Shailene Woodley Sentenced to A Year of Probation for DAPL Arrest

Photo: @ShaileneWoodley on Instagram

Shailene Woodley, currently blowing our minds as Jane on Big Little Lies, was arrested last year for refusing to cease protesting the constuction of the Dakota Access Pipeline at the Standing Rock reservation. She was charged with one count misdemeanor criminal trespass and one count misdemeanor engaging in a riot. Her lawyer has not pled guilty to a count of disorderly conduct and Woodley has been sentenced to a year of “unsupervised probation,” Dazed reports.

In December, President Obama halted construction on the Pipeline, which would cut through sacred land of the Standing Rock Sioux Tribe and potentially contaminate water sources for the Native Americans. Trump subsequently reversed his predecessor’s freeze on construction, which prompted Standing Rock’s Chairman to say:

“President Trump is legally required to honour our treaty rights and provide a fair and reasonable pipeline process. Americans know this pipeline was unfairly rerouted towards our nation and without our consent. The existing pipeline route risks infringing on our treaty rights, contaminating our water and the water of 17 million Americans downstream.”

In an interview on The Late Show with Stephen Colbert, Woodley said, “the front lines don’t necessarily have to be in North Dakota. The front lines can be wherever you are. You can create a protest in New York City, because protests are about awareness and about people coming together.”

Take a look at her interview below:

Oil is planned to run through the Pipeline for the first time this week. A broken pipe cause 530,000 gallons to spill in North Dakota last week.

Last Night’s Top Oscar Fashion Debates

This year’s Oscars style was peppered with lots of red, white, nude and sequins. There were a few hands-down winning looks (Angelina Jolie in Atelier Versace, Rooney Mara in Givenchy Haute Couture) and some not-so-winning looks (Sandra Bullock in Marchesa, Cameron Diaz in Gucci Premiere). There were also a handful of stars sporting curious looks that are still up for debate, namely Gwyneth Paltrow, Emma Stone and Shailene Woodley. Now, let’s assess the situation.

First up is Paltrow in FW12 Tom Ford. While I was a high-flying fan of her column dress and dramatic cape combo, E! deemed it "quirky," adding: "Is it a bird? Is it a plane? No, it’s Super Goop!" Overall, the majority of fashion insiders gave Gwyn’s stylish statement an enthusiastic thumbs up, while the more conservative fashion crowds continue to scratch their heads.

Votes for Emma Stone, on the other hand, are progressively veering toward the "don’t" side for all viewers, like the hilarious gals from Go Fug Yourself. The only reason this situation saddens me in particular is because I attended the red carpet arrivals yesterday and saw her Giambattista Valli Haute Couture dress in the flesh, and it was actually a deep fuschia in person, contrary to popular belief. On camera the dress was this bright annoying red, which, combined with the huge bow, made her look about two months late for Christmas.

And last but not least, we have Shailene Woodley in a long-sleeved number by Valentino Haute Couture. While HuffPost wondered whether the look was "too stuffy," for  the young Descendants actress, bloggers Tom and Lorenzo said it was "way too Nixon daughter," which I totally get. 

How do you think these stars faired?


Shailene Woodley Cast as Lead in ‘Fault In Our Stars’ Adaptation

If you haven’t heard much about The Fault In Our Stars, you probably either don’t know many young adults (or regular adults who read a lot of YA literature) or don’t go on the Internet a whole lot. The John Green novel (which gets its name from a quote from Julius Caesar)  about two teenagers who meet in a support group for young people living with cancer, was one of the best-reviewed and most talked-about books of 2012 by readers of all ages, and Green himself is something of a literary icon for the Tumblr set. 

So of course there was going to be a movie. And John Green’s international network of diehards probably had plenty of suggestions for who to cast as Hazel Grace Lancaster and Augustus Waters, Green’s protagonists. Today, after more than 250 auditions, the choice for Hazel was announced as Shailene Woodley, who first broke ground on the treacly ABC Family melodrama The Secret Life of the American Teenager before wowing critics (and earning a Golden Globe nod) for her performance in The Descendants. Woodley was also recently announced as the lead in the upcoming adaptation of Divergent, another buzzy YA novel, though this one is set in a dystopian-future version of Chicago. Anyway, the Internet will probably have lots of opinions about this casting choice, but the creator of the character is on board!

John Green has been supportive of the adapation, which will be co-written by Scott Neustadter (500 Days of Summer) and Michael Weber (The Spectacular Now) and directed by Josh Boone (Stuck In Love). And he was pretty stoked about the decision to cast Woodley as one of the leads, and took to one of his favorite spaces, his Tumblr, to tell his fans just why

"I am very excited about this.
Here’s the thing, tumblr: Shailene Woodley loves The Fault in Our Stars. She really does, and in her audition, she just was Hazel—at least to me. You can read what Josh (the director) had to say about it in the article above, but for me her commitment to the book and deep understanding of Hazel make her the perfect choice."
Now, of course, comes the question of who will play Augustus Waters, Hazel’s love interest. A quick search through the "Augustus Waters" tag on Tumblr brings up pleas for Freddie Highmore, Evan Peters, Logan Lerman, Grant Gustin and many more. This is like Finnick Odair all over again, y’all.

Shailene Woodley on ‘The Descendants,’ Eating Clay & Super Humans

On her second day at work at American Apparel, actress Shailene Woodley got a call from her manager asking her to catch a flight to L.A. to meet director Alexander Payne for coffee. The Academy Award-winning filmmaker was casting his next project, an adaptation of Kaui Hart Hemmings’ novel, The Descendants. Months before, Woodley had auditioned for the role of Alex, a combative teenager who helps her father (George Clooney) cope in the wake of a family tragedy. Three months later, she was in Hawaii, where the film is set, meeting Clooney at the first table read. Here is the actress, who also stars in the ABC Family soap The Secret Life of the American Teenager, on The Descendants, eating clay to fight radiation, and her group of super humans. 

When you were auditioning for the role did you know who was going to be playing your father at that point?
No, Alexander wasn’t even attached when I first read the script. The first time I read the script it was an adaption of the book from different writers than Alexander, so the script we ended up using was completely different. However, the story was the same so it fueled something inside of me. I don’t remember the last time I was so passionate about something in my life. And then, eventually, six months later, I got to audition for Alexander. And then after I auditioned for him, I found out George was attached and it was kind of an organic process.

By now it’s well known that you were working at American Apparel when you got the gig.
Yeah, I was working at American Apparel down on Orchard and Houston, and I got a call early January from my manager, and he said, Shai you need to fly to L.A. tomorrow, Alexander wants to have coffee with you. And I was like, I can’t do that, it’s my second day at work at American Apparel, I have a commitment, I can’t let them down. And he was like, Shai you need to. And I was like, Can we Skype or something? But he was like, Shailene, I never tell you to do anything, and I really believe you need to do this. So I flew to L.A.

What was your excuse?
I told them I had the flu. So I flew to L.A., had coffee with him, and then went straight back to the airport and flew home that night so that I could work the next day at American Apparel. But when I had coffee with him, he told me I was his number one choice. He was going to Hawaii though, and he was going to audition every girl in Hawaii, and if there was one that was better suited for the role than me, he would call me and tell me personally that I did not book it. And that to me was enough. People were like, He shouldn’t have done that. But I thought it was so respectful and honest of him to do that. And then a month later, he called and said I did book it. Then I bawled.

You’ve been acting for a long time, but does this feel like a new stage in your career?
The only thing that feels new is the politics of this industry. But I work with such an amazing team, and luckily they specialize in the politics, and I specialize in getting on set and doing it on set. We have this really great collaboration where I don’t have to learn about it, because they’ll just guide me along the way. So often when someone gets a movie that is bigger than what they’ve done before, it becomes strategy all of a sudden. It becomes what magazine you’re in and what your portfolio is like, and who you talk to, and who you suck up to, and who you go meet with, and what outfit you wear. And that to me is all bullshit. I refuse to buy into that. I am into this for the art of it. Granted, Fox Searchlight is my boss, or whatever studio you’re working with on a specific project is your employer. And magazines are great to do as long as you have integrity in your interviews. As long as a project fuels my soul I’m happy.

How does a project fuel your soul?
It’s that unspoken feeling in your stomach. I’m a firm believer in listening to our bodies, so when something’s not working in life, you get that feeling in your stomach, this guttural pain. So often in relationships, when someone hurts you, it’s that pain in your stomach. That feeling when you read something or see a piece of art or you write, or whatever your artistic expression is, and inside your stomach, you get butterflies, and you get this intense passion, that’s what I mean by fueling your soul. It’s all physical.

What are you passionate about?
Acting is a big passion of mine and the other—I don’t’ want to say bigger, but it brings tears to my eyes because that’s the amount of passion I have—is teaching humans to be human again and reminding people to wake up. Ultimately, it’s about re-wilding yourself. And I don’t mean going out and actually foraging for food, although I do preach that because I do that.

You forage?
Yeah! And drink spring water from the mountain. I think it’s important to be human, and also I feel very fortunate to have been put in a position where I can talk to more people than I necessarily would have been able to talk to about big issues like Monsanto and genetic modification, and sweatshops and genocides that are occurring in Africa at this very moment. I realize that I’ve been given this really fortunate position to talk about issues that I think need to be addressed. I’m also on the extreme spectrum when it comes to sustainability and eating healthy and all that.

Are you a vegetarian?
I’m not a vegetarian. but I only eat humanely raised meats. I would rather actually kill my meat than buy it in plastic wrap. I don’t buy meat from Whole Foods, I order it direct from a farm. I mean, I’m like extremist.

When did this mindset take over?
I was fourteen, and my grandma is a naturopath, and she took my blood—she does live blood and cell analysis. She was like, You should probably eat more vegetables, and microwaves are not great for you.  And so I started doing research, and I haven’t used a microwave since. And that kind of kicked off eating vegetables. But I still liked processed foods. And then, at around sixteen, I got really really big into the environment and the importance of realizing that we are nature, which a lot of people have forgotten. We’re not part of nature, we are nature. So that kind of hit home.

You spent time in Hawaii shooting The Descendants. How did that affect you?
I had never been to Hawaii before, and the second I landed there I was like, This is home, this is me. My body’s from L.A., but my heart is from Hawaii. I’ve been there so many times since filming and established such phenomenal friends there, and the islands have this incredible energy that’s not really tangible.

Does radiation from your cell phone freak you out?
Oh my God. Radiation is one of the biggest things. Actually, there’s this awesome speaker, his name is Daniel Vitalis, we’ve become great friends, you should look him up, he’s a super human. George Clooney, Alexander Payne, Daniel Vitalis—super humans. He talks about protecting yourself from radiation, and how every indigenous creature on this planet eats clay. And when you eat clay, it combines with radioactive isotopes and heavy metals and takes them through your system.

Do you eat clay?
I eat clay every morning.

Let’s talk about The Descendants. What kind of pointers did Alexander give you?
Absolutely. The best direction he ever gave me was he came up to me and said, You’re not being Shai, and he walked away. I was like, Oh, duh, thank you. Thanks for bringing me back down to earth.

Your character is a bitch at the beginning of the film. Is there any of that in you?
Absolutely. I think everyone has a pain and a bitch in them. I don’t often use that side of myself because I really don’t have reason to, but the reason I don’t get bummed when I don’t book a role is because every character is written for a certain person, and you never know who that person is until they show up. For Alex, there wasn’t a lot of acting to be done, it was more about me being present in the moment. I’m not her. I didn’t do drugs in high school and I didn’t drink, and I’m not bitchy like she is, and I don’t say words like ‘twat’ on a daily basis. But, I somehow connected to her.

Next Year’s Best & Brightest in Movies, Music, Art, & More

Allow us to present our fifth annual New Regime Portfolio, which offers up an electric blend of hitmakers, thespians, web-savvy scribes, visionary curators, fashion savants, video artists, and even a Greek god. Through sheer talent, determination, and maybe just a smidge of natural selection, this group of overachievers will shape, bend, and define culture in the coming year. So meet the chosen few, remember their names, and get used to their faces, because they’re here to stay.


Romola Garai

As much as the news business has changed in recent years, it remains at heart the same as it was a half-century ago, according to Romola Garai. For someone not yet 30, the English actor is in a unique position to make the comparison. As Bel Rowley, the London-based producer of a 1956 TV news show on the critically acclaimed BBC drama The Hour, she’s had plenty of time to consider the journalism profession, and how difficult it can be to get the real story straight.

“Television news has to fight for great, investigative journalism in much the way it always has,” she says. “The 1950’s news programs in the U.K. were battling government censorship, while the programs of today are battling the controlling influence of the corporations that own them.”

Indeed, the first season of The Hour revisits the dark day when Egyptian president Gamal Abdel Nasser decided to nationalize the Suez Canal, setting off a murky war with the UK, Israel, and France. Defying pressure from the British government to toe the official line, Garai’s fictional show instead broadcasts an incisive, tongue-in-cheek segment on the crisis—leaving a generation of viewers riveted.

To prepare for the role, Garai studied the life and career of Grace Wyndham Goldie, a pioneering journalist who rose through the male dominated ranks of the BBC in the mid-20th century. Rowley shares Wyndham Goldie’s intelligence, drive, and vision, but thanks to Garai, she’s graced with a fair measure of intrigue and sex appeal, too. Rising journalist Freddie Lyon (Ben Whishaw) is hopelessly in love with her, even as she pursues her infatuation with married news vet Hector Madden (The Wire’s Dominic West).

Fearless, fragile, and highly believable, Garai’s performance leads one to wonder if she could ever embody another character so fully. Yet her resume is filled with impressive turns. From her leading role as Angel Deverell in François Ozon’s Angel to her stint as the adult Briony Tallis opposite Keira Knightley in the Oscar-nominated Atonement, Garai has imbued her characters with an authenticity that’s earned her the admiration of the industry’s top directors.

Though busy filming the second season of The Hour, she’ll soon travel to Burundi with the International Rescue Committee to write about the organization’s work with women and refugees. Does this mean she may one day become a real life news hound? “I read English Literature at university and did think about becoming a journalist after I left,” she says. “In truth, there is no way I would have been tough enough.”—Victor Ozols. Photo by Matthew Eades.




“I feel like American movies are more about entertainment. In France, there are more auteur films,” says 26-year-old French actor Léa Seydoux, who stars as Tom Cruise’s nemesis in Mission: Impossible—Ghost Protocol. “Both are very interesting. In France, we don’t have many action movies, so it was exciting to be part of something that is not from my culture.”

That’s not to say that this is Seydoux’s ¬first foray into big-budget Hollywood—or what she calls movies “for the audience.” She also starred in Ridley Scott’s Robin Hood as the baneful Prince John’s Gallic paramour, and Quentin Tarantino’s blood-stained Inglourious Basterds. It’s Woody Allen, though, who seems to have impressed her most. “There’s something about a Woody Allen film,” admits Seydoux, who played a suspiciously pretty antiques dealer in Midnight in Paris. “ There’s an intimacy, and I really like that.”

She was drawn to the profession, she says, after an encounter with an actor led her to think she wanted his life. A few years later, in 2009, she was nominated for a César award (think French Oscars) for her performance opposite Louis Garrell in La Belle Personne. She recently added a Prada fragrance commercial to her credits, too. And though she does love posing, she insists that fashion is only a hobby. “I’m just an actor who sometimes models,” she says.

So what about those American Apparel ads she appeared in back in 2006 before she caught the acting bug? “I was very young, I didn’t know. A guy came to me and asked if I wanted to do pictures for him. He said he had a brand called American Apparel. It was very new at that time. I said yeah, why not—the guy actually was the creator. I don’t remember his name, but now I know that he lost a lot of money.” Take that, Dov Charney. —Dana Drori. Photo by Iain McKell.



Though he got his start in menswear, the collection that propelled J.W. Anderson from need-to-know insider to fashion editor favorite offered clothes for both genders—not that it’s easy to separate the two in the designer’s world. By subverting classic shapes in favor of movement and material, he creates silhouettes that are exhilaratingly androgynous. Don’t expect the monochrome minimalism of Helmut Lang and Ann Demeulemeester, who tried to flatten boy meets girl into somber sameness. Anderson’s signature style looks more like a co-ed slumber party, where everyone keeps trading clothes just for fun.

Jonathan William Anderson was born in Northern Ireland in 1984. In 2001, he moved to Washington, D.C. to study drama at the Actors’ Studio, where he found himself more interested in the costumes than the stage. He returned to the U.K. to work as a stylist (notably for the musician Rufus Wainwright) before enrolling at the London College of Fashion. By the time he graduated, his label was firmly established. He unveiled his first collection in London in 2008, and within two years, he’d not only won a NEWGEN Men sponsorship to show at London Fashion Week, but also launched his first women’s line.

Anderson gives all his collections ornate names like “Craft Goes Machine” and “Eye for an Eye,” and he regularly posts artsy videos on his website (“The Fear of Naturalism”) and Tumblr. His eye for technology is keen: His patterns can look like fractals or organic forms under a microscope, and he helped pioneer the use of immediate sales, wherein certain pieces are sold directly after his Fashion Week presentations. Indeed, J.W. Anderson’s designs have the look of leisure wear from some Mars-bound space craft—modular, sleek, and reminiscent of footy pajamas. But they’re also eminently wearable, like a cashmere sweater with a loop of canary yellow latex encircling the waist. Back in August, he tweeted, “New Studio. New life. New me. New you.” Above all, the future through Anderson’s eyes looks like a lot of fun. —Megan Conway. Photo by Matthew Eades. 


Luke Evans

Before glimpsing a single paycheck, every actor dreams of being christened “a rising star.” It’s a universally acknowledged stamp of industry approval, and more often than not, a prelude to big money. But for Luke Evans, whose star is undoubtedly rocketing skyward, the label is losing its luster. “I’m wondering how long it’s going to last,” says the 32-year-old Welsh actor, “because I find it quite funny. How long can you stay ‘rising’?”

In Evans’ case, not much longer. For starters, he has been working since his early twenties, leading the 2002 West End production of Boy George’s musical, Taboo. He’d eclipsed 30 when he scored his first film audition, thanks to casting directors who took notice of his focused and sensitive performance in Peter Gill’s Donmar Warehouse production of Small Change. “It wasn’t me searching out movies, it just sort of happened,” Evans recalls. “I was very content working in the theater. It’s where I learnt my craft.”

Then, quite suddenly, he morphed into an action star. In October, he appeared as Aramis, one of the titular swashbucklers in Paul W. S. Anderson’s chop-socky thriller The Three Musketeers, and three weeks later, as a vengeful Zeus in Tarsem Singh’s phantasmagorical myth redux, Immortals. This March, he’ll travel as inspector Emmett Fields to 19th-century Baltimore, where he’ll help John Cusack’s Edgar Allan Poe track a serial killer in –The Raven. “I’m not quite sure how it happened, to be honest,” Evans says of his macho screen personas. “I never thought this Welsh boy who liked to sing would end up doing action roles.”

Over the next year, he will jet back and forth to New Zealand, where Peter Jackson is shooting consecutive films based on J.R.R. Tolkien’s The Hobbit. Evans will play Bard the Bowman, the eagle-eyed archer. The last time Jackson put a bow and arrow into the hands of a dashing young Brit, the Brit became the global star known as Orlando Bloom. Is Evans worried that The Hobbit will wipe out what remains of his anonymity? “My saving grace is that I live in London,” he says, “where people don’t really give a fuck.” —Ben Barna. Photo by Iain McKell.


Shailene Woodley

Like many 18-year-olds, Shailene Woodley wanted a part-time job. A slender brunette with doe eyes and a bright smile, she was living in New York for a few months with her then-boyfriend when she agreed to fold cardigans and placate hipsters at an American Apparel outpost. Unlike most people her age, though, she already had a full-time gig back home in L.A.

She was the star of ABC Family’s earnest teen soap, The Secret Life of the American Teenager.

“None of my coworkers knew I was an actor,” she says. (No doubt because the show caters more to Beliebers and Twi-hards than downtown scenesters.) “And thank God, because I didn’t want them to know. There’s such a weird, preconceived image of what an actor is, and I didn’t want anyone to think of me like that.”

On her second day at work, Woodley got a call from her manager asking her to catch a flight to L.A. to meet director Alexander Payne for coffee. The Academy Award-winning filmmaker was casting his next project, an adaptation of Kaui Hart Hemmings’ novel ¬Th Descendants. Months before, Woodley had auditioned for the role of Alex, a combative teenager who helps her father (George Clooney) cope in the wake of a family tragedy. “I was like, ‘Can’t we Skype or something?’” she says. “I made a commitment at American Apparel, and I didn’t want to let my bosses down.” In the end, better sense prevailed and Woodley faked the flu to meet with Payne, who told her she was his first choice to play the part. Three months later, she was in Hawaii, where the film is set, meeting George Clooney at the first table read.

Alex may hit the bottle and lash out at her father, but Woodley insists she’s nothing like her rebellious on-screen persona. Now 20, she drinks clay each morning to detoxify and dreams of owning an organic farm. “I didn’t do drugs or drink in high school, and I don’t say words like ‘twat’ on a daily basis,” she con cedes. She will admit to falling for Clooney’s fabled charm, though. “He’s a superhuman,” she says. “He’s won at life.” Even so, she found herself more impressed by the Aloha State’s scenery. “The second I landed, I was like, ‘This is home.’ My body’s in L.A., but my heart is in Hawaii.”

Don’t be surprised to find her working there one day, coaxing vegetables from the soil. “When it comes to health,” she says, “I’m an extremist.” —BB. Photo by Jesse Dittmar.



Claire Boucher has big plans for her audiovisual alter ego Grimes. “I just want to make a really fucking solid piece of art,” says the self-described curator of culture, who just wrapped a tour opening for Lykke Li. “I want everything about it to be really thought-out and constructed. It’s not just music, it’s an entire production.”

Once a fixture on the DIY scenes in Montreal and New York, the headstrong 23-year-old now finds herself performing in major venues across North America and Europe. With four albums in just two years, she’s on something of a tear—she even designs the covers—but her latest, Visions, is the result of near-monastic introspection. “I locked myself in my room for three or four weeks, blacked out my windows, and barely slept or ate. I was full-on hallucinating and going crazy.” What she emerged with, she says, is “an idealized version of life filtered through my brain.”

Grimes looks like a rogue pixie. Petite and badass with an array of colors flowing through her hair, she peppers her conversation with fantastic one-liners (“I want to work on completely removing any self-censorship when I’m on stage”). Her music is far more difficult to describe, which is just how she likes it. She draws inspiration from a broad spectrum—Enya to Timbaland—and prides herself on mixing it up. “It’s about anti-genre. There’s no taboo reference. The more distasteful, the better.”

What is it that drives her? A little thing called the apocalypse, which she predicts is on the way. “I just want to have as much experience as I can before that happens,” she says. “I don’t care about accomplishing shit, I just want to experience pleasure and pain to the utmost. Being a musician will give you that.” —DD. Photo by Marley Kate.

GRIMES LIKES: Vanessa’s Dumpling House, NYC



Ellen DeGeneres, Christina Ricci, and Tracy Morgan are just a few of the famous faces that Mike O’Brien has lured into a nondescript closet on 59th Street in Manhattan, besieged with nonsensical questions, and then tried to kiss. That’s the basic premise of 7 Minutes in Heaven, an irreverent and inventive web series named after the hormonal make-out game.

When the cast of Saturday Night Live rushed off to vacation this summer, 35-year-old O’Brien and fellow writer Rob Klein found themselves in need of a creative outlet. Naturally, they turned to the internet. “We had three ideas,” says O’Brien. “One was a series of online how-to videos that always go awry, the other was about a character—half-human, half-giraffe—who’s a stand-up comedian in New York, and the third one was an interview series where I try and kiss people.” SNL patriarch Lorne Michaels, whose production company had agreed to fund the project, encouraged the duo to run with that last concept—in part because it was the cheapest to produce.

Klein chose to direct. That left O’Brien to be the host. At first, he says, his guest wish-list was a little quixotic. “People laughed at me, because it was like Oprah, Shaq, and Bill Clinton.” Would the comedian, who got his start on the Chicago improv circuit, have the stones to put the moves on the 42nd President of the United States? “Absolutely,” he says. “He’d be the easiest to kiss, right?”

Today the show relies on a hodgepodge of Studio 8H bedfellows and celebrities who traffic in quirk and self-mockery. The most-watched episode features Kristen Wiig. To bag Amy Poehler, O’Brien decided to accost her at her own birthday party.

The star factor is what entices viewers to watch, he admits, but like any talk show, 7 Minutes in Heaven lives and dies with its host. O’Brien deploys playfulness and unpredictability to disarm his guests. “I feel a little uncomfortable in almost all the interviews,” he says. “I’ve definitely offended people.” Case in point: The time he asked model Selita Ebanks, “Would you describe yourself as actually a guy?” In the end, though, Mike O’Brien’s great appeal is that he’s harmless, the kind of fellow with whom you wouldn’t mind being trapped in a closet.—BB. Photo by Jesse Dittmar.




Tall and lanky, Ezra Miller fairly vibrates with energy. In the course of a few hours in Washington Square Park, he croons “Ziggy Stardust” to a small black dog, shares a rollie with a man messed up on PCP, and ropes a particularly outré busker into competing in a sort of freeform jumping jack duel. The 19-year-old actor can talk a blue streak, too, so it’s a good thing he’s whip smart. “I would just caution all factions of industry,” he says. “Don’t give a crazy, radical person like me stardom, because I will use it on all the things you’re most afraid of.”

This stoner-philosopher from New Jersey shares nothing in common with the Ezra Miller who appears in We Need to Talk About Kevin—except maybe the Garden State itself, where the film is set. (“It was certainly an incredibly boring form of societal existence,” he says of his upbringing.) Miller delivers a chilling performance as Kevin, a disturbed teenager whose antisocial behavior goes haywire. Most of his animosity is directed at his mother, played to strungout perfection by Tilda Swinton. And yet, Miller couldn’t be more fond of Swinton in real life. “She is one of the greatest people alive,” he says. “Like some sort of constant electro-magnetic poly-rhythmic pulsation.”

Born into an artistic family, Miller was an alto-soprano with the Metropolitan Children’s Chorus as a “wee lad of eight.” These days, he drums for a jangly rock band called Sons of an Illustrious Father. His acting credits include City Island and Beware the Gonzo. Up next: The Perks of Being a Wallflower, in which his character introduces a Freshman naïf to girls and pot (Miller was arrested for possession while on location in Pittsburgh). Starry-eyed though he may be, Miller seems genuinely committed to la vie boheme. “I made a choice when I was very young: I will make art until I starve in a gutter, like Edgar Allan Poe.”

“Why should artists across society be diluting their processes and compromising their intentions just to fit into civilization,” he adds, “when what really needs to happen is an alteration of civilization?” Just then, a car arrives to whisk him downtown—to the protests for Occupy Wall Street.—Megan Conway. Photo by Alexander Wagner. 


electric youth

When the ultraviolent superhero allegory Drive stormed theaters last fall, the only thing that generated more buzz than Ryan Gosling’s bloodied bomber jacket was the flick’s soundtrack, a collection of ’80s-inspired songs exquisitely attuned to L.A.’s neon underbelly. In one memorable scene, Gosling woos a doe-eyed Carey Mulligan with a spin through a city viaduct while the dreamy, synth-driven ballad “A Real Hero” plays in the background. The song, featuring the Toronto-based pop duo Electric Youth, became the film’s unofficial theme song.

“We had no idea it was going to end the way it did,” says Austin Garrick. “I had a song that was partially written, inspired by a poem that my grandpa wrote about a hero, but I remember thinking, How do I make a song about a hero cool?” As it happens, a French producer named College had an instrumental beat called “A Real Hero,” which he dispatched to Garrick and bandmate Bronwyn Griffin in Toronto with an offer to collaborate.

Stories abound as to how the obscure song—originally released by a small Belgian label in 2009—ended up in the hands of Drive director Nicolas Winding Refn. “All we know is that College was approached by the film’s producers at the end of last year,” says Garrick, reminiscing about the stroke of fortune that changed his life. “We didn’t think much of it. We were just like, cool!”

In short order, the film’s success provided Electric Youth with the kind of boost that only exists in, well, the movies. Today, Garrick and Gri ffin—who also happen to be longtime sweethearts (he asked her out just before high school, when he realized “there would be a lot more competition”)—are on the cusp of releasing their first LP. More eighties pop nostalgia? You bet. “We definitely have a natural pop sensibility,” says Garrick. “We don’t shy away from that at all.” —Daniel Barna. Photo by Adam Beck.


candice madey

In September of 2008, the day before Lehman Brothers filed for Chapter 11 bankruptcy, Candice Madey opened the doors of her brand new gallery on Orchard Street in New York. Despite the recession that followed, shuttering dozens of art spaces, On Stellar Rays flourished. The experience Madey had earned while working in a museum, an auction house, and the white-washed corridors of Chelsea helped, no doubt. But so did her MBA.

“I’m good at being the liaison between the collector, the institution, and the artist because I’m able to talk to different types of people,” Madey says over iced tea at a nearby café. “Hopefully, the artists are somewhat liberated from worrying about things like price—I’m there to give them the resources they need to make their best work.”

At the moment, the Ohio native represents only seven New York-based artists, all of them “intense, visceral, and extremely intelligent.” Like art-world doyennes Marian Goodman and Paula Cooper, she views her time with each as a decades-long investment. “They’re friends with each other,” she says. “There’s a fantastic dialogue happening.” Zipora Fried, for example, has completed portraits of the gallery’s other artists; Clifford Owens and Maria Petschnig have teamed up on collaborations. “After I feel secure that I’ve accomplished something with these first seven artists,” Madey explains, “I’ll start to think about adding to the program.”

The curatorial rigor she brings to her work is increasingly rare in an era of pop-up galleries and web forums. But Madey’s unwavering dedication is paying dividends. Before vacationing in Ljubljana this August, she was on-call at the Venice Biennale. After that, the Sunday Art Fair in London. When she returned to New York, she produced a show of Owens’ work at PS1, and four On Stellar Rays artists were selected for the MoMA offshoot’s “Greater New York” quintennial exhibition in 2010.

“I really believe the artists I work with are making the next generation of important work,” she says. “If it takes longer for people to understand, then it will just take more time.” —Megan Conway. Photo by Nick D’Emilio.



jason clarke

When it comes to Prohibition-era movies made by Australian filmmakers, Jason Clarke appears to have the market cornered. “It’s a weird coincidence,” says the 42-year-old actor of his next two films, John Hillcoat’s The Wettest County in the World and Baz Luhrmann’s The Great Gatsby. “I hadn’t worked with Australians for a long time, but fuck, any time you get to put on some good period clothes and a couple of hats, let’s do it.”

An Aussie himself, Clarke moved to L.A. eight years ago and starred in Brotherhood, a Showtime series about two clashing Irish-American siblings. Though admired by critics, it was ignored by audiences and eventually got the boot. Clarke, who was going to be a lawyer before he enrolled in acting school, responded by padding his resume with minor roles in films such as the Michael Mann gangster odyssey Public Enemies and Oliver Stone’s Wall Street: Money Never Sleeps. The multiplex crowd couldn’t have picked him out of a lineup.

That will change once Wettest County is released. In the film, adapted from a Matt Bondurant book by musician Nick Cave, Clarke plays the oldest of three brothers struggling to keep a bootlegging business afloat. “He’s a very good man, but he’s a very troubled man,” Clarke says. (The younger brothers are played by Shia LaBeouf and Tom Hardy.) Clarke’s work in the film was proof enough of his talent to earn him a role as the limp mechanic George Wilson in Luhrmann’s Great Gatsby remake. And make no mistake, the director was looking for talent. The cast includes Leonard DiCaprio in the title role, Tobey Maguire as Nick Carraway, and Carey Mulligan as Daisy. Before shooting began, Luhrmann raised eyebrows by announcing that Gatsby would be filmed in 3D. But Clarke promises that watching it will be a uniquely immersive experience.

“You know when you walk into those tunnels that are aquariums and everything is all around you?” he asks. “Behind you, in front of you, underneath you—here, it’s the menu, the bottles, the curtains blowing in the wind. You’ll be as close as you can get without smelling it.” –BB. Photo by Ben Cope. 



“It’s always been a challenge for me to conceive of a straightforward sculpture or painting,” says Xavier Cha, the Bushwick-based performance artist whose past works have involved a bodysuit carpeted in cornrows, a brobdingnagian-size Horn of Plenty, and a dancing shrimp. “For me, it’s an attraction to the tangibility of space—how objects, people, and ideas expand beyond the physical space they occupy.”

Though mostly raised in Dallas, Cha was born in Los Angeles, the city where she returned to cut her artistic teeth by transforming performers—herself included—into human advertisements (note the dancing shrimp). A graduate of the Rhode Island School of Design, she presented her first gallery show at New York’s Taxter and Spengemann in 2006. In a smart riposte to the strictures of her field, she invited performers of all stripes—strippers, jazz musicians, opera singers—to join her in an unhinged, ’60s-style happening. In the same space three years later, she merged satellite pictures of Saturn’s rings with spa imagery “to speak to the sterile spirituality or ‘zen’ that’s often associated with treating yourself,” she says.

Last summer, for her show at the Whitney Museum of American Art, she outfitted performers she’d selected with a camera rig called the Doggicam Bodymount (though distinct, it shares much in common with the SnorriCam, a favorite of horror movie directors)—the lens pointed directly at the face of each performer as he or she moved individually about the museum’s lobby. The resulting footage was screened while the next performer saddled up.

“When I experience something powerful, especially in film, literature, music, or dance, there’s a specific feeling of heart-wrenching emptiness, of being a thin cold hollow shell, like your being has been sucked out, or falls out from beneath you into a black hole,” she says when I ask what it is she hopes to communicate with her art. “Not to be dark, but I love when things make me feel like this. I hope to make others feel it to some degree. It’s like being reset.”

With performance art on a steady climb—historically, the genre has thrived in tough economic times—Cha is eager to keep busy. “I have future performances brewing, just awaiting the opportunity and funding to produce them,” she says. “I guess I just need to remember how potentially powerful and influential one person can be—and to always enjoy.” —MC. Photo by Nick D’Emilio.




“I’ve always been interested in systems,” says Robin Sloan, whose nominal day job involves media outreach for Twitter. “I’m interested in change, new things—and though I was studying economics and philosophy in college, I got interested in the system of journalism.” That interest led him from the Poynter Institute media think tank to Current TV to Twitter—and ultimately to his first novel. “I actually started writing fiction because I was jealous of friends who were putting out short stories on Amazon’s Kindle,” he explains. Sloan’s fascination with the device might have sparked his desire to create, but a fateful tweet turned him down the path of pure inspiration.

It all began with Rachel Leow, a formidable academic intellectual and prolific Tweeter, who in 2008 typed, “just misread ‘24hr bookdrop’ as ‘24hr bookshop’. the disappointment is beyond words.” This struck Sloan as perfect fodder for a story, which led to “Mr. Penumbra’s 24-Hour Bookstore,” a long post on Sloan’s personal website that he says is still far and away the most popular piece of narrative he’s published. (You can read it on your Kindle, of course.) A mannered mélange of magical realism, the story tracks a down-on-his-luck technocrat as he takes a night-shi ft job at the titular bookstore, gradually adapting to its strange environments and bizarre characters.

What happened next was totally unexpected. An editor Sloan knew at Farrar, Straus, and Giroux expressed an interest in transforming “Penumbra” into a non-irtual, tangible-object book, which will land on shelves later this year. (¬The storied publishing house of T.S. Eliot and Flannery O’Connor apparently has no reservations about tweet-to-book deals.) For his part, Sloan had no trouble stretching the simple premise to fill the larger stage of a novel. In fact, he’s eager to get to work on something new. “Right now,” he says enthusiastically, “is the most exciting time to be a novelist.” —Chris Mohney. Photo by David Fenton.

ROBIN LIKES: Burma Superstar, SF



The three bearded founders of Borderline Films, Antonio Campos, Josh Mond, and Sean Durkin, can’t seem to agree on the exact moment their movie Martha Marcy May Marlene became a Sundance knockout. A spellbinding psychodrama about a young woman trying to readjust to society after fleeing a cult, it is best known for introducing the world to Elizabeth, the younger Olsen sister. But Fox Searchlight, which bought the rights to Martha at the festival, didn’t cough up $1.6 million for just a performance; Borderline went on to sign a two-year production deal with the company. “I think it’s once we walked out of the theater after the premiere,” says Mond. “I don’t think so,” counters Durkin, who wrote and directed the film. “It’s when Searchlight called.” But Campos sides with Mond, his fellow Martha producer. “I feel that during that screening, there was something different in the air.”

The outcome remains the same: these three longtime friends have cracked the Hollywood code. All in their late 20s, they met at New York University film school eight years ago and have been collaborating on each other’s projects ever since. “We’re not jetting around L.A., taking a bunch of meetings,” says Campos, who wrote and directed Simon Killer, the trio’s next effort. But that’s not to say they’re immune to the windfalls of success. For one, they can now pay their rent on time. “It was bad living month-to-month, day-to day,” says Mond.

According to all three, the key to their success is each other. The rule goes, whoever isn’t behind the camera must produce. It’s a model espoused in film school, but not always practiced. “In terms of rotating roles and positions, that’s your basic filmmaking class,” says Mond. “In school, we all go through a very self-centered and insecure period, but people need to lean on one another more, because you can’t navigate through this industry, and through your own creative mind, alone.”

While the leap from struggling filmmakers to Oscar contenders might seem miles wide, they insist the steps between were taken incrementally. “People think we haven’t been making movies for eight years,” says Campos. “Everything that’s happened so far has just been one tiny step up after the other,” adds Durkin. “This is very much the next step.” —BB. Photo by Alexander Wagner.



Edith Zimmerman

How do you follow a fling with Captain America? Edith Zimmerman certainly raised a few eyebrows with her remarkably candid GQ profile of superhero actor Chris Evans, which detailed some highly charged interpersonal chemistry that found its way into the tabloids (she denies that anything really intimate happened). But Zimmerman is best known for leading the masthead at The Hairpin, a website that explores pop culture from a female perspective. Increasingly popular with readers of all genders, the site is worth visiting as much for the deadly accuracy of its wit (“Women Laughing Alone with Salad”) as for its next-level approach to stereotypical women’s topics (Jolie Kerr’s earnestly postmodern column on housecleaning).

In person, Zimmerman, who has also penned articles for Esquire, New York, Heeb, and the Huffington Post, is surprisingly self-effacing. As an Esquire intern just a few short years ago, she never envisioned taking the reigns of a popular website. “I had no idea about anything,” she says. “I just saw myself in some cool office at a desk, my hands typing da-da-da-da, being a writer somehow.” Now she’s charged with publishing 15 provocative items a day for The Hairpin (conceived by the folks behind The Awl, a mothership of sorts for smart young writers). “I was just afraid of embarrassing myself. They gave me a few pointers, but for the most part they didn’t give me much help, which at first was incredibly scary,” she says. “But I’m really grateful for that. If I had been waiting for everyone’s approval, it wouldn’t have given me the confidence to put it together.”

Now that the site has become a mustread, Zimmerman is looking ahead. “The next step is to come up with a cool new concept,” she muses. “Each year, it’s a different thing I didn’t even imagine existed.”—CM. Photo by Nick D’Emilio.

EDITH LIKES: The Brooklyn Inn, NYC



“Marty is a really amazing director,” says Asa Butterfield. It’s certainly not a statement—or a level of informality—most 14-year-olds would employ when discussing Hollywood gray eminence Martin Scorsese, who cast the young actor in the 3D adventure movie Hugo. But as anyone versed in fantastical children’s fictions already knows, Butterfield is no ordinary boy.

With his elfin looks and a talent belying his years, he practically bounded to stardom straight from the stage at the Young Actors Theatre in London. He’s well-known for his wrenching turn as Bruno, the son of a German SS officer, in The Boy in the Striped Pajamas, and for his work in the beloved Nanny McPhee franchise. How is it working alongside the likes of Emma Thompson and Anthony Hopkins? “After the first day of filming,” he says, “you don’t think about them as celebrities, just as friends.”

To his credit, Butterfield, who was recently cast as the lead in the sci-fi epic Ender’s Game, recognizes the unique nature of his position. “Being an actor does give me the opportunity to do and see things I wouldn’t otherwise be able to,” he concedes. “Come to think of it, I’m like Hugo.” That would be Hugo Cabret, the orphan Butterfield plays in Scorsese’s film. He secretly lives in the walls of a Paris train station, emerging only to get tangled up in a grand romp with costars Ben Kingsley and Chloë Mortez. Working with Marty—known for his ability to handpick pint-sized actors destined to become full-fledged stars (Jodie Foster, Juliette Lewis)—bodes well for Butterfield. Though still young, the cobalt-eyed comer is looking forward to “playing characters that have a bit more world experience. If anyone wants to make Young Bond,” he says. “I’m your guy.” —Hillary Weston. Matt Holyoak.

Where Celebs Go Out: Marc Jacobs, Amanda Lepore, Adrian Grenier, Emma Snowdon-Jones

At David Barton Gym annual toy drive: ● MARC JACOBS – “In Paris, there’s a small club called Montana, and there’s a restaurant called Thiou. Bars I really don’t hang out in. Oh, there’s this great club that happens once a month in Paris called Club Sandwich. And it’s at the Espace Cardin. And everyone gets super dressed-up, so it’s really, really fun. I try to go whenever I’m in Paris, if it’s going on. And we stay out all night and just dance like crazy. And in New York, my favorite restaurants have always been the same. I love to eat at Pastis. I love the Standard. I love Da Silvano. I eat in the lobby of the Mercer a lot, the hotel. I usually go to Pastis for lunch, and there’s a sandwich that was on the menu, but they don’t make it anymore, but I always insist that they make it for me. And it’s really fattening, so I shouldn’t eat it, but it’s chicken paillard and gruyere cheese and bacon. And it’s so delicious. It’s really good. And it’s my weakness. It’s just like the most perfect sandwich.”

● DAVID BARTON – “Oh, I can’t think where I like to hang out in Seattle except my new gym! There’s a great place that just opened up in New York, up on 51st, called the East Side Social Club. Patrick McMullan is one of the partners there. He’s co-hosting with me tonight. Great place; really cool. It’s very old world, kind of like going to Elaine’s, kind of little cozy; sit at a booth; very cool. Love a little place called Il Bagatto, over on 7th between A & B — little tiny Italian place, East Village, kind of a neighborhood place that I go to. What else? I don’t know restaurants. I’m very casual. I’m so not that into food. I mean, I could eat cardboard — I’m just not into food! I like people. I like atmosphere, but I’m just not that into food.” ● AMANDA LEPORE – “I definitely like Bowery Bar and I like Hiro. Boom Boom Room. Just anywhere where everybody is, I guess! [laughs] Novita, I like, my friend Giuseppe. Any favorite dishes? I try not to eat too much! ● PATRICK MCDONALD – “My favorite restaurant in New York is Indochine. It’s been around for 25 years. Jean-Marc, I adore. I love the bar at the Carlyle. I don’t drink, but I like to go there for tea in the afternoon. And I love Lady Mendl’s Tea Salon on Gramercy Park. I love Pastis, Odeon, and everywhere. I like the French fries at Pastis.” ● PATRICK MCMULLAN – “I love going to Waverly Inn downtown. Boom Boom Room is fabulous. That’s really a new, great place. SL, on 409 W. 14th Street, down below is nice. Of course, I have the East Side Social Club that I’m involved with, and that’s great for hanging out in, for eating. Favorite dishes anywhere? Oh, I don’t know, just anything that people recommend. I usually go with what people recommend ’cause most people know what’s good — the waiters know, so I think that’s the best thing. Red wine is good to have to drink sometimes. They have a drink called the Eastsider at the East Side Social Club that’s really good; any of their pastas; their ravioli is great there. What else do I like? That new place that’s open, the English place, on 60th in the Pierre — Le Caprice, that’s a nice place. At the Waverly Inn, I like the macaroni and cheese. It was funny because the macaroni and cheese is about two dollars less than a room at the Pod Hotel, which is where the East Side Social Club is! The Monkey Bar is fun. There are so many cool places in New York. I just go where people tell me to go.”

At elf party for Santa Baby 2: Christmas Maybe:

● JENNY MCCARTHY – “In Chicago, I would have to say Gibsons Steakhouse still; in Los Angeles, Katsuya, still love that sushi; I’m addicted to it. And in New York, Koi. I’m very trendy and boring, but, hey, that’s where the good food is, so …” ● PERI GILPIN – “In L.A., we like BLT a lot. We have five-year-old twins, so we’re like in bed by nine o’clock — pretty boring. Corner Bakery for soup.” ● CANDACE CAMERON BURE – “L.A., hands down, our favorite restaurant is Gjelina, which is in Venice. And we love Craft; love Michael’s in Santa Monica. Here, in New York, my favorite restaurant is Lupa, which is a Mario Batali restaurant; love it here. And I don’t go to clubs anymore, nightclubs; I don’t ever! At Gjelina, they have a burrata with prosciutto and, usually, a warm pear or a warm peach. I love that! I really love tapas. I enjoy getting a lot of appetizers, more than just a main dish. We, actually, have had our own wine label, Bure Family Wines, for two years, which is at several restaurants, so matching the food and the wine is a big part for us. We’re big foodies” ● DEAN MCDERMOTT – “There is a great bar, Ye Coach & Horses in L.A., on Sunset. I’m so bad at this stuff! Oh, Katsuya, in the Valley, awesome sushi. It’s our favorite place. We go there like three times a week.” ● KEN BAUMANN – “In New York, my favorite restaurant is Il Cortile. It’s in Little Italy, and it’s run by this guy named Stefano, and it’s incredible, phenomenal food. In Los Angeles, my favorite restaurant’s gotta be Cut, which is in the Beverly Wilshire Hotel.” ● SHAILENE WOODLEY – “Honestly, I’m not really a club kinda girl. I’d rather go to a local bar with some friends and hang out there. Or just go back to my house and have people come over. I’m more of the congregate-at-my-house kind of chick. I’m 18, so I don’t drink, so I don’t go to bars. There’s a place called the Alamo, which has karaoke and it’s a bar, but we go and karaoke there probably once a week.” ● FRANCIA RAISA – “I’m not a big club person. I really like bars and lounges. In L.A., I like to hang out at Buffalo Wild Wings, watching sports and drinking beer with my friends. I really don’t go out that much. I hang out at home and have my own glass of wine, watching Grey’s Anatomy. Oh, I just tried this restaurant yesterday at Gramercy Park Hotel. It’s a new, Italian place — Maialino. It was amazing. And again, I’m very simple, so I like pizza, and John’s Pizza out here is amazing to me, too. And hot wings I like at Planet Hollywood. I’m obsessed with them!”

At Zeno “Hot Spot” launch party @ MTV Studios:

● SKY NELLOR – “I am a huge sushi fanatic, so I just had Katsuya three times in two days in L.A. What is it about Katsuya? It’s the baked-crab hand roll in a soy-paper wrap. It’s just so yummy. I want one now! In New York, I have a fixation with Bagatelle. I just love the fish and the veggies. Nightclubs, nightlife, oh, my God! Apparently, I’m a really good bowler, so I hang out at Lucky Strike everywhere — Miami, L.A., Kansas! We just had a bowling party, and I won, so … Oh, they didn’t let me see my score. I just kept getting strikes to the point where they were, like, ‘Give her more shots! We have to stop this girl!’ And the drunker I got, the better I got. Clubs — if I’m going to go out, I’m going to go out to dance. And I’m going to go where the DJ is playing. I don’t care what club it is. I went to a dive in L.A., at a party called Afex, just because some of the best DJs were playing that night. Like, I don’t care about the crowd. I don’t care about the scene. I care about the music. I don’t think the venue has a name. I think it’s called No Space. They just move the party around.” ● SUCHIN PAK – “I have a great place. It’s called Broadway East, and it’s on East Broadway. And I love it because it’s a beautiful space, but also it’s literally across the street from my house. That always helps. And then there’s a really fantastic place called Bacaro. Oh, it’s amazing! It’s downstairs. It’s almost a dungeon-like place. The people that used to do Peasant, the wine bar there, moved to this place. I like to say the Lower East Side on East Broadway is where the grown-up hipsters go. For a true Lower East Sider, it may not be true Lower East Side, but as I’ve gotten older, I’ve moved more south than east, and I keep trickling that way.”

At charity:ball for charity:water:

● ADRIAN GRENIER – “Brooklyn. Fort Greene. Habana Outpost — it’s run mostly on solar power, and it’s a sustainable business.” MARK BIRNBAUM “Well, if I do say so myself, Abe & Arthur’s on 14th Street; SL, the new club underneath it. I still love Tenjune. And I like hanging out at home other than that. What about places other than your own? So I shouldn’t say the Chandelier Room, in Hoboken? I really like going to Bar and Books in the West Village — that’s our spot. You know where else I like to go? Miami — the new W South Beach is unbelievable, by far the best hotel down there. The design is incredible; the pool area is very nice; they have good restaurants there — there’s a Mr. Chow’s and the other one is good; the rooms are really nice; it’s very well done; it’s just very fresh, the entire thing; and the artwork is incredible. You don’t feel like you’re in South Beach — not that there’s anything wrong with it — but it’s really, really, really, well done.” ● NICOLE TRUNFIO – “I just found this really cool jazz club in Paris where they still dance to old, rock-and-roll music in partners. It’s a location undisclosed. I don’t remember what it’s called. It’s in the Saint-Michel — it’s just off it. You can jump into a taxi, ‘cause we went to a jazz bar called the Library, but that was closed. So we asked the taxi driver, and he took us to this place. So, I’m sure lots of local French taxi-drivers would know the place.” ● LAUREN BUSH – “Oh, gosh, I’m like so uncool! It’s such an obvious question, it’s so hard … I’m a vegetarian, so I love Blossom restaurant. They have a good, quinoa-tofu dish. It’s like gingery. It’s really good. ● EMMA SNOWDON-JONES – “I love Le Bilboquet because it’s consistent, and mainly wherever your friends are it makes the place. It’s on 63rd, between Park and Madison. I’ve gone there since I was in boarding school. I’d come into the city on the weekends, and I’d go there. I think anyone that’s been in New York as long as I have knows it. That’s a really, bloody long time, sadly. As good as my Botox is, it’s too long!” ● KRISTIN CHENOWETH – “I am an old-fashioned girl, and I still love Joe Allen’s. I go there all the time. And right next-door above, is a place called Bar Centrale, and I go there, too. I was just there last night for three hours. I like the manicotti at Joe Allen’s. It’s excellent!” ● JULIAN LENNON – “Probably the Jane bar and the Rose Bar in New York.”

At launch of S.T. Dupont in-store boutique @ Davidoff on Madison Avenue:

● RON WHITE – “I love the bars in Glasgow, Scotland. You could go sit in a bar by yourself and in five minutes, you’d be talkin’ to 10 people because they’re so curious about anybody that walks in that’s not normally in there. They just want to go talk to ’em and find out what they’re about. They’re just as friendly as they can be. I was there for the British Open, or the Open Championship, as it’s called. And if you go to a bar in New York City, you can sit there for the rest of your life and not meet another person because they’re not really gonna come up to you and go, ‘Hey, what’s up? What are you doing in town?’ That just doesn’t happen here.”