2010

Farewell, Digital World. (It’s All for a Cause.)

By AMY WALLACE

First appeared in the New York Times, November 28, 2010

ON Wednesday, Kim Kardashian is going to die a little. So is her sister, Khloé, not to mention Lady Gaga, David LaChapelle, Justin Timberlake, Usher, Serena Williams and Elijah Wood.

That day is World AIDS Day, and each of these people (as well as a host of others — the list keeps growing) will sacrifice his or her own digital life. By which these celebrities mean they will stop communicating via Twitter and Facebook. They will not be resuscitated, they say, until their fans donate $1 million.

“Dry your eyes, everybody,” Ryan Seacrest, the “American Idol” host and another participant in this cyberstunt, says in a videotaped “Last Tweet and Testament” that will be posted on his Facebook profile — and appended to a final post on Twitter — sometime after midnight on Tuesday night. “I don’t plan to be dead for too long.”

He adds, “Please buy back my life.” Click to continue »

Dustin Hoffman on “Rain Man”/autism in LA Mag

Saturday, September 18th, 2010

D-U-S-T-I-N

The actor won an Academy Award for playing Raymond Babbitt, an autistic savant, in Rain Man. Twenty-one years later, Dustin Hoffman reflects

By Amy Wallace

Appeared in Los Angeles magazine, September 2010

On the research he did to prepare:

Oliver Sacks had this long blackboard in his office, and when he was talking about savants, he made a chalk mark on the blackboard. He said, “You know that’s one. You don’t have to count that.” I said, “Right.” He made another stroke and said, “You know that’s two.” Then he went the length of the blackboard, chalking, chalking, chalking. And he said, “What you see at one, two, three, or four or five—these people see at this number,” which was 78 chalk marks or something. I said, “They’re like calculators.” He said, “No, they’re faster than calculators. A calculator has to calculate. They see it.” The toothpick scene in Rain Man is based on that.

On the dialogue:

We had prototypes that we relied on: Peter and Kevin Guthrie. They’re brothers. Kevin Guthrie was a football star at Princeton University. Peter was autistic and high functioning. We had lunch one day and were going bowling afterward because Peter loved bowling. So he was very impatient, tapping Kevin on the thigh with his finger. He said, “K-E-V-I-N, I want to go bowling.” He would spell the name when he wanted something or when he was very anxious or both. Tom Cruise and I both decided we would find a place to use that. During the lunch, I whispered to Kevin, “Does your brother know that he’s autistic?” He said, “Gee, I’ve never asked him.” And he asked his brother, and Peter’s answer is in the movie: “No. I don’t think so. Definitely not.” There’s nothing in my performance that’s invented. It was given to me. We compensated the Guthrie brothers because they were cowriters.

On feedback he’s received from parents:

I guess the most special moment was a couple of years after the film came out, I bumped into some parents who said they had a nine- or ten-year-old autistic son they took to see Rain Man, and their son had never made physical contact with them. Anyway, they were on their way home, and one of the parents said, “Did you like the movie?” And suddenly their son came forward from the backseat and embraced one of the parents.

On why the movie was such a success:

While we were making Rain Man, we used to joke we should call it Two Schmucks in a Car. We were living by our wits from day to day. Then it came out. Suddenly it caught on, even internationally. I remember thinking, Why? What I came up with was, We’re all autistic to different degrees. For most people it’s hard to receive compliments. When someone tells us “You’re really handsome” or “You’re really beautiful,” we stop making eye contact. It’s too powerful. I think that must be one of the aspects of autism. Eye contact is just too powerful for autistic people, because they’re dealing all the time on that level. It’s just much more intense for them. Their volume is up higher. And that in itself will alter you.

Details: A Conversation with Oliver Stone

Sunday, August 29th, 2010

The controversial director quit drugs and gave up on the Academy Awards — but he couldn’t resist taking another shot at Wall Street greed.

By Amy Wallace

Originally appeared in Details August 2010

Details: When Wall Street: Money Never Sleeps hits theaters, there will be those who—on seeing Gordon Gekko complete a lengthy prison sentence—will ask, “Wait a minute: Greed is bad?” Why do you think so many people misunderstood the message of the original Wall Street? Oliver Stone: I was somewhat amazed by the whole continuing cult thing around Gekko. I mean, I was being facetious. Greed is not good. Greed is an awful thing. In the eighties we entered into a period of perversity which I had never seen before. I thought the world would right itself. And every day it’s just become more absurd.

Details: You once said, “Money was the sex of the eighties.” What is money now? Oliver Stone: Money is still sex, but it’s steroid sex. I mean, a million dollars was a lot of money in ’87. Now you can’t even open a hedge fund, it seems, unless you’ve got a billion.

Details: Your last Oscar came over 20 years ago for Born on the Fourth of July. Do you feel pressure to win another? Oliver Stone: You can’t fall in love with Oscars. You have to look at it like a high-school presidency or something. You know: You were most popular at that time. When I won, thank God, it wasn’t a madhouse like it’s become. These independent producers started to come up and really campaign viciously. It was so ugly, after I got nominated for Nixon as cowriter in 1996, I never went back. Woody Allen did the smartest thing. And Kubrick. They didn’t give a fuck.

Details: You’ve said that a lot of your critics over the years have confused you with the characters you were depicting. Does that still happen? Oliver Stone: No, less so. I’m not so much of a firebrand. I would spout off when I was a younger man. Get angry. Pissed off. I realized late in life that I could have been like the Coen brothers: Shut up completely and just let the films speak for themselves.

Details: In a review of Platoon, one critic wondered aloud whether you were “using filmmaking as a substitute for drugs.” Have you ever found a suitable substitute for drugs? Oliver Stone: Oh, sure—money, sex, God, Buddha. There’re so many substitutes. Frankly, I don’t smoke grass anymore. I gave it up. I just wanted to see if I could function without it. But it did save my ass in Vietnam. I could have become a very bitter man. I also did a lot of psychedelics that I thought helped me. The worst drug I ever did, and I’ve admitted to it, was cocaine, from ’79 to ’81. That I regret, because I do think it hurt my brain cells, and I don’t think I was as creative as I should have been.

Details: Is it true you were in the process of kicking cocaine while writing the coke-drenched Scarface? Oliver Stone: No. I stopped before the writing—cold turkey. My attitude was “Farewell to coke.” I mean, it took so much money off me, I said, “I’m going to get something back.”

Details: At 63, is writing a movie harder or easier?
Oliver Stone: It’s always been a bitch.

GQ: The Comedian’s Comedian’s Comedian

Sunday, August 15th, 2010

He’s a boxer, a Buddhist, a hoops junkie, and a kind of Yoda to every funny person born since 1965 (Sandler, Silverman, Apatow, Gervais, Baron Cohen…). Amy Wallace survives a rare sparring session with Garry Shandling, the reclusive master of American comedy

By AMY WALLACE

Originally appeared in GQ August 2010

Toward the end of February, in the first-class cabin of a United flight from Hawaii to Los Angeles, the only man on the planet who has hosted late-night talk shows, appeared on late-night talk shows, and created an iconic TV series that parodied a late-night talk show encountered the man who had just been famously ousted from a late-night talk show.

Garry Shandling was in 1A. Conan O’Brien and his family were three rows back. The two men are close friends, and their unexpected proximity made Shandling happy—so happy, he says, that he asked a flight attendant to deliver O’Brien a present. “Mr. Shandling can’t finish his cookie, and he thought you might want to have the rest,” the woman told O’Brien, presenting the crumb-littered plate. Minutes later, Shandling looked up—way up—to see the six-foot-four-inch redhead planted in front of him, an exaggerated scowl on his face.

“This is the way you treat me, with the broken cookies?” O’Brien asked Shandling, his voice slightly raised to make sure the comedy could be heard over the jet engines. “When I let you get in line with me and my wife and get your ticket ten minutes earlier? This is what you do?”

“Let me see if I understand this correctly,” Shandling responded, almost yelling. “I, out of the generosity of my heart, offer you food. And you have the nerve to walk up to my aisle and harass me and heckle me in front of this passenger”—Shandling nodded to the stranger in 1B—”who I don’t know?”

O’Brien turned to Shandling’s stunned neighbor, who will surely be dining out on this story for the rest of his life. “I’m sorry you have to sit next to him,” O’Brien said. “You know, if you call ahead and you find out Garry’s on the plane, they will allow you to switch seats.” Click to continue »

Sharon Stone: Why I’m Shameless

Saturday, August 7th, 2010

That ballsy, larger-than-life star the public sees? It’s a persona she created, Stone reveals. The actress bares all about her body, her divorce and why she just says no to feelıng guilty.

By Amy Wallace

Originally published in More June 2010

SHARON STONE is shameless. The actress considers it a skill to have no shame. She thinks everyone should try it, though she cautions that if you’re female, shamelessness can cost you. Her refusal to feel guilty, she says, has gotten her labeled difficult, or worse.

“I’m like a Prohibition-era flapper. I’m like a juke-joint hussy,” Stone says over lunch at an Italian restaurant near Beverly Hills. But better to be called names than to be pressured into not being herself. Feeling ashamed, she says, “is not an organic state of being, so shamelessness is closer to godliness. You have to put shame down.”

Minutes later, as if to prove her point, she responds to a question about the watch on her wrist by yanking it off and flinging it onto the cement patio. “That’s the Dior Christal,” she says of the pricey timepiece, made with sapphire crystals, that she’s just tried to kill (Stone says she often does this stunt, which “shocks people but is the reason I am so proudly Dior’s spokeswoman”). She crouches to retrieve her bauble, emerging with a big smile on her makeup-free face. “How about that? It keeps on ticking.” Click to continue »

Los Angeles magazine answers the burning question: ‘What is Burn Notice?’

Wednesday, July 7th, 2010

While shopping at the Farmers Market, Jeffrey Donovan, the star of USA Network’s hit Burn Notice, opens up about his early struggles as an actor, doing his own stunts, and the right way to make vegetable soup

By Amy Wallace

Los Angeles magazine, July 2010

On this sunny morning at the Farmers Market, Jeffrey Donovan isn’t booby-trapping a doorway or defusing a bomb. He isn’t shaping cake frosting into blocks of counterfeit C4 authentic looking enough to fool an arms dealer or making an audio bug from a pair of cheap, rewired cell phones. No, the 42-year-old star of the number one show on cable—the wry spy drama Burn Notice—is simply reciting his recipe for vegetable soup. But since he’s already confided that he believes the best part of Burn Notice is that “nine times out of ten what we’re telling you is counterintuitive,” it’s easy to see his veggie brew as a metaphor.

“Take a lot of parsnips and carrots, summer squash—a medley. Then chop everything up, sauté it with a little bit of butter and olive oil, and boil it,” he says as he surveys rows of organic produce. “What most people do is make that their soup. No.”

This last directive he utters with a finality that fans of his USA Network series, whose fourth season premiered in early June, will recognize. Jaunty in a white formfitting T-shirt, gray suit pants, Puma sneakers, and a gray baseball cap, Donovan looks taut, like you could bounce a quarter off almost any part of his body. Not that you’d dare. His navy blue eyes squint slightly now as if to say: Pay attention. There might be a quiz later.

Click to continue »

The Ice King: Jeffrey Katzenberg’s Special Frozen Needs

Saturday, June 19th, 2010

A former Hollywood production assistant  dishes on how the DreamWorks executive takes his meetings on the rocks

Originally appeared in Los Angeles June 2010

As told to Amy Wallace

At DreamWorks Animation, they have free lunch. So as a PA there, you don’t have to pick up food. But you do have to get Jeffrey Katzenberg’s ice. At the campus in Glendale, there is an office. It is unmarked. And I think it’s guarded by some type of demon. In that office is a refrigerator. The refrigerator makes a specific kind of ice that Jeffrey likes, a cylindrical ice, with a hole in it. This refrigerator, which has its own office, makes ice. For Jeffrey. Only for Jeffrey. Jeffrey’s life is meetings. And the meetings are in different rooms. But this refrigerator office is not near any of them. It is the PA’s job to figure out exactly where Jeffrey is going to sit at each meeting and then to place, to his right, a certain type of glass filled to a very specific level with the special office ice. Next to the glass goes a little bottle of Diet Coke. Here’s the problem: Meetings are often pushed. Jeffrey’s earlier meeting is running long. So all of a sudden the perfect glass of ice has water in it. Now it’s a judgment call: Can I get this glass filled with fresh ice and be back here before the meeting starts? And you’re running down hallways, through buildings, with a glass of ice in your hand, and people see you and laugh and say, “You better hurry up! Jeffrey’s coming!”

The Other Baron Cohen: A Narrated Biography – Esquire

Wednesday, July 1st, 2009

Meet Ash, cousin of Sacha, who has quietly been directing not-remotely-funny movies in Hollywood for years – and who told the man behind Brüno to stay away from comedy

Originally appeared in Esquire Magazine July, 2009

BY: Amy Wallace

Ash Baron Cohen’s father and his uncle — who is Sacha Baron Cohen’s father — were in the shmatte business together.

Our fathers were working-class Jews who were sent out of London during the blitz to Wales, where they went to school and were the only Jews in a completely non-Jewish environment. They learned quickly that they had to stand up for themselves. They were both creative rebels in many ways. And it probably has rubbed off on the two of us. I think Sash [rhymes with ash] and I are both very intrigued with the idea of mixing reality with perceptions of reality. Click to continue »

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