Photography by Robert Todd Williamson
Styling by Lisa Michelle Boyd
Make Up Shane Paish
Hair Gio Campora

More than a few crummy Catskills comedians have made careers out of little beyond mocking women drivers, but actress Michelle Monaghan belies those stereotypes. And, by God, if need be she will happily parallel park an 18-wheeler just to prove it — a skill she picked up while crash-training for her role in 2009’s gritty indie film Trucker.

Still, perhaps the funniest thing about this anecdote is the blend of adventurousness, savvy, and foresight it illustrates. Monaghan may be open to some degree of risk with her career choices, but she’s no fool. “If you ever get pulled over, it’s like triple the fine,” she says of the Class A commercial driver’s license she honestly earned. “So I just let it expire, I figured I wasn’t going to be driving a truck anymore. But for over a year it was the real deal.”

That same phrase, the real deal, is an apt description of Monaghan herself, who seemingly possesses the winning hand of traits — talent, brains, humor, a personable nature and bombshell-type looks minus any projected narcissism or cloying condescension — that help actresses win fans in gender-equal fashion. In person, over coffee, Monaghan has a hearty, deep-throated laugh that can explode forth in an unfortified manner, and eyes that occasionally flash in a playful style, [“not unlike” rather than like?] like a DSL router. She’s not above a jokey cat’s growl to emphasize a particular point while talking about fashion, or the sort of digressive aside one might expect more from a chitchat with a friend rather than in a formal, structured interview.

Monaghan is a lively conversationalist, and even what might seem on the surface like a foible in a deeper relationship — a penchant for an interjected “Yeah, yeah, yeah…” as a sort of chatty call-and-response — comes across as not irritating, but instead charmingly suggestive of an innate enjoyment over human connections, in grasping a lobbed theory or point, regardless of whether or not she ultimately and entirely agrees with it.

It’s that affinity for intellectual engagement and artistic collaboration that seem to have informed some of Monaghan’s biggest life decisions. In 2000 she made a bold leap, dropping out of Chicago’s Columbia College only 13 credits shy of a journalism degree and moving to New York City to continue modeling, which she had heretofore been dabbling in, for a variety of stable but perhaps unsexy clients such as Target and Montgomery Ward’s. “It just felt like something might happen for me there. I thought New York would be a really inspiring place for me to go,” she says with a reflective smile.

In a couple years, she was acting too. In high school, in her small hometown of Winthrop, Iowa, Monaghan had dabbled in musicals like Annie Get Your Gun, and even experienced a positive reaction, though strangely, no connective occupational synapses fired at the time. “I remember the first time before I went on stage, my whole body heated up to 150 degrees and everything started to ring in my ears,” she says. “I didn’t know if I was on the edge of a panic attack, and then I went out there and we did the play. I came back offstage when it was done and said, ‘What just happened?’ It was the most extraordinary thing – a combination of being exhilarated and profoundly freaked out.”

As she got more and more into acting, Monaghan’s years of modeling work actually helped hone her skill with auditioning. “That background where I was rejected so much on a daily basis [made] auditioning an easy transition. Getting up and being judged was very routine,” she notes. “It was just a different way of expressing myself, it wasn’t something that I felt uncomfortable about. I could walk out of a room and be like, ‘Well, that didn’t go well,’ but I didn’t beat myself up over it either.”

A couple bit film roles and even more TV work, including a recurring guest stint on Boston Public specially created by David E. Kelley, gave Monaghan crucial work experience and confidence to boot, but it was her engaging showcase turn in Shane Black’s woozy and self-referential neo-noir dramedy Kiss Kiss Bang Bang, opposite Robert Downey Jr. and Val Kilmer, that most caught Hollywood’s attention (as well as that of Santa Claus outfit fetishists everywhere). That performance led to a string of successful high profile films, kick-started with a starring role opposite Tom Cruise in Mission: Impossible III.

If Kiss Kiss Bang Bang was her debutante ball debut, though, James Mottern’s Trucker was a necessary pivot to show that Monaghan was capable of transcending flinty supporting roles (North Country) and frothy/functional leads that traded chiefly on her relateable prettiness (Made of Honor, The Heartbreak Kid, Eagle Eye), and truly anchoring a film on her own. In the unsentimental drama, shot in 19 days, Monaghan plays Diane Ford, a stubborn working woman whose decided lack of maternal instincts get challenged when her estranged 11-year-old son gets dumped back into her life. It’s a role which requires a tightrope-walk blend of disagreeableness and latent hopefulness, and although it didn’t get a fair shake as a theatrical release, Monaghan still clearly has a deep affinity for the movie, and uses it as a sort of touchstone for the plotting of future cinematic opportunities of which Hollywood might not necessarily provide her.

“Trucker, to me, was the role of a lifetime,” she says. “It caught me in the gut so much, because here was a woman who was not very nice, who bucked the system. It scared the living daylights out of me, and I think it was representative of a range that I hadn’t been considered for.”

“I didn’t want to make a political statement or something, but I thought it was fascinating to explore a woman who just loved her job, loved being out on her own,” Monaghan continues. “I compared her to a wild horse or a mustang; you could try to wrangle her, but you could never tame her. And whether it’s big or small I want to be able to throw myself into something like that that rings true to me — a role that is representative of real women, that’s provocative and conflicted. Those are the things about which I’m so passionate.”

Provocative certainly describes Monaghan’s latest film as well. A sci-fi-tinged thriller with intriguing ethical underpinnings, Source Code centers on a soldier (Jake Gyllenhaal) who wakes up in the body of an unknown man on a train outside of Chicago, and finds he’s part of an experimental government program that enables him to continually relive the last eight minutes before a deadly terrorist explosion. After rapidly orienting himself, he must try to find both the bomb and bomber, in an effort to prevent another, even larger attack. Along the way he develops a special bond with Monaghan’s fellow commuter.

Ironically, it was actually another audition close call that first put Monaghan in good stead with costar Gyllenhaal, as she was a serious contender for Anne Hathaway’s role in Brokeback Mountain. As a fan of director Duncan Jones’ previous film, Moon, Monaghan knew he would have a grasp of the necessary special effects and a strong visual sense to boot, but she was understandably concerned with being able to differentiate between its replayed “source code” scenes, and make the film engaging on an emotional level.

“Both Jake and I wanted to make sure we were on the same page, and have [this] story within the story. You’re discovering it through his eyes, so it’s exciting to see these characters’ bond start to develop,” she says. “The wonderful thing we were able to do was [shoot] in sync, so we really knew where we were going with the story at any given time. [Cinematographer] Don Burgess and Duncan shot with different lenses and perspectives, outside the train looking in, trying to keep the story [from] feeling stagnant. And Jake is so bright and supportive, in addition to being a great actor; he’s so clued in creatively. So we would take an hour or more between each source code and just all sit on the train and map it out in our heads — what would make this source code unique to the other source codes, trying to keep the relationship moving along.”

All that tinkering paid off. The end result pops, pulling off the rare feat of offering up a catharsis that raises some questions but doesn’t seem hokey or tacked-on. Monaghan claims non-recollection regarding the original ending in the screenplay she first read, but it’s clear that, as with Trucker, Source Code was a script she reacted positively to early on, and dove into with passion.

After a brief (and unfortunately spoiler-heavy) dissection of some of the weighty thematic undertones of Source Code, the conversation turns to drinking, onscreen and off, and Monaghan soon confesses another winning quality to plenty of guys. “I’m pretty goofy, and a fun drunk,” she admits. “I want to get up and have a boogie, like you just lit a fire under me.” These days, however, her partying, as well as her avocational loves of vintage furniture shopping, hiking, and surfing (which she picked up from her husband Peter, an Australian graphic designer) have given way to family time, and baking with her near-two-year-old daughter Willow. “It makes the house smell so good,” says Monaghan wistfully. “And now my daughter gets on the counter with me and we do it together. I love it, it’s really fun.”

After a decade in New York, Monaghan and her young family relocated to Los Angeles almost a year-and-a-half ago, thinking it would be the ultimate act of settling down for a self-admitted nomadic spirit who still occasionally dreams of living in Europe. “Literally the year that we bought a house, all the movies decided to start shooting in New Orleans and New Mexico, Austin and Detroit,” she says. “It was like, ‘Oh, it doesn’t matter that we have a house in L.A. now because I’m not there anyway!’” If it sometimes seems just another place to decorate, then, Monaghan at least still has an instinct for how to make it homey. “They have great orchids at Ikea — it’s kind of crazy, they’re really cheap and they last for months. So anytime I go there I get the Swedish meatballs and those orchids. And maybe some tealight candles.”

Next up for Monaghan is Marc Forster’s Machine Gun Preacher, in which she stars opposite Gerard Butler as the wife of a repentant, rural alcoholic and criminal who finds Jesus, builds his own Stateside church and then devotes his life to opening an orphanage in the Sudan. It’s an intense character study based on real events, and “another story that’s not just black-and-white,” the actress says. Independently financed and snapped up by Lionsgate, the film will release this fall.

She’s also headed off to shoot Boot Tracks with Matt Dillon, a dark indie drama from director David Jacobson (Down in the Valley, Dahmer) which Monaghan describes as “a little Buffalo 66-ish movie about two little misfits who find each other, and a day in their lives, basically.” The four-and-a-half-week shoot will put her back on the road, but Monaghan still wouldn’t have it any other way. “I’ve been so blessed to have this job,” she says. “I want to do it for as long as I can, I want to challenge myself, I want to be able to explore. Sometimes it may work and sometimes it may not work, but that doesn’t mean I’m going to stick to just one genre. That’s boring. I’ve done that and now I want to do something else.”

Chris Colfer

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Suit and shirt by Gucci, Tie by Band of Outsiders, Vintage tie clip stylist own, shoes stylists own

Chris Colfer doesn’t want to disappoint his fans but unlike the lovable and fashionably adventurous character Kurt he plays on Fox’s hit show Glee, he won’t be caught parading around town in a translucent Dolce and Gabbana raincoat. It’s way more likely you’ll spot him shopping at the Beverly Center, enjoying some of his favorite stores. “I don’t have a lot of preference when it comes to designers but I love Banana Republic, Express, and Ben Sherman.”  Chris insists that Kurt’s wardrobe definitely helps him get into the role. “Kurt’s clothes are 25 to 30 percent of his character. I’m much more of a T-shirt and jeans kind of guy but I try to keep my fashion a notch above casual.  The wildest thing I have in my closet is a pair of pink suspenders. I don’t even remember where they came from!” Chris may not have a lot of fashion rules but if he were the fashion police, rolling up your jeans and wearing shoes with no socks wouldcost you a heavy fine.

What’s the hardest thing Chris has had to wear while playing Kurt?  A Gucci sweater!  “We were singing and dancing all day. I swear I lost 10 pounds in that thing!” Chris is very into matching and almost always wears blue. “Sometimes I wear green or red to try to mix it up, but blue is my favorite color.” He’s very excited about fall fashions and loves scarves and jackets. He has an impressive collection of wristbands, or as he admitted adorably, “I won’t lie, they’re bracelets.” He wears them every day, along with his favorite pair of Banana Boat boots. “They’re very Industrial Revolution-esque.”
When he’s not shooting on the Glee set, he’s going out with friends, watching movies, or catching up on sleep. Many of the cast members go out for sushi together once or twice a week. Ocassionally, Chris may have to indulge a group of screaming girls in an elevator, asking for autographs and pictures but with the success and growing popularity of the show and Chris’ immense talent and charming personality, those types of interactions are sure to be increasing. Chris may be more of a jeans and T-shirt kind of guy but his sense of humor and generosity of spirit definitely make him way more than a notch above casual.
Be sure to check out Glee: The Music, Volume One, available now to listen to all your favorite songs from the show. You can even pre-order Glee: The Music, Volume Two.  If you haven’t seen Glee, catch up on www.hulu.com and of course don’t miss it Wednesday nights on Fox.

Aaron Paul in corduroy suit by Band of Outsiders

Aaron Paul has a declaration that will perhaps unnerve his agent. “I am absolutely not the leading man-type guy, I’m just not,” says the 29-year-old actor. “I like to play off-the-wall characters.”
For Paul, acting is more of a glorious, cathartic extension of adolescent curiosity, and there’s no buzzkill quite like the rigid confines of square-jawed, conventional heroism. “I think I came to realize that through my work,” he says. “The more [experience] I got, the more I loved playing completely different characters. We’ve all seen those actors who play the exact same role, who are just saying words with a [slightly] different story. But it’s not as satisfying to me if it’s something I’ve done already.”
With breakout success, though, comes the increased danger of typecasting, and Paul has made an impression recently in a pair of fringe-dwelling roles. On AMC’s Emmy-winning, darkly humorous Breaking Bad, he plays a drug peddler who cooks meth with his terminally ill, former high school teacher (Bryan Cranston). And in the recent remake of Wes Craven’s The Last House on the Left, Paul’s bad guy gets dispatched in memorably nasty fashion, coming out on the losing end of a battle with a hammer and a garbage disposal.
A native of Idaho and the son of a Baptist minister, Paul graduated high school a year early and moved to Los Angeles a dozen years ago. Steady television work followed, but Breaking Bad came about prior to the success of AMC’s Mad Men, so Paul was understandably confused by the show’s long-term prospects for survival, especially considering its bleak subject matter. A pre-show “drug school” with DEA agents provided invaluable research, but Paul had other sources upon which to draw. “I’ve had close friends who were literally drug-free and tried [meth] and said, ‘This is not for me,’ and never did it again. But I don’t know whether it’s the addictive personality or what — some people can’t handle the comedown,” says Paul. “So I’ve watched it eat the souls of people close to me. It’s incredible how a beautiful creature can be eaten alive by this drug; it’s sad. But I applaud AMC for having the balls to tell a story like this, because everyone else was afraid to, and it’s a story that’s not so outside the realm of reality — while we were shooting the first season, a principal got arrested for selling crystal meth to his students.”
The big curveball in Paul’s emerging profile is on HBO’s Big Love, as a recurring character who became engaged to Amanda Seyfriend’s character on the recent season finale. “I think of myself as a great person, and that I have good morals,” says Paul, “but I never get to play an almost straight-laced kid like that, with all the buttoned-up shirts and glasses. So it’s nice, and fun.”
And controversial, of course; Paul says he’s gotten some flack about the polygamy drama when he travels home to Idaho. “The majority of my high school class, like 70 percent, were all LDS,” he says. “And especially toward the end of this season, the show dives into parts of the LDS church that have been secret for so long, and the Latter Day Saints are so upset by it. But they’re just being true to the story.”

Aaron Paul in corduroy suit and rubber loafers by Band of Outsiders; hooded shirt by Alternative Apparel; t-shirt by H&M

A self-confessed “concert junkie” (he counts Radiohead, Sigur Rós, and Muse among his favorites), Paul is also at least one degree closer to rock song canonization than most of the rest of us — he’s good friends with the girlfriend of Kings of Leon singer Caleb Followill, currently immortalized in the radio smash “Sex on Fire”. When he’s not on set, snowboarding and painting help consume the rest of Paul’s sparse spare time. He came to the former hobby skeptically; he’d grown up skiing, and didn’t immediately spark to a snowboard, a gift from his parents early in his teenage years. After a day on his rear end, though, a friend convinced Paul to give it three more days, and the only time he’s since returned to skis instead of a snowboard was when he swapped out with another pal who wanted to give the latter a try. Painting, meanwhile, is a more intensely personal extension of the same creative impulse that attracts him to acting. “Any sort of art is a cheap version of therapy, a nice release,” he says.
Paul also jokes about having to learn to read scripts with a keener eye for prosthetic details, after suffering an extreme allergic reaction to the silicon and glue used for a broken nose he had to sport for most of The Last House on the Left. (Acting: come for the glamor, stay for the free allergen test!)
And as for the scripts that have already started to come in with roles as nasty ne’er-do-wells and messed-up druggies? “I thank them for the opportunities, but have to say no,” says Paul with a laugh — an easygoing laugh that would sound good on screen. A laugh that, if Paul sticks to his word, he’ll perhaps get to showcase more, as he adds some lighthearted flavor to his colorful, off-the-wall filmography.

cocktail dress by Jenny Packham, jewelry by Neil Lane

Amanda Righetti joins us this month as our Friday the 13^th inspired fashion spread; Crystal Lake Couture.  I’ve personally been a fan since her reoccurring role as Hailey Nichol on The O.C.  We’ve been anxiously awaiting her portrayal of Whitney Miller on Friday the 13^th, coming out, of course, this Friday (and counting down) the 13^th. This latest installment, directed by Marcus Nispel, whose terrifically terrifying 2003 Texas Chainsaw Massacre kick-started the current glut of horror remakes, classically follows a group of teens and twenty-something’s at the now abandoned Camp Crystal Lake (the site from the original 1980 phenomenon), including Amanda, Jared Padalecki, Aaron Yoo, Willa Ford, and Jonathan Sadowski, (among others) as they stumble across the path of the murderous, disfigured Jason Voorhees (Derek Mears). In addition to abandoning the trips to hell, outer space, or Manhattan that later installments took in lieu of the series’ original summer-camp locale, the new film offers plenty of what made the series so satisfying during its heyday, including nudity, and you guessed it, exactly 13 murders – although we can’t say whether one of them is the inexhaustible Voorhees. Does Amanda’s character make it out of Camp Crystal Lake alive? Well, we won’t spill, but we do know she came to life here in our fashion spread evoking some of the bloody fun, thrills, and chills that is F13.  [[Show as slideshow]]

art direction by Laura Ann

styled by Jenny Ricker

makeup by Jake B

hair by Campbell McAualey

1.  gown by Jenny Packham, jewelry by Neil Lan

Professional sports and fashion have always shared an awkward dance. As an athlete, you’re stuck wearing a regulation uniform, or some sponsors’ dri-fit mesh bull-shit T-shirt (sorry Tiger Woods, but your shit is goofy). Now, the other country club sport allows for a little leeway. Tennis stars have been pushing the boundary of what’s appropriate for a while now, and no one seems to challenge the sport’s dress code more than Serena Williams. Her collection of skin-tight onesies and unique tennis dresses has definitely showcased her raw power so to speak (and of course no one can deny her dominance in the sport, winning 32 singles championships, 12 doubles, 9 grand slam events in singles, 8 grand slam events in doubles, a couple o’ Olympic gold medals, and the 1991 Kenosha, WI Pinewood Derby). But this talented athlete isn’t all quads and abs in a smart outfit – she’s a tremendous individual who uses her celebrity for good by championing many philanthropic causes and inspiring others to shine through her own clothing line, Aneres (hold up a mirror to unlock the special code).
I recently chatted up the former world #1 – she had a brief stint at the top this year after her brilliant win at the U.S. Open but lost it after she withdrew from the Tier I Kremlin Cup due to an ankle injury – before the Thanksgiving holiday to get a read on her recent travels, her new concepts in fashion and her continuing charitable endeavors. It was hard to get a hold of Miss Williams, as she had been traveling to and from any one of the world’s seven continents after ending her tennis season in October. After a couple of months of tracking her down, h and I finally caught up with the Sultanne of Swat for a photo shoot
and some conversation.
Serena had just returned from Africa with news of her charitable work with B.A.S. (Build African Schools). Together they opened a secondary school named after her in the village of Matooni, about 70 miles southeast of Nairobi, Kenya, with state-of-the-art solar panels for power and computers donated from Hewlett-Packard. Serena described the impetus for her partnering with B.A.S. after seeing local Kenyan school children using sticks for pencils and dirt for paper: “It broke my heart to see these children who wanted to learn but had none of the tools necessary. I wanted to try to provide these kids with the same opportunities I had growing up.” And provide she did; the school opened to great fanfare, with Kenyans walking up to 30 miles to come and witness the opening. Serena, with the help of B.A.S. and H.P., hopes to open a new school every eight weeks in different
regions in Africa.
“It was surprising to me that so many of the people there had heard of me, since it was such a remote place,” said Serena. I figured she was being a bit modest as she’s one of the most famous tennis stars in the world and had just come off from winning the U.S. Open and The Olympics. She lent her talents further on her trip by giving a clinic at a nearby tennis camp in Kenya: “The kids were really talented and they showed the same eagerness to learn that I saw in the schools.” 
As the professional tennis season came to a close a couple of months back, Serena has now got her mind on other things like, fashion. But I couldn’t help but ask her a bit about her fantastic finish in 2008. “I had a good year, and definitely love winning, especially those big matches.” I mentioned that she probably gets asked a lot about competing against her sister Venus (who also designs clothing and sometimes models for Serena), but I asked her about this last U.S. Open’s quarterfinal match anyway. “We’re really close, but we don’t talk much right before or during a match (against each other). We’re both really competitive and of course we both want to win.”
When it comes to fashion, she’s perhaps less competitive against her contemporaries per say, but Serena still strives to have unique and modern designs with a bold edge. She usually causes quite a stir when wearing her designs to events (such as the near topless gown she wore to the London premiere of Pierce Brosnan’s 2004 film,
After the Sunset), but she gave me the impression that her new designs are a bit more tame. “I’m really excited to feature my new collection, Signature Statement, on the Home Shopping Network,” she explained. I figured HSN probably doesn’t want to be in the business of exposing areolas, but you never know with this fucking economy. Nevertheless, Aneres will have new looks in boutiques on both coasts, and she has plans for jewelry, bags and coach wear, and bedding as well.
I finished up my interview with a question about her future goals, and Serena seemed very driven to leave the legacy of a “better being.” I’d say she’s well on her way: her charitable contributions and foundations have given millions over the years, from everything to the Ovarian Cancer Research Fund and the Special Olympics, to the aforementioned Build African Schools and her own Serena Williams Foundation. She expanded by saying, “I‘ve always felt that I needed to follow that old phrase or quote, I think it goes something like, ‘To whom much is given, much is required.’” I looked it up online, and I found out that many famous politicians, artisans, and celebrities have used or paraphrased the line, and it even stems from one of Jesus’ parables in the “Gospel of Luke”. I suppose it must mean something of qualitative substance, so I’ll paraphrase the paraphrased parable and deduce that Serena has given a lot of herself to the world, so she wants us to give back. I’ve already started by writing this amazing and wildly flattering article. What can you do for Serena?

words by Jen Kay

The recent passing of famed fashion revolutionary Yves Saint Laurent has resurrected many precious memories of his life and creations. He had the bravery to take huge artistic risks with both his haute couture and prêt-a-port lines, which was either a testament to his creative conviction – or the arrogance of youth. After all, he was only 21-years-old when he was appointed head designer of Christian Dior, France’s premiere label and monumental moneymaker. He went on to mix the lines of traditional roles, allowing women to wear the pants, and bringing high fashion to the civilian middle class.

Raised by Algerian-French parents, Saint Laurent found his first muse and fashion devotee in his mother, who, once her son turned to the sewing machine, would remain clothed in his designs for the rest of her life. He had the creative vision as well as the technical skill to flawlessly bring his sketches to life. This aspect of couture design, the actual process of cutting and sewing the fabrics, has long become a delegated task, but it was a crucial component to Saint Laurent’s success. Yves knew clothing, he knew women, and he knew how to combine his love of both to create iconic fashions that both reflected and shaped pop culture itself.

Yves Saint Laurent set many firsts over the course of his career, which spanned the better part of a century. He was the first couturier to launch a ready-to-wear line and by doing so he set trends on a level not possible with just his couture collections. The beatnik turtleneck, the bolero jacket, the transparent lacy blouse, the safari jacket, bohemian skirts, the pop-art inspired Mondrian dress, and of course, the pantsuit are all original creations by Yves Saint Laurent which have been re-invented year after year, and devoured by each new generation of fashionistas.

As controversial as he was creative, Laurent caused a much celebrated stir in the 1960’s Manhattan social scene with his iconic women’s tuxedo, Le Smoking Suit. Folklore has it that famed socialite Nan Kempner wore the suit to a four-star French restaurant in New York, and was turned away by the Maitre d’, citing the dress code. Nan promptly slipped off the trousers and dined in the jacket alone. It isn’t surprising that such precocious behavior was inspired by an Yves Saint Laurent design.

Saint Laurent was the first designer to feature women of color on his runway, which at the time was as revolutionary as the designs he fashioned. His gender-bending collections challenged men’s authority, and gave women the external inspiration to act as powerful as they felt. Empowering the sublimated was a mission dear to Yves’ essence. The slight man with the thick glasses, bullied and berated during his youth, once told a journalist, “Whenever they picked on me, I’d say to myself, ‘One day you’ll be famous.’ That was my way of getting back at them.” Years later, as he enjoyed wealth, creative adulation, and the company of the most beautiful women in the world, one cannot deny that for some, revenge is sweet indeed. 

A forty-year retrospective, featuring a collection of  Yves Saint Laurent’s most iconic designs is currently on exhibit at the de Young Museum in San Francisco, www.deyoungmuseum.org, running until March 1st, 2009.

After a period of relative silence spent relishing some quality time with her husband of six years, Freddie Prinze Jr.,
Sarah Michelle Gellar has returned to the limelight with three new films released into the hungry world, The Air I Breathe, Possession, and Suburban Girl. She is just as you’d imagine her to be, a striking and waifish beauty to behold and a wisened veteran of the entertainment world, having started her career at the mere age of four when a talent scout spotted her at a New York eatery and introduced her to the world of television commercials. From there, Gellar went on to win a daytime Emmy for her work on All My Children and dominate the world of television with her cult classic, Buffy the Vampire Slayer. On temporary leave from her home base in New York City and taking shelter from a rare L.A. monsoon, Sarah stopped by the h office to enlighten us with her latest endeavors.
Recently, and for the first time ever, Sarah agreed to grace the cover of Maxim for their December offering, claiming their title of “Woman of the Year” and treating many happy periodical enthusiasts to some rather saucy and revealing glossies. I wonder if it’s hard not to let such attention go to her head, having been voted one of the sexiest women on the planet for nearly nine years. Immediately she laughs and ponders, “That’s a hard question to answer. You know, I look at it as a different person almost. I remember I was at the newsstand at the airport recently buying gum when the Maxim issue was out. People are just looking at the cover and there I am, and my face isn’t all made up and the guy there was shaking his head like “No, that’s not her.” I look more like the other Sarah than that one. It’s easy to separate the two. I mean, I don’t normally go to the supermarket dressed like that…with a hair and makeup team and lighting crew….though it might be interesting if I did do that once. Appreciated by some and probably really hated by others.”

And Sarah’s no stranger to the watchful eyes of the public. She’s constantly approached and photographed. In her most recent film, The Air I Breathe, which is currently inhabiting theaters, Sarah plays a pop star dealing with such pressures of fame, the crazed fans and ever present paparazzi,the constant shuffling from one appearance to another, the indelicate proddings and pokings of the press. One wonders if this was an anxiety that Sarah could easily relate to, “I’m still able to lead a pretty quiet life. I always think of it as one part is my job and one part’s my life, so it’s not too bad. I love what I do, so when it comes time to talk about something you’ve worked on or a film you’re proud of, it’s nice to be able to share those experiences. There are always things that are hard, especially things in life that I wish could be kept private, but at the same time I’ve been lucky enough to have been granted that respect for the most part.”
In a particularly harrowing scene in the film, Sarah’s character is in the midst of an emotional breakdown when she’s surrounded by a glom of fans and flashing cameras from which there seems no escape. Has Sarah ever felt so overwhelmed? “Oh absolutely, plenty of times. Even though you know that you’re not truthfully in any danger, it can be hard to get your bearings and not be affected.”
The film weaves together the somewhat metaphysical tales of people from all walks of life searching for their own illumination and direction in this strange world. The cast is comprised of Forrest Whitaker, Andy Garcia, Kevin Bacon, Emile Hirsch, Julie Delpy, and Brendan Fraser. Surprisingly, the film was co-written and helmed by a first time director, Jieho Lee. How, I wonder, did a first timer assemble such an amazing cast, “It’s funny, he had a really beautiful script and a very, very specific vision. You know it speaks to his vision, the fact that he had four directors cast in his film, Kevin, Forrest, Andy, and Julie. I think that we all saw something in him that you look for in a director, a very clear vision. He was very confident. He knew exactly how he wanted to shoot it and what he was trying to say, and I’ve met with people, directors, that don’t have such specific intent. And I think it was his passion that helped everyone to want to be a part of it.”
It might be strange to some to see Sarah in a dramatic role that doesn’t involve screaming Asian ghosts or angry vampires or some sort of supernatural element, but as Sarah puts it, there are reasons why she’s known mostly for roles in the darker side of film and television, “I don’t purposely focus on one particular genre, but it’s a tough business and you have to find roles that are challenging and interesting. To me, the experience and the challenge is more important than the box office returns or the number of screens that you’re released on. I’m just not the girl who would be satisfied being the girlfriend in a movie, though maybe it’s a big blockbuster. That’s not why I do what I do. There are certain genres where women get the chance to lead, and horror happens to be one of them. The funny thing is, I’ve made a lot more other types of movies than those, it’s just that those are the ones that get the massive, massive releases. That being said, I love the challenge. I love that they constantly star females. But I hope that people will realize that it doesn’t have to be genre specific and that women can lead all sorts of different types of movies.”
Being a genre aficionado, one might wonder in particular what Sarah’s favorite horror movie of all time is. “The Grudge,” Sarah laughs wryly. “Honestly my favorite is probably (and most people wouldn’t consider it a horror movie) Fatal Attraction. That to me is true horror and true terror. I also love all the old school ones like The Exorcist.”
Another recent film in which Sarah ventured beyond the genre of horror was Richard Kelley’s Southland Tales, where she graced the screen as a porn star. The movie was designed as a quirky and stylistic Altman-esque examination of the near future from the mind behind Donnie Darko, but was met with much venom by the audience at Cannes, where it premiered, and by many critics since. Was this a big disappointment for Sarah? “Of course, I mean, you choose to do something because you love the experience and the people, and honestly, I’m more disappointed for Richard than anybody else because it really got a bad rap. I think the movie’s fun and I’m really happy with my performance, and everyone I know that went to see it had a really good time. I think sometimes people put such high expectations on things, and inevitably it just sets you up for failure. Cannes was really the wrong place to premiere that movie. It’s really not the audience that it was made for, nor can they understand the political ramifications of what Richard’s saying because it’s really, really from America. Anyway, at the end of the day, you work on a movie because you love it.”
But, for some time now, it seems that Sarah has been searching for even more meaningful and worldly rewards. She spends a great deal of her time working for and promoting many different charities, “It started simply with me begging to help anyone who needed help anywhere. Children have always been close to my heart and the Starlight Foundation and the Make-A-Wish Foundation have always been great. When I did Buffy, the show was so incredibly accommodating. We’d always let the kids say ‘Action!’ and ‘Cut!’ and it really brought that set together.”
But this was just the beginning of Sarah’s charity work, “Cancer Care came about because I had a lot of women in my life unfortunately afflicted with breast cancer. The animal rights work I do is just because I love animals. And then CARE really came about because I wanted to take some time off last year, but at the same time I wanted something I could do every day, something I could further do to help. I met with a bunch of different charities but the people at CARE, what they stood for, well, it just fit like a glove. It’s a humanitarian organization that focuses on fighting global poverty.”
Since then, Sarah has had a great deal of involvement with the organization, “I went to DC earlier this year to speak with my Senator about more CARE projects, and I’ve been helping set up events. I’ve contacted fashion houses and jewelry designers that are helping out, making jewelry and clothing to help raise money. It’s just been great, I’m even going to Africa at the end of next month. When we travel we focus on one particular region and all the different programs that we have in that region, and what people don’t realize is that even though one country might be very small, the needs are so specific to each individual within even a 20 mile radius. But our main focuses over there are to provide clean running water, supply medicine, develop the education system, empower women, and stop genocide and rape. There’s so much work that needs to be done all over.”
And it’s the fruit of these efforts that really moves Sarah: “It changes your life. When I originally got involved I had a panic attack. Like, can I handle this? Am I qualified? Am I the right person to speak to these women, to speak to these men, to these children? Can I stand for what I see? But then you realize that it’s the greatest gift you’ll ever have, it’s amazing to see the transformation that a little bit of belief makes. I think that’s what we all need, just someone to believe in us. That’s how we succeed in life. And I’ve been fortunate enough to have always been surrounded by people who believed that I could accomplish my goals. That’s really how I’ve managed to do it. If I can impart a little bit of that element all over the world then that’s the greatest reward. That’s better than any box office opening weekend.”
And it is with these revelations that Sarah must make her way. As for her upcoming projects, everything seems to be a bit up in the air for her right now, “With the strike going on, it’s been a bit difficult to make that decision. The things that you really want to do aren’t getting made right now, which is really frustrating. But what really makes me feel bad is all of the people out of work right now. Every grip and electrician and soundman and costume designer…even the restaurants near the studios are going out of business because they can’t survive.”
But luckily for her, it seems that Sarah has been able to continue to do what really matters to her, whether it’s working on films she feels passionately about or helping out her favorite charities. Having just turned 30, she offers this pearl of wisdom about finding happiness and direction as you grow older, “I think unfortunately we obsess so much over age, it’s like when you turn 16 and you expect your life to be magically transformed. I don’t think that overnight the world opens up and shares its secrets with you. I think as each year goes by, you learn more about yourself and you learn more about what you want from the world or what the world wants from you and just how to work through it together.” And at present, it would seem that Sarah has found her harmony with the world around her.

art direction by Laura Ann
hair by Mara Roszak
makeup by Rachel Goodwin
styled by Tara Swennen

photos by Robert Todd Williamson

Mädchen Amick gets bored easily and she has no problem admitting it. So it has to be a good thing that the actress was recently juggling not one, not two, but three series. A series regular on My Own Worst Enemy, Amick has also just wrapped stints on both Gossip Girl and Californication. Let’s also throw in for good measure that these shows are shot on opposite coasts. “Literally, when I was shooting Gossip Girl I was shooting Californication at the same time. My Own Worst Enemy is primarily based in New York too. Sometimes I would shoot a scene for Californication in the morning, hop on a plane, and shoot a scene in New York for Gossip Girl that same night. It was insane.” Amick has always gone the unconventional route; how could she not when her first big television series was none other than the cult fave Twin Peaks?

h: What’s the big difference for you in working on something like Californication vs. My Own Worst Enemy? 

Mädchen Amick: I absolutely loved working on Californication. The writing and the dialogue is just unbelievable. They really focus on the characters themselves. In the Christian [Slater] show, I’m the wife – I have the home life and not the action side. Of course, the show itself has a large cinematic side to it with the action side of it. It’s so exciting for me, because I’m constantly looking to be challenged – I always get really bored in the middle of doing something. (laughs) If I’m doing a comedy I’m dying to do a drama, and the other way around. But it’s a steady job and I know where I’m going to be for the next few months, which is great. 

h: On Gossip Girl you played the married ‘older’ woman Catherine for the first few episodes of Season 2 and had a lot of opportunities to roll around with that hottie Chace Crawford. 

MA: It’s funny, when you look at my character (on that show), she’s married to an older man, and she’s a duchess as well – very rich. And she’s having an affair with a high school student. She really mixes it up, that duchess. 

h: What’s your story on Californication? 

MA: My storyline is Hank Moody (David Duchovny) is writing a biography on a famous rock producer/musician, and he wants to get the real story of what makes this guy tick; what’s the story behind the façade. The character has this long lost love – which would be me. And so Hank basically starts stalking me (laughs) and then he and I develop a sort of a relationship that becomes a love triangle – or a four corner love triangle – between me, Hank, Karen (Natascha McElhone) and the rock producer. Everybody is so talented on that show, it’s a great thing to be a part of. 

h: Let’s talk about the other guy in your filmic life right now – Christian Slater. You’re the housewife to his split personality action character. Is she going to cross over too? 

MA: The great thing about My Own Worst Enemy is it creates an environment where you don’t know who’s on what side, who’s working for the government – so the possibilities are endless. As far as I know now, I’m just a housewife in a loving relationship, but I can only imagine she’s going to figure something out. 

h: I love the fact in the first episode you discover that his office pal is Mr. Undercover himself.   

MA:  On this show, you never know who’s real, who’s got an agenda, and who’s going to do a 180. It could end up being me. It’s got elements of Bourne Identity and James Bond – if you enjoy those types of films, you won’t be bored with this one. It’s like Twin Peaks – which was weird and quirky and had this whole cult following that literally changed the face of television. So when people say ‘Will Mr. and Mrs. Middle America understand this?’ (My Own Worst Enemy) I think we underestimate the American audience sometimes, and I think they can appreciate something that is intelligently done, or they just turn the channel. 

h: Especially Joe Six-Pack.

MA:  (Laughs) Especially him.

Douglas Fairbanks, Jr., and Joan Crawford by Nickolas Muray. Vanity Fair, October 1929

A few years back, producer Robert Evans came up with a great line: “Instant gratification takes too long.” In this age of immediacy, there is no truer statement. Patience is no longer a virtue, it is an obstacle or a gratuitous nuisance that hinders our voracious hunger for information. A shot of Britney sans panties has become breaking news, getting more airplay than the Georgian conflict. If Gmail stalls for more than five minutes, it’s obvious – this must be a sign of the apocalypse. What has happened to us that we can no longer revel in the moment? When our children are bad, we put them into ‘time out’ – forcing them to take five minutes and reflect on their actions. Rarely as adults do we do that for ourselves. Read a book for a change. Try meditating. Check out the museum. Art – a frequent source of inspiration and reflection, can hypnotize us into a meditative place of taking stock; just a simple, contemplative respite can often put things in perspective, for more than a fleeting moment. 

  This month, Vanity Fair magazine is giving us the perfect opportunity to dial it down and pause. Starting October 26th, LACMA will showcase 140 of the publication’s greatest photographic works in a collection entitled: Vanity Fair Portraits: Photographs 1913–2008. It is the only exhibition of photographs from the magazine’s historic archive, ranging from the early days, (1913-1936) to the contemporary publication (1983- present). It also coincides with the magazine’s 95th birthday, as well as its 25th anniversary. Editor-in-Chief Graydon Carter admits making his selections was no easy task. “We had a remarkably vast archive to choose from,” mentions Carter. “David Friend, our editor of Creative Development, and I went through all 570-plus issues of the magazine…and selected several finalists. We focused on classic pictures; photographs that defined the subject, photographer, or time period and surprising, lesser-known images that felt especially fresh upon re-discovering them.” 

James Joyce by Berenice Abbott. (Unpublished) 1926.

The baby of entrepreneur Condé Nast arrived on the scene in 1913. For over twenty years, it was the darling of café society until the mid-1930’s, when it became a casualty of the Great Depression as well as declining ad sales. Forty-seven years later, publisher S.I. Newhouse, Jr. decided it was time to resuscitate Nast’s trendsetter, and brought the magazine back in that decade of decadence, the ‘80’s. The exhibit covers both eras of the magazine’s iconic celebrity portraiture, as well as select pieces of ephemera from the early years. Vanity Fair has always been synonymous with entertainment, but when perusing some of the early work, it is not necessarily representative of the word ‘celebrity’ as we know it today, as it was more of artists and forerunners. Albert Einstein, Isadora Duncan, James Joyce – all subjects in the publication – certainly didn’t have their agents and publicists hovering on the sidelines while their portraits were being taken. Of course there were the requisite matinee idols – Jean Harlow, Douglas Fairbanks, Jr., Joan Crawford – all icons, without knowing they were iconic. Their stances, comfortable and relaxed, feel almost candid in their interpretation. 

Gloria Swanson by Edward Steichen. (Originally shot 1924) Vanity Fair, February 1928

In these early days, even the movies were still finding their way, gradually transitioning from silent films to talkies. In the photography realm, there was no Photoshop – only photographer and subject. “Vanity Fair helped invent portrait photography,” says Carter, “when Frank Crowninshield, the first editor, sort of stripped away the gimmickry that was the fashion at the time, and made the pictures spare and modern.” One image, taken in 1924 by early chief photographer Edward Steichen, gives us a hypnotic depiction of a very young Gloria Swanson – and shows the very reason why she got top billing on the marquee. (One of Hollywood’s first great actresses, Swanson later gained her greatest success in taking on a role that mirrored her own career – that of fallen silent film star Norma Desmond in Sunset Boulevard.) Steichen stated:  “I took a piece of black lace veil and hung it in front of her face. She recognized the idea at once. Her eyes dilated and her look was that of a leopardess, lurking behind leafy shrubbery, watching her prey. You don’t have to explain…her mind works swiftly and intuitively.”   

  Knowing what works when, and why – those inherent traits of its various editors – has kept the magazine in the upper echelon of the American vernacular as one of the foremost arbiters of taste and style. An acquaintance of mine who contributes to the publication, told me not long ago, “To work for them, you must have a story that you – and only you – can tell.”  The magazine thrives because of this resolute air of exclusivity – despite being surrounded by the inundation of gossip doled out by the Perez Hilton’s and TMZ’s who reside solely in a salacious realm of reality. 

  The first issue of round two hit newsstands in 1983, under the tutelage of editor Richard Locke, previously of The New York Times Book Review. He didn’t last long – a mere three issues – before being replaced by Leo Lerman, a former features editor at Vogue.  Lerman too, moved on quickly and in came Tina Brown. This was the era when we denied ourselves nothing. Coke and monetary excess became symbiotic heroes, and Studio 54 usurped the church and synagogue as the celebrity’s chosen place of worship. The savvy British blonde boldly grabbed hold of the period and revamped the magazine, hiring writers like Dominick Dunne and Maureen Orth, and photographers Robert Mapplethorpe, Herb Ritts, and that ultimate Vanity Fair image-maker, Annie Leibovitz. However, Vanity Fair was a financial flatliner. Brown broke out her defibrillators with two photo shoots that gave the publication a much needed publicity jolt. The first involved President and Mrs. Reagan – shot by Harry Benson in 1985.  The concept was an amalgamation of Hollywood and politics – a woman entranced by her husband – who just happened to be the man holding the tethers of the most powerful nation in the world. They danced, they embraced, and in that moment, they became just like us. The second was a series of portraits of socialite Claus von Bülow while he was on trial the second time for attempting to murder his wife, Sunny. Photographed by Helmut Newton, von Bülow appears shameless, bedecked in a sinister black leather jacket. In another portrait, he poses with his mistress at the time, Andrea Reynolds. “I was there that day, when those photos were taken,” says writer Dominick Dunne, who was covering the trial for Vanity Fair. “I attended Sunny’s debutante ball, y’know. And here I was, all these years later (at the trial)…it was so strange, but so fascinating.” In Dunne’s article, (Vanity Fair, August 1985) Claus von Bülow gushes, “This is the first time I’ve actually posed for a picture since my front and side shots.”  In a recent written statement from editor of Creative Development, David Friend: “The magazine’s subjects, in concert with Vanity Fair’s photographers, were pushing photo sessions to their limits in a performance-art satire of their own celebrity. The images were a wink to the reader; postmodern fame was sometimes sustained or amplified by letting the viewer lift the curtain on the artifice required to maintain one’s public persona.”

When actor Rob Lowe was photographed by Nan Goldin back in 1983, he had just completed his first two feature films –  The Outsiders and Class. He was hovering on the cusp of super stardom. “I was just out of high school,”  says the actor. “(I was) totally passionate about acting. This (Vanity Fair shoot) was the beginning of something exciting.”  We are exposed to Lowe’s budding sexual persona; the almost documentarian styling of the photo, combined with his casual reclining stance, makes the image feel almost taboo in its presentation. This is but one example of the magazine’s natural ability to identify future talent. Graydon Carter comments further. “It means that right now, whether it’s fame or infamy, you’ve done something that has affected the culture to such a degree that you should be in the
pages of Vanity Fair.” 

Rob Lowe by Nan Goldin. Vanity Fair, February 1984

Though she had successfully brought the magazine to the public forefront, Tina Brown moved over to Nast’s New Yorker in 1992 at the request of Newhouse, and another editor was brought in. Graydon Carter – formerly of Time and Life, had also co-founded Spy, a publication known for its unflinching irony and wit – and one that had spent a great deal of ink satirizing the very magazine he was taking over. While Brown elevated Vanity Fair with her Tatler-esque gloss, Carter’s journalistic sensibility, infused with a fresh ingenuity, catapulted the magazine to a new level of literary reportage. He hired outspoken intellectual auditors like Christopher Hitchens and Amy Fine Collins. Politics and world affairs got just as much airplay as the Hollywood elite. Within a short period of time, Carter refurbished the publication, replete with a newfound consciousness – as well as an abundance of profit. 

  Of course, people weren’t just buying Vanity Fair for the articles. Early in his tenure, the editor brought in a number of photographic auteurs — including David LaChapelle, Bruce Weber, and Norman Jean Roy – to the Vanity Fair collective. “Most great photos are a real collaboration,” muses Carter. Actress Hilary Swank, who was in the midst of preparing for what would become her Oscar winning performance in Million Dollar Baby, wanted to showcase her new, athletic prowess. “She’d been training for hours a day…(photographer) Norman (Jean Roy) wanted to do something on the beach – so the terrific result is a really great twist on the typical bikini-clad girl at the beach photo.” Carter’s visceral predilection for showcasing celebrities in unusual – and often, overtly sexual – situations continued to appease a now ravenous audience, hungry for his publication.  Take Leibovitz’ March 2006 cover of a nude Scarlett Johansson and Keira Knightley. By photographing two, nubile innocents in an unexpected – albeit almost obtrusive level of eroticism – Carter once again fulfilled his audience with a visual feeding frenzy. His take was not merely savoir-faire, it had become savoir flair. 

Hilary Swank by Norman Jean Roy. Vanity Fair, March 2005

  The Vanity Fair portraits give us an opportunity to pause and take stock; not only to savor their artistry, but to admire the effort. Think what has gone into putting these portraits together – the labor of a photographer, the tenacity of an editor, and the vulnerability of a subject. These things take time. This is not to say when gazing upon these photographs the gratification will not be instant. But there is no doubt that long after the moment has passed, their impact will transcend the fleeting comments of tomorrow’s latest blog, or that never ending myriad of texts. 

Scarlett Johansson and Keira Knightley by Annie Leibovitz. Vanity Fair, March 2006

Vanity Fair Portraits: Photographs 1913–2008, October 26, 2008 –
March 1st, 2009. www.lacma.org

Michelle Rodriguez

words by Jason Dean, photos by Robert Todd Williamson

art direction by Laura Ann, hair by Dale Johnson, makeup by Lusine using MAC

Michelle Rodriguez

“I used to be the 13-year-old girl wearing a dress knocking on people’s doors thinking I could save their lives,” says Michelle Rodriguez, whose new film, Battle In Seattle, comes out this month.

We caught up with the former “Jehovah’s Witness-in-training” on a recent weekend to talk about her new film, her old religion, and her aversion to politics.

h: How much did you know about the Seattle incident when it actually happened?

MR: Absolutely nothing. I knew corporations were taking advantage of poor countries, but I had no clue to what extent. In today’s day and age, we have all the tools to know what cause and effect is – to assess what you’re doing. There’s no excuse for any corporation to not take responsibility for what they create.

h: Do you consider yourself politically conscious?

MR: I hate politics, man. A big F-U-C-K to politics. I believe in the power to communicate, to become a better person in how you affect others, you know, being a more responsible individual. But when it comes to yapping puppets on a stage, I couldn’t care less.

h: I read somewhere that your parents were Jehovah’s Witnesses.

MR: Yeah, that’s a trip, huh? Growing up, I had lots of friends who were from religions that had strict guidelines. It was intriguing to me, all the rules and regulations. I call it a fetus. You don’t know how to evolve when you’re living in such protective circumstances. I had to rebel.

Michelle Rodriguez

h: Do you do any of your own stunts in your films?

MR: No, I wish. It’s cuz of insurance. They won’t let you play. I love action. We’re too young not to use our bodies.

h: You do like to skydive, though.

MR: Yes. I did it to overcome my fear [of heights]. I try to face my fears. The studio doesn’t care what you do as long as it’s not during production or just before. So, no skydiving during production—which I’ve done a couple times (shhhh!).

Michelle Rodriguez

h: You recently launched your own company, Cheshire Kat Productions. What projects have you been working on?

MR: In November we started work on a project set in the 1940s, In the Time of Butterflies. It’s about the revolution in the Dominican Republic. The main character was previously portrayed by Salma Hayek [in 2001 for a TV production]. It’s all in Spanish; we filmed in the Dominican—we literally went in guerrilla style, man! We’re also doing a kid’s movie, sort of a cross between Jumanji and Goonies. I started writing it when I was 15. It’s got kids and animals, something for the emo-MTV, ADD youth, in a non-American Pie way.

h: Do you like being around kids?

MR: I love rugrats. I honestly don’t see how I could get through without them. They represent purity, innocence, and hope. I’d just constantly be listening to Morrissey, Portishead, and the Sneaker Pimps if not for kids.

h: Thanks for taking the time, Michelle. It’s
been a pleasure.

MR: Awesome, man. Cheers!