VMAN 26

26

SUMMER 2012

US $5.95 CAN $9.25 DISPLAY UNTIL AUGUST 23, 2012

ANDREW GARFIELD

TALKS TO TOBEY MAGUIRE ABOUT BECOMING SPIDER-MAN IN GIORGIO ARMANI PHOTOGRAPHED BY INEZ & VINOODH

EPIC SUMMER

TODAY’S LEADING MEN, BRUCE WEBER’S L.A. DIARY, HIP-HOP’S SAVIOR, FALL’S FEARLESS FASHION, AND MORE

DSQUARED2.COM

DSQUARED2.COM

Belvedere is a quality choice. Drinking responsibly is too. Belvedere Vodka 40% ALC./VOL. (80 PROOF) 100% neutral spirits distilled from rye grain. ©2012 Imported by Moët Hennessy USA, Inc., New York, NY.

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EVEN THOSE WHO INSPIRE US NEED A PLACE TO BE INSPIRED. VFILES.COM

Hair: Steven Fernandes. Makeup: Lynette Broom. Both for Garren New York.

Karlie Kloss is an American model, muse, and fashion’s ruling runway queen. VFILES.COM

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V M A N Editor-in-Chief/Creative Director STEPHEN GAN Editor ELLIOTT DAVID

Editor-at-Large DEREK BLASBERG Associate Editor/Online PATRIK SANDBERG Contributing Editor SARAH CRISTOBAL Photo Editor EVELIEN JOOS Bookings Editor NATALIE HAZZOUT Managing Editor/ New Media & Special Projects STEVEN CHAIKEN Senior Fashion Editor JAY MASSACRET Fashion News & Market Editor CHRISTOPHER BARNARD

Contributing Fashion Editors NICOLA FORMICHETTI JOE M C KENNA OLIVIER RIZZO BEAT BOLLIGER CLARE RICHARDS ON HANNES HETTA

Advertising Directors JORGE GARCIA jgarcia@visionaireworld.com

Visionaire CECILIA DEAN JAMES KALIARDOS

GIORGIO PACE gpace@visionaireworld.com

Advertising Manager FRANCINE WONG

Fashion Editor-at-Large PANOS YIAPANIS

Copy Editors TRACI PARKS JEREMY PRICE ANNE RESNIK

fwong@visionaireworld.com

Advertising Coordinator VICKY BENITES

Research Editor JAMES POGUE

Consulting Creative/ Design Direction GREG FOLEY

vbenites@visionaireworld.com

646.747.4545

Creative Imaging Consultant PAS CAL DANGIN

Art Director SANDRA KANG

Digital Strategy Manager S OFIYA SHRAYBER

Financial Comptroller S OORAYA PARIAG

sofiya@vmagazine.com

Associate Art Director CIAN BROWNE

Production Director MELISSA S CRAGG

Design JEFFREY BURCH ALEXA VIGNOLES SANAM NARAGHI

Special Projects GLORIA KIM

Contributing Fashion & Market Editors TOM VAN DORPE MICHAELA DOSAMANTES

Communications ANUS CHKA SENGE SYNDICATE MEDIA GROUP 212.226.1717

Fashion Assistant MICHAEL GLEES ON

Distribution DAVID RENARD

Contributing Editor/Entertainment GREG KRELENSTEIN STARWORKS

Assistant Comptroller FARZANA KHAN Administrative Assistant ANNIE HINSHAW Interns BIANCA AMBROSIO PAYTON BARRONIAN NATALIE BUDNYK LORENA CAMPILLO ALBERTO MARIA COLOMBO ROZZIE INGE ROYTEL MONTERO ALBAN ROGER NATHAN SIMPS ON LIZ SIPORIN SHAINA TRAVIS PATRICIA YAGUE

CONTRIBUTORS Inez & Vinoodh Bruce Weber Sam Taylor-Wood Tobey Maguire Terry Richardson Nathaniel Goldberg Maciek Kobielski Daniel Riera Naomi deLuce Wilding Cuneyt Akeroglu Daniel Lindh Heathermary Jackson Toby Grimditch Maurizio Bavutti Eileen Hayes Susannah Howe Giancarlo DiTrapano Justin Taylor Noah Wunsch Freddie Campion David Hutchings Roberto Reyes Jonny Coleman Theo H. Jourdain SPECIAL THANKS The Collective Shift Jae Choi Brenda Brown Christine Lavigne Lisa Weatherby Marc Kroop Box Delphine Delhostal Art Partner Giovanni Testino Amber Olson Candice Marks Lindsey Steinberg Allison Hunter Little Bear Inc. Jeannette Shaheen Gwen Walberg Art + Commerce Jimmy Moffat Society MGMT Stephane Gerbier Ugo Dumont Streeters Neilly Rosenblum Paula Jenner Management Artists Francesco Savi Valerie De Muzio Courtney Aldor Daniel Weiner CLM Nick Bryning Cale Harrison Artlist Jonathan Ferrari Michael Quinn Eye Forward Carol LeFlufy Laura Elizabeth Jonathon Nixon Jed Root Jozo Novak Rachel King View Imaging Peter Rundqvist Terrie Tanaka Allan Finamore Lindsay Cruickshank Caitlin Thomas Kristin Kochanski Tim Howard Management Michelle Service See Management Rob Magnotta FRANKREPS Brian Blair The Wall Group Tracey Mattingly The Magnet Agency Leeann Winer D+V Management James Colville Ford NY Paul Rowland Sam Doerfler Jesse Simon Blake Woods Emily Novak ROOT [EQ, Capture+Studios] Kip McQueen Aldana Oppizzi Morgan Anderson Pier 59 Tony Jay Federico Pigntatelli Milk Studios Diane Suarez Danielle Rafanan BOXeight Azzurro Mallin Splashlight Shell Royster Fast Ashleys Michael Masse Smashbox John Cassidy Rebecca Cabage David Radin Spring Studios Bar Bar Verien Wiltshire P A G E

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C O N T E N T S PAGE 54 THE AMAZING ANDREW GARFIELD BY INEZ & VINOODH Hollywood’s emerging leading man speaks with Tobey Maguire about the pitfalls of fame on the eve of this summer’s The Amazing Spider-Man PAGE 23 VMAN NEWS Gym equipment for the great outdoors, DSquared’s destination-packed Summer collection, a day in the life of decathlete Bryan Clay, a look at Nike’s Tom Sachs treatment, plus all the music to know, all the places to go, and all the products you’ll want to keep in tow PAGE 32 ART OF DARKNESS Breaking Bad actor Aaron Paul doesn’t know much about brutality…he just embodies it on TV PAGE 36 ALL THE KING’S MEN HBO’s Game of Thrones has set a new precedent for television drama, thanks in no small part to these polished performers PAGE 4 2 THE SECOND COMING OF DIEGO BONETA The Latin-American entertainer finds crossover success with summer’s Rock of Ages movie, but likes to let his music do the talking PAGE 46 GAME CHANGE Rufus Wainwright’s expanding oeuvre moves toward the mainstream with the help of Mark Ronson PAGE 62 THE SAVAGE AND THE SERENE BY SAM TAYLOR-WOOD For Oliver Stone’s Savages, Aaron Johnson enters a seedy world of drugs, kidnapping, and threesomes.

Here, he finds peace in the country with his family PAGE 68 IS WAKA FLOCKA FLAME HIP-HOP’S LAST HOPE? BY TERRY RICHARDS ON The breakout sound of Waka Flocka Flame spawned a sea of copycats.

Now, with a new album, he’s ready to shoot up the Billboard charts PAGE 73 BRUCE WEBER’S L.A. DIARY BY BRUCE WEBER Nobody captures the sun-kissed splendor of California quite like Bruce Weber.

In a tribute to his late friend Elizabeth Taylor, Bruce takes a tour of the Golden State in style PAGE 109 MENSWEAR’S DAREDEVILS BY NATHANIEL GOLDBERG This Fall, men’s fashion gets fearless with bold collections from a roster of intrepid designers

ON THE COVERS PHOTOGRAPHY INEZ & VINOODH FASHION NICOLA FORMICHETTI ANDREW GARFIELD IN GIORGIO ARMANI ANDREW GARFIELD IN GUCCI P A G E

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NEW YORK | BOSTON | LOS ANGELES | TORONTO | TOKYO | HONG KONG | LONDON | GENEVA | DÃœSSELDORF

| VICTORINOX.COM

FOREWORD

Finally. Summer has come, these blissful months when life seems easier—rooftop parties blanketed in purple June night, July’s white-hot shimmering façade sexying up afternoons. But summer is much more than neverending revelry. It’s a time of great change, of personal and cultural metamorphosis, when we shed layers and sweat our way through flings and music festivals and foreign countries. We relax, reading books and magazines at the pool and on the beach, flexing the results of many a cold month devoted to health and fitness. Summer is a thrilling chapter in our lives. Epic times.

Such was the spirit with which we undertook this issue: a new chapter in the story of VMAN. Nobody will experience more change or a broader awakening this summer than our cover star, Andrew Garfield. Swinging across screens worldwide as the new Spider-Man, the devoted actor—who’s worked with some of our greatest filmmakers—is on the verge of global-celebrity status. We felt no one was better equipped to give Garfield advice on his impending transformation than the original Spidey, Tobey Maguire, who also went from being an indie cinema star to ranking as one of the biggest celebrities ever—with his own interpretation of the same character. Here, Maguire graciously interviews his successor, their heartfelt conversation shedding light on the balance of art and image in our extremly celebrity-driven culture.

Epic personal change was made by actor Aaron Johnson as well, who is photographed here by his wife, the celebrated artist Sam Taylor-Wood. Johnson spent much of the past year in a hell of Oliver Stone’s creation, Savages, playing a character neck-deep in a world of drugs, depravity, and death. But after diving into that immoral, bleak world, Johnson returns to an illuminated real life of joy, finding respite in the English countryside with Taylor-Wood and their four daughters. Much the same goes for Aaron Paul, a phenomenal talent, arguably one of the best actors of his generation—and the star of Breaking Bad and the upcoming film Smashed, which won a Special Jury Prize this year at Sundance. Like Johnson, Paul throws himself into characters who struggle in the darkest shadows, vicariously experiencing brutality and horror, and then comes out on the other side transformed, joyous, bathed in summer light.

As the poet Charles Bukowski said, “What matters most is how well you walk through the fire.” And the hiphop heavyweight Waka Flocka Flame, shot for us by Terry Richardson, with his release of this summer’s Triple F Life: Friends, Fans and Family, rises out of rap’s ashes one badass phoenix. While it’s been said that hip-hop is in the midst of an identity crisis, Flocka espouses the pure roots of the game, reminding us all that no matter how much you change, you can only call it evolution when you remember where you came from.

These fleeting summer months are also about looking ahead, reinvigorating our perspective on what’s to come. And what’s to come is quite spectacular. As you’ll see in our Collections story, menswear is about to have its most daring season in years, due to the fearless designers reinventing men’s fashion, revving up the industry with bold innovation—a fashion reawakening.

Of course nobody pays tribute to the romance of that summer feeling better than Bruce Weber, the photographer whose legendary career comes closer than any other to capturing the essence of the season. In an elaborate yet intimate Los Angeles diary, Bruce shares with us his adoration for the town that he and Elizabeth Taylor once shared so sweetly, as well as some of the city’s most magnificent angels. Bruce jokes that L.A. should stand for “Love Anew.” He’s right. That’s what summer’s all about, no matter what coast you’re on or what country you inhabit: love, celebration, and rebirth are waiting around every corner.

There’s much more inside this issue, from athletes to artists to the season’s must-have gear. We hope you enjoy, and thanks for spending your summer with us. We’ll see you in the next chapter. THE EDITORS

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V M A N

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N E W S & P R O F I L E S AN ARTIST’S VOYAGE, THE LIFE OF AN OLYMPIAN, TV’S DARK HORSE, A ROCKER FOR THE AGES, SUMMER STYLE NECESSITIES, AND MORE!

p. 32 BREAKIN G BAD ’S DA RK STA R

p. 30 TO M SAC H S TRA N SFO RM S N I K E

p. 2 8 AN AMERICAN DECATHLETE H AS H IS DAY

p. 27 CA RTIER’S TIMELESS TA NK

p. 24 NEW BROOKLYN BAND DIVE GETS H IGH

p. 27 SU MMER’S SU RREA L SH A DES

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The Weeknd

VMANDATES

HIGH DIVE The press release for DIVE describes the sound of its debut record, Oshin, as “one part THC and two parts MDMA.” The drug references make perfect sense once you experience the Brooklyn four-piece’s percussive, narcotic melodies washing over you. Originally an alter-ego for frontman and songwriter Z. Cole Smith, DIVE concocts a serpentine euphoria that delivers a contact high, hitting a nerve of sonic memory that runs through late-’90s shoegaze and grunge into the heyday of Creation Records.

“I initially formed DIVE as a sound idea at home, recording stuff onto my computer,” Smith says of the project’s genesis. “Once it gained focus, I put a band together with friends and people that I knew from hanging out who play in bands around here.” Now joined by Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and childhood friend Andrew Bailey, Smith is raking in music-blog accolades with songs like a cover of Kurt Cobain’s “Bambi Slaughter” and the breakout single “How Long Have You Known,” which presents a chiming, chasmal orchestration that floats in like a strand of DNA recombining early Cure records and the warm, whirling production that Captured Tracks, the LP’s label, is now known for. Smith cites references including “’70s and ’80s punk music, especially the Minneapolis scene in 1979 and Seattle in 1989, and a lot of German psychedelic music.”

Despite these touchstones, Smith and company are adamant that it doesn’t matter what led them in the direction they’ve gone, and if the genealogy of their sound doesn’t make much sense, all the better. “I hope the band can come across as conflicted and contradictory,” he says. “That’s my nature. The songs are hopeful, but they’re also sad and mad. I love people and I hate people. I love animals. I love my friends. Thank you to everybody. Text me.”

The all-season scarf is a delicate mistress that can spell sartorial failure at any turn with the wrong knot or twist. Hugo Boss’s brilliantly colorful version leaves nothing to the imagination and is light and bright—best suited to a blank canvas. The usually office-minded brand played around with color, to joyful effect, and is perfect this summer for the beach or Brooklyn.

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The Kim Jones revolution at Louis Vuitton has produced some of the most exciting menswear in decades, and these outdoor high-fashion hybrids are a prime example of the witty ingenuity he’s bringing to the luxury house. They’re unexpected but perfectly executed—and are flying off the shelves. Luxe hippy/ dork nostalgia for the fashionable set, they’re probably more suited for the sidewalk, however, than for switchbacks on the hiking trail.

Bonneville Speed Week

July 13–15: CrossFit Games Shape up your schedule with a visit to the fittest-man-alive competition, in Carson, California. You won’t be able to participate unless you’ve been in the game since February, but superhuman feats of strength sound like an awesome spectator sport. games.crossfit.com July 27–Aug 12: London 2012 Summer Olympics If you aren’t at the Olympics this summer, you might as well resign yourself to about two weeks of irrelevance. olympic.org August 3–5: Osheaga Music Festival Montreal sees its share of the music industry’s mightiest with Virgin Mobile’s annual get-together, featuring acts like Garbage, Snoop Dogg, and M83. osheaga.com August 3–5: Lollapalooza Perry Farrell and his band of Indian-summer torchbearers take to Chicago’s Grant Park for the annual festival to obliterate all others. It’s the best weekend for headbands, head trips, and finding the alterna-kid within. lollapalooza.com August 11–17: Bonneville Speed Week Eighty-eight miles west of Salt Lake City, speed racers take to the salt flats of Utah in pursuit of record-breaking glory.

Breathtaking scenery, blistering speeds...what more do you need? scta-bni.org

DIVE PHOTOGRAPHY SANDY KIM STILL LIFE PHOTOGRAPHY ALBERTO MARIA COLOMBO

BEST SUMMER SANDAL FIT TO BE TIED

May 30–June 3: Primavera Sound Start your summer engine with the most prescient and on-point seasonal music festival in Barcelona, which boasts all of the next big acts, from Grimes to the Weeknd. sanmiguelprimaverasound.es Through June 17: Drake’s Club Paradise Tour Don’t miss the biggest hip-hop show to travel the States, stopping off at New York’s Jones Beach on June 16. Drizzy brings Waka Flocka Flame, 2 Chainz, Meek Mill, and French Montana along for the ride. octobersveryown.blogspot.com June 14–17: Art 43 Basel The top international fair for modern and contemporary art returns to Switzerland, where works from more than 300 galleries and 2,500 artists will be shown. The Art Feature sector presents 19 new exhibitors promoting new talent. artbasel.com

TAKING IT TO THE STREETS WHETHER YOU’RE DOING CROSSFIT OR KRAV MAGA, DITCH THE GYM THIS SUMMER WITH THE HELP OF THESE OUTDOOR WORKOUT MUST-HAVES PHOTOGRAPHY DANIEL LINDH FASHION CHRISTOP H ER BARNARD

PHOTO ASSISTANT WARD PRICE PRODUCTION FRANCESCO SAVI PRODUCTION COORDINATOR DANIEL WEINER LOCATION SHOOTDIGITAL STUDIOS

CLOCKWISE, FROM TOP LEFT: KETTLEBELL IRONSKULL FITNESS ($60, IRONSKULLFITNESS.COM) TRAVEL MAT VICTORINOX ($95, SWISSARMY.COM) SWIMSUIT VICTORINOX ($65, SWISSARMY.COM) WATCH VICTORINOX SWISS ARMY ($295, SWISSARMY.COM) BODY BALM AESOP ($35, AESOP.COM) DUFFEL ARMANI EXCHANGE ($125, ARMANIEXCHANGE.COM) KNIFE VICTORINOX SWISS ARMY ($60, SWISSARMY.COM) SWEATBAND Y-3 ($35, Y-3.COM) iPAD CASE TOD’S ($545, TODS.COM) SUNGLASSES CESARE PACIOTTI ($295, CESARE-PACIOTTI.COM) JUMP ROPE AGAIN FASTER ($25, AGAINFASTER.COM)

BACKSTAGE AT DSQUARED S/S 2012 PHOTOGRAPHY ROHN MEIJER

DESTINATION EVERYWHERE For Spring/Summer 2012, Dean & Dan Caten, the irrepressible designers of Dsquared, were thinking of travel. More specifically, an American stopping in Scandinavia, Greece,

Italy, and England. The result was an easy, cool collection that packed a viable color sense, fitting for any young guy set on international destinations. The clothes are

for “the young and fashion minded,” explain the designers. It’s telling that Dean & Dan purposefully made stops in northern Europe, with its burgeoning fashion weeks and street-style blogs that transmit the region’s outré sartorial habits to the viewing public. There was a fisherman’s wharf look to the bright color macs and fluorescent camo windbreakers, taking both meteorological and sartorial elements into account.

The Dsquared man fits in everywhere this season, whether it’s the steamy beaches of the Mediterranean, the swank clubs of London, or the fashion-forward streets of Stockholm. He isn’t just party hopping, he’s capital-hopping and dressed-to-thrill.

CHRISTOPHER BARNARD ALL CLOTHING DSQUARED S/S 2012 PAG E 2 6

EL-P CURES CULTURE This summer El-P drops Cancer for Cure, perhaps his most accessible record. Also known as El, El-Produkto, and Jaime (on official documents), the rapper/producer’s reemergence is a welcome return, but beware if you’re looking for radio-ready jams. In the middle ’00s El joked that he had made a $500 bet that he would never release a “happy beat,” and he is likely still winning it. Champions of last year’s rap epic Watch the Throne beware: that was what a million dollars sounds like. This sounds more like smoking through a trach hole. JONNY COLEMAN

THE TIMELESS TANK ANDY WARHOL PHOTOGRAPHY © ARNOLD NEWMAN/GETTY IMAGES THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC./2011 PROLITTERIS, ZURICH CARTIER PHOTOGRAPHY VINCENT WULVERYCK © CARTIER 2011 STILL LIFE PHOTOGRAPHY ALBERTO MARIA COLOMBO

The origins of Cartier’s classic Tank watch are not what you might expect when it comes to the haute French jewelry maker. Legend has it that Louis Cartier based the style’s lean face on the inelegant military tanks that rolled through the continent during WWI, and that he presented the prototype to General John Pershing, commander of the American Expeditionary Force in Europe. The new design was rigorous, sleek, modern: a pared-down reaction to the clumsy pocket watches that were constantly getting tangled up in their chains and spilling out of their owners’ waistcoats. Pershing would lead his troops to great victories in France, their wrists decidedly the most stylish in the land. Since the first design was introduced, in 1917, the Tank has become a trademark of the house, and a quietly chic way to keep time—with the utmost precision and minimal effort. In the last century all manner of men, from war heroes to Warhol, have donned the Tank to great effect. In June the house will introduce its latest incarnation, the Tank Anglaise, a handsome addition to a lineage that already includes the Tanks Francaise and Americain. What sets their English cousin apart is its wider face and a winding mechanism that lets you know, as the British are wont to do, that everything is on the up and up. It’s pure Cartier grace and chic, a revered classic with some welcome updates.

ARMANI GETS ACTIVE Giorgio Armani is never one to be left out, and he certainly won’t be at the London 2012 Olympic Games. The prolific designer has lent a hand in designing the complete wardrobe of Team Italy.

Athletes will be outfitted head-to-toe, both night and day, in casual, formal, and performance pieces from EA7, Armani’s athletic sportswear line, an offshoot of his Emporio collection. From the opening ceremony to medal presentations to village walkabouts, each team member will be waving the Armani flag, in knits, sneakers, sunglasses, and just about every permutation of a uniform that a gold-medal winner could need. These Olympics are turning into quite the catwalk. Sartorial pysch-outs aside, the Italians are heavily favored in boxing this year—and the EA7 uniform is already a knockout.

OSKLEN’S COLOR GUARD

THE SPORTING S CENT

Bright futures are a foregone conclusion with these summer shades from Osklen. Opaque wraparound lenses from the Brazilian beach brand keep the light out in electrifying fashion—and you won’t lose anything in the periphery. This is front-and-center fashion with color for days (or nights).

Chanel’s Allure Homme Sport is breezy and mobile for the summer adventurer, urban or otherwise. A heady mix of the great outdoors, it’s active, fresh, and intense. The bottle is durably designed, for ripping out of a knapsack if you need a last-minute spritz when out and about getting fresh.

BRYAN CLAY THE OLYMPIC DECATHLETE HEADS INTO THE 2012 GAMES IN RALPH LAUREN STYLE P HOTO GRA PH Y M AU R I Z I O BAVU TT I FASHI O N E I L E E N H AYE S

A DAY IN THE LIFE OF A DECATHLETE 6AM

WAKE UP, SHOWER

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MEETINGS, INTERVIEWS, CONFERENCE

CALLS, APPEARANCES, TAKE MY KIDS TO 6:30AM

7-9AM

SWIMMING/GYMNASTICS/BASKETBALL,

COFFEE, SMOOTHIE (SPINACH, FLAX SEEDS, GREEK YOGURT, BERRIES,

HELP THEM WITH THEIR HOMEWORK,

COCONUT WATER)

MAYBE A QUICK DIP IN OUR POOL

HIT THE WEIGHT ROOM FOR A COUPLE

6PM

DINNER WITH THE FAMILY, USUALLY

HOURS OF STRENGTH TRAINING

A WELL-ROUNDED MEAL WITH SOME

MEET MY WIFE AT A LOCAL COFFEE SHOP

AND CARBS

SORT OF PROTEIN, VEGGIES, FRUIT, 9AM

FOR MORE COFFEE AND OATMEAL 7PM 10AM–2PM

WORK OUT AT THE TRACK. FOR LUNCH I USUALLY GRAB A SANDWICH FROM A

LOCAL DELI ALL CLOTHING RALPH LAUREN OLYMPIC COLLECTION

2–6PM

PUT THE KIDS TO BED AND THEN, HOPEFULLY, RELAX!

HAIR RAMSELL MARTINEZ GROOMING KALI KENNEDY USING MAKEUP FOREVER LOCATION GALILEO STUDIO, AZUSA, CA

Few decathletes can boast two Olympic medals. None claim three. But if Bryan Clay has his way, he’ll make history in London at the 2012 Olympics, winning his third for the U.S. Clay took home a silver medal in 2004, finished first in the 2005 World Decathlon Championships, and decimated his competition in the 2008 Olympics, by a 240-point margin. His training is vigorous—he often conditions 36-plus hours a week, “six days on, one day off, then one ‘active recovery’ day,” he explains. Because the decathlon covers 10 different field events (100m dash, discus throw, pole vault, javelin throw, 400m dash, 100m hurdle, long jump, shot put, high jump, and 1,500m dash), he has to make sure his muscle weight doesn’t conflict with his cardiovascular endurance. “My training varies from day to day, depending on what we are focusing on.” There is not an ounce of body fat on the man; in layman’s terms, the dude’s built like a brick house.

When asked how his body changed from high-school athlete to world-renowned Olympian, Clay simply states, “When I was about 18, I put on 15 lbs of muscle weight and have pretty much maintained and added to that over the years. My physique hasn’t really changed much.

I burn a lot of calories, so I just need to eat a lot!” He’s fit enough for Ralph Lauren, whose duds Clay will sport as part of Lauren’s official outfitting of U.S. Olympic and Paralympic Teams. Lauren’s Olympic Collection is inspired by the 1948 London games, paying homage to the old school with vintage track-and-field designs.

His meditative concentration while training is aided by his taste in music. “I don’t really need to get pumped up,” he says. “I usually listen to a good variety of songs, usually stuff that helps me focus.” When Clay’s not working out he spends his time with his family, gives promotional speeches around the country, and helps create opportunities for children in need. “No matter what happens in London, I hope to continue speaking, promoting my book [Redemption, which came out in April], and working with the Bryan Clay Foundation to help children reach their full potential.” NOAH WUNSCH

MARS YARD SHOE ($385)

AIR BAG DUFFEL ($500)

TRENCH, SHOES, TOTE TOM SACHS FOR NIKE SHIRT, TIE, PANTS SACHS’S OWN

SPACE JAMS ARTIST TOM SACHS AND NIKE CREATE A COLLECTION OF INTERPLANETARY PROPORTION The final frontier has long fascinated polymath Tom Sachs,

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IMAGES COURTESY NIKE

whose artwork deeply embraces the majesty and mechanisms of space travel. This summer, Sachs is taking over NYC’s Park Avenue Armory for the latest iteration of his space-program series: “SPACE PROGRAM: MARS,” a four-week installation that turns the 55,000-square-foot Wade Thompson Drill Hall into a massive Martian odyssey.

Sachs is known for detail-oriented plays on functionality, and while working on his latest port of call, a necessity dawned on him: uniforms for the fearless travelers to the Red Planet. No purveyor of pragmatic fashions could be better suited to the task than Nike, a brand always questing after uncharted realms of human performance.

while his signature bricolage style takes an even more unimaginable, began with some healthy ribbing among serious turn: the Mars Yard shoe is made with Vectran, friends. “I was giving [Nike CEO] Mark Parker a hard time a lightweight, breathable fabric spun from liquid crystal about design and performance,” Sachs tells Visionaire’s polymer five times stronger than steel, and its laces are Cecilia Dean. “And [Mark] said, ‘You think it’s so easy? made of highly durable paracord—should a tourniquet You try.’ That was the beginning. We had one rule: it had suddenly be needed in certain extraterrestrial environs (or, to be equally Nike and equally Sachs.” say, the NYC subway). The collection will be on sale at the In order to achieve this equality, Sachs spent a sig- Armory show and select shops all across our own planet. nificant amount of time in Portland at Nike’s Innovation “I am really proud of our collaboration,” Sachs says.

Kitchen, ensuring an airtight fusion of the brand and “Nike has vast resources. There were a lot of things I Sachs’s aesthetic as well as the spacewear’s functional- couldn’t do, but there were more things I got to do that ity. “I am definitely the artist who has spent the most time I’d never dreamed of. I went back to the roots of what there,” he says of his pseudo-residency at Nike, a com- made America great: industrialism, building things.” pany renowned for its partnerships with artists, designers, and other creatives across a multitude of industries. PORTRAIT SUSANNAH HOWE “There’s no way anyone else…I was there a lot.” His celebrated painstaking devotion to detail adds an earnest- SPACE PROGRAM: MARS is on view at the Park Avenue ness to the outré concept of outer-space sportswear, Armory through June 17, 2012 The project, like all good collaborations that howl at the

ART OF DARKNESS BREAKING BAD’S AARON PAUL IS NO STRANGER TO BRUTALITY AND MORBIDITY, THE MACABRE AND THE HORRIFIC…EXCEPT IN REAL LIFE PHOTO G RA P H Y DA N I E L R I E RA FASHION TOM VA N D O R P E

JACKET AND T-SHIRT DIOR HOMME

JACKET EMPORIO ARMANI SHIRT AND TIE JOHN VARVATOS PANTS DIOR HOMME

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JACKET DIOR HOMME

Every March for the last four years, actor Aaron Paul he explains. “Either way I know it’s going to be heavy, has packed up his car, said goodbye to his home in Los violent, and intense, and probably much darker.”

Angeles, and embarked on an 800-mile drive across the To anyone who knows Breaking Bad and its notoriArizona desert to Albuquerque, New Mexico, and the set ously twisted, high-stakes plotlines, the idea that it could of Breaking Bad—the AMC drama about a methamphet- get much darker is pretty hard to believe. But while the amine-cooking high-school chemistry teacher (Bryan world of Jesse Pinkman is one of money laundering, Cranston), and his burnout, base-head ex-student and overdoses, and underworld hit squads, in real life the partner in crime, Jesse Pinkman (played by Paul).

32-year-old Paul is the antithesis of Pinkman: in January “It takes about 12 hours,” he says, just a few days he proposed to his long-term girlfriend, an anti-bullying before he sets off again—this time to film the fifth season campaigner, and he laughs at the idea of anyone thinkof the show, which premieres in July. “Really the reason ing he and Jesse have anything in common.

I do it is so I can have a car while I’m there.”

The son of a Southern Baptist minister, Paul grew up This next drive, however, will have special significance, the youngest of five in the “very white,” as he describes since it will be Paul’s last. After five seasons and a half it, city of Boise, Idaho, a childhood he says entailed dozen Emmys (including one for Paul himself, in 2010, all the quaintness of The Wonder Years. “I had my for Outstanding Supporting Actor), the show—which first girlfriend when I was in eighth grade, and I kind has been called one of the greatest TV dramas of all of saw us being like Kevin Arnold and Winnie Cooper,” time—will be ending in the fall. he says. “I would do things like climb on top of her “It’s pretty sad this day has come,” says Paul, even roof and knock on her window.” It worked, he adds, though he can only guess how it all will end, not yet “until she cheated on me with my best friend—but you having seen any scripts. “They keep us all in the dark,” know how it goes.”

He attributes his knack for acting to taking part in small plays at his dad’s church and a high-school drama teacher named Mrs. Link, the first person to encourage him to pursue it professionally. “She pushed and pushed me to move to L.A., even when I was a freshman,” he remembers.

After finishing his senior year in one semester and graduating from high school early, he took her advice.

“I packed up my ’82 Toyota Corolla with a bunch of stuff and drove down to North Hollywood, where I got a studio apartment,” he says. Despite the initial culture shock (he was, after all, only 17), Paul was lucky enough to sign with an agent after a couple of months and soon was playing bit parts in films and on TV. (You might remember him as an inebriated frat boy in Van Wilder or as part of a group of teens performing Jackass-style stunts in an episode of The X-Files.) It was nearly 10 years, though, before Breaking Bad came along and he got what he now can see was his big break.

“Every time I see Vince [Gilligan, the show’s creator], I have to give him a hug and thank him,” Paul reveals.

“I don’t think the network and studio were 100 percent sold on me, but Vince said I was his guy, and he fought tooth and nail.”

It’s hard to believe now that anyone else could have played the role of Jesse. Having started the show as a hapless meth addict (with a wardrobe of questionable beanies and oversized Ecko Unltd hoodies), he’s morphed into the sullen antihero of the series. And now Paul is making the same kind of brooding and tortured leading roles his trademark. His next film, Smashed, which won a Special Jury Prize at Sundance in January, is about a young married couple’s battle with alcoholism. And he’s just completed Decoding Annie Parker, about a woman who watches her sister and mother die of breast cancer, and later is diagnosed with the disease herself.

“I like the heavy stuff,” he concedes. “I’m happy in my life, so it’s fun to step outside my element. It’s like driving past a car wreck. You don’t want to look, but you can’t help yourself. That’s how I take on my roles.”

FREDDIE CAMPION

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“IT’S LIKE DRIVING PAST A CAR WRECK. YOU DON’T WANT TO LOOK, BUT YOU CAN’T HELP YOURSELF. THAT’S HOW I TAKE ON MY ROLES.” –AARON PAUL

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ALL THE KING’S MEN THE WILD SUCCESS OF HBO’S GAME OF THRONES HAS REWRITTEN THE LAWS OF THE TELEVISION DRAMA, DUE LARGELY TO ITS BRILLIANT S OURCE MATERIAL AND ITS DASHING, MASTERLY CAST PHOTO G RA P H Y C U N E YT A K E RO G LU FASHION TOBY GRI M D I TC H Game of Thrones—which you probably know as a bloody, sexy, thrillingly unpredictable HBO drama now in its second season—started life as a novel by George R.R. Martin, the first in a projected trilogy called A Song of Ice and Fire. It was published in 1996 (a year before Harry Potter came out in the U.K., two years before it hit the States) and did pretty well for itself. The followup, A Clash of Kings, came out in 1999 and eventually made the New York Times best-seller list. By the time the third book, A Storm of Swords, debuted as a best seller, in 2000, Martin had realized he was going to need more than three books to tell his story of dragons, palace intrigue, dynastic wars, smugglers, slave revolts, religious fanatics, international relations, incest, the undead, and maybe a snowbound apocalypse. A Feast for Crows came out in 2005 and was another best seller, even though it pissed off a significant chunk of his fan base. The problem, basically, was that Martin’s vision had gotten so big that the next installment no longer fit into a single book. He decided to break his story into two 900-plus-page books that would take place more or less simultaneously. Feast is set in the more familiar territory of Westeros, but almost all of its protagonists are characters whom fans regard as bit-players. All the major storylines from Clash, meanwhile, were left untold until Martin finally finished the companion volume, A Dance with Dragons, which came out in 2011—an 11-year cliffhanger! (And you thought almost two years between seasons of Mad Men was bad.)

So why have people stuck around? To put it as simply as I know how: because it’s worth it. Fans bitched and moaned on message boards, and some even tried to confront Martin directly, but when Dance came out they lined up around the block because the Ice and Fire story—whether in book or TV form—is spellbinding.

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It’s gritty, it’s dirty (sometimes filthy), it keeps you guess-

ing, and it feels real. Unlike classic fantasy, where you can figure out who lives and dies based on the color of their armor or the amount of screen time they get (spoiler alert: Harry Potter and Frodo Baggins both live), Martin’s world is more like a sexed-up medieval version of The Wire: you get to know a wide range of characters and factions, each with their own agenda and sense of ethics (or lack thereof), and the master narrative unfolds almost anthropologically, as the aggregate effect of everyone’s shifting alignments and competing interests. HBO has done a remarkable job of retaining that all-seeing, all-over-the-place feeling (the story comes to span multiple continents) while doing a lot of streamlining, without which adaptation would be impossible.

Weirdly, the books almost feel like a director’s cut of the show—you get all the same major characters and plot points plus extra helpings of back- and side-stories from extended or deleted scenes.

Another thing that makes Thrones like The Wire is you get the feeling that no character is safe. Viewers of season one remember the “Holy shit!” moment when (okay, real spoiler alert this time) Eddard Stark is executed at King’s Landing. Here was the nearest thing the show had to a main character, and suddenly he was gone, and it wasn’t even the season finale. I can’t help but wonder how the show will handle the later books. The idea is that each season is based on its corresponding novel in the series, and that’ll be fine through book/season three, but if they try to reproduce the narrative split of books four and five, the show will be canceled. For better or worse, TV audiences—and, more importantly, TV executives—are not half as loyal as hardcore fantasy nerds. So it’ll be interesting to see how they handle that, as well as the ongoing expansion of the world in which the story is set. (You might have noticed that the map shown during the opening credits had a lot more places on it in season two than it did in season one. Geography is coming!) Major characters will die, minor characters will become major, battles will be waged and won (or lost), and Daenerys Targaryen’s baby dragons won’t stay babies forever. What I mean is that one way or another there’s a lot more “Holy shit!” in store. JUSTIN TAYLOR

NIKOLAJ COSTER-WALDAU T H RO NES CHA RACT ER : JA I M E L AN N I STE

Where do you live now? Lyngby, Denmark What was your first acting role? Laertes in Hamlet, Oct 3, 1992, at Betty Nansen Theatre, Copenhagen How do you personally relate to your character? I am very different from Jaime, but I do understand him and why he acts the way he does. You cannot excuse pushing a kid out a window, and I don’t think Jaime would, but he believed that he was left with no option. I relate to being ready to go to extremes to protect my children. And I think Jaime—for all his arrogance and sarcasm—is a man of strong morals. You just have to do a bit of digging to find them. What’s the most difficult part of your job?

Working on GOT isn’t difficult—it’s challenging, which is great. When you do a show where the writing is weak, it’s difficult. But on Game of Thrones we have such brilliant writing. The challenge here is to not fuck it up. Who’s your personal hero? My mom. Who represents masculinity to you? Sam Shepard.

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ALFIE ALLEN T H RO NES CHA RACT ER : T HEON GR EYJOY

Hometown? London, England Where do you live now?

North London When did you decide you would devote your life/career to acting? I haven’t yet. If you could play any other character from the series, who would it be and why? I would like to play King Robert as he seemed to have a lot of fun, then died. Besides acting, how do you express yourself? Karaoke. What’s your ideal role? I’d like to play Paul Gascoigne or Mick Jagger. What’s the most challenging aspect of your job? Rejection. Who represents masculinity to you?

Arnie in Pumping Iron. Legend. What’s the most challenging aspect of acting in a period piece, particularly one that’s not just fictional but based in fantasy? Not really having much real life research to look at. But that can also be a massive positive. How do you personally relate to your character? I’m not saying!

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EUGENE SIMON T H RON E S CH ARACTER : L ANC E L L A N N I ST E R

Hometown? London, England Where do you live now?

London, England What was your first acting role? I played

the role of Archie in a workshop rendition of James Joyce’s play Exiles. Besides acting, how do you express yourself?

I often find that music helps me to express certain emotions or thoughts. And not writing it, or singing or playing it, but just listening to it is enough to make me feel at ease and content. And before you ask, No, I do not have a favorite genre.

Anything from Beethoven to Guns N’ Roses. How big a role do you feel your physique plays in your career/the acting game? I think that physique and being fit each plays a different role in an actor’s life. What I mean by that is, in most films or on TV series, one must look fit to give the audience the simple physical evidence that this person exercises frequently. On the other hand, “being fit” is more important, I think, and more associated with theatrical actors. Being fit is more of a necessity in theater, due to the amount of energy and exercise that one has to put into performing onstage.

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THE SECOND COMING OF DIEGO BONETA THE STAR OF SUMMER’S BROADWAY-TO -BIG -S CREEN MUSICAL, ROCK OF AGES, BECOMES A HIT—AGAIN

tens of thousands of screaming fans. “We played a stadium in Rio [de Janeiro] that held 125,000 people,” he remembers. “During rehearsals I must have zoned out because someone kept asking me if I was okay. I was like, ‘Mick Jagger played here last night. Give me a minute.’”

Boneta had a similar plan when he moved to L.A. in PHOTO G RA P H Y B RU C E WE B E R 2010, when he was 20, but knew he would be starting FASHION NAOM I D E LU C E WI L D I N G from square one. “Lots of people told me I was crazy to move at the peak of my career in Latin America,” he Diego Boneta used a pretty smart formula to start his remembers. “But that’s exactly it: I didn’t want to leave career. The Mexico City–born actor always dreamed of when they were done with me.” So Boneta and his parbeing a singer, but in this world of reality TV and glossy ents, two engineers that he jokes have absolutely no teen soap operas, he knew that the best way to get his experience in the performing arts or the politics of the music in the ears of possible fans was to trade in the entertainment industry, moved to Southern California. airwaves for the small screen. That’s why, after finishing It was a change of pace, to say the least. “No one cared in fifth place in a Mexican version of American Idol called what I had done in Latin America, or that I had just Código F.A.M.A., he strategically agreed to appear on packed a stadium in Mexico the night before,” he says. the hit TV show Rebelde under the condition that his “I couldn’t walk the streets in Latin America, but here? character, a town crooner, could sing his own music. No one cared. It was the most humbling experience in “My music instantly became international,” he says now, my life.” He compares it to a real-life Batman scenario: adding that he went back to re-record some of his hits he was Bruce Wayne in L.A., a familiar, non-famous face in other languages to appease a variety of European free to go about his business; but back in Mexico City, and South American fans. “It clicked: I realized acting he was as popular as a superhero. Perseverance paid can be a vehicle for my music.” The plan worked per- off, and so did his old performer’s formula. He scored fectly. Following the show he toured throughout Mexico the role of Javier Luna, another Latin crooner, on CW’s and Latin America and performed in stadiums that held 90210, and again performed his own music.

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Last year Boneta bagged his biggest role yet: Drew Boley, a young singer who moves to Los Angeles in the late 1980s in hopes of becoming a rock star, in the celebrity-stocked Rock of Ages, based on the hit Broadway play. As with many things in Hollywood, it wasn’t simple. There were six auditions and callbacks, and before he was officially green-lighted the role, some blogs confirmed him as Boley. “When the news leaked that I had the part before I really had it, I got the first migraine of my life. If I didn’t get the part, I would have looked like the biggest asshole,” he laughs. While it was definitely a part he could relate to, his fellow cast members Tom Cruise, Catherine Zeta-Jones, Alec Baldwin, and Russell Brand created “the most surreal situation ever.” He found himself in Miami studying with a voice teacher and guitar trainer with Cruise, a man whose dedication left Boneta awestruck. “He was the first person on set and the last one to leave. He was so motivating and so inspiring.” While jam sessions in Cruise’s hotel room were otherworldly, when asked about his strongest memory from the film, another moment comes to mind. “My mom called me one day and asked what I was up to. I told her I was at the recording studio with Mary J. Blige. I had to stop myself and ask, ‘How is it going to get any better than this?’”

DEREK BLASBERG

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THE LONG, OFT BRUTAL BUT ALWAYS BEAUTIFUL BALL AD OF RUFUS WAINWRIGHT CONTINUES THIS SUMMER WITH OUT OF THE GAME, HIS SEVENTH STUDIO ALBUM. THIS TIME HE’S GOT HIS EYE ON THE MAINSTREAM AND A RONS ON TO BACK HIM UP P H OTOG RA P H Y M ACIEK KOBIELSKI FASHION TOM VAN DORP E

Throughout the past decade, Rufus Wainwright has been shaming most other musicians on the scene in an awfully bad way. It’s not a contest, but yes it is, and sometimes one can hardly bear to look at how far Wainwright is pulling ahead, ensuring that long after all of us are buried his music will be played. Aside from his prodigious talent, it’s the sincerity and bravery of his work that have laid the groundwork for longevity. A quote from Wainwright around the time of his second album mentions how jealous he was of all the attention and fame the Strokes and the White Stripes were receiving. Now it’s like, LOL—who?

Wainwright has released a very steady stream of vulnerable and unapologetic rock albums, gone fantasy for a stint with the Judy Garland–at-Carnegie-Hall bit, written an opera, and then put out his most raw albums to date, using only a piano and the little bell in his throat (All Days Are Nights: Songs for Lulu). With lyrics and themes steeped in both classicism and the beautiful and heartbreaking world of gay New York City drug life, Wainwright’s work also has this less-than-subtle “I’m gay, fuck you” quality to it, a sentiment many homosexual artists are too weak-willed to come out and say, which at this point in Santorum-minded America they need to be not just saying but repeating.

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Wainwright’s direction for Out of the Game (on sale now via Decca Records) is more commercial, radio-friendly. He says he wants something to throw on and turn up when you’re driving in your car, or to play when you want to dance. (But, um, what does he think we’ve been doing with his past albums?) So cool-haired Mark Ronson got on board to help this wish along. Unlike most producers, whose names are often forgotten (or never learned to begin with), Ronson is someone music fans are already well aware of, having produced one of the biggest albums of the last decade (Amy Winehouse’s Back to Black). If anyone was going to pull this off, it was him.

The two began talking about working together a couple of years ago. Wainwright would send Ronson occasional demos, but they were each occupied by other projects. Wainwright was busy writing his first opera, Prima Donna, and Ronson was working on an album of his own. Over a period of time, they would check in on one another to make sure this thing was still happening. It was, and once they got in the studio together, it went all that much smoother.

Wainwright notes how sometimes an older artist “like myself [he’s 38] who’s had a fair amount of success but is looking to get to that next level, that sometimes the record company will say, Well, why don’t you work with this hotshot producer?”

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The forced quality of that often leads to embarrassment, he says, but adds that “Mark and I had a chance to get to know each other and to really make it about the music.

We actually like each other.”

It’s so much more than just bullshit hipster philosophy to have a distrust of the powerful and pathetic tastes of the masses. True, most mainstream music is garbage and one might fear that consciously seeking commercial success, even from such a seemingly anticommercial artist, could cause a watering down of the art. But in the end the brave release of Songs for Lulu gives Wainwright permission to do whatever he wants. Not that he needs anyone’s permission for anything. And actually—for him to make a pop record at all? That’s kind of punk.

To Ronson, a pop record just means something that has a beat, has a band behind it, and is accessible. His interpretation of pop is still quite left of the mainstream as he doesn’t make massive Katy Perry–type records. “But if I’m slightly left,” Ronson says, “and Rufus is like fucking Lenin, then it’s pretty obvious this is pop in the loosest sense of the word.”

In choosing to work with him, Wainwright relied heavily on Ronson’s experience as a DJ. He remembers once watching as Ronson knew exactly what to play to reinvigorate a packed room of inebriated people at three in the morning. “It’s just that kind of visceral, humanistic approach to a song where it has a purpose, i.e., Mark brings the life to a party. I’ve always wanted that in my work,” says Wainwright.

Like that which exists between a writer and his editor, the relationship between a musician and his producer is a delicate one in which egos must be set aside for the betterment of the book or album or what have you. It’s been said that it doesn’t matter who writes it, only that it gets written, and these two talk about it like they know that.

Ronson admits that if he had an idea for the arrangement and Wainwright had a different one, “I’d be like, Fuck, but I really like this riff that I wrote. But I’d know I

was wrong. Sometimes it’s an ego thing because you just don’t want to be wrong, and you don’t want to realize that your idea isn’t the best.”

“Not so much with lyrics,” says Wainwright, “but say with arrangements, if I walked in and Mark said, I don’t really get that, I would try another harmony until he liked it and I was okay with it.” Wainwright says he was prepared to hand over a lot of songs to Ronson and that he was interested in what he had to bring to the table. Already having produced a couple of his own albums, he was particularly open to suggestions.

As anything that is titled properly should be, Out of the Game is open to manifold interpretations. Maybe it means Wainwright’s settled down (with his fiancé and daughter) or maybe it means out of the rock game, to settle into writing more opera. Certain lyrics in the title track seem to tell the story of a hetero man stepping ‘out of the game’ of sexing women, taking a full turn into the fellatial world of m4m. Or maybe it’s just the simple cheekiness of calling the record you aim at the heart of the mainstream Out of the Game, when in fact you’re wholeheartedly embracing it.

Ronson mentioned a moment when he and the musicians were musing that this record was really one of the best things any of them had ever worked on, to which Wainwright replied: “I’d rather be writing an opera right now.” So maybe he is in fact just going out with a bang: by reminding people they won’t know what they’re missing, especially those who’ve overlooked him and those who never knew he existed. Wainwright has proven time and again that he’s going to do whatever he wants, but hinting at hanging it up this early? No one believes it for a second.

GIANCARLO D I TRAPANO

“IF I’M SLIGHTLY LEFT AND RUFUS IS LIKE FUCKING LENIN, THEN IT’S PRETTY OBVIOUS THIS IS POP IN THE LOOSEST SENSE OF THE WORD.” –MARK RONSON

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“IT’S JUST THAT KIND OF VISCERAL, HUMANISTIC APPROACH TO A SONG WHERE IT HAS A PURPOSE, I.E., MARK BRINGS THE LIFE TO A PARTY. I’VE ALWAYS WANTED THAT IN MY WORK.” –RUFUS WAINWRIGHT

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BY TERRY RICHARDSON BRUCE WEBER’S L.A. DIARY P A G E

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A DECADE AFTER SPIDER-MAN—THE GAME- CHANGING BLOCK-

BUSTER THAT BROKE ALL THE RECORDS—ANDREW GARFIELD STARS IN THIS SUMMER’S REBOOT, THE AMAZING SPIDER-MAN. WHO BETTER TO GIVE HIM ADVICE THAN TOBEY MAGUIRE,

THE ORIGINAL SPIDEY? HERE, THE TWO IMPASSIONED ACTORS

DISCUSS THE NATURE OF SUCCESS, STORYTELLING, AND CELEBRITY

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It was a perfect Southern California day last summer when the British actor Andrew Garfield walked into Comic-Con, still—in his mind, at least—just another super fan. But he would walk out knowing things would never be the same.

A year earlier Garfield was in Cancun promoting his role as Eduardo Saverin, co-creator of Facebook, in David Fincher’s The Social Network, when he was told he’d scored the highly coveted role of Peter Parker in Sony’s Spider-Man reboot. The decision had been kept strictly confidential, and roughly thirty minutes after sharing the news, producers surprised Garfield further with a spontaneous press junket—in Mexico—to make the announcement. A visibly in-shock Garfield almost tripped on the stage curtain after being introduced by The Amazing Spider-Man director, Marc Webb ((500) Days of Summer).

The ambush may have been a PR stunt, or maybe the cloak-and-dagger process was for Garfield’s own protection from the media blitz that certainly would have ensued had the information leaked. Either way it spoke to the importance of such a role. After all, the original Spider-Man trilogy grossed more than $2.5 billion worldwide.

Ten years ago, 2002’s original Spider-Man became the first film in history to pass the $100 million mark in an opening weekend. At $39 million, it was the highest opening-day gross of all time, a record that would remain unbroken—until Spider-Man 2. It paved the way for the Twilights and Transformers and Hunger Games, pushing box office numbers well past what was previously believed possible. Sort of like when an Olympian breaks a world record: what was once perceived as unimaginable—superhuman even—suddenly becomes the norm. Spider-Man rewrote the rules of the blockbuster, and in turn bestowed upon its cast colossal international fame. Spider-Man isn’t just a movie franchise, it’s a financial institution.

Suffice it to say that Peter Parker is a dream role for every young actor—except none of the obvious motivators appeal to Garfield, which he made quite clear at Comic-Con. As the The Amazing Spider-Man symposium was about to begin, the Los Angeles– born, U.K.-raised Garfield surprised audiences by taking the stand disguised in what appeared to be a child’s Spider-Man halloween costume, saying in a perfect American accent, “This might be the most incredible day of my life—I’ve always wanted to be at Comic-Con in hall H.” He then took off his mask, revealing himself, and proceeded to give a deeply earnest, heartwarming speech about his lifelong devotion to the character. “I’ve always wanted to come here as a fan, so here I am, as a fan,” he told the audience, the pages of a prepared speech shaking in his hands as he nearly hyperventilated, then nearly cried, then beamed with appreciation and disbelief. “I needed Spidey in my life as a kid, and he gave me hope...Peter Parker has inspired me to feel stronger, he made me, Andrew, braver. He reassured me that by doing the right thing it’s worth it, it’s worth the struggle, it’s worth the pain, it’s worth even the tears and the bruises and the blood...He saved my life.”

But you know the saying: with great power comes great responsibility. A threecontract deal, a huge budget, and the fate of a franchise resting more or less solely on Garfield’s shoulders—along with the very high probability that he’s about to become one of the most famous people on the planet—mean it certainly applies here. The problem is that Andrew Garfield isn’t a celebrity, he’s an actor. The 28-year-old has worked almost exclusively on artful projects, with some of our most celebrated filmmakers: David Fincher, Robert Redford, and Spike Jonze. He received a “Best Actor” BAFTA, at the age of 23, for Boy A, and—at the time of this writing—he’s garnering rave reviews for his role in Mike Nichols’s Broadway revival of Death of a Salesman. The auteur Mark Romanek, who directed Garfield in his adaptation of Never Let Me Go, describes the young actor as “utterly brilliant” and told me that “through sheer craft, using his emotional intelligence as an actor, he dimensionalizes the moment—making it deeper, more interesting, more truthful.”

It’s an exceptional position in which Garfield finds himself. But if anyone can relate to him, can speak to his experience and the coming storm of fame, it’s Tobey Maguire.

Before he put on the suit and helmed the franchise that shook the world, Maguire was (and continues to be) an actor’s actor too, an artist, and one celebrated by the incredible directors he’d worked with, including Woody Allen, Ang Lee, and Terry Gilliam. When cult director Sam Raimi was brought on to adapt Spider-Man for the big screen, he found in Maguire a perfect Peter Parker—and the rest is history. So no one is better equipped to give Andrew Garfield advice upon of the release of his own Amazing Spider-Man. A decade after blowing up the box offices and becoming a household name, the original Spidey hands the reins—along with some invaluable words of wisdom—to Andrew Garfield, our next friendly neighborhood megastar. ELLIOTT DAVID

TOBEY MAGUIRE You’re in New York for Death of a Salesman, right?

Andrew Garfield Yeah, that’s right.

TM I love that you’re doing that. And you’re enjoying the play, the experience?

“Enjoying” is a strange word for that play. How has it been playing Biff?

AG [Laughs] Of course going through this kind of release and catharsis, facing all your demons in a space of three hours every night—it can be incredibly rewarding. It’s invigorating. It’s a great challenge, a great test and opportunity. There’s something very pure about it. There are no frills and there’s nowhere to hide and you have to be vulnerable as hell, and you have to serve something much greater than yourself, which is this incredible work of art that you’re trying to bring to life. It’s a wonderful, lucky opportunity for any actor to have. But, yeah, the majority of the time I wake up in the morning I’m kind of confused as to why I decided to do it. [Laughs] But you have to heave yourself up!

TM And do you feel—I don’t want to say confined or imply any negativity— but the schedule of a Broadway show can be long and hard, portraying a character day after day…

AG I think this is enough to be contending with right now. The only other thing that’s been preying on my mind is the impending release of this movie I’ve done, and that is much more stressful than being on stage every night.

TM [Laughs] Would that be the release of The Amazing Spider-Man?!

AG That’s the one! Do you know about this movie? [Laughs] TM I do know about it! Actually, when it was coming together, I was particularly excited at two moments: one was when [director] Marc Webb got involved. I think he’s an interesting and cool choice. And then I was certainly curious as to who was going to play Peter Parker. When I heard it was you, I was literally like, Fucking perfect!

AG Oh, man!

TM I just want it to be great, and I thought, What a great actor Andrew is, I’m glad that’s what’s happening here.

AG That’s so nice of you.

TM What was the process? How did you end up being the guy?

AG It was pretty basic, apart from it being more dragged out and pressure-filled and dramatic than any other audition process I’ve ever been through. They like to put you through the ringer, in the respect that it creates drama and tension among a generation of actors.

TM [Laughs] AG And they succeed every time, it seems. But, no, it was great. I’m friends with a few of the guys who were up for it, and I actually had dinner with Jamie [Bell] the night of my screen test and his screen test. We compared notes and war stories, and we kind of got past the ridiculousness of it all and thought it would be a nice idea to get everyone together and kind of interview each other about how messed up the process is, being against each other, and remember that we’re all in it together, knowing that when you take off that bodysuit someone else is going to be stepping into your sweat immediately after. It’s a weird kind of cattle call. But Marc [Webb] was great. He was very open and encouraging. You have the monitoring area with literally about 30 people judging you, looking at your face and whispering to each other—it’s one of the most disconcerting and kind of humiliating things to go through, if you’re aware of it, you know what I mean?

TM Yeah, I completely understand. What kind of effect has this had on you?

AG The main thing I’m thinking about and worrying about is what happens after this movie comes out. What was your experience when you became Spider-Man in people’s eyes?

I’m interested to hear what you have to say about the whole life change that it brings.

Because right now I have a host of fears that I’m contending with on a minute-to-minute basis. I’m not in the reality of it yet, so I’m sure I’m imagining it will be much worse than it is. I admire you so much because you’re an actor and that’s all you’ve ever been and all you ever will be. It must be very hard to hold on to the simple fact of wanting to be an actor, to tell stories and not have your image become bigger than your art. Do you have a recollection of a definite change, or was it a seamless thing?

TM I think our thing was a little bit different because movies hadn’t been doing the sort of opening-weekend business that’s fairly common—even expected—today.

The first Harry Potter came out about six months before us and it was this phenomenon from Day One. It was so wild because it was a new thing at that moment—and I’m not saying that hasn’t happened in movie history, but at the time that was a big jump. And then that happened with us. People didn’t anticipate [2002’s SpiderMan] to be like that. Leading up to it you start to get reactions and people tell you, you know, what the tracking is and what range your opening weekend box office is likely to be. But for me it was kind of unexpected. So much shifted in my life the weekend the movie came out. It was shocking.

AG Oh wow, that’s crazy.

TM I’d been making movies for a while so I had experienced some attention. But then, all of a sudden, the Sunday after it was released, I remember I went to lunch with my little brothers and there were all these people outside and photographers—it was a lot more attention than what I was used to. But for you, you seem to be more prepared

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for it than I was. Hopefully it won’t be as violent for you from one day to the next.

AG I’ve had a very small experience with it, and it’s very difficult. Is there any way of containing it? Or humanizing it? There’s sometimes that separation that happens: there’s a wall that goes up between people in the public eye—actors, musicians, politicians— and the public. What I’d love is for Spider-Man fans to be…I like the idea of everyone being one, because you were the guy in the suit and now I’m the guy in suit and there’ll be another guy in the suit later on down the line. This whole celebrity myth is very new and interesting to me, whether one can just be an actor and also be in one of these roles.

TM This celebrity thing, it’s a part of our culture. It’s just what happens. How I’ve adjusted over the years is that essentially I try to embrace the reality of my life, to be as open and as friendly as feels natural and try not to hide because the attention can be uncomfortable at times. But I also respect my own need for privacy. The truth is, it’s a very strange experience becoming really well-known. Like you said, we’re

humans craving a human experience. But we’re also actors, and I’m sure we share that we want the projects we’ve worked on to do well. And we appreciate when people like them, we approach it with respect, but ultimately it all comes down to the work.

AG Right. I just feel such a great responsibility to the story and to the fans, because

I know in my heart how much this character means to people, because it means that much to me. For the sake of all the people who care about it as much as I do—I want to bring the character to life and make sure they’re as satisfied as they can possibly be.

TM That’s very cool. A lot of what you’ve been talking about, the connectivity between you and the story and the fans, it seems like you have a great respect for the character.

AG Very much so. Peter Parker is such a positive character—he’s pure wish fulfillment, an underdog. I grew so much from him when I was a kid, from the comics all the way up to the first movie you were in. I was 19 when I saw [Spider-Man]. I got a pirated DVD at Portobello Market with my friend Terry McGuiness, and we went back to my skanky apartment in North

London and we watched it twice in a row and then practiced your final line in the mirror!

TM [Laughs] AG Terry has this thick accent and every time I would recite that line he would laugh this very distinct laugh and say, “No, man, you could never be fucking Spider-Man. You’ll never be fucking Spider-Man!” I was so humiliated and upset. But, um…fuck you, Terry!

TM [Laughs] AG [Laughs] No, he’s still a friend, he knows about it. It’s funny. But, yeah, Spider-Man has always been a beautiful symbol for me, and I’m sure for you too—and I’d like to keep it so. Because, you know, you can get wrapped up in numbers and whether or not it’s a success. The nature of success is something I’ve been considering a lot lately. But I think all we can do, like you’re saying, is stay true to its essence and deliver the best possible story we can—which I hope we do…I think we have the potential to.

TM From what I’ve seen it looks very powerful, authentic. You’re very honest in your

work and it’s obviously complicated: what the story is, how do you embody it, be the channel for that? Just remember to enjoy the ride. It will be fun, I’m sure. And weird. And all kinds of things. But enjoy the ride. And then get back to work soon!

AG Thank you. I feel a great wave of reassurance after hearing everything you’ve said.

The letting go, knowing that you’ve worked as hard as you can, that your heart has been in it, and at a certain point you have to let it be what it is, you can’t control it—there’s something quite liberating about that.

TM So what’s next for you? Do you have something else lined up, are you thinking about it?

AG There’s a lot of reevaluation of what is going on and it’s a very complex moment, what I’m imagining is about to occur. Maybe you’re right. Maybe it doesn’t have to be so complicated. It is what it is and you carry on. As far as what happens after that, I don’t know. I know that I love acting, and that’s pretty much it.

“THE MAIN THING I’M WORRYING ABOUT IS WHAT HAPPENS AFTER THIS MOVIE COMES OUT.” –ANDREW GARFIELD

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young and old. While shooting Savages, the actor was hopping planes back to Europe laceration at the hands of a Mexican drug cartel. This afternoon, however—at the direc- for a role in Anna Karenina alongside Keira Knightley and Jude Law. He claims time contion of the ladies in his life—the actor is nuzzling newborn lambs on a Somerset farm. It’s straints have allowed him to enjoy only “chunks” of the Tolstoy masterpiece, but he’s a beautiful range. It’s a beautiful day. “It’s lovely, the buds on the trees and the flowers, nevertheless passionate about the decisions made by its screenwriter Tom Stoppard. it’s a whole new cycle,” he says over the phone, referring to those first few days when “It’s such a beautiful adaptation,” he says, “condensed down to something that is relaBritain is jostled from its winter coma by a near naked citizenry in its public parks. “I’m tive, and you can go on this journey, this struggle for love. It’s like poetry, like a dance. not the sort of person who has a theory about the spring, but I can definitely tell you it And with Jude and Keira and Matthew McFayden [the film also stars Emily Watson and makes you feel great.”

Olivia Williams], it felt like I was stepping into this sort of thing where they were all budReluctant to espouse theories on humanity’s temporal phases, Johnson is anything dies—but it was lovely, and they were all very welcoming.” but shy about his deep affinity for the simple life, particularly in light of a soaring career, Johnson likes this word, lovely. But not in some overly quipping, watered-down which commenced 15 years ago at age six, with appearances on stage, then television, English way. Rather, his employment of the word carries with it a kind of proof of its right then film. He’s here on the farm with his wife (who snapped the photos herein and whom to a place at the table, an understanding distilled perhaps from the contrasts in quesJohnson met on the set of 2009’s Nowhere Boy, in which he played John Lennon) and tion. The subject matter of Savages, for instance, is far from lovely. Johnson describes their four daughters. Johnson’s happy as can be, basking in an idyllic spring light with the research the cast undertook for the film, including meetings with the DEA, and how the people he loves, while all his grueling work for Stone’s Savages—which features a Stone’s signature direction did not shy from the graphic nature of the borderland drugworld far, far away from the rolling hills and birthing sheep of Somerset—is making its trafficking epidemic. “Oliver can’t help but be brutal when exploring these things,” he way into the minds of moviegoers. “I saw it last night and it was awesome,” he says of says, “because that’s how they are. They’re brutal. I mean there’s rape, and whole famithe film, which hits theaters in July. “I’m still processing it. It goes on this kind of mad lies killed. It’s not funny. It’s not some fucking game.” roller coaster, a thrill ride with all sorts of blood, gore, and violence—it’s kind of insane.

A game, however, is what one of Johnson’s daughters is after: he’s momentarily disAnd it’s really dark. But it’s pieced together in a way that you enjoy it. I mean, well, it’s tracted, the sound of a young girl’s voice becomes audible as she tries to climb onto his an Oliver Stone film. And he’s really going back to his roots—and doing so with Benicio lap perhaps or maybe snag the phone to field some interview questions herself. He gently [Del Toro] and [John] Travolta, who’re fantastic.” The film, a story of two L.A. lads who hushes her and then remarks on the challenges of interviews, of making statements about develop a dynamite and seriously profitable weed strain to the chagrin of a vicious drug one’s work. “I haven’t talked about projects in about two years,” he says. “Not since Kick cartel, also includes appearances by Uma Thurman, Blake Lively, Taylor Kitsch, Emile Ass. I’m a bit rusty. I get really nervous, and when I meet people it’s quite difficult. The acting Hirsch, Salma Hayek, and others. work itself, that’s something I’m quite comfortable in, but this side of the job—the promoAt the moment, intense contrasts seem to be Johnson’s raison d’être, but there are tion—is a whole other art in and of itself. That’s why you’ve got to have a piece of reality, like consistencies. For one, he’s enjoying life, on the farm and on set, among dynamic casts a family, and stay grounded—an actual life where you can get away.” THEO H. JOURDAIN Not long ago—under the direction of Oliver Stone—Aaron Johnson was facing penile

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“YOU’VE GOT TO HAVE A PIECE OF REALITY, LIKE A FAMILY, AND STAY GROUNDED—AN ACTUAL LIFE WHERE YOU CAN GET AWAY. ” –AARON JOHNSON

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FLEXING UNBRIDLED AGGRESSION AND CRISP 808 PRODUCTION, WAKA FLOCKA FL AME REINVENTED GANGSTA RAP’S

S OUND. NOW, WITH THE RELEASE OF HIS SECOND ALBUM, TRIPLE F LIFE: FRIENDS, FANS AND FAMILY, HIP-HOP’S HEAVYWEIGHT PROVES HE’S READY TO REIGN WHILE STAYING TRUE

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laughing, it lights back up. He may rap about shooting you in the face with an SK assault hilarious conspicuity: six-foot-six with a hulking frame, Flocka—as he will henceforth rifle, but he adores his grandmother and loves his little niece. He evokes the innocence be called—surveys his surroundings with a self-aware, wide-eyed lucidity, less a fish of an adolescent in the imposing physicality of an ox—like a baby that can beat the livout of water than a tiger out of his cage. ing shit out of you.

When asked if he spends any time in Manhattan, he exclaims, “Not the Lower East Side!

“I see girls cry and faint,” he says, bewildered at his impact on people. “I’ve seen it I’ll go to the studio but I hang out in Queens. I always live in Queens. Never ever, ever I leave.” with my own eyes. I never knew my music to touch somebody personally but I see guys Born in Jamaica, Queens, as Juaquin Malphurs, Flocka moved to Atlanta as a mid- walk up and talk with passion. That shit blow your mind. I never took my music seriously dle schooler before eventually returning, his time in the South indelibly adding to his before another person did. And if people take it seriously, I need to get into this shit.” musical vocabulary. In both places, proximity to the music business affected him from In order to do so, Flocka took a year off of music, which he spent studying the busia very young age. “I grew up down the street from Murder Inc., down the street from ness and perfecting his craft. In June, he drops his second full-length album, Triple F RUN-D.M.C., Russell Simmons, and LL Cool J. The Lost Boyz used to hang out with my Life: Friends, Fans, and Family—“and if you ain’t neither of the three, fuck off,” he says. family members,” he says. “Music has always been in my family.”

The record is a bit of a departure from the straightforward gangsta rap of Flockaveli, It would be remiss not to mention here Flocka’s mother, the indomitable hip-hop momager with some smash hits thrown in the mix and features from the likes of Drake, Trey Songz, Debra Antney, a woman who helped shape the careers of both Gucci Mane and Nicki Minaj, Flo Rida, Tyga, B.o.B, French Montana, and many more. The Waka Flocka foundational and who founded her own management company, So Icey/Mizay Entertainment. Clichés aesthetic is still present in force, but with a few singles in the mix that will inevitably slay about showbiz parents being what they are, one might presume that Antney pressured her the radio and storm the charts. Perhaps after changing the game with a new aesthetic, son into becoming a rap star, in some sort of urban hip-hopera of Gypsy, playing out over Flocka’s ready to accept payment where payment is due. the avenues of Hollis and the music scene of the ATL. Flocka, however, raps a different “My goal with this album is to open people’s eyes, and hopefully touch a lot more tune. “When I started, she didn’t believe in me,” he says frankly. “She said ‘I ain’t believe heads,” he says. “I just love it and I hope people enjoy it, I’m goin’ hard. You can expect in that shit. Yo’ ain’t serious.’ When she saw that I was serious, then she took charge.”

Flockaveli times 10. I used to just party with what I knew how to party with, but when Indeed, there is something deceitfully playful in the rhythm and the delivery with I started rapping I got introduced to every religion, every race, and every culture. Now which Flocka lays down his verses, something that almost seems easy in its repeti- I know how to make everybody party. From touring, traveling, doing features, photo tive simplicity. You can get an idea of it even in the cadence of his name—“Flocka!” is shoots, video shoots, I get a lot of different personalities, so I dissected that and was often yelled out in the mix as punctuation at the end of his lines. But it’s the unrepen- able to elevate my style.” tant rage, snarl, attitude, and sheer volume of his assault that renders his style nothing In response to the fashion world’s blossoming interest in him, Flocka cracks a smile. short of genius. An indication of his cunning approach can be easily clocked in the title “The fashion world don’t know what to expect from me,” he says. “They’re like, a hardof his 2010 debut album, Flockaveli, which heralded his arrival as the hardest emcee in core rapper like this? What does he have to offer? Then I meet them and they spread the game. Further proof came when the entire genre pivoted into its stylistic direction, the word around, like, this guy is creative. They dissect me, real quick. I love it! I’m into co-opting his aggressive and violent shouting, 808 snake drum percussion, and East everything. Clothes help you express yourself.”

Coast-meets-Atlanta swagger.

Back home in Queens, Flocka’s happy to report that not much has changed. “I ain’t “I think I put the life into hip-hop again,” Flocka says, shrugging away modesty. “I never get recognized,” he says. “They treat me like a regular. That’s how I like it, that’s revived it by bringing a new sound, 808s and kicks. My producer and my team—I feel we my swag, I kick it real regular. You know what I’m saying? They understand where I changed the sound of everybody, and I can honestly say that. Before Flockaveli, noth- come from and I’m the same guy right now. Ain’t nothing gonna change, they love me.” ing sounded like it. But when I came out, everything to this day sounds like it. So I can When it comes to his goals, material possessions rank low on the list. “I wanna build a smile a Kool-Aid smile when I say that.”

YMCA in my county,” he says. “My goal is to make sure my family don’t have to worry Speaking of that Kool-Aid smile, Flocka’s is enormous and highly contagious. It’s and don’t have to stress about tomorrow. And we could potentially help another group no understatement to attribute much of his success to sheer charisma, which touches of families to do the same. I live by that. I overcame every odd that was put against me; everybody in the vicinity like a ghost in the room. The women he works with are putty I wear that like armor. Appreciate this album for me. I put a lot of pain into this. So I hope in his hands. When Flocka grows contemplative, the room becomes sober. When he’s you’re ready for it. I’m bringing it to the new world.” PATRIK SANDBERG Walking with Waka Flocka Flame along the Bowery comes with a certain amount of

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JACKET YOHJI YAMAMOTO

When you get the blues take a trip to

“Chihuahua Town” (It was written in the stars...)

There’s no day the same for me in L.A. I like to think that those initials for the City of Angels stand for “Love Anew.” I wish that when I got into town my friend Elizabeth Taylor could still be by my side. I asked her granddaughter Naomi Wilding to take time away from her family to be our fashion editor for our journey. I needed to get me some sun and get my fill of tacos and friends and drive a fancy car that I could never own and listen to music in my convertible—so loud that I can’t hear the road rage, can’t hear my cell phone ringing because “I’m late for a date with a mate.” Oh, to write on my hands and on the pink hotel stationery from the coffee shop at the Beverly Hills Hotel with Ruthie serving me my favorite waff les. Writing words about what I see and hear with my camera in hand. To my surprise, Elizabeth Taylor’s dad once lived in the same bungalow where now I lay my head on four big pillows to fall asleep. L.A. is different without Elizabeth—there are no dinners being planned at In & Out Burger. But I can hear her still whispering in my ear as I take each photograph, “Even though everybody’s in bed by 10:00, don’t you just love my town?

It’s so SCHMALTZY!”

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“All people talk about in L.A. are movies and Chihuahuas.�

BOWMAN WEARS T-SHIRT AND JEANS ALLSAINTS

Joshua Bowman The star of the hit TV show Revenge

I photographed Joshua for Versace in London when he was just the size of a pint of Guinness.

Text by David Hutchings Josh Bowman is not sure how he got cast as Daniel Grayson, the romantic lead in ABC’s juicy hit series Revenge . “I’m British but I’m playing an American,” he says. “They must have thought I had the right preppy look.” Josh first exhibited this look as a three-year-old model. “My mom took me to lots of castings. I did ads for Burberry and the Gap, and when I was six Bruce Weber shot me for Versace.”

After a stint as a professional rugby star, Bowman found himself bitten by the acting bug, which led him to audition for the prime-time series. While his character is sweet and sensitive, Bowman warns that what you see is not always what you get, which also goes for the rest of the cutthroats who populate the show’s bizarro rendition of the Hamptons: “My bad-boy side is just waiting to come out,” he says.

When did you start acting?

JB I went to a public school that focused on rugby, but we also had the arts. It was a boys’ school, and I played many of the female roles in plays like The Pirates of Penzance.

After two rugby injuries, I had to quit the sport. I did a few commercials and a Nickelodeon special, then I moved to New York to study at the Lee Strasberg Institute. I lived in a scary part of the Bronx and slept on a couch. But after I got parts in a couple of horror films, it all began.

Did you ever think you would be cast in an American series?

JB I’m embarrassed to admit that I was one of those arrogant fuckers who’d say “I only want to do movies,” but now I regret those words. I’ve gained so much experience and learned so much from actors like Madeleine Stowe.

I’m not sure why I got the part, but I’m sure glad that I did.

THIS PAGE: SHIRT HURLEY OPPOSITE PAGE, FROM TOP: T-SHIRT ALLSAINTS SHIRT VINTAGE SHIRT (WHITE) ALLSAINTS BRACELET BOWMAN’S OWN

To Joshua’s mom: It was great talking to you on the phone from L.A. to London, but I forgot to mention that your son is eating three meals a day, staying out of trouble, and has a great girlfriend…

How do you see your character, Daniel Grayson?

JB )[ _ZQ\\MV ,IVQMT Q[ TW^QVO IVL [MV[Q\Q^M J]\ KWVÆQK\ML¸M[XMKQITTa _PMV it comes to his family. He shows his vulnerability, but changes are coming.

Any hints about future episodes?

JB Daniel has learned that all the people he cares about have been lying to him, so he doesn’t trust anyone anymore. He will be more complex.

Do you ever go back to London?

JB I’d like to go back and challenge myself by doing some theater, but until then I have my latest obsession to help me feel close to home: 5WVWXWTa¸\PM *ZQ\Q[P MLQ\QWV NWZ Q8IL )VL 1 XTIa \W _QV 1N aW] happen to beat me once, I guarantee that I will be ruthless in taking my revenge!

Dan Eldon was a hero to many photographers and journalists. His work lives on for all to learn from at a new-wave museum facing the sea in Malibu. Dan would be happy to see people in the museum sitting on chairs but also on the f loor. His collages send out a cry for peace and creative activism all over the world. He was taken from us at such a young age, while on assignment in Somalia. Let his spirit not be forgotten.

Kathleen Eldon, Founder & CEO, Creative Visions Foundation, pictured here with her husband, Michael Bedner.

The Dan Eldon Center for Creative Activism, Tel: 310-456-1109, creativevisions.org, 18820 Pacific Coast Highway, Suite 201, Malibu, CA 90265

I met a girl called Rose. She’s a dancer and a student, part Grace Jones and part Lena Horne. She’s just beginning to not be so shy, and all the doors are opened and everybody is giving her a big welcome. Here she is wearing shorts originally made for Elizabeth Taylor that her granddaughter Naomi brought from Elizabeth’s house in Gstaad, Switzerland.

T-SHIRT AND JEWELRY HER OWN BIKINI ASHLEY PAIGE

DRESS GRAHAM AND SPENCER

DRESS VELVET BY GRAHAM AND SPENCER

SHORTS VINTAGE

Pierre Marc TuchmĂźntz is a student studying business.

Many years ago, when I first came to L.A. to photograph, the late director Mr. George Cukor would invite me to his house next door to Katharine Hepburn’s. I imagined Pierre swimming in his pool and of course being invited to stay for dinner.

Julian Naderer is a model from South Africa who speaks five languages. I see Elizabeth on this boat as it heads toward Catalina Island.

SHORTS ADIDAS SHORTS (UNDERNEATH) RUFSKIN SHAWL VINTAGE

Jesse Robello When I first met Jesse, who is as tall as any royal palm tree, I couldn’t help remembering the stories of his great uncle Duke and his brothers hanging out at Doris Duke’s house near Diamond Head. It was a romantic time for Doris and “The Duke.” They were both great athletes, and he taught her about surfing and all the beautiful customs of the Hawaiian people. I read in a book about her that he was the great love of her life.

I wish Doris was alive today so she could show Jesse her high diving board. As the story goes, when Duke passed away Doris was one of the few non-Hawaiians invited to his funeral. In those days it was unheard of for a true Hawaiian to marry a “haole.”

Jesse, for me, continues to carry on the tradition of the Hawaiian magic.

JACKET CARHARTT SHORTS G-STAR SHORTS (UNDERNEATH) RUFSKIN

Beverly Hills Hotel

SHORTS RUFSKIN SHAWL VINTAGE

“I don’t think Jesse has ever seen an Elizabeth Taylor movie.”

Doris Duke’s house, “Shangri La,” in Hawaii.

Duke Kahanamoku attending the Invitational Surf Classic named in his honor.

JACKET CARHARTT

SHIRT VINTAGE SHORTS ADIDAS SHORTS (UNDERNEATH) Y-3

T-SHIRT VINTAGE

Chris

In the style of famous screenwriters before him, Chris Tschupp—also a tough guy and a hockey player—lives life with his computer in hand, but I can’t help seeing him behind a typewriter. He’s a new-school kind of guy, but like any great hockey player, he’s old-school in his heart.

LEFT: CHRIS WEARS NECKLACE AND SHORTS HIS OWN

Joe LoC icie ro is an acto r and kar ate cha mp ion .

Anthony Baldwin is a trainer for professional athletes.

LEFT: ANTHONY WEARS SWIMSUIT DSQUARED SHOES CONVERSE BELOW LEFT: TANK DIESEL SHORTS ADIDAS SHORTS (UNDERNEATH) G-STAR RIGHT: JOE WEARS SWIMSUIT DSQUARED

Anthony

Max Joe

SHANE WEARS SWIMSUIT DSQUARED

MAX WEARS SHIRT VINTAG E SWIMS UIT AMER ICAN APPAR EL RIGHT: SWIMS UIT LACOS TE HAT VINTAG E MATT WEARS BOXER BRIEFS CALVIN KLIEN UNDERW EAR CAP AND NECKLAC E HIS OWN

Shane Andrew

ANDR EW WEAR S SWIM SUIT AME RICA N APPA REL

Matt

Maximillian Silberman is a fast talking “Mike Todd” type of person who is an actor.

Shane Chapman is a golfer from Brevard, North Carolina.

Matt Giesler is a surfer from South Africa.

Andrew Steinmetz hails from San Diego…a model on his way to China.

Seth Santoro with his son, Donovan. Seth is a food stylist for KFC and a life coach.

SETH WEARS TANK AMERICAN APPAREL SHOES CONVERSE JEANS AND BELT HIS OWN DONOVAN WEARS ALL CLOTHING HIS OWN

A shrine in Pacoima [right] and a neighbor with the best hairstyle in L.A. [far right].

LEFT: SILVESTER WEARS SHORTS HIS OWN

Silvester Ruck is a wind surfer from Austria who just moved to L.A. He could double for Marlon Brando in the movie The Young Lions. Marlon and Elizabeth were great together in Reflections in a Golden Eye.

LUIS WEARS SHIRT LEVI’S

Luis Kelling I met Luis, who reads a book each day. We went to visit our friend Gary at the Greenfield Ranch in Thousand Oaks. I started to think what Luis’s life would be like if he was just a farmer and not a young man traveling around the world trying to find himself...

JEANS (THROUGHOUT) CK JEANS SHOES JACK PURCELL

LEFT: LUIS WEARS TANK AMERICA N APPAREL SHORTS LACOSTE

So I introduced Luis to Kenya, my favorite girl in L.A. and daughter of Nastassja Kinski and Quincy Jones. Kenya just happens to be the goddaughter of Elizabeth Taylor and a great horseback rider, like Elizabeth was in National Velvet.

LUIS WEARS SHIRT VINTAGE KENYA WEARS BIKINI ASHLEY PAIGE SKIRT VINTAGE SHOES JACK PURCELL

LUIS WEARS SWEATSHIRT HANALEI BAY SHORTS RUSSELL ATHLETIC SWIMSUIT (UNDERNEATH) WEBERBILT

LUIS WEARS SWEATSHIRT AND SHORTS LACOSTE SHOES JACK PURCELL

KENYA WEARS BIKINI ASHLEY PAIGE SKIRT VINTAGE BRACELET HER OWN

Luis and Kenya met Allan Mindel’s Chihuahu a, Casanova . They want to adopt him.

Luis chasing girls on the streets of L.A. before he met Kenya.

KENYA WEARS BIKINI ASHLEY PAIGE SKIRT VINTAGE LUIS WEARS SHIRT OLATZ

I saw them living and working the ranch and sharing life together, like all those movies from the ’50s.

LUIS WEARS SHIRT VINTAGE TANK AMERICAN APPAREL KENYA WEARS BIKINI ASHLEY PAIGE SKIRT VINTAGE CAP CARHARTT BLANKET VINTAGE

At the end of the day, I gave Luis my blue Carhartt hat, to match the color of his eyes, and I gave Kenya a kiss and told her that I had promised to send some of her pictures to her mom and dad.

COSTUME FROM CRIMINAL MINDS

Matthew Gray Gubler

STRAIT WEARS SHIRT VINTAGE

Steven, in 2001.

Already on his way to Hollywood.

Steven Strait Steven plays Stevie Evans in Magic City, a new TV series on the STARZ channel about the Miami “Rat Pack” during the late 1950s, written by my friend Mitch Glazer. I first photographed Steven when he was a 15-year-old student in a military Catholic school in NYC.

STRAIT WEARS JACKET LEVI’S SHIRT VINTAGE

Matthew Gray Gubler Matthew on the set of his directorial debut for the TV series Criminal Minds—with special guest star Robert Englund, best known for his role as Freddy Krueger in A Nightmare on Elm Street. On set they all call Matthew the Wonder Boy.

Matthew Gray Gubler and Robert Englund.

JEANS LEVI’S SHOES JACK PURCELL

SHIRT BAND OF OUTSIDERS

SWIMSUIT WEBERBILT SWEATER SALVATORE FERRAGAMO SWIMSUIT Y-3

SWIMSUIT Y-3

Ben Bowers What can you say about a young actor who has “Integrity” tattooed on his right leg? He left home when he was 15, and the man you see before you now is an adventuresome vagabond. I think he would’ve been a favorite of the director Nicholas Ray.

JEANS LEVI’S

LEFT: NECKLACE (THROUGHOUT) JAKE’S OWN

Jake Andrews is a student and model, but he loves rodeo and line dancing. When I was photographing him, it hit me that he resembled an old friend of mine, Ed Limato, when he was in his early 20s… Ed was a beloved and rebellious agent in the old Hollywood tradition. For a while he even represented Elizabeth Taylor. I think she chose him because he was tough, talented, and good-looking. Ed gave me one of my first jobs, to photograph this young actor Richard Gere. One night at the Polo Lounge I heard him tell a bunch of people that if it wasn’t for him I’d still be back in the small Midwestern town I grew up in. I loved Ed a lot.

LEFT: SHIRT BY JOSEPH JEANS, HAT, BELT VINTAGE

Beverly Hills Hotel

SWIMSUIT DSQUARED

Pfeiffer Beach—so beautiful anytime there’s a sunrise or sunset.

L.A. Getaway The artist Emile Norman and his partner, Brooks Clement, built a house on the edge of a cliff overlooking the Pacific. Today one can go there and see his work and imagine that the house still belongs to them.

View from Emil e Norm an’s hous e.

View from the Post Ranch Inn.

One of the reasons I went north on the Pacific Coast Highway was to go to Carmel and check out Doris Day’s hotel, the Cypress Inn. It allows dogs, even in the bar, and her movies play in the lobby.

GAFILL WEARS CLOTHING AND JEWELRY HER OWN

Erin Lee Gafill and her husband, Tom Birmingham, live in an enchanted cottage overlooking the Nepenthe Restaurant.

Orson Welles and Rita Hayworth once lived together here, when they were first married. Erin’s home is filled with her beautiful paintings and her knitting. I was lucky to get one of her mom’s famous handmade knitted caps. I asked Erin, “Where did they film The Sandpiper with Elizabeth and Richard Burton?” She said in the interior of her family’s restaurant, Nepenthe—“Right here, where you are having lunch!” Once again I couldn’t escape the history of Elizabeth, and of course I wanted nothing else.

Theatrically trained actor Logan Marshall-Green is starring in Ridley Scott’s new movie Prometheus. This is the first time Logan did photographs, and I could see why Ridley cast him in his film.

MARSHALL-GREEN WEARS SHIRT LEVI’S T-SHIRT DIESEL JEANS, BELT, WATCH HIS OWN SHOES CONVERSE

Chucho, son of world renowned Cuban pianist Bebo Valdés, was playing a gig at the Frank Gehry–designed Walt Disney Concert Hall. Poncho Sanchez opened the show, and the joint was rocking. Chucho was on a world tour with his group, and the moment his long fingers hit the keyboard, the audience was up on its feet. He and his dad are legendary, not only in Cuba but throughout the world.

Chucho Valdés

VALDÉS WEARS CLOTHING, GLASSES, RING HIS OWN

Gillian Lange is the founder of the Lange Foundation.

She is like the Mother Teresa of the animal world in Los Angeles. She and her loyal crew roam the shelters around L.A. saving animals from being put down. Elizabeth Taylor once gave money in my name to rescue 100 dogs. Ever since then I haven’t been able to imagine my life without a rescue dog.

LANGE WEARS CLOTHING HER OWN

Lange Foundation 2106 S. Sepulveda Blvd.

Los Angeles, CA 90025 310-473-5585 info@langefoundation.org

As I walked away from the Arcana bookshop in Santa Monica for the last time, I almost started to cry. Its founder, Lee Kaplan, is what you would call an explorer of great and rare books. But they have moved to a new location, and the legend continues.

KAPLAN WEARS CLOTHING AND GLASSES HIS OWN

Arcana 8675 Washington Blvd.

Culver City, CA 90232 310-458-1499 arcanabooks.com

The garden outside my bungalow at the Beverly Hills Hotel, where Elizabeth Taylor’s dad once lived.

During dinner at the Ivy on my last night in L.A., Nan, Naomi, her husband, Anthony, and a few friends raised a toast to Elizabeth to celebrate her birthday, the 27th of February. We all miss her and all the crazy, fun times we had together. All I could think of saying was “Hey, Elizabeth, don’t worry—you know you’re not easily forgettable. Here’s looking at you, kid.”

HAIR DAVY NEWKIRK (TRACEY MATTINGLY) GROOMING AND MAKEUP SARAI FISZEL (JED ROOT) TALENT LUIS KELLING, JAKE ANDREWS, ANTHONY BALDWIN (NOUS MODELS), BEN BOWERS, MAXIMILLIAN SILBERMAN (VISION L.A.), JOE LOCICIERO (ELITE L.A.), ROSE LEWIS, SHANE CHAPMAN (CLICK L.A.), JESSE ROBELLO (CLICK N.Y.), ANDREW STEINMETZ (NO TIES), SETH AND DONOVAN SANTORO, JOSHUA BOWMAN, LOGAN MARSHALL GREEN, STEVEN STRAIT, KENYA KINSKI PRODUCTION GWEN WALBERG (LITTLE BEAR INC) PHOTO ASSISTANTS MICHAEL MURPHY, JEFF TAUTRIM, WILL ADLER PRODUCTION ASSISTANTS LUKE ADLER, GARRETT KOHLER, JOSH GUFFEY STYLIST ASSISTANT CLAUDIA CRACIU HAIR ASSISTANT EDDIE ARANA GROOMING AND MAKEUP ASSISTANTS CHICO KITABATA AND MARCO SOUZA PRODUCTION RENTALS EDGE GRIP AND QUIXOTE, LOS ANGELES SPECIAL THANKS BOXEIGHT STUDIOS, LOS ANGELES AND GREENFIELD RANCH IN THOUSAND OAKS, CA

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G I V E NC H Y B Y R I CCA R DO T I SC I ALBERT WEARS SWEATER, KILT, BRACELET GIVENCHY BY RICCARDO TISCI LEGGINGS BRUTE WRESTLING

B U R B E R RY P RO RS U M BY C H R I STO P H E R B A I L E Y SAM WEARS ALL CLOTHING AND ACCESSORIES BURBERRY PRORSUM HAT VINTAGE FROM WHAT GOES AROUND COMES AROUND

P RA DA AIDEN WEARS ALL CLOTHING AND ACCESSORIES PRADA HAT STEPHEN JONES MILLINERY

GIORGIO ARMANI ADRIEN WEARS SUIT AND CAP GIORGIO ARMANI T-SHIRT GAP EARRING MARIA FRANCESCA PEPE CHAIN KING ICE SHOES CONVERSE

RAF SIMONS SAM WEARS ALL CLOTHING AND CAP RAF SIMONS

C A LV I N K L E I N C O L L E C T I O N B Y I TA L O Z U C C H E L L I ADRIEN WEARS SWEATER CALVIN KLEIN COLLECTION

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C O M M E D E S G A R Ç O N S B Y R E I K AWA K U B O BRENNEN WEARS SHIRT AND KILT COMME DES GARÇONS BOXERS SUNSPEL SOCKS FALKE SHOES VINTAGE AIR JORDAN I

HAIR DUFFY (TIM HOWARD MANAGEMENT) GROOMING BENJAMIN PUCKEY (D+V MANAGEMENT) MODELS BRENNEN STEINES, SAM BENNETT, ADRIEN BRUNIER, AIDEN ANDREWS (FORD NY), GARRETT MAGEE, ALBERT REED DIGITAL CAPTURE CHRIS LUTTRELL (HAUTE CAPTURE) PHOTO ASSISTANTS JOHN GUERRERO, MICHAEL PREZIOSO, MATT ROADY STYLIST ASSISTANT OLIVIA KOZLOWSKI HAIR ASSISTANT PETER MATTELIANO GROOMING ASSISTANT YOHSUKE HIRAKA PRODUCTION UGO DUMONT RETOUCHING PASCAL PRINCE (A SMALLLIGHTROOM) LOCATION MILK STUDIOS, NEW YORK SPECIAL THANKS SOCIETY MGMT AND NATHANIEL DAM

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D S Q U A R E D B Y D E A N A N D D A N C AT E N GARRETT WEARS SWEATSHIRT AND SWEATPANTS DSQUARED BOXERS SUNSPEL GLASSES GENERAL EYEWEAR LONDON

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