Issue #2 Oscar Winner Bryan Fogel

OSCAR WINNER

BRYAN FOGEL ICARUS

B.Y.O.B. INTRODUCING

B.Y.O.B. BUILD YOUR OWN BURGER OR BOWL!

JOIN US EVERY FRIDAY NIGHT FOR BUILD YOUR OWN BURGER/BOWL! LIVE MUSIC!

29169 HEATHER CLIFF RD. #102, MALIBU, CA 90265 (310) 589-2200 OLLIESDUCKANDDIVE.COM

SUBSCRIBE TO OUR NEWSLETTER I thelocalmalibu@gmail.com

ISSUE 1/12 2018 Founder, Editor in Chief, Creative Director

CECE S. WOODS

FOR ADVERTISING I thelocalmalibu@gmail.com FOLLOW US I facebook.com/thelocalmalibu instagram I @thelocalmalibu twitter I @thelocalmalibu

EDITOR’S N

OTES

Co-Founder STEVE WOODS

publisher

ADDISON ALTENDORF

Executive Editor

TIM HORTON JEN BEL EMILY SCHER NATHAN FAGAN

Executive Publisher NICK BETTS Managing Editor ADDISON ALTENDORF

PUBLIC SAFETY DIRECTOR

COVER PHOTO: PETER AUGUSTIN

DAVID SAUL

Lifestyle Editor TRACEY ROSS

INVESTIGATIVE REPORTING Wellness Editor DIANA NICHOLSON

Sustainability Director ANDREW MCDONALD

Travel Editor LESLIE WESTBROOK

Copy Editor KIM LEDOUX

Rogue Writer BEN MARCUS

Sustainability Advisor BRAD DIAZ

Sustainable Lifestyle Editor EVELINA CHRISTOPHERSON

political contributors JAMES HALL ELISABETH JOHNSON

DAVID STANSFIELD MARSHALL THOMPSON SUSAN TELLEM MARI STANLEY MARIE MANVEL GUS JOHANSON ANNEMARIE STEIN

Contributing Photographers

LORI JACOBUS JULIE TOBIAS

ROB JOSEPH

Contributors

POWER TO THE PEOPLE We all know that misteps and blunders happen daily at City Hall, however, at this point, it’s safe to say that under the direction of City Manager Reva Feldman, MAYHEM RULES. Recently, Feldman, in a bold and shocking move, gave residents the proverbial middle finger by putting developers and special interests first, allowing the scheduling of not one, not two, but THREE CONTRUCTION PROJECTS ON PCH DURING SPRING BREAK, sending residents into a tailspin.

The community waged an all out war on social media, and without City intervention, the owners of the Malibu Inn (thankfully) responded to residents almost immediately and on Good Friday no less (pretty impressive) - ceasing all construction on PCH and re-scheduling most work during night time hours. A stipulation that should have been made by the City before any contruction began on this project (or any others) impacting day time traffic flow on PCH - one of the most dangerous highways in the nation.

Outrage expressed over the complete incompetence at City Hall made its way into the inboxes of City Council and the City Attorney. The “Feldman-Must-Go” campaign hit a fever pitch - and rightfully so.

Meanwhile, Feldman continues to be oblivious to community concerns allowing the sh*t show at Cross Creek to continue. Motorists backed up for miles, no Volutneer Sherrifs on Patrol to direct traffic, contractors potentially endangering PROTECTED SYCAMORE TREES THIS COMMUNITY FOUGHT (and won) TO PROTECT... the list goes on.

However, keep in mind, the willingness of the owners of the Malibu Beach Inn to work with the community is a great example of Power of the People. We can make the difference demanding accountability, answers and solutions. MONEY DOESN’T ALWAYS WIN. Make your voice heard. Continue to communicate the change you want to see at City Hall. Write those emails! - Cece Woods, Editor in Chief

THE AUTHENTIC MALIBU LIFESTYLE EAT. SHOP. PLAY. LIVE. Malibu... It’s a lifestyle. malibu90265magazine.com

LOCAL

DIG WE MUST

BY BEN MARCUS

Malibu Creek Ecosystem Restoration Project by the Numbers.

Rindge Dam and the 787,000 cubic yards of sediment trapped behind it. Photo from A.C.E report.

In order to help the citizens of Malibu, concerned Serra Retreat and Malibu Colony homeowners, hopeful steelhead fishermen, worried surfers and birders, potentially displaced homeless people and cannabis growers and the general public understand the effort to remove Rindge Dam, displace all the sediment trapped behind it and restore the Malibu Creek ecosystem, the following numbers are an attempt to condense the 47-page California Coastal Commission Consistency Determination No.: CD-0006-17 for a report filed by the U.S. Army Corps of Engineers.

This is the Project Description pulled from the title page of the report: Removal of the Rindge Dam arch and spillway on Malibu Creek; excavation and removal of an estimated 780,000 cubic yards of sediment impounded behind the dam; transportation by truck of an estimated 278,000 cubic yards of clean sandy sediments to Ventura Harbor and then transport by barge for disposal in nearshore waters downcoast of Malibu Pier; transportation by truck of remaining excavated sediments to the Calabasas Landfill; and modification or removal of aquatic habitat barriers on Cold Creek and Las Virgenes Creek upstream of the dam.

Special thanks to Susan M. Ming of the Army Corps of Engineers and Larry Simon of the California Coastal Commission for sending numbers on cubic yards and dollars and cents.

CHUMASH TO THE RINDGES AND BEYOND: A TIMELINE 9000 - 13000 years Before Present: Beginning of Chumash culture along the south central coast and out to the Channel Islands.

1891/1892: Frederick Rindge buys the 13,300 acre Malibu Rancho to satisfy his need for: “A farm near the ocean, under the lee of the mountains, with a trout brook, wild trees, a lake, good soil, and excellent climate, one not too hot in summer.”

1916 x 32”: A May 17, 1916 story in The Los Angeles Times illuminates Malibu Creek as a healthy steelhead habitat, a hundred years ago: In The Best Story Never Told, William S. Saltor won a prize for landing (poaching) a 32-inch steelhead (!!??) in Malibu Creek, but then got in deep kimchee for fishing without a license.

Saltor’s court date was announced but his court fate went unreported The end of the news article describes Malibu Creek as a steelhead Valhalla: Deputy Harry Pritchard took his limit before 8 o’clock opening day all on the old reliable worm…

Fish and Game Commissioner Connell stuck to the fly, and had good sport. In the 200 yards Pritchard fished in getting his limit, was a fine, long poolvery deep, and most of his fish came out of that one place.

In another spot were three great steelheads, and while trying to get them up to a fly, the salmon-egg fraternity appeared… So it always goes. Good fishermenget trout, but as a rule they do not use salmonroe; when bait is the necessary thing, it is a couple of red worms; and that failing, a spinner or with clear water and fish feeding high, the artificial fly.

1926: Year Rindge Dam was constructed. $300,000: Estimated cost of Rindge Dam - based on known construction cost for San Clemente Dam on the Carmel River - same height and built around the same time. $4,233,912.61 in modern dollars.

100 feet: Height of Rindge Dam. 15 acre feet/4,887,771 gallons: Amount of water Rindge Dam was engineered to store (15 acre feet x 326,000 gallons).

1940: Year Rindge Dam was filled with sediment.

1947: Year these photos were taken of a Happy Few fishing for Malibu Creek steelhead at the mouth of Malibu Creek and below Rindge Dam - and making it look gooood.

Fishermen on Malibu Creek - at the mouth and below the dam circa 1947. Photo courtesy Anthony Spina/NOAA

LOCAL

1967: Year Rindge Dam was decommissioned.

3/7/1994: Date the tidewater goby was federally listed as endangered.

1998: Year the Rindge Dam removal and Malibu Creek restoration project was first proposed.

2002: Feasibility study put before public.

WHY DOES IT TAKE SO DAMNED LONG TO REMOVE A DAM? 15 years: Amount of time it took to draft the Feasibility Report.

15 more years: Time it will take to complete the project from 2018, if they start in 2025 and finish in 2033.

10: Other State and Federal agencies that need to be consulted, and approval achieved for this proposed project to commence: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

U.S. ARMY CORPS OF ENGINEERS, REGULATORY BRANCH U.S. FISH AND WILDLIFE SERVICE NATIONAL MARINE FISHERIES SERVICE U.S. ENVIRONMENTAL PROTECTION AGENCY CALIFORNIA DEPARTMENT OF PARKS AND RECREATION CALIFORNIA STATE LANDS COMMISSION CALIFORNIA DEPARTMENT OF FISH AND WILDLIFE LOS ANGELES REGIONAL WATER QUALITY CONTROL BOARD CALIFORNIA STATE HISTORIC PRESERVATION OFFICER NATIVE AMERICAN TRIBAL CONSULTATION

Four: Alternatives eliminated during the screening process, which were given detailed analysis in the Integrated Feasibility Report (page 15).

2002 - 2013: Years the Southern California Dredged Material Management Team measured and monitored the toxicity of the sediment behind Rindge Dam. “The DMMT reviewed the sediment test results in February 2013 and January 2015 and agreed that based on the preliminary test results the materials appear to be suitable for nearshore disposal.”

10/17/17: Army Corps of Engineers report on Rindge Dam filed.

2/15/2018: California Coastal Commission Staff report Consistency Determination No.: CD-0006-17 filed.

3/9/2018: Public hearing date in Oxnard.

47 pages: Number of pages of CD-0006-17: https://documents.coastal.ca.gov/reports/2018/2/w11b/w11b-2-2018-report.pdf 8 steelhead: Number of fish reported by Debbie Sharpton and Rosi Dagit of the Stream Team. Not in Malibu Lagoon, but in all ocean-connected creeks and streams from San Luis Obispo to the Mexican border: 18 miles: Additional steelhead and fish-spawning habitat opened up by the dam removal and restoration project.

8.5 miles: Miles of Malibu Creek that will be exposed and improved by the restoration project. .

LAYERS AND AMOUNTS OF SEDIMENT BEHIND RINDGE DAM 780,00 cubic yards: Estimate of sediment impounded behind Rindge Dam. 278,000 cubic yards: Clean, sandy “Unit 2” sediments to be trucked to Ventura Harbor, placed on barges and then deposited south of the Malibu Pier

CAPACITY AND COSTS TO HAUL SEDIMENT OUT BY TRUCKS 20 cubic yards: Capacity of trucks hauling sediment to Calabasas and Ventura Harbor. A 10 cy truck hauling a 10 cy pup trailer. $14/$280 - $23/$460 cost per cubic yard/truckload: a. To Calabasas Landfill: Approximately $14/cy. Not including disposal fees. b. To Ventura Harbor: Approximately $23/cy. c. Cost varies as excavation becomes more confined at the bottom. $52.32: Per-ton tipping fee for sediment at Calabasas Landfill. Assuming 1.55 ton/loose cubic yard. $81 cubic yard: Tipping fee for Calabasas Landfill. $40,500,000: Cost to dump the remaining 500,000 cubic yards (787,000 287,000) of sediment into the Calabasas Landfill. (500,000 x $81) AN EIGHT-YEAR PROJECT BEGINNING IN 2025 2025: Year the eight-year Malibu Creek Ecosystem Restoration Project will begin.

200 vertical feet: Height of Sheriff’s Honor Camp Site (Sheriff’s Overlook) above Rindge Dam which, “...will be used throughout construction as a temporary construction staging area during the entire duration of the project construction, used for oversight and management of the dam and impounded sediment removal activities. This staging area is expected to include trailers, vehicular parking and equipment storage.”

40,000 cubic yards: Dirt moved to provide staging and access road from Sheriff’s Honor down 200 feet to Rindge Dam.

CAPACITY AND COSTS TO HAUL SEDIMENT OUT BY TRUCKS 20 cubic yards: Capacity of trucks hauling sediment to Calabasas and Ventura Harbor. A 10 cy truck hauling a 10 cy pup trailer. $14/$280 - $23/$460 cost per cubic yard/truckload: a. To Calabasas Landfill: Approximately $14/cy. Not including disposal fees. b. To Ventura Harbor: Approximately $23/cy. c. Cost varies as excavation becomes more confined at the bottom. $52.32: Per-ton tipping fee for sediment at Calabasas Landfill. Assuming 1.55 ton/loose cubic yard. $81 cubic yard: Tipping fee for Calabasas Landfill. $40,500,000: Cost to dump the remaining 500,000 cubic yards (787,000 - 287,000) of sediment into the Calabasas Landfill. (500,000 x $81

AN EIGHT-YEAR PROJECT BEGINNING IN 2025 2025: Year the eight-year Malibu Creek Ecosystem Restoration Project will begin.

200 vertical feet: Height of Sheriff’s Honor Camp Site (Sheriff’s Overlook) above Rindge Dam which, “...will be used throughout construction as a temporary construction staging area during the entire duration of the project construction, used for oversight and management of the dam and impounded sediment removal activities. This staging area is expected to include trailers, vehicular parking and equipment storage.”

40,000 cubic yards: Dirt moved to provide staging and access road from Sheriff’s Honor down 200 feet to Rindge Dam.

CITY UNIT 1 = 10 FEET OF VEGETATION, COBBLES, GRAVEL, BOULDERS 10 feet: Top layer of Unit 1 vegetation and sediment removed: “Sediment mining will begin to remove the top layer of mostly gravels and boulders (approximately 10 foot depth), with some of the material used for completion of the ramps, hauling the remaining Unit 1 layer to the Calabasas Landfill along with the surface vegetation. ??? feet: First segmentation of Rindge Dam: “The first lift, the horizontal cut in the dam arch, will be removed in order to leave the concrete arch at the level of the remaining impounded sediment by October of the first year, repeating this action each year of construction. The site will be cleared of crews and equipment for the winter season, with the second year of construction beginning the next spring after the winter storm season.”

7.4: Miles from Rindge Dam to Calabasas Landfill. ???? cubic yards: Estimated gravel, boulders and rocks in that top Unit 1 10-foot layer of sediment. ??? truck trips: Number of Unit 1 truck trips at 20 cubic yards per load from Rindge Dam to Calabasas Landfill. $280 per truck load to Calabasas Landfill: Approximately $14/cy x 20 lcy per truckload. Not including disposal fees. $1620 per truckload: Tipping fee at Calabasas Landfill for a truckload of 20 cubic yards at $81 per cubic yard.

UNIT 2 SEDIMENT =278,000 CUBIC YARDS TO VENTURA HARBOR 2026 - 2028: The three years it will take to mine, transport and redistribute the second layer of “Unit 2” 278,000 cubic yards of clean, sandy sediment: “The second to fourth year of construction will primarily be associated with removal of the Unit 2 sands with direct transport of sediment mined from the Rindge Dam impounded sediment area up Malibu Canyon and Las Virgenes Road, to Lost Hills Road, U.S. Highway 101 and the Ventura Harbor about 41 mi away from the dam.”

41 miles: Distance from Rindge Dam to Ventura Harbor by way of Malibu Canyon and Las Virgenes Road, to Lost Hills Road, U.S. Highway 101. At Ventura Harbor, the sediment will be loaded onto barges (dump scows) which will then bring the sediment back to Malibu, and dump it south of the Malibu Pier.

13,900: Estimated number of truck trips to haul 278,000 cubic yards of Unit 2 sediment at 20 cubic yards per truckload from Rindge Dam to Ventura Harbor. $460 per truck load: Cost per truck load for 20 cubic yards of sediment at $23 per cubic yard. $6,394,000: Estimated cost to transport 278,000 cubic yards of Unit 2 sediment from Rindge Sam to Ventura Harbor.: 13,900 truck loads x $460 per truck load.

DUMP SCOWS FROM VENTURA HARBOR TO MALIBU AND BACK .

185 feet long by 48 feet wide by 64 Gross Register Tonnage: Dimensions of a split-hulled, bottom-dump dump scow. Loaded draft is 10 feet. Unloaded draft is two feet.

1,243 cubic yards: Capacity of barges (dump scows) which will be used to transport sediment from Ventura Harbor, back to Malibu to be dumped east of the Malibu Pier.

621.5 cubic yards per day: Amount of Unit 2 sediment delivered to Ventura Harbor per day.

Four/eight hours: One way/roundtrip for dump scow from Ventura Harbor to Malibu: “Transit time = 4 hours one way ‐> 40 miles / 10 mph. Return time = 4 hours one way ‐ > 40 miles / 10 mph” 218 scow trips: Estimated number of barge trips from Ventura to south of the Malibu pier: “For indicated volume of 278,000 cy divided by 1,243 cy/trip = 218 scows.” $34 per loose cubic yard: Cost to transport one cubic yard of sediment from Ventura to Malibu on a dump scow. $42, 262: Cost for one barge trip: $34 lcy x 1243 lcy. $9,213,116: Total cost for 218 dump scow trips at $42,262 each.

To be continued in the next issue of The Local...

Highlight the beauty of your home Reach the largest pool of perspective buyers Full service interior and exterior home staging services Contemporary I Casual Beach I Elegance

M

MALIBU HOME STAGING 25001 Pacific Coast Highway I Malibu, CA. 90265 I 310.317.9922

LOCAL

The CITY SUFFERS

by SAM HALL KAPLAN

“City Observed,” is what I usually label my print and broadcast commentaries I share with my friends and followers, and are picked up here and there.

But last week it was the “City Suffered, “ especially if you live on Pt.Dume, as I do, and the western reaches of Malibu, and if whatever reason you have to occasionally use the PCH. I had to last Monday for a can’t-miss pre op doctor’s appointments, replete with he usual slew of tests in Santa Monica. It had been delayed too often, and was a medical necessity, whatever my insurance provider might rule.

Alert to the unpredictability of the PCH, I listened to the welcomed up-to the minute traffic reports on 99.1 KBU, which repeated several times traffic was slow in the Lagoon vicinity, I also checked the website the city has touted, though as usual it was dated and frail. The more reliable Google Maps that morning showed east bound traffic backed up beyond John Tyler,. This prompted me to leave an hour earlier, giving me up to 2 hours to get to my appointment in Santa Monica.

Good thing I did, for the stop and go traffic was slow, and frustrating, prompting some cars to illegally and dangerously jump the raised media and head toward Malibu Canyon Road and the 101.

There were some close accidents, and one wonders where were the Sheriff deputies I would guess probably lurking in a speed trap somewhere else in Malibu in wait to ticket for a senior going a few miles over the limit in their dated Prius.

Finally, I got to what was causing the monumental backup: the merging of two lanes into one at the Malibu Beach Inn, to accommodate the installation a traffic signals for a crosswalk. This incidentally would allow the Inn to park cars on the northside of PCH in the old Hertz lot it had purchased, and make room for an outdoor pool for its pampered guests. .

Nice, the Inn’s alert lawyers had out maneuvered the somnolent city once again, for the added profitable amenities. How private interests are forever prevailing in Malibu is a subject for another time.

For the moment, there was the traffic problem, which I feel based on my hands on planning experiences could have been easily addressed, and saved thousand of commuters, and myself, several anguished hours on PCH.

Specifically, the parking allowed at the south curb should have been just temporarily banned, creating in effect another traffic lane, As for the private contractor’s truck, and an occasional Cal Trans marked car, they could have parked at the curb instead of double parking and inhibiting the flow of traffic.

The resulting mess was a sad illustration of the planning adage that a road is as wide as its narrowest part.

In addition, the construction could have been timed for the evening at a relatively minor cost to the deep pocketed Inn, instead of costing the public hours of lost time at no doubt substantial sums.

And , yes, it seems thanks to wave of complaints to the City Hall, CalTrans, the Inn, and just anybody who’d listen, the work was halted, with the promise it will be competed in the evenings.

Hopefully also some lessons have been learned by our somnolent city, its servile staff, a callous Cal Trans and anybody doing anything on the PCH that might affect traffic.; the prime le being some common sense and common courtesy.

And just having someone from City Hall there to check the situation could make a difference.. on site, on alert, 24/7. , .

But beware, the major road work in the Civic Center area now underway already is problem, that sadly might just get worse, and worse. The work, of course, is to accommodate the wave of new commercial development that past self-aggrandizing councils had questionably approved.

Something to think about when stuck in traffic on the PCH.

EMILY SHANE ANNUAL FUNDRAISER

Emily Shane #PASSITFORWARD Emily Rose Shane was extremely compassionate and empathic to others. She was generous to those in need. She was the person who asked you to join her at the lunch table at school if you were sitting alone.

She was the person who would welcome a new student to the school and make them feel comfortable.

She gave food to someone begging in the street, and would try to lift your spirits if you were sad. She was the one cheering at the top of her lungs, even when her team was losing. She had a beautiful spirit and cared about everyone.

To honor her kind and giving nature, we encourage everyone to join us in our “Pass it Forward” campaign. Perform any act of kindness for another person or living creature. It doesn’t matter if it’s a simple gesture or a life changing one. Help us reach and surpass our goal of 100 million good deeds! Please enter any and all acts of selfishness on this website.

MALIBU COLONY PLAZA I 23733 WEST MALIBU RD. I MALIBU, CA. 90265 I 310-456-1500

LOCAL

#WOMENUP

PRODUCED BYMARY FAHERTY

Malibu has a SHOW OF force when it comes to strong women and the latest women empowerment movement brings forward local womenpreneurs, moms and acivists to the forefront. Here are just a few we are so lucky to be influenced by in malibu.

icon

CANDACE BOWEN A woman of boundless energy and multiple talents, Candace continues to make her presence known. Born and raised in Philadelphia, PA, Candace carries on the legacy of her entertainment family–her mother, Carlstein LeVere singer/classical pianist, brother Jeffrey Bowen, producer at Motown Records. After moving to Hollywood at the urging of her brother Jeffrey, she acted in ingénue roles on episodic TV and film, including Starsky & Hutch, Different Strokes, Baretta, Escape from Alcatraz and other projects, including one of the first CBS after-school specials, the Emmy® nominated Journeys Together. During her internship with Women In Film she learned about the people and projects in her new town. After attending several of the Women IN Film (wif) Networking Breakfasts, with the encouragement of producer Marian Rees, Candace started a Networking Breakfast in Malibu, where she has lived for many years.

She also started her company, Earlybird Productions, which has created many projects dealing with minority and women’s issues. Her first theatrical TV project was Playhouse 1990s, patterned after the legendary Playhouse 90 of the ‘60s, which received an Ascee Award for “Best New Cable Show.” In 1991 she produced the critically-acclaimed play Shakin’ the Mess Outta Misery at the West Coast Ensemble. This production earned her the Dramalogue Award for Best Play, and two of the play’s four NAACP Theatre Image Awards that year.

... the big questions are why do some applicants believe they can attain the demonstrably unattainable, and who the fuck at the city, OUR CITY, approved a god damn flashing crosswalk so that the hotel owner of the biggest hotel in Malibu can increase his parking, increase the use of his restaurant, and turn a low key car rental business into an open air eyesore of jacked up cars?

In 1998 she launched the First Annual Women In Film International Networking Breakfast in Johannesburg, South Africa. She is the founder of the Women In Film Malibu Celebrity Golf Classic and is V.P. and Special Consultant for membership for Women In Film.

Candace produced & directed WIF first public service announcement (PSA) for the Lula Washington dance foundation called “WE DO DANCE NOT DRUGS” She has also served on the board of the Malibu Chamber of Commerce.

Her last project, as Executive Producer, was the feature film Cuttin Da Mustard. Candace is currently producing a reality show “Chix on the Links” with Shari Belafonte creator/writer/ director and Martin Sheen executive producer.

WONDER WOMAN MOVE OVER!

By JASMINE JETTER

Kim Russell Bonewitz, Head of The Class actress is now in her starring role as head of a family of 8 wonderful children. At 52, beauty Kimberly Russell became a bad ass mom of 8, after promising a stranger who was on her deathbed suffering from lung cancer that she would raise her 5 kids, then ages 8 through 13. This selfless act of compassion dramatically shifted the lives of her, her husband and her own three grocery eaters.

What gave her the strength to stand up and help these 5 children in need? What gave her the humility to leave her life as a starlet and spend nights cooking 6 frozen pizzas in a microwave, wash dishes in the bath tub, clean a five bedroom house in 4 hours ,and drive an 8 cylinder bus over Malibu canyon….. going from the red carpet to scrubbing carpets. All of this done for children she barely knew. ”There is nothing I️ can’t do!!!” Watch Kimberly get red carpet ready, apply eyelashes w/ Elmer’s glue , give grief counseling, while doing 5th grade math homework . My motto is “no problem, and you got this” I’ve learned some deep stuff like “sharpies make great eyeliner and socks still best boob lifters. Kimberly Russell.. “you want reality...... you can’t handle my reality!”

LOCAL

#WOMENUP When I asked her, how this happened she told me the remarkable story of how she met the mother of her five children, seven years ago. Kim was the head of the PTA at Juan Cabrillo Elementary School in Malibu and Marie was a parent volunteer. “ I immediately became enamored with her turquoise eyes, and her wiry hair. Marie was a single mom of five. She was too sick to volunteer, however one day after a teachers appreciation lunch , she showed up and asked how she might help, I pointed her to a chair and said sit, you can take this amazing feast back to your kids. Marie packed what she could and ran over to catch the last few minutes of a recital, only to find that another mom had discarded her loot, which is when I saw Marie headed toward the dumpster. Understanding the enormous need and poverty she was living in, my family sent pizza to their home. Days later I learned Marie was hospitalized from her ongoing battle with lung cancer.

I went to the hospital to find her, I didn’t even know her last name. I got to the room and when I got there I saw five kids sitting at the foot of her bed and she was speaking with a priest. The priest left and she asked the kids to leave the room for a minute. I asked her what happened, she told me she had cancer. I told her she could beat this. She said I have four days to live. She had 10 brain tumors and the cancer had spread throughout her body. I didn’t even know her but I made a vow - “I said to my husband - that in those four days I would go to the hospital every day and be with her as much as I could.”

On those visits, I talked to her about life, school and college for the kids, She asked me about me and my husband. On the fourth day she said “If anything happens to me, will you take my children?” and I said “”Take them where? and she said “Will you take care of them” and I said “Yes, yes I will take them”.

My thought process at the time was she’s going to die and I just wanted her to not worry and be happy. I went home and told my husband and he was incredulous. It was an “I Love Lucy” moment - Ricky lost it!

I’ve had to forgive myself for everyday living up to the ideal of what a good mother is. I feel a responsibility to take care of all of the children as best as I possibly could. To love honor and cherish eight children with their physical and emotional needs is very challenging when you’ve been living your life of a Hollywood actress.

Kim Bonewitz

She was released from the hospital and came home. A few days after she came home, we met with an attorney and she came up with a Last Will and Testament. She didn’t have anything, only her children. At the time that Marie passed away, the children were disassociated from their father. The State considered them ‘orphaned’ because their father’s parental rights were taken away.

We were very scared, but we wanted to save her. We wanted the mother to get well and the children to stay with her. We wanted her to have the best medical treatment. We called every cancer center in the country. She was on welfare so we tried to raise money to have surgeries. She lived for another 9 months. They were not able to do the surgery because she had antibodies in her blood for scarlet fever and there was no blood donor. During this time, some of the kids didn’t even know she had cancer. She loved them so much, she wasn’t able to tell them. When she did die, it was chaos.

My husband and our three kids came and lived at her house with her children for the last 17 days of her life to help them. Then they moved in with us.

There are days that I think “What the heck did I do?” I apologize to my own three children for any difficulties they’ve experienced because of this. We have had to make enormous sacrifices financially to support these children. We’ve received help from our tight-knit Malibu community, everything from used pants to dinner. But when I feel like I want to give up, my mother would advisee me “Love them more”. My mother was a teacher who went on to get her masters and her doctorate. My father was an intellectual. We would peruse bookstores in New York on Sundays and they were beyond loving and supportive. My mother would say “No matter what wall they put up, if they tell you they don’t care, or if they are difficult, she would say just love them.” No matter what, I prepare dinner for the children, we sit down and eat it as a family. I can’t imagine my life without them.

I have been fortunate in show business. I have had relationships with wonderful people. I met a fantastic man who is now my husband and settled down.”

Kim concludes “The takeaway is this, I think as women we have to practice forgiveness. I’ve had to forgive myself for everyday living up to the ideal of what a good mother is. I feel a responsibility to take care of all of the children as best as I possibly could. To love honor and cherish eight children with their physical and emotional needs is very challenging when you’ve been living your life of a Hollywood actress.

What I also learned is whether is being on a movie set or driving over a canyon in a beat up bus with eight kids, the most important thing is love. Love does give me the strength to do it all. Our lives are not perfect. The kids would rather go to school with wet socks as long as we are all together. Not only am I teaching them. They are teaching me.”

If you want to help launch these wonderful children on their way to college and a successful life contact instagram @kimberly_russell for more info.

Life After Weinstein: Louisette Geiss Shares Her Story.

BY KIM BUBBS TOLEDO

It has been a cataclysmic year in Hollywood. One that broke open a conversation that was long overdue, revealing what has allegedly been taking place in the shadows over decades. The allegations against Harvey Weinstein made by over one hundred women, from A-list actresses to former Weinstein Company employees sent a shockwave through Hollywood and beyond. It inspired the creation of the #Metoo movement, bringing to light the colossal scale of this issue, galvanizing victims of sexual harassment and assault and their supporters from every profession around the globe. The creation of the Time’s Up Legal Defense Fund soon followed with the goal of providing legal support to those who’ve experienced harassment and abuse in the workplace. With all of this comes the promise of enduring change and the stamping out of the silence that facilitates abuse.

I recently spoke to Louisette Geiss, one of the first women to come forward with powerful allegations of sexual harassment by Harvey Weinstein and who is currently involved in a class action lawsuit against him. I was interested in her point of view, in the lasting human toll of harassment and assault in the workplace as well as the potential legacy of this important moment.

KB: How did your alleged encounter with Harvey Weinstein impact your life?

LG: I felt it was the last straw. I was so disgusted that Harvey demanded sexual favors to move my career further. I always hoped I’d be given a legitimate chance to show my worth. Harvey made it clear that worth had nothing to do with success. Nothing I did would change the power dynamic and I didn’t want to be a hooker to be creative. It ended my aspirations and it was soul crushing. It took me a long time to get to a sense of peace. I knew I had to release the anger of being treated like an object or it would destroy me. And, I feared him. It was known that he would take you down.

KB: Why did you decide to leave the entertainment industry?

LG: After almost 15 years in the business and my incident with Harvey, it became abundantly clear that if he was asking me to perform sexual favors in exchange for work that I would never get away from this. It was so prevalent and I decided that if I wanted to stay in the business then I’d have to be okay with this type of experience regularly. If Harvey, who was the king of entertainment was doing this then I knew it was a trickle down of acceptance that this behavior was okay. I decided to scrap the business I knew so well and loved so much and I reinvented myself from my toes up. I really love my current job and the people I work with, many of who are Malibu residents, so I feel lucky. I think gratitude is key and I am happy where I am and excited about where I will journey to next.

MALIBU HOME STORE

25001 Pacific Coast Highway I Malibu, CA. 90265 I 310.317.9922

LOCAL

KB: What is the importance of this class action lawsuit and what do you hope it will achieve in terms of improving working conditions for women in Hollywood and beyond?

LG: From the day I came forward about my story with Harvey Weinstein to now is a whole new world. I was one of the very first to come forward publicly. It was very scary, as I didn’t know how Harvey would retaliate or how it would affect my current life.

There are over a hundred women who have come forward about abuses experienced by Harvey and I know there are more. Harvey needs to be held accountable in criminal and civil court. I no longer think he just needs help, but needs to be dealt with in a court of law.

I wanted to do the class action lawsuit because it is not only important to stop Harvey but also to hold everyone involved accountable for facilitating his assaults.

My lawyer, Beth Fegan is a mother of five and is dedicated to stopping these types of abuses.

I think it’s important to understand that a case like this can have an incredibly positive ripple effect as it’s truly supporting people and empowering them to not let predators go on doing what they do. I’m certain that many people wanted to stop Harvey, but like myself, no one had the power to do so. I’m sure that many feared Harvey so this case will help anyone from being silenced again.

I felt it was the last straw. I was so disgusted that Harvey demanded sexual favors to move my career further. I always hoped I’d be given a legitimate chance to show my worth. Harvey made it clear that worth had nothing to do with success.

KB: What is the importance of this class action lawsuit and what do you hope it will achieve in terms of improving working conditions for women in Hollywood and beyond?

LG: From the day I came forward about my story with Harvey Weinstein to now is a whole new world. I was one of the very first to come forward publicly. It was very scary, as I didn’t know how Harvey would retaliate or how it would affect my current life.

There are over a hundred women who have come forward about abuses experienced by Harvey and I know there are more. Harvey needs to be held accountable in criminal and civil court. I no longer think he just needs help, but needs to be dealt with in a court of law.

I wanted to do the class action lawsuit because it is not only important to stop Harvey but also to hold everyone involved accountable for facilitating his assaults.

My lawyer, Beth Fegan is a mother of five and is dedicated to stopping these types of abuses.

I think it’s important to understand that a case like this can have an incredibly positive ripple effect as it’s truly supporting people and empowering them to not let predators go on doing what they do. I’m certain that many people wanted to stop Harvey, but like myself, no one had the power to do so. I’m sure that many feared Harvey so this case will help anyone from being silenced again.

KB: Why was it important for you to speak out publicly?

LG: I felt it was my duty. I’d just had a baby six weeks prior so this was the very last thing I wanted to do but I knew I would not sleep until I helped stand up to Harvey. My goal was simply to ask other women to come forward so we could stop Harvey and it worked, as we know now. Maybe it’s the courage that comes from being a new mom but I knew that I couldn’t stand by. I’d tried to get other women I knew whom he had abused and/or raped to do something for years but everyone was too scared. I felt the timing was right and my gut said, GO! KB: What would you say to those who say that money is the underlying motivation for this lawsuit?

It’s really a victim-shaming tactic to say I’m just doing this for money. That comment disgusts me.

My response is this: if I were a person who just did things for money, don’t you think I would have taken Harvey up on his three-picture deal in the first place? What sense comes from waiting nine years and giving up a career I loved? This man raped women and killed careers and as of now is nowhere to be found. Someone has to stop him. IF any woman receives money from him or his companies (as a result of this class action lawsuit), I can promise you that it is the money that will make other men like this stop. It is the power that money gives which enables this type of abuse to go on.

KB: The Harvey Weinstein case unleashed a wave of anger across the globe and inspired the creation of the #Metoo movement. Does the ripple effect and scale of this movement give you hope for lasting change in the future?

LG: The #Metoo movement made me feel happy to know that women felt strong enough to come forward now but it also made me extremely sad that so many women have endured so much pain.

KB: After #Metoo, what’s next? How can we keep this message alive and expand it to include and empower women in other fields?

LG: I think it’s our duty to continue to speak up and make a difference. Nothing changes when anyone is quiet. I implore women and men in any field to take a stand against any injustice.

KB: How do you think the film and television industry can improve in order to prevent this sort of abuse and misconduct in the future?

LG: Uma Thurman just recently came forward and I think we clearly have a long way to go in the entertainment industry because you can finally see that it was so systemic. The class action lawsuit is important because it makes everyone accountable, so moving forward, any abuse can be easily addressed right away.

KB: What would you say to young actresses starting out in the film industry?

LG: It’s going to take awhile for the business to clean up its act but that I am so elated that they may have a different experience. Young professionals in any field need to continue to do the right thing too. We can still all be fun, funny and enjoy the business of being creative but we don’t need to degrade men and women into what seems to be tantamount to modern day sex trafficking.

KB: You have two daughters. What is your hope for their future?

LG: I hope my daughters never have to do an article like this. My parents raised me to be a strong, loving, independent woman and I still felt an incredible fear of Harvey. I hope my daughters will take what my parents taught me and that they’re never scared to stand up to predators. My hope is that this new movement forever changes the power dynamic.

KB: What would you say to Harvey Weinstein?

LG: “Harvey, after the NY Times article came out, what made me the most mad and incited me to come out about you was that you said: ‘The story is so good, I want to buy the movie rights.’ Now that we know how evil you were, I agree with you. This is a great story about people against a predator and I hope you enjoy the movie from jail.”

Louisette Geiss’ story was one of the first to emerge and it will definitely not be the last as Hollywood strives to live up to the promise of changing the industry from the inside out.

Kim Bubbs is an actor whose credits include Mad Men, Timeless and The Thing. She is also a screenwriter and lives in Malibu.

LOCAL

#WOMENUP

MY BODY, MY POWER

I spent the first 30 years of my life misunderstanding the gift that it is to inhabit a woman’s body.

It took me the same amount of time to begin exploring what healthy em-powerment is. The timing was no coincidence.

IT BEGINS

For most of my life, the experience of owning and operating a woman’s body was conflicting, confusing, and inconvenient.

In the second grade I decided it would be much easier to be a boy than a girl, so I made a declaration. I would never wear a skirt again.

Being raised in a culture where physical appearance, body shape, fashion and attractiveness were so obviously a hallmark of being female, the logic was sound in my seven year old mind. Skirts were girly. I didn’t want to be girly. No more skirts for me.

From that year through sixth grade, an accurate description of my ward-robe could have been, “Staten Island Tomboy.” I wore baseball caps, basketball jerseys, and baggy everything - T-shirts, jeans, and sweats. Well, not everything. My sports bras were tight. I had to keep that ever developing “situation” under control.

Despite all my efforts not appear girly or feminine, my body was busy making other arrangements. I had developed C-cup breasts. My Puerto Rican side was beginning to express itself in the shape of my ass. And by summer, I was getting invited to pool parties, which meant bathing suits.

I had a choice to make. Bear the embarrassment of wearing a t-shirt in the pool, or reveal myself to my friends?

In my 11 year old psyche there was no separation between self and the appearance of my body. Not according to the magazines I read, the way women were portrayed on TV or how the adult women in my life harped on their shapes, weights and diets constantly.

I was expecting to be made fun of since I was so ashamed of and uncom-fortable with my body. What I didn’t expect was the “positive” power and attention I’d receive once the T-shirt was on the pool chair and I was standing there in a bathing suit. Nowhere for my curves to hide.

I didn’t want, ask for, or understand this new power and attention. It was assigned to me as a result of something I didn’t yet value [my body]. For reasons that had nothing to do with the “me” I valued - smart, funny, crea-tive and good at sports.

This was my first taste of unhealthy empowerment.

ME TOO

But I’m a “lucky” one. The “worst” instance of harassment and assault I ever experienced was extremely mild by comparison to what so many of my sisters, known and unknown to me, all over the world have faced. I say that not to downplay my own experience, but to respectfully acknowledge the real and true severity of others’.

It was Halloween 2004 in my college town, Baltimore, MD. A city that goes big on Halloween. I was 21 years old and designated driving that night. In other words, completely sober.

My friends and I were standing in line outside of our favorite pizza place in Canton when a man I didn’t know slapped my ass as he walked by.

Without thinking, I called out to him, “Excuse me, you in the [whatever he was wearing] costume!”

He heard me and turned around to confirm that I was calling out to him.

“Yes you, can you come here?”

For some reason he did.

There’s a saying, “The straw that broke the camel’s back.” This man was my straw. At 21 I was already exhausted by a decade of male gaze, at-tention and entitlement towards my body.

This friggin’ body that I couldn’t keep from screaming, “woman” from eve-ry curve.

Once he was close enough I slapped him in the face as hard as I could, releasing the decade of irritation.

I pointed my finger at him like a parent reprimanding a child might do, and said, “I don’t know what makes you think it’s OK to touch a woman’s body who you don’t know, but it’s not. Don’t ever to do that again.”

I don’t remember if he said anything, because my heart was pounding and my mind was racing. I hadn’t considered any consequence. I was just so over this type of thing happening, which it had many times before, usually in a crowded bar or club where a more direct response wasn’t as easy to execute.

Not that night though. That night I took my power back. But I used vio-lence to do so.

Another taste of unhealthy empowerment.

A SHIFT IN VALUES AND POWER

I was packing for a yoga and writing retreat in January. As I pulled my favorite bikini out of the drawer, it occurred to me that there was a good chance I’d be the most “out of shape” person attending. I am not a yogi. My workout regimen these days consists of a few days a month at the gym and occasional dance classes. The exercise my body prefers most is beach walks and Wild Soul Movement.

True and unconditional power, claimed from within, rather than dysfunctional and unhealthy power bestowed upon us by society. That’s more like it.

It’s been a few years since I swapped out more intense fitness programming for this gentler regimen and my body reflects the change. I put on 22lbs. I’m fleshier, less toned. I am finally at home in this woman’s body of mine. And I love her for reasons such as her inner rhythm, knowing, and wisdom. The way she tells me what I need to know about life and people and I can trust her completely. It took me a while to get here, but I know I won’t ever be leaving because THIS is healthy empowerment.

This is my birthright. This is our [women] birthright.

True and unconditional power, claimed from within, rather than dysfunctional and unhealthy power bestowed upon us by society. That’s more like it.

REAL DEEP BODY LOVE AND ACCEPTANCE

It’s day one of the retreat. We have a break between morning yoga and the af-ternoon writing workshop. I put on that same bikini and covered myself with a wrap to walk through the hotel lobby and the pool area, down to the beach. Along my way I spotted several other women in swimsuits. I placed my things down in the sand and removed my wrap. I walked about twenty steps to grab a beach chair. Rather ungracefully, I dragged it over to where the other women were sit-ting, forgetting to feel self conscious.

Then I sat down and began to apply my sunscreen.

When my hands connected with my flesh presencing me to my body, I realized I hadn’t once compared my body to another woman’s body since I left my hotel room. Or had any better than or worse than inner dialogue the way I used to in my 20s, when I was “super fit,” and usually in possession of one of the “best bodies” on the beach. I put these terms “super fit” and “best body” in quotes to emphasize that these are not my definitions, but definitions that were conditioned in to me by a culture I’ve now learned to question at every turn.

What I did notice about other the women’s bodies around me was how beautiful and unique they all were. From the different skin tones, shapes, lines and tat-toos, to the radiant and palpable souls that reside inside their meat suits.

I love being a woman.

Bio: Known for her raw, honest, and grounded approach to personal growth and spirituality, Elizabeth DiAlto is the creator of Wild Soul Movement, au-thor of Untame Yourself, and the host of the popular Truth Telling with Elizabeth DiAlto podcast. Her mission is to provide companies, communi-ties and individuals with the education only life experience can give us. And to be a force for expansion, love, good, healing and transformation on the planet during this time of great complexity and need. She moved to Paradise Cove in August 2017 and is obsessed with Malibu living.

Visit wildsoulmovement.com to learn more.

Instagram @elizabethdialto Facebook /elizabethdia

$6,875,000

eytan levin · (310)924 0806 · Eytan@4malibu.com · www.4Malibu.com

31824 SEAFIELD DR. 3052 ESCONDIDO CANYON RD.

Coming to Market soon.

Breathtaking ocean views can be enjoyed from nearly every room in this entirely reimagined 7,000 sq. foot ocean bluff property with a rare attached additional parcel. Designed to perfection by the acclaimed Doug Burdge and built by the renowned Scott Halley, no expense was spared in the development of this one of a kind property.

Infused with the finest amenities, this modern masterpiece rests perfectly on a large private lot with direct stair access to the best beach in Malibu.

Once in a lifetime does such a rare and special property come to market. Located on Latigo Canyon down a 3000 foot private driveway, one is transported to a 14 acre magical oasis with a stream running through redwoods, ancient oaks and eucalyptus groves. The motor court can take you up to the modern self contained one bedroom guest house, with its own kitchen and parking surrounded by citrus trees overlooking rolling hills and families of deer. Below the motor court is a 2 bedroom 2 bath cottage that has been tastefully updated as well as a charming, covered outdoor dining area and spa. The outdoor workout activity options are endless with phenomenal trails surrounded by untouched, lush state land. The property has several large pads creating the opportunity to expand to this already magical retreat as well as its own well to help contribute to the customization of your dream garden. Perfect for someone who wants to feel like they are on a permanent vacation close to town and yet so far away.

$18,000,000,000 $1,795,000

SEAN LANDON E

S

T

A

T

E

CalBRE# 01981562

S

29178 Heathercliff Rd. Malibu, CA. 90265 (424) 235-9249

seanlandonestates@gmail.com A Malibu local dedicated to helping you achieve your real estate goals with the utmost passion, integrity and care.

23401 MALIBU COLONY RD.

3052 ESCONDIDO CANYON RD.

A 5 Bedroom Modern Masterpiece located in the secure Malibu Colony gated beach front community with 360 degree Roof Top Views. Brand new construction and prime location accompanied with unparalleled Secure & Eco-Friendly design with private beach access and deck. This Vanessa Alexander design collaboration with the owners art collection was built to suit any generation’s needs. This compound is equipped with Universal Control4 access, 3car garage +5 guests, large fitness area, private surf breaks, and 24 hour security. The Mid-Century designer furniture throughout the property is accompanied by heated lounge areas, large glass sliders, chlorine free pool/spa and a large outdoor fireplace. The spacious Master Bedroom has a sleek and romantic feel, large walk-in closet and incredible views. In addition, there are 4 exceptionally styled guest bedrooms sleeping 12 total, includOnce in a lifetime does such a rare and special property come to market. Located on Latigo Canyon down a 3000 foot private driveway, one is ing two that a magical separate and Modern Beach Frontoaks luxury its best.groves. The motor court can take you transported to ahave 14 acre oasis with private a stream access. running through redwoods, ancient andat eucalyptus up to the modern self contained one bedroom guest house, with its own kitchen and parking surrounded by citrus trees overlooking rolling hills and families of deer. Below the motor court is a 2 bedroom 2 bath cottage that has been tastefully updated as well as a charming, covered outdoor dining area and spa. The outdoor workout activity options are endless with phenomenal trails surrounded by untouched, lush state land. The property has several large pads creating the opportunity to expand to this already magical retreat as well as its own well to help contribute to the customization of your dream garden. Perfect for someone who wants to feel like they are on a permanent vacation close to town and yet so far away.

OFFERED AT $150,000 A MONTH $1,795,000

SEAN LANDON E

S

T

A

T

E

CalBRE# 01981562

S

29178 Heathercliff Rd. Malibu, CA. 90265 (424) 235-9249

seanlandonestates@gmail.com A Malibu local dedicated to helping you achieve your real estate goals with the utmost passion, integrity and care.

LOCAL

THE TEA PARTY!

BY DR. X

What makes you an authority on plants?

Your tone reminds me of those petulant folks on Winding Way barking at their terrified housekeepers for forgetting the Grey Poupon!

The Japanese say that being left handed is a form of mental retardation and as a lefty I couldn’t agree more! I’ve been married three times to perfect examples of human trash so obviously I have mental deficiencies. What I lack in social intuition I make up for in my nurturing abilities for both animals and plants. Like when a man with a small penis compensates by driving a fast expensive car!

In second grade penmanship class, a corpulent hulk of flesh used to crack me with a ruler every time I picked up a pencil with my left hand. This created minor dyslexia when reading and writing, which wasn’t actually possible with my swollen left hand. As a future potential senator/congressman, how would I be able to read and write my own lies to deceive those who elected me? So there was a tutor to remedy this problem; the kindly Mrs. Avery. Her solution was to introduce me to nature. This included catching lizards at her place and planting succulents, orchids, ferns, bromeliads, carnivorous plants, and even raised Madagascar Day Gekos for profit.

I worked at Stewart Orchids for many years before my 8 year Power Rangers TV stint. Only in 1993 did I “lower” myself to grow the cannabis weed. I had great genetics from Big Sur and with only 3 seeds I managed to clone a female. They say that consuming cannabis isn’t addictive but I can assure you growing it is!

There were business courses at various linear thinking institutions, but there was also football at U of Nebraska, botany, horticulture and even genetics. I even grow my own produce now and am deeply involved in native plants form the fast disappearing Santa Monica Mountains. Take a hike with me in Lindero Canyon in March or April and… well you’re going to take notes every twenty feet!

The beauty of botany is that the study of plants is not the answer. So for me it is an infinite on-going quest for knowledge. Even though I’ve been growing plants for over 50 years (some you’ve never heard of) there’s always more to learn – and that’s what keeps us young!

I worked at Stewart Orchids for many years before my 8 year Power Rangers TV stint. Only in 1993 did I “lower” myself to grow the cannabis weed. I had great genetics from Big Sur and with only 3 seeds I managed to clone a female. They say that consuming cannabis isn’t addictive but I can assure you growing it is!

Why don’t you use your real name?

So many moons ago there was a quiet suburban neighborhood with a sharp chill in the January morning air. Five gentleman sitting in a warm idoling car pulled down their ski masks, chambered a round in their shotguns and stepped out into the brisk air. Their heavy boots crunched the frozen grass as they made their way up the drive. The gate was open as they moved with alacrity and anticipation to the back guest house. A turn of the unlocked knob, a rifle butt to the head, duct tape and there he was. Except it wasn’t me! I had moved out 6 months earlier but that wasn’t much consolation to the duct taped man being beaten senseless by buffoons looking for me.

My dad laundered money for the mafia by helping them invest in Real Estate development in this state. Developers, big business and cartels/ Mafioso are the same in that they utilize linear thinking in their approach to life without considering the consequences for the future.

There is no such thing as a straight line in nature or anywhere else, so why think in a straight line?

I’m going to expose the miasmic underbelly of the big ag, developer and cannabis world for your edification and knowing how dangerous these people are.

I’ll remain just a shadow, thank you.

Fly high! Dr X rules!

I’m going to expose the miasmic underbelly of the big ag, developer and cannabis world for your edification and knowing how dangerous these people are.

DR X

CONSULTS Discrete consultations in the privacy of your own home.

Native American that lift your spirits.

Member ONAC Native American Church Native American Sacraments that lift your spirits. drxconsults@gmail.com

LOCAL

Oil And Water Don’t Mix At City Hall

By STEVE WOODS

An impressive crowd of concerned Malibu residents packed City Hall on March 24th, to attend the Malibu Township Council (MTC) for a free-of-charge community-wide conference aimed at preventing the opening of new federal offshore oil drilling leases that experts say are likely to harm Malibu’s open and safe coastal environment, healthy surfing, swimming and impacting the city’s tourist-based economy along with local property values.

This urgent meeting is a result of President Trump’s proposal to open coastlines for drilling which represents “the largest expanse of the nation’s offshore oil and natural gas reserves ever offered to global energy companies.” Interior Secretary Ryan Zinke said the draft five-year leasing plan would commit 90% of the nation’s offshore reserves to leasing, including areas off all three regions of the California coast that have been off-limits to oil and gas exploration since the Reagan administration.

The Malibu Township Council founded in 1947, has been committed to maintaining the natural beauty of Malibu’s coastline by working to prevent over development, exploitation of resources, and the destruction of environmentally sensitive areas.

The MTC represents residents by working at all governmental levels with attorneys by writing letters, testifying, and conducting information sessions and special events. MTC also speaks for Malibu residents living in unincorporated Malibu.

The Local Malibu is very appreciative of the MTC and those who responded to our notice to attend this important conference of six coastal expert panelists, including representatives from nonprofit groups whose mission is to keep the ocean environmentally safe. Mayor Pro-Tem Jefferson Wagner welcomed all those in a packed city Hall and commended MTC President Richard Lawrence who introduced panelist Congressman Ted Lieu, who represents Malibu and thirteen other coastal cities within the 33rd District; Jeremy Wolf, environmental representative for State Sen. And Malibu local Henry Stern, Damon Nagami, Natural Resources Defense Council; Chad Nelson, CEO of Surfrider Foundation; a representative of State Fish and Wildlife charged with inspections of offshore structures; and Attorney Dayna Bochco, member of the California Coastal Commission and last but not least, Nancy Hastings of Oceana.

Enviro heavy hitters were present for the Malibu Township Council iold Drilling Conference at City Hall.

A great turnout for this important environmental conference hosted by Malibu Township Council that could greatly affect Malibu’s coastline.

Two of Malibu’s Favorite Environmentalists, Kian Shulman and Jae Off shore oil drilling poses significant danger to our environment.

Flora-Katz.

Richard Lawrence President of the MTC prefaced the meeting, “Since at least the 1970s, Malibu Township Council has worked to keep our beaches free of chemical and physical contaminants, as well as an open and clean horizons. Oil platforms offshore would damage our waters, our beaches, our waves, and will harm our tourist economy. This is not a future that is acceptable for Malibu residents.”

Under Trump’s executive order, the Department of the Interior will consider all areas of the Outer Continental Shelf for oil and gas leases and that includes, Alaska, East , West and Gulf Coast.

CongressmanTed Lieu was hopeful that even though the Feds are trying to overturn California’s 1994 moratorium on new oil leases, California could fight the feds in court after citing that Trumps home state was exempt from oil lease expansion due to the fact that Florida’s tourist industry would be too severely impacted by offshore development of oil rigs and potential Oil Spills, but Lieu acknowledged that California’s tourist economy dwarfs Florida’s tourist economy.

Speaking for the National Defense Council , Damon Nagami stated that while the Feds are powerful and Trump could override any and all other opposing federal environmental agencies who disagree with off shore oil drilling with an Executive order, ( based on national security interests) , that there is hope for a successful fight in the courts . Chad Nelson of the Surfrider Foundation talked of the horrors that seismic oil testing has on marine life’s natural sonar systems and the death of whales and dolphins . We were reminded of the massive 1969 oil spill in Santa Barbara, the Huntington Beach oil spill in the 90’s and the recent All American Pipeline spill several years ago that has devastated local marine environments and local economies . Coastal Commissioner Dayna Bochco , Jeremy Wolf representing State Senator Henry Stern and Nancy Hastings previously of the Surfrider Foundation who was hired by Oceana to lobby against oil development all agreed to prohibit the oil companies from transporting oil from Federal waters onto land based pipeline facilities which would force many companies to abandon the more costly transport of oil resources via oil tankers . While many giant global oil Companies may opt out of the economic risk ,there was fear that lower tier oil companies could buy the leases and present an even greater risk of oil spills . Even with all the safeguards and safety technologies by the biggest oil companies there are still hundreds of oil spills every year.

Though California has many agencies and layers of Government lawyers who will oppose offshore Oil drilling, the public still needs to be involved and support local organizations and state representatives who will be needed to fight oil lobbyist who are frothing for more profitable petrol dollars but would imperil local economies and marine environments.

The MTC has a long history of fighting threats to Malibu’s Environment and has successfully fought off such proposals as a nuclear power plant at Corral Canyon and more recently a large LNG plant off of Malibu’s Coast. The MTC is supported Measure R and the unneeded destruction of Bluffs Park. Over 40 years ago MTC joined other coastal residents and organizations to fight offshore drilling as well as slant drilling. The MTC board members are willing to battle again 40 years later and all local support is welcome!

COVER FEATURE

Oscar’s Best:

Malibu Resident Bryan Fogel and His Sports-Doping Documentary Icarus.

INTERVIEW BY BEN MARCUS PRODUCED BY MARy FAHERTY

EDITOR’S NOTE: We held this interview since it was done so close to the Oscars - and so glad we did. CONGRATS to Bryan Fogel and Icarus for BEST DOCUMENTARY and the first Oscar for Netflix!

Icarus to me is a metaphor of being able to do incredible things as long as you don’t push the boundaries too far.

Photo by Peter Augustin

Originally from Colorado, long-time Malibu resident Bryan Fogel set out in 2014 to make a documentary about doping in sports – essentially a Supersize Me on steroids.

But what began as a simple, personal quest to explore and expose sports doping morphed and mutated into something much larger – a story of international espionage and paranoia co-starring Grigory Rodchenkov: A wild and crazy Russian anti-doping official who actually masterminded the Russian illegal doping scheme. Fate allied Rodchenkov and Fogel which resulted in the Russian loudly and internationally blowing the whistle on the ambitiously, joyfully corrupt Russian sports doping program – at the Sochi Olympics and all sports.

Rodchenkov is now in protective custody, in America, hiding from Vlad the Poisoner and his henchmen. The Russian came in from the cold briefly to appear – disguised – on 60 Minutes, and then he disappeared again into American protective custody.

Fogel’s Icarus premiered at Sundance in January of 2017 and got caught in a bidding war, with Netflix paying an unheard of $5 million for a documentary.

Twelve months later, in December of 2017, the IOC banned the Russian team from parading in the Olympic opening ceremonies, or competing under the Russian flag.

Icarus played an important role in exposing the Russian program and the ban on Russia competing as a nation in the winter Olympics in Seoul. And now Icarus has been nominated for an Oscar [March 4] in the Documentary category.

On a perfectly sunny-bright Wednesday in February, Fogel was at his home in a private location and sat down to talk.

The Local: That’s a very dense documentary you have there, to say the least. What titles did you come up with before you decided on Icarus?

Bryan Fogel: Icarus was the first title before I ever picked up a camera and started shooting.

The Local: That was it from day one.

Bryan Fogel: From day one.

The Local: Can you explain the significance of Icarus to those unfamiliar with Greek mythology?

Bryan Fogel: Well Icarus to me is a metaphor of being able to do incredible things as long as you don’t push the boundaries too far. And that story is about a father whose son wants to fly, and the father tells the son he can fly as long as he doesn’t go too close to the sun. Which he does and he crashes and burns to the ground.

And to me that was the story of Lance Armstrong and was the story of many many athletes who necessarily were not caught for what they did, but essentially pushed those boundaries in other ways – through denial, by suing people and etc. – and that kind of became the metaphor for the film.

90265 Magazine: Was the documentary about Lance Armstrong, originally?

Bryan Fogel: It wasn’t about Lance originally; it was about what I perceived as the fallacy of the anti-doping system. I believed strongly and then in a year of research that I did before I started the film, the anti-doping system was essentially a fraud. If you couldn’t catch the most tested athlete on planet earth, after 500 tests, to this day he’s never clean… I mean he’s never tested positive to this day. What does this mean for global sport? What does this mean for all sport? And that was what I was out to prove and show ultimately: That Lance is and was a needle in a haystack in terms of global sport.

The Local: Doping is rampant.

Bryan Fogel: Exactly. One of many and as the film uncovers a state-sponsored program truly shows that he wasn’t the, I guess, the Godfather as he was put out to be.

The Local: He was the poster boy.

Bryan Fogel: The poster boy. Exactly.

I have sympathy for him in the sense that he certainly was not alone. He did not invent the system and he came into a system in sport that was already corrupted when he began.

COVER FEATURE The Local: Or the whipping boy.

If I may be so bold you missed a musical opportunity in the soundtrack. There is a song by Tower of Power called It’s Not the Crime and the bridge goes: It’s not the crime, it’s not the thought.

It’s not the deed.

It’s if you get caught.

It’s an Oakland-funky song and wouldn’t have been appropriate for Icarus, which is a deadly serious documentary – in more ways than one.

Bryan Fogel: I probably wouldn’t have been able to afford it, so…

The Local: Were you in the group photo of Oscar nominees they just did?

Bryan Fogel: Yes. The Local: Any stories from that?

Bryan Fogel: Um yeah I mean it was an incredible honor and it was kind of surreal because they call you up one by one onto these risers. And then it’s “Meryl Streep!” and everybody starts applauding. They bring you up there and you’re just standing on these risers and for me it was about 10 minutes before they actually took the photo because they had to call everybody up there, and it was just a trip watching all these people I have so much respect for their craft and their work, coming up one by one.

The Local: Did anyone approach you about Icarus and say how much they enjoyed it?

Bryan Fogel: Some people you probably wouldn’t know of: Visual effects artists who were nominated and sound guys who were nominated. But yeah, I had a lot of conversations with people whose work I’ve admired for many years.

The Local: Where did they shoot it?

Bryan Fogel: At the Beverly Hilton. In the same room as the Golden Globes.

The Local: This was recent?

Bryan Fogel: The Oscar lunch was on Monday, so two days ago.

The Local: If you had to choose between winning the Haute Route bicycle race you mention in Icarus, or winning an Oscar, which would it be?

Bryan Fogel: An Oscar.

The Local: Really?

Bryan Fogel: Oh easily. Without question.

The Local: Icarus is a very dense documentary. A lot happens in two hours. I think you have been nominated not just for the importance and timeliness of the subject matter – and the effect the documentary has had on international sport and politics – but also for craftsmanship. Icarus started as a relatively simple idea and then it evolved as you were making it. You didn’t know where it was going but you stayed on top of it and detailed it as it was happening. This documentary is much more complicated than you could have ever dreamed.

Bryan Fogel: No, absolutely. When I started I thought that I was going on a couple-year journey that was going to be complicated in its physicality and also in the science of it. But certainly over what transpired there was a four-year journey. The story was incredibly complicated but crafting the narrative of it became an obsession for me as to how to tell this story, not in a flat-out journalistic point of view but to bring in a lot of artistry into telling that story which hopefully leads to the emotional impact of it.

The Local: You could say, in a sense, that it’s Supersize Me on steroids?

Bryan Fogel: Aha! The Local: What was your inspiration for Icarus? What documentarians or documentaries did you have in mind?

Bryan Fogel: When I started out one of my favorite films, in crafting it one of my favorite documentaries of all time was Man on Wire. [About a tightrope walker who illegally spans the World Trade Center in 1974]. Because the film plays like a thriller. Plays like a theatrical scripted thriller yet it’s a documentary. And that film was very impactful to me in the crafting of Icarus.

And certainly the work of Paul Greengrass and Doug Liman, the masters of creating the feeling of an action thriller, a political thriller – like Argo. And I looked at those guys’ work and set about how I could try to create that feeling that those guys were able to do in the crafting of the film. When I started out I would say I imagined it as kind of Supersize Me but with bigger impacts at least…

You know, Supersize Me was: “Does McDonalds essentially make you gain weight and give you all sorts of diseases?”

And this to me was going to be what the drugs do to you but the bigger perspective of whether or not the global anti-doping system in sport works. And that was what I originally set out to show.

The Local: Where is Lance Armstrong these days?

Bryan Fogel: He’s in Austin, Texas.

The story was incredibly complicated but crafting the narrative of it became an obsession for me as to how to tell this story, not in a flat-out journalistic point of view but to bring in a lot of artistry into telling that story which hopefully leads to the emotional impact of it.

Bryan Fogel in scenes from the documentary Icarus.

You know, Supersize Me was: “Does McDonalds essentially make you gain weight and give you all sorts of diseases?”

And this to me was going to be what the drugs do to you but the bigger perspective of whether or not the global anti-doping system in sport works. And that was what I originally set out to show.

COVER FEATURE The Local: Do you have sympathy for him?

Bryan Fogel: I’ve got to know him through this. He came forward a couple months ago in strong support of the film. He was very taken by it. In his own words he was ‘blown away’ and I have sympathy for him in regards to what was a witch hunt to catch him. The Federal Government got involved in the criminal investigation and the only way they were able to catch him is because his teammates – who did the same thing as he did – ratted him out in exchange for their own immunity.

So I have sympathy for him in the sense that he certainly was not alone. He did not invent the system and he came into a system in sport that was already corrupted when he began. So he clearly had… that’s what he came into. So I have sympathy for him in that regard, but I don’t have sympathy for him in the way that he treated others. And how he sought to bring others down. And that was ultimately his downfall. He kind of really pushed those limits in bringing lawsuits against other people. And seeking to defame other people, etc. So he’s a complicated character.

The Local: Is Lance Armstrong as ruthless as Putin the Poisoner?

Bryan Fogel: I don’t think he’s as ruthless as Putin, no.

The Local: I wonder: Why was Rodchenkov allowed to leave Russia and come and go as he was?

Bryan Fogel: Well he wasn’t allowed to come and go. When he came to Los Angeles the first time he had a visa. A US visa because he was lecturing at anti-doping and sports symposiums in the United States – before he fled the country. And when he fled the country he had that visa in place and he got out so quickly that I don’t think they had the chance to put that control in the system. I mean there are the allegations against him, he resigns from the lab, the lab is shut down and the Russians are dealing with this crisis. They think that Rodchenkov is still working with them and going to help them. And six days later he flees.

The Local: It was six days later.

Bryan Fogel: Yes. The Local: He couldn’t take his family with him. Too suspicious.

Bryan Fogel: Not at that point, and I don’t think he knew… I don’t think when he left. I know for a fact when he left he wasn’t certain… Was he coming back, was he not coming back? But as he got to Los Angeles, what became apparent over those first couple of weeks were: A: The gravity of what was going on in regards to the continued investigation and Russia’s response.

And B: What became Grigory’s desire to bring forth this information – to truly become a whistleblower. And I think as he made that decision we certainly knew he wasn’t going to be returning to Russia.

The Local: He must have been worried about his family? Was he?

Bryan Fogel: Yeah of course he was worried about his family. We tried to bring them here. At the time they didn’t want to go. They didn’t understand the seriousness of the situation. And we were out of time as a team. Grigory wanted to bring this information forward. And we needed to bring it forward before the Rio Olympics [in 2016]. His family decided not to come. We put a lot of effort into trying to bring them here. My understanding now is they are essentially – hostages – in a way, of Russia. In the sense that…

The Local: They can’t go anywhere.

Bryan Fogel: No. The Local: But they’re not in prison.

True and unconditional power, claimed from within, rather than dysfunctional and unhealthy power bestowed upon us by society. That’s more like it.

LEFT: Grigoriy Rodchenkov is a wild and crazy guy who outwardly was head of the Russian anti-doping program, but in reality was the head doper.

RIGHT: Bryan Fogel interviewing Grigory Rodchenkov in the Oscar winning documentary Icarus.

Photos courtesy Bryan Fogel.

COVER FEATURE

Bryan Fogel: No. But I’ve been told that they’re under… they’re keeping a watch on them. But Grigory’s lawyer would have more information on that than I do.

The Local: I don’t know if it’s jinxy bad luck to ask this, but have you written your Oscar acceptance speech yet?

Bryan Fogel: I have not.

The Local: Is that bad luck to ask?

Bryan Fogel: I don’t know if it’s bad luck but I think that’s something I’ll work on that day.

The Local: Really?

Bryan Fogel: Yeah.

The Local: So you had a lot of help on this project. You must have, because it’s a complicated, dense documentary. Who would you like to thank or mention off the top of your head?

Bryan Fogel: Well making film is a highly collaborative process and I think all great filmmakers – or any good film-maker – understand that it’s an army – a creative army of amazing people that help you craft your vision. So I was supported by amazing people through this process.

The Local: How many did you have when you started?

Bryan Fogel: When we started it was me and my cinematographer and basically the two of us would bring on people as we needed it. In Year Two of this shoot it was me and my cinematographer and an editor. But if you look at the end credits, there’s probably 500 people.

The Local: Five hundred at the end?

Bryan Fogel: Yeah that worked on the film, sure.

The Local: Did you edit on Malibu Road, where you were living during the making of the documentary?

Bryan Fogel: No we edited in Santa Monica. I had a whole team. I had about 15 people.

The Local: Fifteen. When I was watching Stacy Peralta making Riding Giants it was just Stacy and his editor.

Bryan Fogel: Yeah you know but when you look at the production of the film… every department once you get into post… there was a lot of people involved in this film.

The Local: There are some very sophisticated graphics and also illustrations. Like the graphics about the twisting tops on the urine samples, etc.

Brian Fogel: Yeah that was through a company called ODD in New York. And there was about 12 or 13 people who worked on that – compositors and visual artists and guys who can do CGI and all that stuff.

The Local: Editor was Jon Bertain?

Bryan Fogel: Yeah, Jon Bertain. John’s incredible.

The Local: I’ve never worked on anything as ambitious as Icarus but I’ve done video and film projects. I call editing “the one-yard stare” and you live with that mammoth equation in your head – how to tell the story.

Bryan Fogel: Every day and every night you’re always thinking, and Jon is an incredible talent. You’re seeing stuff and thinking about it. The movie was all-consuming during the period we were making it.

The Local: Stacy Peralta showed me the rough cut of Riding Giants just before he took it to Sundance. They missed a God-given transition from Act One – about Waimea Bay – to Act Two – about Mavericks. I begged him to change it, but it was locked. Oh well, they lit the place up regardless.

Endings are tough, but you end Icarus with Grigory Rodchenkov reading about truthfulness from 1984 over images of Lance Armstrong and Vladimir Putin. It’s a great ending. Where did that come from?

Bryan Fogel: The 1984 reference? Well for Grigory, 1984 is his favorite book. It’s kind of been his textbook I guess I would say. And as myself and my team were working more and more with Grigory as he was here in Los Angeles he was always quoting Orwell. He was always quoting 1984.

The Local: He was living it. He’s still living it.

Bryan Fogel: Yep, and he latched into Winston Smith’s journey, which essentially mirrored Grigory’s journey and as that became apparent we decided that could be potentially a structure… narrative structure to hang the film on: Grigory’s journey. And that came through a long process. Before he went into protective custody we had him record many many passages from 1984 and we then had the ability to craft that narrative because we had those recorded passages.

The Local: Last question:What’s next for Bryan Fogel? And that’s a question that could change dramatically depending on the outcome of the Oscars.

Bryan Fogel: I’m looking at a bunch of things. I haven’t decided. I have a couple of doc projects I’m looking at. I have scripted projects. Some stuff in the television space. I just want to get through the next month before I start looking seriously at those things.

The Local: One more last question. When is the last time you spoke to Rodchenkov? Or is that classified?

Bryan Fogel: I’m not able to speak to Grigory anymore. And that’s been over a year now. I know that he’s okay – at least in health – but I don’t have any personal contact with him and I have no idea where he is.

The Local: It’s serious business to anger Vlad the Poisoner. A good way to end up with Polonium-210 in your soup.

Bryan Fogel: Yeah, it’s very serious.

LEFT: Bryan Fogel basks in the glow of his Oscar victory.

RIGHT: Bryan Fogel brings home the Oscar for Best Documentary and the first feature Oscar win for Netflix.

6360 Gayton Place 路 MALIBU $3,750,000 Stunning piece of land with fully approved plans and permits - ready to break ground!

Build your dream home on this private estate with huge views of the queens necklace and Point Dume.

eytan levin 路 (310)924 0806 路 Eytan@4malibu.com 路 www.4Malibu.com

6156 Ramirez Canyon 路 MALIBU COMING SOON - PRICE AVAILABLE UPON REQUEST Exclusive estate in Ramirez Canyon, sits on approximately 6 secluded acres with a pool and guest house. This custom built home has approximately 10,000 sq ft of interior space and is within close proximity to the beach.

eytan levin 路 (310)924 0806 路 Eytan@4malibu.com 路 www.4Malibu.com

$2,385,000

eytan levin · (310)924 0806 · Eytan@4malibu.com · www.4Malibu.com

LOCAL

SOUND AND FURY

Oscar-nominated sound director

BY BEN MARCUS julian slater. INTERVIEW PRODUCED BY MARy FAHERTY

In February and early March, the movie Baby Driver was up for Editing and Sound awards at the British Academy of Film and Television Arts awards, the California, Cinema Audio Society and the Academy Awards. Directed by Edgar Wright (Shaun of the Dead (2004), Hot Fuzz (2007) and The World’s End (2013), Baby Driver is a major riff on the heist/car chase movie, an evolution and alchemy of Bullitt, Fast and Furious, Pulp Fiction, Snatch and dozens if not hundreds of other heist/car chase movies.

Baby Driver is more than a little bit different, as the entire movie moves in rhythm to a stellar soundtrack that is as old as Harlem Shuffle (1963) and as new as Danger Mouse but with a lot of good sounds in between: Tequila, Hocus Pocus, Barry White, Queen.

The edits and synchronization and syncopations are as subtle as windshield wipers moving to the rhythm and as unsubtle as automatic weapons fired on the beats.

A clever movie, that must have been a tremendous amount of work to put together by all involved, including Sound Design, which was lead by Englishman Julian Slater.

On Sunday, February 18 The Local chatted with Slater in London, through Skype.

And then - because of ironic sound glitches - followed up a week later, when Slater was back in Los Angeles, kicking it with his family after the Cinema Audio Society Awards on February 24 and looking forward to the Academy Awards on March 4.

The Local : I apologize for all the communications glitches, but the cell service in Malibu is so bad in some places, they make fun of it on Entourage.

JS: You are clear now.

The Local : Your IMDB page has credits going back to 1993 as Assistant Sound Editor on Baby of Macon.

JS: That’s ‘mac-on’ properly.

The Local: That was your first?

JS: I guess if it says so on IMDB - yeah.

The Local: Well IMDB isn’t perfect. Fairly accurate. After Baby of Macon, some really big shows: Jumanji, Mad Max: Fury Road, In Bruges, Shaun of the Dead, Leaving Las Vegas. That’s a pretty distinguished list, I would say, and that’s just a partial listing.

JS: Thanks, yeah. It’s quite varied. I mean it’s not just one genre. There’s things like In Bruges and Girl With a Pearl Earring, and then there’s stuff like Mad Max and Shaun of the Dead. And a bit of animation in there as well. Fair bit of comedy. So yeah, it’s pretty varied.

The Local: Let’s get some backstory. Born where? Educated where?

JS: Maidstone in Kent, in England. Just outside of London. I was educated in a little town called Hadleigh, in Suffolk, which is a county of England. It was just a state school. Left when I was 16 and by the time I was 18 I spent a year learning music production, because that’s what I wanted to do.

The Local: And where did you go to learn that?

JS: The School of Audio Engineering in London.

The Local: How did you know you wanted to do that? What inspired you?

JS: The video for The Police’s Every Little Thing She Does is Magic.

The Local: Oh good call. Great song.

JS: They are at a mixing desk, and they’re pushing faders up and down and I said: “I want to do that.” That was it. That was the thing that kind of set me off.

The Local: Okay so Every Little Thing She Does is Magic put the hook in you and then you went to the Audio School of Engineering in London and you took right to it?

JS: Yeaahhhh, yeah I guess so. By pure coincidence I was assigned to a two-week work placement at De Wolfe Music. And they have one of the world’s biggest music libraries. After two weeks they said to me, “When you finish your course, if you want to come and have a job here, we’d love to have you.”

So I finished my course and I went to De Wolfe Music and after about a year of working at De Wolfe Music, the lady who ran the sound effects department became pregnant, and they asked me if I wanted to take over the sound effects department. And so... that’s where I started my career in sound effects. In sound design.

Was in the effects library at De Wolfe Music.

At the BAFTAs we were up against Blade Runner 2049, Dunkirk, Star Wars and Shape of Water. One of the reasons I got into sound design in the first place was watching Ben Burtt working on the original Star Wars.

The Local: Did you work on movies in England before you came to Los Angeles?

JS: Oh yeah. I’ve only been in Los Angeles (los anja-leez) for four and a half years. Everything up to The World’s End for Edgar was done in England. I love it here.

This is my home. We’re not leaving. We love it for various reasons. We love it because of the weather. We love it because of the attitude and the lifestyle and also I love it because working in Hollywood - if you’re going to be at the top of your game - Hollywood is the place to be.

The Local: At the BAFTAs they gave the Editing award to Baby Driver and not the Sound Editing and they are one in the same, really.

JS: Yeah, to be honest when Jon and Paul [Jonathan Amos and Paul Machliss] won for Picture Editing I thought, “Oh man this is going to be great. We’re off!” But it wasn’t to be.

The Local: I reckon you wuz robbed.

JS: Mixed feelings. I mean I’m happy to be nominated but the final result is… It’s all good.

The Local: It’s a tough room because you are up against Dunkirk and Star Wars and… who were the other BAFTA nominees?

JS: Exactly, well this is the thing. At the BAFTAs we were up against Blade Runner 2049, Dunkirk, Star Wars and Shape of Water. One of the reasons I got into sound design in the first place was watching Ben Burtt working on the original Star Wars. On any other… another year, I could have had a better chance. There are some amazing sounding movies in that batch. Like I say, just to be nominated is great.

The Local: From the first time you sat down for Baby Driver until the time you stood up and said, “This thing is done!” How long was that, do you know?

JS: I know exactly: It was seven months, to the day, between me starting the process and… I mean I was involved... I talked with Edgar during the shoot.. But my fulltime involvement was seven months to the day that I started the journey. So total was seven months.

The Local: What would you say was the most complicated sequence? The most layered scene?

JS: Well, every scene had… The car chase scenes - like the one scored by Hocus Pocus - every scene had its own set of challenges. Edgar plans everything to the minutiae detail beforehand. He knew how long each music cue was and he knew how long each sequence needed to be.

LOCAL The Local: Do you have a favorite scene from Baby Driver?

JS: It’s hard to pick any one out. You know the car-chasing scenes are themselves pretty complicated because you know... everything is syncopated to the music tracks: Squealing wheels and revving motors and guns and police sirens and bank alarms. They’re all working together with the music tracks.

The Local: When you edit to music, sometimes songs get stuck in your head. Of all the songs from Baby Driver, which, of any, are stuck in your head? All of them I hope not.

JS: There was a moment when I was doing the diner scene to Barry White’s Never Gonna Give You Up and I spent three days doing the mixing on that sequence.

At the end of that third day, I remember I was walking to the tube - the subway - and I was still listening to that music track on my IPhone and then I went home and I remember taking a bath and inadvertently I had that on while I was taking a bath. I couldn’t remove that song, and it is a great song. Most of the songs on the soundtrack are great, but that Barry White song particularly stayed with me for an unhealthy amount of time.

The Local: Do you have a favorite sequence?

JS: There’s loads of favorite sequences to be perfectly honest. I don’t have a particular one. But I’m so proud of it as a piece of work. To be part of something unique and so different. It’s an honor.

The Local: The whole movie moves to rhythm. It’s all choreographed in a cool way - subtly, but also unsubtly - because automatic weapons are fairly unsubtle.

JS: On set, those guys and those girls were listening to the songs as they were acting. When Baby puts on those earpods, the real music is playing in there.

Edgar wrote the part of Buddy with Jon Hamm in mind. And I know that everyone else… mostly… he cast people who had some kind of musical talent… background.

Ansel is a musical artist in his own right as is (Malibu local) Jamie Foxx as is Kevin Spacey. And Flea, of course.

The Local: Is it bad luck to ask if you have prepared your Oscar speech?

I have not. Well at this point I’ve lost the BAFTA and lost the CAS on Saturday. So I feel like.. Well God knows what’s going to happen on Sunday. But currently I have not written a speech. And the thing they tell you at the nominee luncheon is, you know: Prep a speech. But so far on Monday, whatever day this is, I have not written a speech.

Scenes from Baby Driver.

The Local: You said the CAS? JS: On Saturday it was the Cinema Audio Society, which is all for mixing. So I feel a little… well we’ll see, but I haven’t prepared a speech.

The Local: Who won in your category at the CAS? JS: Dunkirk.

The Local: Again. I don’t see that at all - or hear it. I liked Dunkirk, but it’s not remotely as complicated as what you did, is it?

JS: Yeah well I…. I can’t explain it. It’s…. Beauty is in the eye of the beholder.

The Local: Or the ear.

JS: The ear.

PUBLIC INFORMATION PORTAL FOR RESIDENTS, BUSINESSES, AND VISITORS 0F INCORPORATED AND UNINCORPORATED MALIBU 90265

EMPOWERING THE PEOPLE THROUGH LOCAL ACTIVISM, COMMUNITY INVOLVEMENT, EDUCATION, TRANSPARENCY AND OVERSIGHT. WEBSITE COMING SOON. FOR MORE INFORMATION CONTACT INFO@MALIBUCALIFORNIA90265.COM

LOCAL

AN ENGLISHMAN FROM NEW YORK IN MALIBU A Chat With Writer/Director/Actor Desmond Devenish INTERVIEW BY BEN MARCUS PRODUCED BY MARy FAHERTY Desmond Devenish

The Local: Desmond Devenish! That’s a cool name. Like Desmond Dekker. Like something out of a Jane Austen novel. That your real name?

DD: Ha, yes, 100 % real. The night I was born, my father was sitting between The Hon. Desmond Guinness, an Anglo-Irish author on Georgian Art and Desmond FitzGerald, 29th Knight of Glin, also an Irish author and president of the Irish Georgian Society.

The Local: Wikipedia says you are English-American. Born to English parents in New York. Are you an Englishman in New York, or a New Yorker within an Englishman? Is that even a legitimate question?

DD: Haha. Good question. Perhaps, I’m a global citizen that owes a lot of my upbringing to New York and England. Hopefully that doesn’t sound too pretentious!

Both my parents grew up in the UK, so I was steeped in British culture; stories, food, football, television and travels. When people talk about bloodlines and heritage, and what are the defining signatures of nationality, is it citizenship, athletically competing or fighting for a nation, or simply living in that environment for a number of years? I would say any of those could be true. Personally, I feel that so much of my persona was influenced by Brit sensibilities, colloquialisms and mannerisms that I identified heavily with that culture, not just because I could wave a British passport.

On the flipped side, growing up in NYC afforded me the ability to identify with any culture and find my own individuality. I think one of the main reasons America is going through such an identity crisis as a culture, is people are asking themselves what specifically is American today? We have such an influential global cross-pollination with cuisine, music & art, even religion and spiritual modalities, add that on top of the digital, social media element, and it makes for an exponentially accelerating loss of the original hallmarks of American identity and a forever advancing reconstituted notion of who we are as people.

That’s why I love the visual, palpable, energetic nature in this country. That for me is what is American, is the actual living breathing soil and landscape, not simply baseball games, barbeques and the media outlets’ daily news rundown.

There’s been a lot of bloodshed fought on this landmass. There has also been an unstoppable drive to do right, because many people know what a gift we’ve been given in the form of learning, growth and opportunity. We’re watching each other very closely now, and I may be of the minority opinion, but I think one way or another, we are all going to come out of this ahead.

The Local: When did the acting bug bite. Who inspired you? Which actors? Which movies? Which directors? If you could morph into any other creative person, who would that be?

DD: My charismatic mother had a lot of influence on me in this department, who originally wanted to be an actress, before she pursued a successful career in teaching and fine arts. So naturally, since I was a kid, I comported myself in that same manner. I also worked in a video store in high school and having few friends led to some obsessive movie watching. I met a manager around the same time who took me under her wings, and the rest is history.

I think most leaders have a significant amount of that stage performance thread in them. The only difference with actors is they are willing to be sacrificial vessels to that thing we call a character. And those characters will have us invoke, convey, exorcize and sympathize with some very dark and beautiful emotions.

Acting can be construed as dissembling, but when done masterfully is one of the highest forms of truth, in its hyperreality state. This may be why so many people are held spellbound when watching great acting.

Growing up, I was heavily influenced by River Phoenix, Sir Anthony Hopkins, Sir Richard Burton, Sir Ben Kingsley, Marlon Brando, Gary Oldman, Miranda Richardson & Jessica Lange.

Platoon, Naked, Stand by Me, Hollywood Shuffle, Down and out in Beverly Hills, The Golden Child and Three Amigos definitely wore out their treads.

There are so many directors whose work I admire; Sidney Lumet, Kathryn Bigelow, David Fincher, Alejandro Iñárritu, Gus Van Sant & Danny Boyle to name a few.

The Local: You were on stage for On the Waterfront and in various short subjects, but then co-wrote, directed and starred in Misfortune. Why would you do that to yourself?

DD: Haha! It was more of a necessity than anything else. However, writing my own material, especially through trial and error, has encouraged me to be a better writer. As they say, story is everything, although some good P&A does help remarkably!

The Local: You sold your house in Silver Lake to finance the movie? That’s a bold move.

DD: It was my now or never leap, and what I would have to sacrifice to direct a feature. A lot of people say don’t use your own money, but you also only get so many chances to make something big happen in your life.

The Local: Sum up Misfortune in a sentence or two. Was it inspired by any other story or movie in particular?

DD: It’s about a released ex-convict, hell bent on finding the heisted valuables from the prison-landing crime in which he betrayed and killed his partner over, years earlier.

It was inspired by father-son archetypes and personal experiences dealing with betrayal, greed and blind ambition.

The Local: When and where did you shoot? Can you say what the budget was?

DD: Magical Tucson, Arizona - spring of 2014. It offered those authentic cinematically classic Western landscapes. Locations are such a living breathing character in a film.

150K in the can, another 20K with post-production, another 30k to do post the right way, and about another 50k to spend a full year shopping it around the world.

All in, a quarter of a million.

LOCAL The Local: Most people are shocked by how expensive and difficult it is to produce a movie. Were you shocked?

Absolutely. It’s like on one end you have your artistic vision and the other a gigantic Shop-Vac sucking up your money. You want a decent trailer? No problem, that will run at least 10 grand. That’s okay, I’ll do it myself, only to realize you can’t cut a proper trailer. Guess you will be spending that 10k. If you’re lucky, maybe you’ll get it down to 5.

But then how many of those favors are you gonna have to ask every single department in the film world?

I had to go back to film school 101. I recall taking one of my veteran actors to a second hand clothing shop in Echo Park to get him a pair of boots for the film.

He was such a good sport about it. But, it was stuff like that that reminds you what kind of budget you’re working with.

Producing is difficult, but I love it. It’s a lot of problem solving and making miracles happen from nothing. It’s also a shopping list of other completely random tasks, that if weren’t associated with the film industry, most people would roll their eyes and think, why would I ever want to do that? But, that’s how you make a movie.

I’ve learned you have to be prepared to go to the edge and beyond for your film. You will realize if filmmaking is for you or if it’s just a fantasy. I did, sitting at a stop sign in Austin, Texas in the middle of post, wondering do I really wanted keep going in this direction?

The craft completely eliminated my ego and stood towering over me. I had to make myself worthy to it, not the other way around. It’s like the art will eventually call you out. It’s a path I’m sure most people cross if they have any respect for the thing they are endeavoring to be any good at.

It was my now or never leap, and what I would have to sacrifice to direct a feature. A lot of people say don’t use your own money, but you also only get so many chances to make something big happen in your life.

The Local: How was your movie received. Did you have fun showing it to people? John Milius was always shocked that Italians loved Big Wednesday more than Apocalypse Now. You never know how cultures are going to react.

DD: Yeah, I definitely had fun showing it to people. It’s exciting to sit in a dark room with your work on display, the intimacy and vulnerability, and knowing that your creative expression will be judged. It is a moment of reckoning, of bearing your artistic soul for others to like, love, simply not care out about or despise.

I screened Misfortune in India and there were cell phone calls and texts going off left and right, people having full on conversations. There was also an actual announcement interruption, like on an airplane when they pause the film. This, in the middle of one of the biggest climactic scenes in the movie. It was kind of surreal, as I was not used to that. I had to laugh right there, and lose all of my Western micromanaging preconceptions. It was pretty awesome, as it taught me to not take myself and my work so seriously.

The Local: When did you move to Malibu? Why did you move to Malibu?

DD: I felt a calling to move out in 2016. I’d lived all over greater LA, but not by the ocean. It was the right time. I think I might have taken it for granted had I done it any earlier. There is something so magical about Malibu. It’s been my Buddha, and cure all to the previous unmanageable obsession I’ve had toward my artistic pursuits.

It has taught me to go after things with a much stronger foundation and balance, as well as to appreciate the simple things, a cooked meal, hot shower and a good night’s sleep. It’s also impossible for me to deny the gorgeous ocean swells that roll in every day, the majestic sunsets, Santa Monica Bay landscape and Santa Monica Mountains.

But most importantly, it’s the people of Malibu. It’s that I have found a community here. And Malibu is just an entirely different world.

The Local: Re: Sexual harassment in Hollywood, It’s astounding how many careers are being ended abruptly: No judge or jury, just: “Seeya! Show cancelled and so are you.” It’s weird to see things happen that fast, anywhere. Have you worked with or are you acquainted with anyone who has been exposed/purged/ended?

DD: I believe it was Warren Buffet who said “It takes 20 years to build a reputation and 5 minutes to ruin it”.

This has all been building up. It is very sad to see the pain it has caused many of the injured party, but they have done a great service by stepping forward to create this revolution of change and there is absolutely no shame in that.

The Local: Have you been involved with any of the protests or gatherings or meetings?

DD: No, But I have been very active in keeping up with the latest news to stay informed. This is a monumental time in history. The admonishment with zero tolerance and repercussions has been inspiring towards greater change and healing. The next focus, which ultimately needs to be addressed, is how to rewire the propensities that cause these compulsive and voluntary power abuses.

The Local: Are S.A.G. or the D..G.A or the W.G.A going to require education on sexual harassment from their members, that you are aware of?

DD: I am not aware of, but could be effective.

The Local: Have you ever been victim to any kind of discrimination or harassment or bullying or underhanded dealings in Hollywood?

DD: Yes.

I believe it was Warren Buffet who said “It takes 20 years to build a reputation and 5 minutes to ruin it”.

The Local: Are there other evils lurking in Hollywood that should also be exposed to the light?

DD: Financial malfeasance, Ponzi schemes, lack of transparency, and various types of white-collar crime.

The Local: What projects are coming up next?

DD: My next project is based on the Amazon Kindle Scout winning novel Eddie and Sunny. After a crime committed in self-defense, two on the run, living out of their car, fugitives and their 7-year-old boy, desperately look for work on the Carolina coastline and get forcefully separated and left for dead, when their crime catches up with them.

It’s a story about homelessness, joblessness, justice and self-empowerment in present-day America, and how one family will go to the farthest and most vulnerable reaches to support each other from sinking.

It’s Bonnie & Clyde meets Shawshank Redemption, and this film is important to me as it stands as a resounding reminder on what it takes to survive in this day and age, whatever your ethnicity, orientation, income bracket or political affiliation. We all need hope, which is the key theme of this film.

We’ve started the wheels turning and are currently in the development stage. I am completely confident, some very special people are going to come to the table and turn this story into the timely and significant movie it deserves to be, and will become.

B R E A K F A S T

COME TRY OUR NEW BREAKFAST AND LUNCH ADDITIONS.

D I N N E R

CATERING LARGE OR SMALL Full service, customized ready to eat trays.

Call for quotes.

C A T E R I N G

23750 PACIFIC COAST HWY, MALIBU, CA 90265 (310) 317-1444 OLLOMALIBU.COM