If “Skinwalkers” is successful, there is talk that two more Hillerman books could be adapted. Both Studi and Beach say they’d be interested in returning to their roles. In the meantime,Beach is hoping to further expand the portrayal of Indians on the screen.With pal Hayden Christensen (“Star Wars: Episode II — Attack of the Clones” ) as producer, he’s working on adapting the computer game and comic book “Turok: Dinosaur Hunter” for the screen.
Popularity: 3% [?]
Hayden Christensen is sucking back martini number double-digit; who can count at this hour? The pillow-lipped 21-year-old actor played young Darth Vader in the most recent Star Wars installation, and we are definitely on the dark side now, as he reaches a floppy hand across the table, places it on mine and says: “I hate being a movie star. Tell me about you. Tell me about … journalism.” Then he passes out.
Between “pillow-lipped” and “Star Wars” is truth; everything else in that paragraph is poorly written fantasy, the product of my pervy little mind. I have Pulled a Glass on you; most journalists will know what that means. Stephen Glass is the hotshot young magazine writer who fabricated incidents in 27 out of 41 stories he penned for The New Republic magazine before he was busted in 1998. He scammed Rolling Stone, Harper’s and George, too, inventing scenarios and sources from scratch, even building a fake Web site and falsifying voice mail messages to foil fact checkers.
When Glass’s fictions were exposed, the ethical breach shocked journalists. But it fascinated, too, because Glass is what we love most: a great story (albeit one about making up the great story you couldn’t get). A much-discussed 1998 Buzz Bissinger piece in Vanity Fair documented the fall of the privileged young Ivy Leaguer from wealthy suburban Illinois. Only Hollywood loves a tarnished golden boy more than journalists, and Bissinger’s article has now become a movie. In Shattered Glass, Christensen plays Steve Glass. When I visited the set just before filming wrapped last month, Christensen was having an “emotional day” — Glass would be caught that day — according to the film’s publicist, so I was booked to interview him in Toronto later. But playing a journalist clearly hadn’t stirred his empathy toward our breed, and Christensen proved elusive. Weeks of attempts to set up a meeting came to naught so I thought I’d do it Glass-style. Writing that one phony paragraph felt good; I knew I’d delivered exactly the kind of extreme situation –the “colour” — every editor prays for. Witnessing other people at their worst was Glass’s forte. With smug retrospection, it’s clear his timing was way too perfect: He happened to be there when a 15-year-old computer genius, hired by the company he hacked, threw a boardroom fit, demanding an X-Men comic and subscriptions to Playboy (neither hacker nor company existed).
Glass mingled with the George Bush worshippers who formed a “Church of George Herbert Walker Christ” (no such Christ exists). These events lived only in Glass’s mind, like my Christensen lead. So how can the journalistic experience — a relationship between head and laptop, an essentially private act driven as much by drudgery as creativity — make a good movie? On the set of Shattered Glass, in a soundstage by the Port of Montreal, Christensen is doing a scene with Peter Sarsgaard, the floppy-haired actor who played one of the killers in Boys Don’t Cry. Sarsgaard is Charles Lane, then the respected young editor of The New Republic, a title indicated by a shabby blazer. Sitting at his computer in the recreated offices of TNR, Glass hands Lane a contact’s business card; already suspicious, Lane recognizes it as a fake. During 14 takes, Sarsgaard confronts the prodigy: “You faked all of it, didn’t you, Steve.” Film, for all its perceived sex appeal, is even less dynamic than journalism. Whenever one thing is done — the lights are ready — then something else is waiting to be done — the sound isn’t right. And can someone get Hayden out of his trailer?
Shattered Glass is directed by Billy Ray, a lean, unusually friendly guy (he personally brings me a bottle of water and writes NP on the lid), a screenwriter by trade. He wrote Hart’s War, the Bruce Willis Second World War picture. Shattered Glass is his first outing as director. “There is no one on this set who knows less about movies than me,” says Ray. He wrote the script for HBO, but Tom Cruise’s production company, Cruise/Wagner, eventually picked it up (Cruise has access to dailies, though he hasn’t told Ray what he thinks so far), co-producing with Lion’s Gate and Forest Park Pictures, Christensen’s company.
“Two days into shooting, I threw a pizza party for cast and crew and screened All the President’s Men on DVD,” says Ray. “We set the bar really high. Truth is, I don’t have Alan Pakula’s talent or schedule or budget, but I definitely have his aspirations.” All the President’s Men, a dramatization of the events at the Washington Post that brought down Nixon, is the ultimate newspaper movie, an agenda-setting story where reporters are really detectives, a prototype for serious journalism movies like The Paper or The Insider. But usually, in movies, newsrooms provide an office setting for flirtation — His Girl Friday — or a job that even Meg Ryan could handle (When Harry Met Sally; Sleepless in Seattle). The minutiae of the profession is rarely shown because, frankly, it’s dull: More than half of any day is spent sitting in front of a computer, researching, making phone calls, typing.
To prepare for Shattered Glass, Christensen and Sarsgaard made a trip to the Montreal Gazette and observed a story meeting. One editor brought his teenage daughter to catch a glimpse of Christensen, living pin-up. “[The actors] were curious about how we put a story together. They were asking: Do you guys wear ties? Of course print journalists are have no sense of fashion,” says Brendan Kelly, a Gazette entertainment reporter. “At one point, Peter Sarsgaard said: ‘I told you, Hayden, it’s all about the polo shirt.’ ” Sadly, golf shirts were a popular fashion choice in the newsroom that day. “My impression was they were struck by how uninteresting it was,” says Kelly. “The public sees these TV shows and movies that glamorize newsrooms. The media image of journalism is that guy from Spider-Man screaming and yelling, but nowadays it’s just a business, people are quietly at their keyboards. Maybe in the ’60s journalists were drinking and smoking in the office, but today there aren’t many larger-than-life characters left.” Which may be another reason journalists find Glass so compelling. Certainly, other famous plagiarists are industry legends: Washington Post reporter Janet Cooke won a 1981 Pulitzer for a made-up story about an eight-year-old heroin addict named Jimmy. This spring, New York Times reporter Michael Finkel was fired for publishing a bogus story in The New York Times Magazine about an impoverished Ivory Coast labourer who was actually a “composite.” There are no movies about those cases. “Glass’s story is almost too amazing to be interesting. It’s such an extreme case,” says Ivor Shapiro, an assistant professor of magazine and feature writing at Ryerson University. Last year, Shapiro had his students examine the Finkel story as an example of good writing; now he teaches it for his ethics unit. Since Lane fired Glass, following an investigation of the hacker piece by an online reporter at Forbes Digital Tool (played by Steve Zahn in the movie), Glass vanished. He graduated from Georgetown University Law Center in Washington in 2000, and may live in New York, but there’s no evidence that he’s a practising lawyer. Shattered Glass’s producers didn’t even approach Glass, for legal reasons; if they did and he refused to participate, he might have had legal recourse. Even without the central player’s input, every person on set is eager to point out that veracity is the essence of the film. “You can’t make a movie about Stephen Glass butchering the truth and do the same,” says producer Craig Baumgarten.
To that end, Baumgarten claims that almost everything in the script is based on transcripts and the public record. Still, certain characters are inventions or composites “for dramatic purposes,” says Ray. Chloë Sevigny’s character is loosely based on Hannah Rosin, a former staff writer for TNR who’s now at the Washington Post, but her name is different. Another male staffer became a woman. An indie cast (including Rosario Dawson and Hank Azaria as Michael Kelly, current editor of The Atlantic Monthly), a neophyte director and a small budget suggest Shattered Glass may be art-house fare, a film not so squarely positioned for mainstream success as All the President’s Men. “That had Redford, Hoffman, Jason Robards. That was a major-league motion picture, and it was also about Watergate,” says Lane, now of the Washington Post. Dryly, he adds: “[Glass] was a pretty big scandal, but I think Watergate might have topped it.” Lane visited the set, consulting on the look of The New Republic offices; he gave his approval to the paper-strewn chaos. “I found [the set] kind of eerie,” says Lane. “Hayden Christensen looked just like Steve Glass, similar glasses and shoes. He even walked like him.” In other ways, the spectre of Glass hangs over the film, as it does journalism. Shattered Glass, still in post-production, has already come under fire for sensationalizing its subject, possibly encouraging other writers to follow in his footsteps. New York Daily News critic Jack Mathews came down hard on the film, claiming Ray sees “harmless romanticism” in Glass’s escapades.
On a break in filming, Sarsgaard walks by with a soup in his hand as this quote is mentioned and says: “What bulls—. George Bush bombs Afghanistan, and no one thinks kids will start doing that.” The hero of the story, according to Ray, is Lane. He came into TNR after Glass had been established as a superstar under Kelly’s reign, and he blew the whistle. Glass is nobody’s hero. “I believe this film is going to wind up causing Stephen Glass and his family some embarrassment, and I don’t feel good about that,” says Ray. “I hope he finds a way to turn his life around. But I feel it’s an important cautionary tale in which he happens to be the star player, and I didn’t want to use false names. Every journalist in America knows the story and we would have gotten slammed.” Adds Baumgarten: “This is a story about freedom of the press being abused, rendered irrelevant. We want to honour the profession.” Glamorization is the producers’ concern, but for Shapiro, a movie that simply vilifies Glass will be an equal failure. “Ninety-five per cent of us take small liberties with the facts day by day, whether it’s just cleaning up that little grammatical lapse in the quote, or the bigger question of which facts we select to report, and which facts we choose not to report because they kind of don’t fit, don’t flow. Glass is the bottom end of that slope, but people like Glass and Finkel don’t belong in a separate category of humanity from us. We’re all somewhere on that arc.” He asks who will be playing Glass, and I tell him Darth Vader, ultimate bad guy; he laughs. “I rest my case.” Without getting inside Glass’s head (he has never spoken about what happened), the question the film can never answer is the one most central to the profession: Why? “One thought I’ve had is that he was so well rewarded for it. He was not just getting away with it, he was being patted on the back, being offered magazine contracts. There was no check on the behaviour to the contrary,” says Lane. “As far as a deeper psychological motive, I probably shouldn’t even try to guess.”
Popularity: 3% [?]
Finding truth in the story of disgraced reporter proved challenging to makers of ‘Shattered Glass’
The New York Times’ Jayson Blair may have gotten more publicity (and done more damage to his now-resigned editors). But when it comes to fabricating journalists, Stephen Glass set the low standard.
A young reporter for the small but influential Washington policy magazine The New Republic, Glass invented, either in part or entirely, 27 of 41 articles he wrote for the publication in the mid-1990s, as well as freelance pieces for George, Harper’s and Rolling Stone.
He was caught in 1998, after reporters for the now-gone online site Forbes Digital Tool began investigating a fantastic piece Glass had written about a teenage computer hacker. Basically discovering that not a single fact in the story checked out, the Forbes people contacted TNR editor Charles Lane.
Already resented by much of his youthful staff for recently replacing the beloved, nurturing Michael Kelly (who, having gone on to the Washington Post and Atlantic Monthly, died while covering the invasion of Iraq earlier this year), the recently appointed Lane had to uncover the extent of the popular Glass’ fraud before his venerable magazine’s reputation was irrecoverably damaged.
OK, not exactly what you’d call gripping movie material. But “Shattered Glass’ somehow manages to present the arcane ins-and-outs of journalistic ethics clearly while unfolding as a kind of nail-biting moral mystery.
“I was initially interested by the world it was set in,’ explains Billy Ray, a veteran screenwriter (“Hart’s War,’ “Volcano’) who makes his directing debut with “Shattered Glass.’ “I am fascinated by the process of journalism and by the ethics of journalism. I grew up in one of those houses where (Washington Post reporters) Woodward and Bernstein were heroes. That notion of journalists as defenders of the right and pursuers of the truth was a very real idea when I was growing up. I believed in it and I still do. But to see what has happened to the legacy of Woodward and Bernstein, how it’s been watered down and turned on its head, I felt, was worth looking at.’
But as Peter Sarsgaard, who plays Lane to Hayden Christensen’s Glass in the movie, notes, popcorn-addled movie audiences’ tastes have changed since Robert Redford and Dustin Hoffman played the Watergate-investigating journalists in “All the President’s Men’ more than a quarter-century ago. And whatever Glass’ ethical infractions may have been, they were hardly on the level of a presidency-ending Constitutional crisis.
“To me, it’s an important issue, and the form of the movie is meant to help people swallow it,’ Sarsgaard says of journalistic reliability. “A very dry version of this movie could have been made and, I think, not too many people would have seen it. So, I think, Billy did create a pacing that made it the watchable movie that it is.’
Vader to prevaricator
Ray got lucky in that effort by having already written a screenplay on a subject that rising star Christensen — who plays Anakin Skywalker, the future Darth Vader, in the “Star Wars’ prequels — was passionately interested in. With his brother and producing partner Tove Christensen, Hayden had become intrigued by a Vanity Fair article about Glass that Ray had already used as the basis for his screenplay. Forces were soon joined.
“Every actor wants to play a con; it’s just a fun part to sink your teeth into,’ Christensen admits. “And Stephen is a rather eccentric one.’
As well as, of course, a disgraced one who wanted nothing to do with the production.
“We made several attempts’ to secure Glass’ cooperation, Christensen reports. “Obviously, it would’ve been an easier film to make had we had his involvement. But, understandably so, he wasn’t too keen on being a part of it. That was actually quite freeing from my perspective, because my Stephen Glass never had to be an impersonation.’
It did, however, increase the difficulty of Ray’s effort to make “Shattered Glass’ as journalistically plausible as a dramatized movie could be. While admitting that some series of events were telescoped for clarity’s sake and some characters composited in order to protect sources still working at The New Republic, Ray tried extraordinarily hard to stick to the facts of the case as best he could confirm them.
“The idea was to apply the standards of journalism to this movie, meaning that I couldn’t put anything in the movie that I couldn’t verify,’ says Ray, who checked with multiple sources on every aspect of the script that he possibly could. “That, of course, required a certain amount of discipline on everybody’s part, but we lived by it.’
Not that Ray’s bragging about that — as, say, Glass might have about a bogus story pitch that elicited laughs and applause from amused colleagues.
“We applied a certain level of rigor to the storytelling because we wanted to stick to the truth,’ the filmmaker acknowledges. “But we had a great story, and all I had to do was get out of its way. Would I have had that same level of integrity if the story were just average? I don’t know. But this is a fantastic story, and I consider Stephen Glass to be its author more than me.’
By necessity, however, Christensen had to be the author of the film’s Stephen Glass. Ray is well aware that the most consistent criticism “Shattered Glass’ has been receiving is that it doesn’t explain why a bright, talented writer like Glass lied his way to the top of a profession that fundamentally demands fidelity to the truth. But without even the unreliable Glass’ explanation of what was going on in his head at the time, Ray reckons any such exposition would be pure speculation — precisely what he’d vowed to keep out of the film.
“We could never get into intent, which I think makes it an interesting film: to show something but never say why,’ Christensen notes. “But just because we couldn’t show in our film why he did it, I still had to come up with my own motivation for myself, in order to play the part.
“A lot of it was stemming from the pressure that he felt from his family. Then, what seemed to be inherent was this overeagerness to succeed that he had, this desire for the spotlight that would sort of cement for his family members who were questioning his line of work, that this is where he belonged. He let his ambitions get the better of him.’
Trying to be true to this compulsive liar was one of the hardest roles the 22-year-old actor ever played.
“As an actor, you try to connect with something that’s honest and real, and I knew that I was pitching a lie in almost every scene,’ Christensen explains. “The way he sort of got everyone to put their guards down was by being this really entertaining guy who people were drawn to. But it was a difficult thing to feel confident doing, to go to work and, within this character, lie through my teeth every day. That doesn’t make for a confident portrayal, which was obviously necessary for the work. Hence, the progression of insecurities and paranoia that Stephen displays was all pretty genuine, for the most part.’
On deep background
Sarsgaard, on the other hand, could have had all the access that he wanted to Lane, who now works at The Washington Post. But didn’t want too much of it.
“I’ve played real people a number of times, and I usually spend very little time talking to them, ‘ Sarsgaard — who has indeed done such deeds in “Boys Don’t Cry’ and “Dead Man Walking’ — says subjects have a natural tendency to present themselves in the most flattering possible light. “Everyone does that; it’s the first thing you notice when you go to someone you’re playing. If you’re playing the murderer, they’ll say they didn’t do it and they talk about how much they love their family.
“People will say that it’s too bad we couldn’t get Stephen Glass to cooperate, but y’know, he’s not a very trustworthy guy. I would say that if Hayden had had the opportunity to do that, he probably would have learned a lot, but he would have had to have been really, really perceptive and sit down with him in person.’
Sarsgaard spoke to Lane on the phone a few times before production. He has since hung out with the journalist at some length while they’ve both been promoting “Shattered Glass.’
“He said I was too good-looking,’ Sarsgaard chuckles when asked if Lane has criticized his portrayal. “He’s been very, very cool and diplomatic.’
Though the two former TNR editors were often the only sources for some scenes, Ray believes what they told him.
“You get to know somebody and you get a sense for their level of integrity,’ the filmmaker says. “With these two guys, the level was high. Even people who don’t like Chuck thought that he acquitted himself magnificently during this crisis, so that felt very clean to me. And the thing with Kelly was, he never tried to make himself sound better than he actually was. He always admitted to being the editor who had been duped.’
The “Shattered Glass’ experience appears to have reinforced Ray’s faith that, at least in some reporters, journalistic ethics are as strong as they’ve ever been. Still, he can’t help acknowledging the irony of his film coming out while Blair and Glass (who is trying to push a recently published, fictionalized account of a fabricating journalist) are still making news.
“It’s one of those things I feel ambivalent about because it’s sad for America but good for the movie,’ Ray says of any spillover publicity. “But I can live with it on those terms.’
Source: Bob Strauss
Popularity: 3% [?]
In “Shattered Glass,” Hayden Christensen stars as Stephen Glass, a staff writer for the respected current events and policy magazine The New Republic and a freelance feature writer for publications such as Rolling Stone, Harper’s and George. By the mid-90’s, Glass’ articles had turned him into one of the most sought-after young journalists in Washington, but a bizarre chain of events – chronicled in Buzz Bissinger’s September 1998 Vanity Fair article on which “Shattered Glass” is based – suddenly stopped his career in its tracks. “Shattered Glass” is a study of a very talented – and at the same time very flawed – character. It is also a look inside our culture’s noblest profession, one that protects our most precious freedoms by revealing the truth, and what happens when our trust in that profession is called into question.
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Hollywood-Variety’s screening series continued with Monday’s unspooling of scribe- turned-helmer Billy Ray’s “Shattered Glass” at the Egyptian Theatre. Pic depicts the real-life rise and fall of Stephen Glass, the ignominious New Republic journalist who brazenly fabricated over two dozen stories for the revered publication. In the pic, Glass (Hayden Christensen) finds himself at odds with his editor, Chuck Lane (Peter Sarsgaard).
Film historian “Pete Hammond” led a Q &A with Christensen and Sarsgaard after the screening.
Christensen never met with the real Glass, but used that to his advantage in creating his perf. “All I had were articles and photographs, and general characteristics and sensibilities,” thesp said. “It was very freeing in a lot ways, to never have to put a mirror up and say ‘am I getting this right?’”
Christensen lamented the difficulties of portraying a compulsive liar. “Going to work every day and lying through your teeth starts to weigh on you, and makes you very insecure, which is right in character, but it starts to affect you after a while.”
Despite a late arrival, Sarsgaard provided plenty of interesting insights on the film, the challenges of portraying a real person, and acting in general. Unlike Christensen, he met several times with the real-life Lane, who even visited the set.
“When you’re playing someone who’s a real person, but is not in the public eye, it is not that important to look like them or sound like them or any of that kind of stuff,” Sarsgaard revealed. “What he (Lane) did explain to me was what he thought then, which was really the most important thing to me.”
The similarity between a journalist who fabricates news stories and then pretending to be someone else on film wasn’t lost on the “Glass” guys.
“What a perfect part for an actor because we consider ourselves frauds” claimed Sarsgaard.
“We always feel like we’re getting away with something,” adds Christensen.
“Shattered Glass” begins its limited bow on Friday, October 31st.
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Superman” director Brett Ratner and producer Jon Peters got into a major shouting match on the Warner Bros.lot, where the troubled Man-of-Steel film is shrouded in pre-production woes. Tempers reportedly flared between the two, culminating in Ratner and Peters screaming insults at each other over the slow pace of casting the picture. “It was a closed-door meeting, but you could hear them screaming at each other inside the office,” a set insider tells Page Six.”At one point, Peters started belittling Ratner. He said, ‘Oh, you think you’re a big man now?’ It got so bad that someone had to separate them.”Warner Bros. executives are said to still be smarting over actor Josh Hartnett’s decision to pass on donning the Superman cape.Jude Law and Ashton Kutcher have also treated the role with caution, not hot to commit to a trilogy of Superman movies that could take ten years to complete.Brendan Fraser, Paul Walker, Hayden Christensen and soap star Matthew Bomer are reportedly still in the running.And sources say a script was sent to pop sensation Justin Timberlake last week in the hope he’ll take on the role of Clark Kent’s sidekick, Jimmy Olsen.
Popularity: 3% [?]
Filming has just finished on the final ‘Star Wars’ prequel. But Hayden Christensen – who plays Anakin Skywalker/Darth Vader – says he’s convinced it won’t be long before director George Lucas calls him back for re-shoots.
There’s always loads of hype and interest before a ‘Star Wars’ film is released, and this time George Lucas has helped fans by installing webcams at Skywalker Ranch – the place where the movies are put together.
But Hayden admits he found it all a bit offputting:
“They have webcams set up in every department, that takes a still image every so many seconds, and it’s on the internet.”
“So they’re kind of aware that they’re creating that hooplah. It’s something you really pay little attention to as an actor and try to avoid the webcams at all cost.”
Popularity: 2% [?]
Vancouver-born Hayden Christensen is being saluted for a strong performance in the pending movie Shattered Glass, the story of “fab” (as in fabricating) reporter Stephen Glass, scheduled for a theatrical release Oct. 31.
Christensen is also being singled out by his Los Angeles landlord for not paying his rent. But first things first.
He plays Glass, the highly touted 25-year-old prodigy reporter from the The New Republic magazine back in 1998 for making up stories – quotes, facts, poeple, orangizations, you name it. Flaws were also found in Glass’s freelance stories for Rolling Stone, Harpers, George and others.
The 22-year-old Christensen shot the film in Montreal late last summer. His co-stars include Hank Azaria (currently filming Huff here), who plays editor Michael Kelly (the same who died covering the Iraqi war a few months ago), Chloe Sevigny, Rosario Dawson (known in these parts as Joshua Jackson’s ex), Peter Sarsgaard, Steve Zahn, Greg Kinnear and Maggie Gyllenhaal.
The Lions Gate film’s executive producers are Tom Cruise and Paula Wagner, and its the directorial debut of writer Billy Ray (Hart’s War, Volcano). Hayden’s older brother Tove is also a producer.
Postscript: Glass, who reportedly hated the script and has yet to see the film, which only just made its debut at last weekend’s Telluride Film Festival and was just screened in Toronto, has apparently been forgiven by Rolling Stone. The reporter was recently assigned a story about the new marijuana laws in Canada. Oddly enough, he didn’t research the story in Vancouver. (Sheesh, all he had to do was walk down Granville).
Meanwhile back in Los Angeles, the Christensen brothers are being evicted from the $1.8 million US Hollywood Hills mansion they’ve called home for the last three years. According to the landlord (via Teenhollywood.com), “Hayden’s a good actor but a bad tenant. I want him off the property.”
The problem is the boys allegedly weren’t paying their rent on time. The neighbours certainly don’t seem to mind having them on the block. “They had a pretty loud party the week after they moved in but there’s been barely a peep out of that house in nearly three years,” said one.
Of course it’s likely they’ve hardly been there since. We’re not sure where Tove is hanging his hat (or his wallet) these days but Hayden hasn’t seen the place for quite some time.
He’s starring in his second Star Wars movie, currently filming down under, and has pretty much has back-to-back projects since even before landing the role in 2000 (back when he was mostly living in Vancouver filming Higher Ground). Add to that a previous Hayden quote about how he spends all his off time in his old room at his mom’s place in Toronto and the Hollywood Hills adobe is definitely just a house, not a home.
Source: Vancouver Province
Popularity: 2% [?]
Tuesday night at new West Village hotspot HUE, Lions Gate, Guess, and Interview magazine celebrated the premiere of Billy Ray’s feature debut, “Shattered Glass.” Ray introduced star Hayden Christensen to attendees, and Mr. Star Wars posed for a shot for indieWIRE’s guest photographer for the evening, David Kwok from the Tribeca Film Festival. Stars Chloë Sevigny and Peter Sarsgaard, along with a host of beautiful people no doubt drawn from the Interview/Guess crowds, mingled with such journalism notables as “60 Minutes” co-host Steve Croft. Actors Scott Speedman and Martha Plimpton also made the scene in support of the film, with Plimpton chatting up Kroft for a while and asking that we snap a shot and send it to her for her personal collection. Guest photog Kwok bumped friendly elbows inside the party with celeb shooter Patrick McMullan who is celebrating the recent publication of his new photo book, “so80s.”
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