Category: Photoshoots

Chris Evans Doesn’t Like to Talk About Himself. But He Did. Sort Of.

Chris Evans Doesn’t Like to Talk About Himself. But He Did. Sort Of.

The artist formerly known as Captain America is found in seclusion at his rambling farmhouse, set back from the road on a couple of sylvan acres in the Boston suburbs, not far from his childhood home. It’s a warm, late-winter afternoon. The trees are bare. The sky is clear. Patches of melting snow cover the ground.

With his fortieth birthday on the horizon, Chris Evans seems to have undertaken a retreat, returning to familiar ground to regroup. The Marvel Cinematic Universe now behind him, the actor has the time, money, and wherewithal to pursue anything he wants.

All he has to do is figure out what.

Evans is sitting in an armchair by an unlit fireplace in an area off the kitchen, an informal sort of room you might call a den. The furnishings appear to be mid-century modern, a style often seen in Los Angeles, where he has a house in the Hollywood Hills. Evans is welcoming but not warm, broish in a manner that bespeaks form over content. In person he seems very much like the guy onscreen; his upper torso is sculpted in a way that suggests he’s still wearing his Avengers uniform under his green tartan flannel shirt. His ball cap has a shamrock on the front panel.

Read the full article here!

Gallery Link:
Photoshoots > Outtakes > Session 104

Chris Evans Goes to Washington

Chris Evans Goes to Washington

The actor’s new project, A Starting Point, aims to give all Americans the TL;DR on WTF is going on in politics. It’s harder than punching Nazis on the big screen.
It’s a languid October afternoon in Los Angeles, sunny and clear.

Chris Evans, back home after a grueling production schedule, relaxes into his couch, feet propped up on the coffee table. Over the past year and a half, the actor has tried on one identity after another: the shaggy-haired Israeli spy, the clean-shaven playboy, and, in his Broadway debut, the Manhattan beat cop with a Burt Reynolds ’stache. Now, though, he just looks like Chris Evans—trim beard, monster biceps, angelic complexion. So it’s a surprise when he brings up the nightmares. “I sleep, like, an hour a night,” he says. “I’m in a panic.”

The panic began, as panics so often do these days, in Washington, DC. Early last February, Evans visited the capital to pitch lawmakers on a new civic engagement project. He arrived just hours before Donald Trump would deliver his second State of the Union address, in which he called on Congress to “bridge old divisions” and “reject the politics of revenge, resistance, and retribution.” (Earlier, at a private luncheon, Trump referred to Chuck Schumer, the Senate’s top Democrat, as a “nasty son of a bitch.”) Evans is no fan of the president, whom he has publicly called a “moron,” a “dunce,” and a “meatball.” But bridging divisions? Putting an end to the American body politic’s clammy night sweats? These were goals he could get behind.

Evans’ pitch went like this: He would build an online platform organized into tidy sections—immigration, health care, education, the economy—each with a series of questions of the kind most Americans can’t succinctly answer themselves. What, exactly, is a tariff? What’s the difference between Medicare and Medicaid? Evans would invite politicians to answer the questions in minute-long videos. He’d conduct the interviews himself, but always from behind the camera. The site would be a place to hear both sides of an issue, to get the TL;DR on WTF was happening in American politics. He called it A Starting Point—a name that sometimes rang with enthusiasm and sometimes sounded like an apology.

Evans doesn’t have much in the way of political capital, but he does have a reputation, perhaps unearned, for patriotism. Since 2011 he has appeared in no fewer than 10 Marvel movies as Captain America, the Nazi-slaying, homeland-­defending superhero wrapped in bipartisan red, white, and blue. It’s hard to imagine a better time to cash in on the character’s symbolism. Partisan animosity is at an all-time high; a recent survey by the Public Religion Research Institute and The Atlantic found that 35 percent of Republicans and 45 percent of Democrats would oppose their child marrying someone from the other party. (In 1960, only 4 percent of respondents felt this way.) At the same time, there’s a real crisis of faith in the country’s leaders. According to the Pew Research Center, 81 percent of Americans believe that members of Congress behave unethically at least some of the time. In Pew’s estimation, that makes them even less trusted than journalists and tech CEOs.

Head over to Wired Magazine to read the full interview and listen to the audio interview as well!

I will also have scans added into the gallery once I get my hands on the magazine.

Gallery Link:
Photoshoots > Outtakes > Session 100

W Magazine’s Best Performances 2020

W Magazine’s Best Performances 2020

Introducing our Best Performances 2020 portfolio.

The movies of 2019 were unusually reflective, almost melancholic. When the neon lights go on near the end of Quentin Tarantino’s Once Upon a Time…in Hollywood, an ode to the late ’60s in Los Angeles, it’s as if a bright beacon from another, happier planet were saying, “Don’t forget this place in all its glory.” Instead of Tarantino’s usual pop perspective, the film is awash in emotion—a kind of longing for a time when theaters played double features all day and movie stars did not have social-media accounts.

The Irishman, a portrait of a paid killer, is steeped in regret, and Little Women, which tells the story of the four March sisters, is a wistful exploration of female empowerment in the 19th century. Louisa May Alcott’s classic novel, as reinterpreted by the writer-director Greta Gerwig, is largely concerned with the protagonists’ struggle to find meaning in their lives. They are poor, they are female, and they endure many setbacks. In a way, the struggling writer Jo March in Little Women is a sister to Megyn Kelly, played by Charlize Theron in Bombshell, a film about the women of Fox News. In both cases, a woman’s personal victory is hard-fought and comes with no small number of challenges: Every win has an undercurrent of loneliness.
Marriage Story, written and directed by Noah Baumbach, is about the end of a relationship, but it is strangely romantic. A once-happy couple is suddenly at odds and must navigate a messy divorce; Adam Driver plays the confounded and then determined husband, and Scarlett Johansson the wife who imagines a bigger, more independent life for herself. The disconnect between them mirrors the profound and disturbing divide between people in America today. As it is in the movie, it is truly an irreconcilable split.

Other remarkable and emotional performances: Cynthia Erivo seized by the spirit of Harriet Tubman in Harriet; Joaquin Phoenix transforming from Arthur Fleck into the title character in Joker with pain, subtlety, and some remarkable dance moves; Jennifer Lopez fleecing rich men in Hustlers; Eddie Murphy flexing his comedic muscles as the determined filmmaker Rudy Ray Moore in Dolemite Is My Name. Even superheroes felt existential angst: In Avengers: Endgame, Chris Evans, as Captain America, longed for a simple, nonheroic life. He wanted to face his death without the aid of a magical shield. In 2019, that vulnerability felt like courage.

The end of the decade coincides with our 10th edition of Best Performances. This year we salute 29 actors who risked baring their souls in one way or another, reflecting the turbulent moment we’re living through. Our aim was to convey true emotion and vulnerability, while welcoming 2020 with hopes for a new beginning.

The first time I sang onstage was in the sixth grade. It was my first play. I sang a song called “Don’t Want No Real Job,” and the popular girl in school magically liked me. I had a lead role, and we began dating during the play. When the play ended, she dumped me. It doesn’t take a genius to figure out this equation: I had to get more leads.

Was she your first kiss?
Yes. You’d walk into the woods and kiss and come back, and everyone’s like, “Oooh.” So we did that.

Did you have posters on your walls?
We visited New York and I bought a giant, giant, giant poster of Sandra Bullock. I put it on the ceiling of my bedroom. Not that Sandy’s not cool, but that’s a loser thing to do.

What’s your secret skill?
I can jump really high. When I was a kid, I did tae kwon do, and we would have jumping contests.

Does that come in handy when you’re playing Captain America?
You do find ways to use it.

Be sure to check out the rest of the interviews at W Magazine!

Gallery Link:
Photoshoots > Outtakes > Session 099

Photos: Photoshoot Update

Photos: Photoshoot Update

Happy New Year, everyone! Deepest apologies for not keeping up with regular updates over the summer and fall, but I’m buckling down getting the site – from Chris’ projects to the gallery – completely updated.

I have been working hard trying to update the gallery; I’ve just added photoshoots from 2019 and the Knives Out Photocall and Press Conference into the gallery. I’ve updated the outtakes session 95 with full sized outtakes as well.

I will be working on getting events updated this weekend, so keep an eye out!

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Chris Evans, a.k.a. Captain America, Comes Back Down to Earth

Chris Evans, a.k.a. Captain America, Comes Back Down to Earth

Why the linchpin of Marvel’s “Avengers” movies — and walking image of American fortitude — is giving it all up to play a villain on Broadway (and learn to tap dance).
Chris Evans has a theory about tap dancing. “Tap is waiting to have its day,” he said one recent afternoon, sitting in a TriBeCa hotel clubhouse around the corner from an apartment he’s been renting since last month. Mr. Evans, or Captain America, as he’s been known in omnipresent Marvel movies for the better part of a decade, tapped as a child and still has sincere reverence for the form. His theory is that tap dancing today, like competitive hip-hop dancing in the early 2000s, is generally undervalued and ripe for a comeback.

“If you walk down the street and you see someone tapping,” you stop in your tracks, he said, using an unprintable word, “because it’s awesome.”

Twice a week since he’s been living in New York, Mr. Evans, who ordinarily splits his time between his native Boston and Los Angeles, has taken refuge in tap, clearing his mind and working up a sweat in private lessons taught by a friend. The lessons aren’t preparation for any role in particular, although Mr. Evans is hard at work on a pivotal one: his Broadway debut, as a charming but manipulative cop in Kenneth Lonergan’s “Lobby Hero,” which is now in previews and opens March 26 at the Helen Hayes Theater.

The dancing, rather, is just a low-pressure new hobby (“It makes me feel like I’m a part of the music,” Mr. Evans said.) Along with the play, and the move to a new city, it’s one component in an ad hoc but inevitable process — not quite a rebirth, more like a re-orientation — designed to help the 36-year-old actor answer a nagging question: What do you do with your life after walking away from the role of a lifetime?

Since 2011, the year “Captain America: The First Avenger” was released, Mr. Evans’s face (and torso, and biceps) has signified a marketable mix of principled strength and rank-and-file virtue as reliably as any in Hollywood. He was a working-class revolutionary in the dystopic thriller “Snowpiercer,” a stoic defender of the public school system in the indie family drama “Gifted,” a cunning spy who risks everything to save a persecuted minority in the soon-to-be-released “The Red Sea Diving Resort.”

And then there are the Avengers movies, in which the nobility of Mr. Evans’s character is so unimpeachable that entire plotlines turn on the ticks of his moral compass. In the TriBeCa lounge, Mr. Evans volunteered his own stereotype: “Taciturn men who are leaders, selfless and magnanimous.”

Last year, he filmed back-to-back the final two Marvel movies for which he is under contract — “Avengers: Infinity War,” due in April, and a sequel planned for next year. For now, he has no plans to return to the franchise (“You want to get off the train before they push you off,” he said), and expects that planned reshoots in the fall will mark the end of his tenure in the familiar red, white and blue super suit.

It was in the midst of shooting “Infinity War” that Mr. Evans signed on for “Lobby Hero.” Also starring Michael Cera, Brian Tyree Henry and Bel Powley, it inaugurates the nonprofit Second Stage Theater’s recently remodeled Broadway venue. The choice will give those wondering about Mr. Evans’s frame of mind plenty to chew on: His character, known only as Bill, is essentially a narcissistic creep, with a vision of protecting the innocent that lifts a warped mirror to the actor’s usual procession of do-gooders.

The play’s director, Trip Cullman, sent the script to Mr. Evans betting that the potential to subvert his image would be too enticing to pass up.

“I had this inkling that he may not have had the opportunity to show what he can really do as an actor,” Mr. Cullman said. “A lot of actors are afraid to play someone unlikable, but I think he really has an egoless desire to serve the work.”

Head over to The New York Times to read the rest of the article!

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Photos: Photoshoot Edits + Additions

Photos: Photoshoot Edits + Additions

I have been hard at work trading out some photoshoots with better quality photos, as well as adding more, mostly portraits, into the gallery. Thanks a bunch to Jay for all the photos!

Gallery Links: