Vol.1 No. 1

Times Square Magazine

Martin Scorsese

Ultimate Mixtape Compiled By: Cecily Van Horn

1. 'Jumpin' Jack Flash' by The Rolling Stone (Mean Streets) 2. 'Janie Jones' by The Clash (Bringing Out The Dead) 3. 'Jump Into The Fire' by Harry Nilsson (Goodfellas) 4. 'Cavalleria Rusticana: Intermezzo' by Orchestra of Bologna Municop Thetra (Raging Bull)

5. 'Nobody but Me' by The Human Beinz (Raging Bull) 6. 'Then He Kissed Me,' by The Crystals (Goodfellas)

7. 'Rubber Biscuit,' by The Chips (Mean Streets) 8. 'Sevillanas,' by Manitas de Plata (After Hours)

9. 'Like a Rolling Stone (Live),' by Bob Dylan and the Band (Life Lessons, from New York Stories)

1

0. 'Be My Baby' by The Ronnettes (Mean Streets)

By: Cecily VanHorn

PROFILE

Pan Latin Personified The last of the Maitre Ds

By: Marianne Camarda, Photo: Joey Franco

Jose Almonte looks as if he had all the time in the world. He is relaxing in one of

the plush armchairs of the lounge area in a Times Square restaurant, his long legs stretched out in front of him. Almonte is part of a dying breed of Maitre Ds. Restaurateurs with his meticulous attention to details are becoming a true rarity.

Almonte presided over one of the most successful nightclub franchises to ever emerge in one city, the Copacabana. Surprisingly, he started his career not in nightclubs, but as a professional dancer. Trained at Juilliard, he got an early start in understanding the importance of subtle perfectionism. Not that you’ll ever hear him say so. While he his not one to brag about past triumph, he will admit that his passion for dining, and New York City nightlife, are a big plus.

But an intuitive inkling for perfectionism seems to be what makes his career so notable.

In fact, nightclubs are a tricky business, especially in a large city with many choices. Maintaining the trajectory of success – even if a club is currently doing well – is not easy. But Almonte has helped the many of New Yorks top establishments do just that.

Almonte is a veteran of the fine dining scene. Years of service as a former manager and beverage director at restaurants like Le Bernardin, Gilt, the Waldorf Astoria, Django and Hudson River Club, have made him well versed in the tastes of sophisticated customers, and well qualified to fine tune the choices that keep them coming back for more!


Born in Brooklyn, New York on December 4, 1964, Tomei eliminated her heavy Brooklyn

accent but never forgot her roots. Her breakthrough came in 1992 when she co-starred in My

Cousin Vinny, as Joe Pesci's loud-mouthed but sweet New York girlfriend--a performance that

won her a Best Supporting Actress Oscar. From there she went on to her first starring role in

the film Untamed Heart.

Tomeis solid performance as a troubled single mother in Nick Cassavetes' Unhook the Stars

earned her a Screen Actors Guild Best Supporting Actress nomination. After some strong

work in Welcome to Sarajevo and in Slums of Beverly Hills, she proved her first Best

Supporting Actress Oscar win was no fluke. Tomei received her second Oscar nomination for

her performance in the critically acclaimed dark drama, In the Bedroom.

Brad Balfour discusses Tomeis performance in the film Before the Devil Knows Your Dead

with the actress. This film features some of the finest New York actors in which Marisa Tomei

is a stand out.

TimesSquare (TS): Was that you in the

opening scene--with all the sex--because I

know a lot of actors use body doubles.

Marisa Tomei (MT): No, no no, that was me. I

practice [laughs].

TS: You've been friends with Ethan [Hawke]

[who plays Andy's brother Hank] for a long

time. How was it to do that love scene with

him [Gina is having an affair with Hank so

there is a sex scene with each actor]?

MT: We go back, but we didn't really know each

other that well. We never played in anything

together, so it was like the moment was

overdue actually. So I was looking forward to

that.

He's so easy to be around. I think he plays that

character so well--the younger brother of

someone who never really found his own way

and means well, but only buys into this thing. In

his relationship to my character, he just adores

her and thinks she's so great, and his brother

pre-approved her. To play the scenes with him

were very easy, because he's Ethan Hawke

and he's adoring me, so what could be wrong?

TS: How was the rehearsals?

MT: The rehearsal period was great. But it was

a little tough for me, because I was doing 'Wild

Hogs' at the same time, if you can believe it,

and I had to go back and forth like three times

during the two week period.

It was really draining, and I never really felt like

I got in the groove. That's why it was great that

Sidney [Lumet] had such a clear vision in the

first place, because I felt like I was completely

at sea. I wasn't counting on that happening.

The timing just shifted so I was going there and

putting on a cowboy hat and acting like a silly

girl in this huge comedy.

Then when I got over there, I was getting into

this gritty world. Ultimately, I just had to go on

instinct and she's kind of aimless, so it worked

for me.

TS: How was it working with everyone to

develop your character?

MT: Sidney had a vision of how he wanted my

character to be, and he had some pretty

detailed history he had written out before we

started shooting.

I always thought she was kind of a dingbat, and

I still think she's really aimless. She feels anger

and is disgusted with the man in her life. I don't

think she's getting enough of what she wants at

that moment. I don't even think it's a positive

kind of anger, but that was definitely something

that Sidney crafted from how he was seeing her

and how he wanted her to play in the mix of the

bleakness of the men.

I happened to be at CAA [the talent agency,]

and we were doing some sort of reading. My

agent pulled me aside and said, "I just have

something to tell you." And I thought I was in

trouble. I always get that feeling when

somebody says that.

But he told me, "Sidney Lumet just called and

he wants you to do his film." I was just over the

moon, and so so so excited. It was just one of

those, "Thank You God!" moments. I didn't play

hard to get at all.

TS: So did you develop some kind of back

story for her?

MT: I don't think she knew everything that was

going on. I don't think she could have thought

that through. I think she might have thought

something was odd or funky. But I adjusted the

back story to what Sidney was talking about.

TS:Was there anything in the script that

made you nervous?

MT: No, I felt like I was fulfilling my goal. I

always wanted to be a trophy wife. Such a

funny life to peep into [laughs]. "Oh, really,

trophy wife?"

It's a detriment to her own life's path that she's

not really self-reflective or latched onto

something that has a lot of meaning to her. But


it was also interesting to have someone who

relates only on a visceral level and needs a lot

of physical comfort and affection and attention--

someone who is just comfortable in her own

skin, and she's just not leading with her head. I

liked that.

TS: The movie seems to be about characters

who are past their prime. Where do you see

all the characters five years before?

MT: I think that Phil's character was coasting

along easier, making more money--more denial

going on. I think that the denial was in full

swing. Our lives felt better every day, five years

before.

TS: If you could write the ending to your

character's life story, perhaps a few months

into the future, what would you write?

MT: I don't know. I think if Phil was alive, she

would end up back with him. I don't think she

has a lot of fortitude, or discipline, or strength of

character. She'll probably leech onto some

other guy.

TS: Do you enjoy having that challenge of

getting into a character that you might not

like?

MT: Yeah. Actually, I prefer her rather than the

saccharine things that have come my way.

That's usually the big challenge, to play those

cutie pies that repulse me.

TS: How does Sidney work in terms of you

guys, with rehearsals?

MT: He just kind of sets the table. He likes us to

be together. We didn't do things like go to

dinner, but we had the rehearsal time. We had

two weeks in a room together, and we got to

hang out. A lot of work gets done that way. It's

nice that he brought that aspect of theater stuff

into his filmmaking.

We felt kind of at ease with that because we

were used to rehearsal rooms, we like

rehearsal rooms...I don't smoke, but I would go

out with them when they would smoke because

I know that's when most of the best

conversation happens. The bonding [laughs].

TS: What intrigued you about Sidney's

direction?

MT: I think his passion is the most dominant

thing. His intelligence, his wisdom, his natural

inspiration, is all wrapped up in this very

passionate man who loves what he does.

He loves the characters; he's intrigued with

every character. I really felt like he put himself

into my character's shoes. It's really rare for a

male director or any director to think about

"What's inside her?" He was just taking on my

character.

He loves actors, he's known for that. But he

takes it to that level where he puts himself in

every character. He writes the history, and

takes care of the character.

TS: Do you have a favorite Sidney Lumet

film?

MT: This one! (laughs) But if I had to chose, I'll go with "Dog Day Afternoon."

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Day 1- FEBRUARY 09: Designer Tadashi Shoj walks the runway at the Tadashi Shoji Fall 2012 fashion show. (Photo by Frazer Harrison/Getty Images for Mercedes-Benz Fashion Week)

Day 2- FEBRUARY 10: A model walks the runway at the Popluxe Fall 2012 fashion show. (Photo by Frazer Harrison/Getty Images for Mercedes-Benz Fashion Week)


Day 3- FEBRUARY 11: A model poses on the runway at the L.A.M.B. Fall 2012 Presentation. (Photo by Chelsea Lauren/Getty Images for Mercedes-Benz Fashion Week)

Day 4- FEBRUARY 12: A model walks the runway at the Carmen Marc Valvo Fall 2012 fashion show during Mercedes-Benz Fashion Week at at NASDAQ MarketSite. (Photo by Brian Ach/Getty Images for Mercedes-Benz Fashion Week)


Day 5- FEBRUARY 13: A model walks the runway at the Betsey Johnson Fall 2012 fashion show. (Photo by Frazer Harrison/Getty Images for Mercedes-Benz Fashion Week)

Day 6- FEBRUARY 14: A model walks the runway at the Marc By Marc Jacobs Fall 2012 fashion show. (Photo by Peter Michael Dills/Getty Images)


Day 7- FEBRUARY 15: Designer Michael Kors walks the runway at the Michael Kors Fall 2012 fashion show. (Photo by Frazer Harrison/Getty Images for Michael Kors)

Day 8- FEBRUARY 16: A model walks the runway at the Ralph Lauren Fall 2012 fashion show. (Photo by Frazer Harrison/Getty Images for Mercedes-Benz Fashion Week) Times Square Magazine

Vol.1 No. 1

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