Tag Archive | "East Hampton"

Summer Camp @Ross Empowers Kids With Quacks

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Summer Camp @Ross Director Christopher Engel, right, and counselors greet campers on their way into camp Tuesday, July 1. Photo by Kristen Hyland.

Summer Camp @Ross Director Christopher Engel, right, and counselors greet campers on their way into camp Tuesday, July 1. Photo by Kristen Hyland.

By Tessa Raebeck

“Pablo Picasso says,” Christopher Engel shouts, before aggressively flapping his arms and quacking like a duck. The crowd of some 250 kids gathered around him begins quacking too, perhaps to the dismay of the late Pablo Picasso.

For Mr. Engel, director of Community Programs at the Ross School in East Hampton, which includes the Summer Camp @Ross, now in its seventh year, doing ridiculous things is a means to set the stage for children to feel comfortable in their own skin.

“We try to make it imaginative and fun,” Mr. Engel said Tuesday, July 1, adding that the goal is to “make everyone feel good about who they are [and to] empower them to try and do things.”

Campers start their day by walking underneath a giant rainbow canopy, held by their counselors outside the entrance to the Wellness Center at Ross’s Upper Campus. Music blasts and the counselors dance with an energy you don’t often see among those under 25 at 8:30 a.m.

Ross Campers hang out before morning meeting Tuesday, July 1. Photo by Kristen Hyland.

Ross Campers hang out before morning meeting Tuesday, July 1. Photo by Kristen Hyland.

After dancing their way through the rainbow, campers go inside to check in with their counselors and hang out. Most of them chat excitedly, a little girl shows off her magic tricks to tennis program director Peggy Stankevich and another girl can’t seem to stop doing cartwheels.

One particularly tall counselor, Gari Blackett,  a basketball coach at the camp who is associated with the New York Knicks organization, holds a basketball up while some 10 boys jump at him.

At the campwide meeting each morning, assistant camp director Nick Behrens shoots a basketball backward over his head, aiming for the hoop at the other end of the gym. According to campers, he makes the difficult trick shot a lot, but today is not his day.

Backward basketball, although fun and somewhat ridiculous, has a serious intent behind it, Mr. Engel said. It is about empowering kids to try and do things and to feel comfortable being a little silly.

Campers can personalize their experience to pursue their own interests in sports, science, the outdoors and the arts. There are over 25 camp majors, including Junior Crime Investigators, Fashion Design, Filmmaking, Photography and Gymnastics. During the eight-week program, campers choose minors and majors. They go to their majors for the bulk of the day in the morning then regroup at lunch and do minors in the afternoon.

On Tuesday, Mr. Engel asks campers whether they think Jon Mulhern teaches tap dancing—as Mr. Mulhern does a little jig—or culinary—Mr. Mulhern pats his belly—or if he leads the Inventor’s Workshop. The tap dancing jig gives him away as the Inventor’s Workshop director.

Mr. Mulhern and counselors fashion a bridge made entirely of Popsicle sticks, hot glue and string in between two tables. A weight is hanging from the makeshift bridge. A volunteer from the mass of campers comes forward to hang on the weight and, somehow, it holds him, then another camper, a junior counselor and eventually counselor Lily-Anne Merat.

Inventor’s Workshop is one of the programs offered at the Innovation Lab, Ross’s science, math, engineering, media and technology academy. Jr. Crime Investigators, a new major in which campers are challenged to become detectives for the summer, learning forensics analysis skills like fingerprinting and ink chromatography, as well as collecting crime scene evidence and interviewing and interrogating suspects, is also offered at the lab, as are Stop-Motion Animation, Naturalist Explorers and Robotics.

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Photo by Kristen Hyland.

Inside the lab Tuesday, Summer Term students are trying to replicate the pieces of a Mr. Potato Head on a 3D printer. The three boys work with instructor Creighton Wirick and Dr. Dave Morgan, dean of science at the Ross School and director of the Innovation Lab. One of them has refashioned Rio de Janeiro’s famed statue “Christ the Redeemer” from his home country Brazil.

Campers can supplement time in the lab with outdoor activities like basketball, golf and rugby. On Tuesday, the multisport and dodge ball majors combined on the fields, with kids aged 6 to 14 competing. One would think the advantage went to the preteens, but counselor Bailey Arens insists the 6-year-olds are a threat, as they are prone to “sneak up on you,” he said.

From horseback riding to sneaking up on bigger kids to pelt them with dodge balls, the intent at Summer Camp @Ross is to help campers do what feels best. Or, as Mr. Engel said, “If you’re smart, make the sound of a dog—Pablo Picasso says woof.”

East Hampton Town Warns of Heavy Surf Conditions, Strong Rip Currents

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Virginia Briggs of East Hampton shakes her fist in the aftermath of Superstorm Sandy in October 2012. Photo by Tessa Raebeck.

Virginia Briggs of East Hampton shakes her fist in the aftermath of Superstorm Sandy in October 2012. Photo by Tessa Raebeck.

By Tessa Raebeck

Strong rip currents currently exist in the Atlantic Ocean along the East End’s beaches and heavy surf conditions are forecast for the 4th of July weekend, East Hampton Town Emergency Preparedness Coordinator Bruce A. Bates announced Wednesday, July 2.

In a message authorized by town supervisor Larry Cantwell, the town warned ocean bathers to swim only at lifeguard protected beaches.

Old Whalers’ Restoration Complete

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The finished trompe l’oeil at the Old Whalers’ Church. Photo by Michael Heller.

By Annette Hinkle

The Old Whalers’ Church, which dates back to 1844, is a Sag Harbor icon. Even without its massive steeple (lost in the 1938 hurricane) architect Minard Lafever’s imposing edifice still has the power to inspire awe, especially among visitors who glimpse it for the first time.

A rare example of Egyptian revival architecture, in recent years, a number of repairs and restorations have been made inside the building to insure its historic integrity and beauty as well.

Last Sunday at morning service, the Old Whalers’ Church officially unveiled what some consider to be the highlight of those recent restorations­—the recreation of the original trompe l’oeil mural which Mr. Lafever designed to grace the massive south wall of the sanctuary. A concert held at 5 p.m. that evening to celebrate the event brought in more than 200 people.

Gone is the cracked, light blue mural which for decades graced the space behind the pulpit. In its place is a professionally rendered scheme completed over the course of the last month by a staff of restoration experts from International Fine Arts Conservation Studios, based in Atlanta, Ga.

Rendered in muted tones of gray and white with subtle shading, the 35-foot-by-25-foot mural implies the presence of a curved apse and Corinthian columns supporting a cofferdam ceiling—a space that doesn’t actually exist, but rather is a “trick of the eye” (or “trompe l’oeil” in French).

With only two black and white photographs to go on—one from 1899 and one that was taken pre-1890, Geoffrey Steward and his associates from IFACS visited Sag Harbor last November to scrape through up to 14 layers of paint and discern the history of the design and color palette of at least six full murals which have graced the wall since the mid-1840s.

When they returned in late May to do the work, the artisans cleaned and primed the plaster wall, affixed a canvas support to it and laid out the trompe l’oeil design using stencils. Finally, they painted the image in its original color washes and applied shading to complete the trompe l’oeil effect.

The new scheme portrays the illusion of depth in a way the well meaning, but inexpertly rendered, earlier mural never did. For church member Nancy Cory, the finished product represents the realization of a long time dream.

“I’m delighted, it’s more beautiful than I ever could have anticipated,” said Mrs. Cory. “It’s much more three dimensional and effective in shading and perspective.”

“It’s so different than what we had,” she added. “I think that’s why the moment to make the change came. People were tired of looking at the mural and noticing the perspective was off. We have such a beautiful building to worship in, why not complete the restoration? It’s more fitting and classier. The whole sanctuary is built for the glory of God. It seemed right to do it.”

In fact, it was Mrs. Cory and her late husband, David, who spearheaded the idea of the mural restoration. Mr. Cory was an avid historian who probably knew more about the Old Whalers’ Church than anyone. In the fall of 2007, the Corys vacationed in Provincetown, Mass. where they visited a church filled with fine examples of trompe l’oeil imagery.

Inspired, they brought the idea—and the name of Mr. Steward’s restoration firm—back to the congregation in Sag Harbor for consideration. Then, the economic downturn of 2008 hit, and the church had to put the project on hold.

But in 2013, the Reverend Mark Phillips and Mrs. Cory revisited the idea of the mural restoration. When Mr. Steward said the price would be $50,000—about the same as it had been in 2008—Rev. Phillips reached out to parishioners for financial support. Within a very short time, church members had pledged the entire amount.

“We have no debt for this project due to 12 anonymous donors,” said Rev. Phillips. “We’ve been very careful not to reveal their names, but the gifts range from very small amounts up to $20,000.”

When asked on Monday what he thinks of the new mural, Rev. Phillips responded, “I think its a great addition and a far improvement over what was there. Even though it’s detailed, I don’t think it’s overdone.”

“I was so impressed by the professionalism of the team here, not only were they greatly skilled at what they did, but they always took time, even if 50 people came in during the day, to come down off the scaffolding and explain what they were doing,” he added. “I felt bad Friday when we said goodbye to them.”

Though David Cory didn’t live to see his dream realized—he died in late 2010—Mrs. Cory is certain he would have approved of the new trompe l’oeil.

“David would have loved it,” said Mrs. Cory. “He would’ve been thrilled to have this project completed.”

“I wish he could have been here,” added Rev. Phillips. “But I like to think yesterday he was smiling down and was happy.”

In addition to the completion of the much anticipated mural restoration, on May 16 the congregation celebrated another major milestone—the building’s 170th anniversary, which, as it turns out, was David Cory’s birthday.

Firefighters Battle House Fire in Springs

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Photo by Michael Heller

At roughly 5:00 p.m. the Springs Fire Department was called to 52 Cedar Drive for a report of a structure fire. First arriving units reported flames extending up the front of the building and into the roof, but firefighters were able to know the flames down quickly without incident. The East Hampton Fire Department’s RIT (Rapid Intervention Team) was called to the scene to stand by, and one engine from the Amagansett FD was called to stand by at the Springs firehouse. All units were back in service within two hours, and the East Hampton Town Fire Marshal’s Office is investigating the fire’s cause and origin.

After Once, It’s Time to Begin Again

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By Danny Peary

The cast and director. Danny Peary photo.

The cast and director. Danny Peary photo.

Begin Again fits my category Movies That Should Play in Sag Harbor. John Carney’s extremely engaging follow-up to the 2006 international sensation Once opened last Friday in New York City and this Wednesday begins its national release. I anticipate that it will soon play in the East End because who isn’t curious about seeing Keira Knightley sing and Adam Levine act?  They, surprisingly, come off with flying colors doing both.  They play a song-writing couple, Gretta and Dave, who split when he becomes a huge recording star and is unfaithful. In New York, she stays with her busker friend, Steve (James Corden, who won the Tony as the lead in Broadway’s One Man, Two Guvnors) and is about to go back to London when she is “discovered” singing at a club by a heavy-drinking, formerly successful A&R man, Dan (Mark Ruffalo).  Dan is estranged from his wife (Catherine Keener) and teenage daughter (Hailee Steinfeld) and is on his last legs, thinking he’d never find a raw talent again.  Hoping that starting her career with a hit album can rescue his career, the re-energized Dan records the semi-reluctant Gretta singing at outdoor locations around the city with a makeshift band of his musician friends.  The movie comes off as a fantasy set in an alternate New York but like Once it effectively brings real emotions and issues to the surface and you’re happy to go along for the ride.  And then there’s the music.  In the New York Times, A.O. Scott was really unkind to the songs.  Pay no attention. It’s a fabulous soundtrack and the way both Knightley and Levine perform the catchy, well-written songs in the movie is exciting. Begin Again is more flawed than Once, but it too is the rare movie you can recommend to almost anyone.  I attended the following press conference held last Thursday in SoHo.  In attendance were (R-L in the picture) Carney, Knightley, Levine, Ruffalo, and Corden.

Kiera Knightly and Adam Levine.

Keira Knightly and Adam Levine.

Moderator: John, there was this movie that came out, Once, that was a global phenomenon.  We talked a few weeks ago, when you were in Dublin, where you live, and you told me that you had the idea for Begin Again back when you were wrapping Once, but that you wanted to wait before you started working on it.  Is that right?

John Carney: I did want to wait so that the two films weren’t following each other directly. I feared I’d just become the ‘music guy,’ which is what has happened anyway. So waiting did nothing for that. But I did want to wait until the story was ready.  I’ve been watching the music industry change so much even since then, so I’ve developed the story on those terms. I think the print industry is the only industry that has changed to the same degree that the music industry has changed.

Moderator: And the inspiration was that when you were in high school you were touring with a band. And you thought it would be interesting to tell the story…

JCa: Well, actually I was in a band after I left high school. I had a bunch of A&R men angling for the next U2, which we weren’t, unfortunately, but Dublin was the city that everybody came to.  I guess they went a lot to London as well. These A&R men were really 25-year-old guys, with coke habits and credit cards without limits. And they were sort of swarming around, bringing these band kids out to clubs and wining and dining them, just in hopes of finding the next big band. The stories they were telling us! And I just look back over my life and I wonder where those guys are now, and I wonder whether they’ve adapted to the massive changes in the industry.  Still got the coke habit? Are they still trying to discover music?  Is that desire still there? Even though the Internet has changed the industry, are there still music-loving A&R men on the hunt for that new magical thing? Is that magical thing still out there?

Moderator: And the first person you cast was Mark Ruffalo as a heavy-drinking, washed-up former A&R man.

JCa: Yeah, Mark was the dream guy for this role.

Moderator: Mark, do you sing at all in real life?

Mark Ruffalo: No. Well, I did sing for the movie and it was cut out. I was singing in the shower.  It was supposed to be a lyric poem song.  But we couldn’t get the rights to that song.

JCa (joking): That’s what I said to Mark.

Moderator: And Keira, have you sung in public before?

Keira Knightley: Yes and no!  I did a film years ago called The Edge of Love and I sang a bit in that. A very 1940s kind of theatrical thing. So yes, I have sung before but it was very different.

Q: Did you take lessons?

KK: They very kindly got me some lessons with a very lovely man called Roger Love. For a lot of those songs, the lyrics weren’t written until a couple of days before we got into the studio so we didn’t have the songs to try to figure it out before we got there.  So it was just about trying to figure out what my voice was, because I didn’t know.  He tried to figure that out.

JCa: It was fun actually. We had this really new song and she went in and sang the first few lines and we all gave a sigh of relief.  We knew we can make this work!

KK (laughing): I wasn’t exactly relaxed when I was doing it.

Moderator: Adam, you did this before appearing in American Horror Story. You hadn’t done any acting before. Did you take acting classes?

AL: No. I tried to take one and it didn’t go well. It was bizarre. I didn’t like it. I didn’t like what I was being told, because it wasn’t making me happy, but that’s a whole other conversation I don’t want to have. So I just thought that I would pretend that I knew what I was doing and hope and pray that it worked, because these people on stage with me are all very, very talented. Mark’s shaking his head because he’s angry with me. But yeah, no lessons, actually.

MR: I’m shaking my head because for some people acting is so easy.  And acting isn’t easy.

Moderator: And James, you’re now in Into the Woods. And you’ve been a singer for quite some time.

James Corden: Yeah, I’m a professional singer. It’s my trade. I’m joking – not at all. But I have a theory that all rock starts want to be actors and all actors want to be rock stars, so I spent my whole school life forming boy bands.  I was in a boy band called Insatiable. We were quite big in the Buckinghamshire area, you might know.  We had a song that I wrote, called “Girl Are You Ready?”  We thought it was amazing, but in hindsight I think it sounds a bit rapey.   It didn’t work out for us. But since Adam’s heard some of Insatiable’s stuff, I think we’re going to hook up for some tracks. I think we’ll most definitely go forward.

Adam Levine (straight-faced): I look forward to that.

JCo: It’s a big surprise but I can share it with you guys. We’re going to be called Maroon 6.

MR: And Satiated.

Question from Journalist: Now that you’re all wonderfully successful, was it easy or hard to go back to that experience of being a struggling artist?

MR: It wasn’t my favorite place to be, so it’s not easy to go back there.

JCo: Mark really committed to the alcoholism aspect of the film. Because at the time I was on Broadway, I would shoot in the afternoon and get in a car and whisk across town to do the play and then quite often go back afterward and shoot quite a lot of the montage stuff.  And it was a great time when we were on the subway shooting this montage scene, and Mark said, “You must be exhausted from just doing the play, you must really need a drink,” and he was holding a Starbucks cup, and I said, yeah, I could really use one, and he passed me this Starbucks cup and it contained a vodka tonic. I really thought, well, this is the greatest moment of my life. I’m drinking booze with Mark Ruffalo while watching him film on the subway.

JCa: A little anecdote to that: the first AD comes up to me on the film set and says, Mark and James are both drinking alcohol–they think we don’t know, but we do know!

Q: Can Adam and Keira answer that question too about whether it’s hard to go back to play a struggling artist.

KK: I’m an actress, so yeah.

AL: You know, my character is kind of in the midst of becoming successful, and it was a very specific time when it happened to me. I was probably tempted by some of the same things that Dave is.  My story’s very different than his, but it was very easy to tap into what it was like to experience all these things that we never expect to experience. When you’re a musician, I don’t know if you’re ever very sure of anything.  You never know what’ll pay the bills–you don’t care about that as much as you care about playing music.  So this guy is just overwhelmed, and so was I, so that was pretty easy to play, actually. I believe that had something to do with why John called me.  Very few people get to experience those things and I think he thought I’d be able to articulate it for the camera. It was all John telling me what to do the entire time.

Q: Did you say yes right away when John called you?

AL: Yes.  Fuck yes, I believe..

Q: Adam, now that you’ve gotten a taste of acting, where do you want to take it?

AL: I have no idea. All I know is it was really fun. It was a dream experience.  I don’t think I could have done it [without these people up here.] This sounds really kiss-assy, though it’s really not meant to be, but I love these guys–all of them. They were so nice. I had no scenes with Mark, and the first day I got there and was trying on my clothes for the film, and he was so welcoming and warm and sweet. He and John and Keira and everybody made it easy. It was just one of those things, I don’t think it can get better than this, so I might not ever make another movie!  There’s no way it can surpass this as far as how much fun I had, it was a blast.

JCo: It stops being fun after the first movie!

Q: And, Adam, how did you tap into and relate to your character?

AL: I wanted to treat this guy, Dave, like a totally different person from me, even though it was impossible, because I literally don’t know how to act. So I was like, okay, some of me is coming out here, it’s not fucking possible that’s not going to happen. Referring to my character, like I said, there was a very specific point in my life, where I thought, “Oh my God, you know, I’ve made it!” There were fifty of those moments, I’ve been so fortunate in my career. There was a time probably in the early 2000s when our album went platinum, when I said, “What, are you kidding me?”  That was when I partied too hard and did a lot of stupid things and that is part of who Dave is. I was that guy.

Q: Keira, did you draw on anyone for inspiration for Gretta.

KK: I didn’t, no.  The part wasn’t based on anything for me, we just sort of worked on it from the character’s point of view, like “Okay, this is somebody who doesn’t like fawning, she’s just somebody who really likes being in the background.” It was just about finding what would work for me.

Q: What about the inspiration for Dan?

JCa: I had a really good conversation early on, years ago, with Mark.  Mark, you were shooting somewhere in Ireland, and I couldn’t believe that I’d gotten your phone number and I rang you up and we had a discussion about this character. And we ended up talking a lot about 1970s movies that we loved, like The French Connection with Gene Hackman.  We we were trying to find what the vibe might be like with this guy, and a bunch of late ‘60s, early ‘70s films were references.

MR: Well, I did want him to feel a little bit like a throwback.  And I liked the kind of A Star Is Born relationship that Dan has with Gretta. It’s warm, it’s not sexualized. He’s someone who really sees a talent and wants to develop it. I do a fair amount of daydreaming about these people, and I somehow came to this idea that any music person I played would be like Wayne Coyne from the Flaming Lips.

AL: It’s so fucking funny you just said that because the second I saw you, you just exuded that guy.  That’s Wayne Coyne! You looked like him, your hair looked like his hair. Wow!  I’m so glad you said that.

MR: I really love him, he feels like the real deal as far as music goes. I hope he doesn’t take offense to my homage to him. But I’m a big fan of his. So he was probably the only music person I drew from, although with Dan’s glasses, there was probably a little weird Dylan type gene. But that was pretty much it.

JCa; You use one thing as an actor, and that alone gives you the character. I thought the glasses were that for you, Mark.

MR: That and Dan smokes. I knew an old Jewish songwriter who was a manager in the ‘70s, and he was on the music scene and so a lot of my character’s qualities, especially the Nat Sherman cigarettes and that gruff quality, that throwback quality, were his. He was a really interesting character.

Q: Keira, In regard to clothes, was there anything about [your previous characters] Anna Karenina or Sabina Spielrein that you found in Gretta, and if either of them were to give advice to Gretta, should she take it?

KK: No on the advice.  The clothes–we actually had discussions with the costume designer.  I wanted Gretta to dress for women, not for men.  I wanted her clothes to be something that women would like and get for themselves, and men wouldn’t necessarily get it for them. So we worked quite hard on that kind of idea. So that slightly tomboy, slightly Annie Hall, completely non-sexualized thing is what were going for. The men’s trousers was a big thing.

Q: This movie is an attack on selling out in the music industry, but all of you have to confront that daily, whether you’re in the film industry or the music industry. For instance, you make small films but after a few small films, you have to make a big film. So when that happens, do each of you say, “Well, I have to sell out a little today?”

KK: Do I have to go first?  Well, I like differences, and I think that’s what’s been really nice about being Gretta.  I don’t dislike big blockbusters, in fact I like them very much and sometimes that’s exactly what’s called for on a day when it’s raining and I want to sit and have popcorn and just kind of get lost in a movie. I think about that as far as making them, as well. I did Jack Ryan because I wanted to do a pure piece of popcorn. And it exactly fit coming after I did Anna Karenina, this incredibly stylized movie that was—we were sort of trying something in a new way—very, very dark. What I really wanted after that experience was to make something absolutely different. And it was the same with Begin Again.. I wanted it to be really low-budget and hit the ground running and keep going as fast as possible, all that. I wanted that kind of speed. So I feel incredibly privileged that I get the opportunity to do both types of films. I certainly don’t sneer at big-budget things, and I don’t sneer at small-budget things, I think it’s about the opportunity for me to do all different styles of movies.

JCo: Most things aren’t very good, but that’s nothing to do with scale or size or any of those things. Most things, 90%, just aren’t that great. No one sets out to make something bad, sometimes they just are. And the trick is to operate in that 10%, whether it be something with a huge budget or a small budget, and that goes for music, television, theater, art, everything. You want to operate in the 10% but acknowledge that sometimes you’ll miss the mark with that, and sometimes you’ll make mistakes.  But those are the only things that teach you to go on and try and operate in that place where you can make something that’s really good. I love watching films that some people would say are trash, and I love  watching things in a different style. I don’t think it’s a question of selling out or not selling out, I think it’s just trying at the core to make something that’s good. And there’s no better representative of that than this film, where a group of actors get on board with a director they love because they’d seen something of his that they loved. We all went, “Yeah I’m in on this journey with you, John, whatever it is and wherever we go. And I’ll absolutely do my best to make sure it sits within that 10%.”

AL: I really want to answer this question. There’s a great scene in the movie with you guys [Mark and Keira] when Dan and Gretta talk about how people spend a lot of time figuring out who they are and presenting that to the world and then re-calculating.   I think in order to understanding selling out, you first have to define what it means to sell out. To do something you don’t want to do because you might be able to gain something financially, or to not be behind something that you wind up doing for some other reason–that’s probably what I’d call selling out. Not feeling good about doing something that might help you get ahead. But doing something that you love regardless of whether it’s making a blockbuster movie or writing a pop song or trying shamelessly to succeed at something–that’s not selling out, I think that’s actually fine and I would encourage that all the time. Selling out really comes at a point when you sacrifice your own personal credibility in order to have success on a larger scale.  Doing something that makes you feel gross and benefitting from it. That’s what that is to me. And it’s very clear-cut. But people do have a hard time defining it, and they kind of throw a lot of things out there and say it about giant movies or a huge record that’s very popular and a lot of people like…and people then say they don’t like them anymore [because they had commercial success]. I always hated that growing up and if my favorite bands became successful I thought, “Good for you, that is fucking amazing, congratulations, I still love you!”  I didn’t get a selfish, possessive, bullshit attitude and think “Oh, they were mine and now they’re everyone else’s and I don’t like them anymore.” That’s a horrible way to operate. God, they get to pay the bills and have amazing lives, that’s great. And they’re a great band, fuck yeah.  So that’s how I feel.

MR: I got into acting because I wanted to act, and I love acting. And so that’s my true north, to be creative and to be challenged in what I love to do. And sometimes that takes me into a big-budget movie, sometimes that takes me to a small-budget movie, but I’m doing essentially the same thing in each one of those, which is stretching in a way that I hadn’t. That’s my aim. I come from the theater, and in the theater you’re never pegged for one thing. You can be in a comedy in one season and you can be the romantic lead the next season, and you can do a period piece the following season and do something modern the season after that. No one ever says to you, “This is what you have to do! This is what we expect of you!” So that work ethic is what I know to bring to my film work as well. It just takes you on this wild ride.  And, cynically, the day that I decide to do something just purely for monetary gain or because it is going to get me to the next thing  will, I think, only lead to my downfall somewhere. It hurts your creative self. And so I think the idea of selling out is a lot of times a projection that people create about artists that is more a reflection of who they are than what is actually happening in front of them with the artist.

JCo: I slept with John to get in the film, and it didn’t feel like I was selling out at the time. I’d do it again.

Q: Keira, how did you relate to the romantic and the heartbreak aspect of the movie?

KK: I think it’s what I liked about the film. You can kind of take it out of the music industry story, and essentially what it’s about is people falling down in life and trying to pick themselves back up, and whether that has to do with a relationship or a career or wherever. I think you can’t be adult and not have felt that in whatever extreme way. So obviously yeah, I completely understood where Gretta was coming from and the feeling that you know exactly what’s going on and who you are and where you’re going and suddenly finding that you have no idea who you are, where you’re going, or what’s going on. All adults have experienced that.

Moderator: Finally, John, can you talk about the scene in which Gretta and Dan walk around Times Square. Was it at three o’clock in the morning and you had a handheld camera?

JCa: Yeah, we did actually. That was the one true maverick moment working on this movie, when we did not get permits and it was Mark, Keira, me, an AD, and a focus puller. There was supposedly no way we were doing to get that scene I had written in Ireland of walking around in Times Square.  Those three words—“in Times Square”—terrorized the producers.  People would get the script and go, “Ha, that’s not going to happen!”  It can happen as long as you don’t tell anybody or try to close it down, because that would have looked ridiculous.  We didn’t want extras pretending that they’re looking up at signs going, “Wow, Times Square!” So they’re real tourists walking around in the movie.  If I extended any shot in that sequence by two frames, there’d be someone going, “It’s Keira Knightley and Mark Ruffalo!”

AL: There’s a scene Keira and I shot in which our characters are walking into an apartment building together and someone recognizes Dave and comes up to him–and only thirty seconds earlier two girls had come up to me on the street. So literally it was happening and then we shot the scene where it was happening and there was just no difference between reality and what we shot.  There was zero projection of anybody and it was great because we were immersed in all of it the whole time. It felt real because it was. Shooting on the street was amazing.

JCo: I’m still surprised that we got away with it in New York. Sorry man, but the paparazzi just follow me wherever I go.

JCa: We had to take James’s name off the call sheets to try to get them off his scent.

East End Weekend: Highlights of June 27 – 29 Events

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Marc Dalessio, "Tina Under the Olive Tree" 43 x 35 inches, Oil 2014.

Marc Dalessio, “Tina Under the Olive Tree” 43 x 35 inches, Oil 2014.

By Tessa Raebeck

Marc Dalessio, "Laundry in the Wind" 36 x 28 inches, Oil, 2014.

Marc Dalessio, “Laundry in the Wind” 36 x 28 inches, Oil, 2014.

There’s a lot going on on the East End this weekend. Here are some highlights:

The Grenning Gallery in Sag Harbor is hosting an opening reception Saturday from 6:30 to 8:30 p.m. for a new solo show of Marc Dalessio, a regular artist at the gallery who spent the last year traveling the world looking for beauty. “Ironically, the most beautiful subject was found right at home,” gallery owner Laura Grenning said in a press release, speaking of “Tina Under the Olive Tree,” a plein air painting of his newly wed wife at his longtime farmhouse in Tuscany.

According to Ms. Grenning, Mr. Dalessio’s “humility, a rare commodity in the art world today, is sincere–just look at the paintings. These ideas, although not articulated at the time, explain my personal choice to leave the world of international finance and move to [the] East End almost 20 years ago.”

“The Grenning Gallery,” she added, “was created to provide a stable exhibition space and steady source of capital for these artists to continue their efforts to seek out and record nature’s beauty for the rest of us.”

Ocean the seal in rehabilitation in Riverhead.

Ocean the seal in rehabilitation in Riverhead.

 

A seal named Ocean will be released by the Riverhead Foundation for Marine Research and Preservation Saturday morning at 10 a.m. Ocean the seal will return to his home and namesake following two months of rehabilitation at the foundation after he was found in Montauk suffering from a broken jaw and respiratory condition.

After Oceans of Hope, the foundation’s annual fundraising event Friday, Ocean the seal will be released from under the Ponquogue Bridge in Hampton Bays.

 

 

Design Night Sag Harbor opens high-end stores for charity Saturday in an evening of shopping, wine, and fundraising for at-risk youth. Participating stores are donating 10 percent of sales to Community of Unity, a non-profit that empowers young people at risk to make good choices for their futures.

Ten Sag Harbor boutiques are participating: Urban Zen, Bloom, JanGeorge, Sylvester & Co., La Lampade, Ruby Beets, La Maisonette, Black Swan Antiques, JED and MAX ID NY. Design Night runs from 5 to 8 p.m.

 

Rounding out the weekend Sunday from 4 to 7 p.m. Sylvester & Co. At Home is hosting an opening reception for EJ Camp’s show “Faces of the Sea.” The Amagansett branch of the store, which also has a shop in Sag Harbor, will show the photographer’s photos of the East End sea, from fog over Orient Bay to the tide crashing into the jetty on Georgica Beach in East Hampton.

E.J. Camp, "Trumans Beach Sunset."

E.J. Camp, “Trumans Beach Sunset.”

 

CPF Up 5 Percent for Year

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The Peconic Bay Community Preservation Fund has raised $28.26 million for the first five months of the year, a 5 percent increase over the same period last year when it collected $36.38 million, according to Assemblyman Fred W. Thiele Jr.

Since it was created in 1999, the CPF, which is funded by a real estate transfer tax in the five East End towns, has collected$923 million.

It is on pace this year to better the 2013 totals, which was the second most successful year in its history, after 2007.

“This reflects the continued strength in East End real estate and the continued availability to local towns of the necessary revenues to protect community character,” he said in a release.

Southampton is leading all towns,  collecting a total of $22.5 million this year, while East Hampton has collected $11.66 million. Southold has collected $1.7 million, Riverhead $1.58 million, and Shelter Island, $820,000.

Bob Bori

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Bob Bori is beginning his fifth season as the Sag Harbor harbormaster. He discusses his job and how he prepares for the summer boating season.

By Mara Certic

You worked as a police officer for Southampton Town for 23 years. You have been a member of the Sag Harbor Fire Department for 35 years. Is experience in law enforcement a pre-requisite for becoming the harbormaster?

For civil service it’s a good idea to have some prior experience, if not, you have to go to a police officers school held by the Sheriff’s office.  And some marine experience—I mean I worked on the bay when I was younger before I started working at the police department. And I’ve been on the water ever since I was a kid, clamming, fishing, scalloping.

With a staff of only eight, how do you manage to keep on top of the waterways when hundreds of boats arrive for the summer?

Ed Michaels is a senior harbormaster in East Hampton; he’s in charge of the marine patrol. And he was pretty much instrumental in putting the East End Law Enforcement Task Force together about six or eight years ago. And what it did was brought all the East End marine patrols together. I was just working on the preparations for the upcoming fireworks. For example, because we only have one boat, the other jurisdictions get together. East Hampton’s sending a boat, Southampton will send two boats, Shelter Island will send a boat and we’ll use a couple of fireboats.

What else have you been doing to prepare for the Independence Day fireworks?

Everybody’s assigned an area, a certain sector out there that they’re responsible for, and then in case there’s an EMS issue or somebody gets sick, or there’s an arrest situation we figure out ahead of time how that’s going to be addressed. The firework barge goes about 2,000 feet northeast of the breakwater; so there are a lot of boats that go out from all over. We have to keep a certain zone cordoned off as a safety zone.

How many accidents are there during a typical summer season?

It varies. Last year was pretty quiet, but the year before we had quite a few. I’m guessing maybe 12 or 15 accident reports the year before last; for the most part those accidents are people hitting rocks at Gull Island—which is just north of here, south of the main channel. Some people just don’t know the area and don’t really know what they’re doing. The last really serious accident was about eight years ago—a few kids got seriously injured, but since then, at least in the last five years we haven’t had anything major.

What preventative measures do you take to avoid accidents?

We started last summer, and we’re doing it again this summer, having some boating-while-intoxicated checkpoints. It works out pretty well, everybody’s limited in resources but then when we need them—or if there’s a serious boat accident or a search and rescue trip, then everyone gets involved.

If there is an accident out on the water that requires an emergency response, what is the general procedure?

If there is a boat accident, I get dispatched and if it comes through that there are injuries onboard, then the ambulance will be dispatched too, and the fire department. Everybody goes out. We usually have a plan in place where I take a few EMTs out with me on my boat and a few of them also go out on the fireboat, and we assess it from there.

This week, the Village Board approved advertising spots in your mooring field, just south of the breakwater. What provoked you to seek that approval?

People just aren’t re-upping this year; we have two lists for dock spaces and moorings, residents and non-residents. The dock spaces are the premium and we have a lot of people who want them. But for some reason, we haven’t received as much interest in our mooring spots this year.

 

The Secret Life of Long Pond Greenbelt

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Two deer fighting in Long Pond Greenbelt. Photo by Jill Musnicki.

By Mara Certic

After a burglar repeatedly tried to break into her parents’ home, Jill Musnicki and her husband had the idea to install motion-sensitive cameras around the property to try to catch the crook red-handed. The police ended up catching the pilferer without the help of the cameras, but the security system she had set up inspired Ms. Musnicki to embark on an artistic investigation of her own.

“As I watched what images came out, I thought it would be neat to use them in an artistic way,” she said. As part of the Parrish Art Museum’s road show in 2012, Ms. Musnicki installed game cameras from Water Mill to Montauk to shoot pictures of unsuspecting creatures as they moved past.

The artist, who is a fourth generation East End resident, wanted to show the lives of the animals who continue to live among us, in spite of all the development that has depleted their natural habitats. The show was called “What Comes Around,” and provided a fascinating glimpse into what animals do when undisturbed by humans.

This Friday, June 27, at the South Fork Natural History Museum in Bridgehampton, Ms. Musnicki will present “What Comes Around II,” which will show the secret behavior of the animals who live in the 1,100 acres of Long Pond Greenbelt.

According to Ms. Musnicki, the cameras she installed throughout the area—which stretches from Sagaponack to Sag Harbor—are typically used by hunters to “track where the action’s going on.”

The artist, however, uses them to catch glimpses of foxes, osprey and endless deer interacting, uninterrupted by the hustle and bustle of humanity. The cameras take still pictures whenever something moves in front of them, Ms. Musnicki explained. She then collected them and has spent hours whittling down the series of images from 100,000 to 5,000.

“I put myself in the zone, sit in front of the computer, scroll through thousands of pictures,” she said. The process, she said, is hugely time consuming: “It definitely takes me away from my painting in the studio,” said the artist who is primarily known for her work in that medium.

After whittling out the photos triggered by a leaf or a twig blowing in front of the camera, Ms. Musnicki enters them into a film editing software in which she, with help, edits the pictures together, speeds up the process and creates a stop-motion film of the undisturbed animal kingdom. “It’s a little tiny pocket of animal life,” she said.

A large part of the artistic process is in the presentation of her hidden cameras’ shots.

Ms. Musnicki’s edits become a “fast little film,” adding an interesting artistic element to the project. The same film will be projected onto two giant screens at the Museum Barn at SOFO. The films will be screened in a round, if you will, with one starting five minutes after the first. “The more screens I have the more dynamic it becomes,” she said.

The Long Pond Greenbelt cameras have captured pictures of “lots of creatures,” Ms. Musnicki said. The nine-month span of this project has allowed Ms. Musnicki to document baby foxes growing up. “There’s a little log that a turtle jumped off of,” she added. The artist’s house faces part of the reserve. “I particularly love the [camera] across the street from me, so much stuff happens there,” she said, citing a brawl that she captured between two deer locking horns.

The project, she added, “involves people in every step of the process. When it comes to show it, I definitely feed off of people. I need help, I get help, people like to help, and so it turns into a nice collaboration,” she said.

Each project is very different, she said. The friends of the Long Pond Greenbelt “know where to go, and that was fun for me, to learn a few places that I didn’t know of.” Ms. Musnicki has also been working in collaboration with the Nature Conservancy on a similar project at the Warhol Estate in Montauk, thanks to grants from the conservancy and Warhol Foundation.

A preview of the Montauk project will be shown on five different screens the next day on Saturday, June 28, at the Nature Conservancy’s Beaches and Bays Gala at the Center for Conservation in East Hampton.

The final Warhol project, which has been in the works for a year, will be shown at a later date and will be the artist’s most dynamic and detailed view into our animal neighbors and “a life of their own in the middle of all of us,” she said.

What Comes Around II will be shown on Friday, June 27, from 5 to 7 p.m. at the South Fork Natural History Museum Art Barn, located at 377 Bridgehampton-Sag Harbor Turnpike in Bridgehampton. A preview of the Warhol project will be shown at the Beaches & Bays Gala on Saturday, June 28, which will take place at the Center for Conservation on Route 114 in East Hampton.

 

 

 

 

 

 

 

 

Proposed Beach Alcohol Ban Has East Hampton Town Boards at Odds

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By Mara Certic

A proposed ban on alcohol at two beaches in Amagansett has the two elected branches of East Hampton Town’s government at odds.

The East Hampton Town Board has suggested a ban on drinking at Indian Wells and Atlantic Avenue Beaches in Amagansett during lifeguarding hours in the summer months in an effort to curtail what many believe to be inappropriate behavior that has become more prevalent over the past few years.

One speaker at the public hearing on Thursday, Mark Schultz, referred to Indian Wells Beach as “frat beach.”

But the town board’s proposal has frustrated many of the Trustees, who obtained their power from King James II in 1686 and to this day own and manage the beaches on behalf of the commonality.

In the past few years, Indian Wells Beach has transformed. In 2012 the family-friendly beach in Amagansett began to host a different sort of beach-goer after various media began advertising the town beach as “the place to party.”

According to Police Chief Michael Sarlo, this resulted in hundreds of people showing up to the beach on weekends with coolers, kegs and loud music—and about 60 summons a year, roughly half of which were issued for open containers of alcohol in the parking lot, the rest for public urination, littering and failure to follow posted regulations or directions from the lifeguards.

The situation “became dangerous” and the “flow of traffic became burdensome,” according to Chief Sarlo. The problem, however, is difficult to enforce, as officers must physically witness violations in order to issue a summons.

Another problem, according to the police chief, is that the acts that are being committed do not actually rise to the level required by the New York State penal code, even though they “may be offensive to some, and may be morally questionable.”

For example, he explained, according to state law, the revelers cannot be cited for unlawful assembly unless their reason for congregating is to engage or prepare to engage in tumultuous or violent conduct.  “Once again,” he said. “[Unlawful assembly is] a class b misdemeanor and the courts have not found, unfortunately, that beer funnels or drinking games are tumultuous and violent conduct.”

The proposed ban would prohibit drinking alcohol from 9 a.m. to 5 p.m. every day, in an area spanning 3,000 feet—1,500 feet both east and west of the road end.

The Trustees had suggested that the ban be in effect only on weekends and only in 500 feet in each direction from the parking lot.

Trustee Deborah Klughers expressed concern that increasing the area of the alcohol ban would, in fact, worsen the current situation, because the revelers would move farther down the beach, out of lifeguarded areas and farther away from garbage cans and the restrooms. “They will be urinating in the dunes, they will be littering more,” she said. “Pushing these people away will push them even farther away, to other beaches in our community.”

Many of those who spoke on Thursday—both for and against the law—said that this was a problem unique to Indian Wells Beach, and they did not understand why the beach at Atlantic Avenue was included.

Ms. Klughers said in Thursday’s meeting that Councilman Peter Van Scoyoc had forwarded her e-mails that the town board had received from the public concerning this issue, but that they mentioned solely Indian Wells as the problem beach in the town. “They were clear in their e-mails that they were in favor of banning at Indian Wells, but not at Atlantic,” she said.

Mr. Schultz, who is in favor of the ban, spoke after Ms. Klughers and said “I agree, this is an Indian Wells problem, for now.”

In an interview on Tuesday, East Hampton Town Trustee Clerk Diane McNally said that the town board had included the beach at Atlantic Avenue into this law “just because of its close proximity” to Indian Wells.

Ms. McNally said that the Trustees “were hoping that the issues of public intoxication or disorderly conduct could be addressed in another fashion instead of a new law.” What the alternative could be, however, she was “not clear on,” she said.

“We want to just be sure that we’re not going to inadvertently cause more problems,” she said.

Diane Walker spoke out in favor of the ban on Thursday: “The East Hampton Town Trustees who are the property managers for our beaches want peace and good order,” she said.  The East Hampton Town Trustees are conditioned to be defensive about their jurisdictions. The East Hampton Town Trustees sometimes lose perspective. What must be agreed upon is a good faith experiment to restore peace and good order at Atlantic and Indian Wells Beaches.

Ms. Walker suggested a mobile court to allow arrests to be adjudicated at the scene.

The town board and the Trustees will continue their discussions over the coming weeks, according to Ms. McNally.