FIGHT FOR WHAT YOU LOVE | JACK HUSTON + MICHAEL C. PITT

Last month Day of the Fight was released into theaters. It tells the story of Irish Mike as he prepares for his fight at Madison Square Garden. As we lead up to this big event, we also get to see the people, places, and things that make up his life. With an incredible cast that includes Michael C Pitt (Boardwalk Empire, Asphalt City, Reptile), Ron Perlman (Hellboy franchise, Sons of Anarchy, StartUp), Joe Pesci (Goodfellas, Casino, The Irishman), and Steve Buscemi (The Sopranos, Fargo, Boardwalk Empire) to name a few - we're drawn into his world as well as the decisions that he makes.

We had the pleasure to sit down with Jack Huston (Boardwalk Empire, Expats, House of Gucci), writer, producer and making his directorial debut along with lead actor, Michael to talk about this film, how it came to be, moments that they enjoyed, the takeaway that they want others to have from it, and the power of cinema.

ATHLEISURE MAG: We watched this movie last night and we’re boxing fans. So we were already excited to see the movie. It was even better that it was not the traditional and formulaic boxing film that we are used to seeing! Before we delve into the movie, Jack you wrote, directed, and produced it. What led you to creating this film? Michael, what made you want to be part of this film?

JACK HUSTON: I had the great opportunity to work with Michael many years ago on Boardwalk Empire.

AM: Which was an amazing series!

JH: Thank you! I always had memories of Michael punching sandbags and going off to the boxing gym. So maybe, I had him there in my head. But I also had the memories of just how much I loved working with Michael just him being such a beautiful actor and he has always elevated any season that he was in. Somebody who just conveys so much through his eyes. He has this amazing sense of sensitivity and vulnerability with a hard exterior you know and he could play every part. When I sort of conceived the film, I could not imagine anybody else in the role. It’s amazing where you have these moments where you are literally right there with someone else’s voice in your head. So, I wrote and came up with the idea for the film with Michael in the role and I went to him and said, you’ve got to do this role! He asked me, where’s the script and I was like, well I haven’t written it yet. So we worked and sort of developed it through the years. It was a great fight worth having to get Michael to play this part. I thank God everyday that I got the opportunity to do it with him.

AM: Wow, that’s great to hear. What drew you to the film Michael?

MICHAEL C. PITT: Permission to speak freely?

AM: Of course.

MCP: This film chose me. Jack chose me. My very good friend, my buddy, and my collaborator basically said that he wanted me to do this. He pulled me out of the gutter to play this film. We made it with a lot of love and a lot of heart. We made it to inspire the younger generation and so I hope we do.

AM: It was incredible. The casting was incredible obviously in addition to Michael, Joe Pesci, Steve Buscemi, Ron Perlman -

MCP: Well that’s all Jack! I have no idea how – I mean I used to call him The Prince! I have no idea in hell how he did it!

AM: That part!

MCP: Yeah, how he assembled those older men – they are not the easiest and they are set in their ways.

AM: Haha you are basically asking what we’re trying to say so I thank you for navigating that one! How'd you do that?

MCP: To get them in the room. That was all Jack. All Jack. Thank God we were able to get those guys!

JH: You know, it’s funny. When you write it for certain people, I think that just like Michael said, the film was all heart and it was all love. The two elements or the two characters that were written specifically for the film were Mike and Joe. Joe was – you know, I heard his voice and that’s him singing in the movie. I was developing this character that had dementia and we needed an actor with such a history and almost where their reputation proceeded them the way that they find them in the film, they have to have such a body of work because they are suffering from dementia. Then I heard him sing and I thought, what if he doesn’t speak, but you hear him sing? That’s what brings back the memories because when my grandma when she was suffering from dementia, music would bring her back in the room. She gained that lucidity through that – through music and that’s what sort of happened.

But, getting Joe was landing the white whale because the film wouldn’t have happened. He pretty much secured our financing! I think it was kind of like, “ha ha if you get Joe Pesci, we’ll secure your financing for the movie.” Then we went ahead and got Joe Pesci. Then they were like oh shit, we have to finance the movie. But it was a big gamble and I think again it came down to the collective love of what we were trying to make and a bit of a throwback to the movies that aren’t made like this anymore. It is an homage to that type of picture. It’s all about feeling, all about character, all about the sort of real human struggle and the human condition. The kinds of films like Mike was saying that made us fall in love with cinema and hopefully, it will inspire other people to fall in love with cinema all over again.

AM: What did you draw from, Mike in terms of your character and how did you approach playing him?

MCP: Oh, that’s such a difficult question because it was set up – Jack set it up for me to experience this role. So it was a bit like, “ok, I set everything up, you’re trained, and now ding, ding, ding – go out there and do everything and get out into the ring and make me proud.” Basically, that’s how it was set up for me and it’s hard for me to watch, but I do notice that it does make people feel. I do think that that is a very important thing that Jack touches on. It’s really smart to be streetwise, it’s very good to keep your poker face up and to keep your guard on. But you need to feel things. We need to feel things or we’re not human. I hope that people have the courage to feel when they are watching the film.

AM: There were so many themes that we enjoyed when watching the film: redemption, resilience, fortitude, and even being able to establish things in the future that you know will not be yours to enjoy; however, you have created the fingerprint for that to happen. Of course, the whole past, present, future of everything that is going on in the film is just really great. What stuck out for you as moments in the film that you really enjoyed?

JH: God, there’s so much! You know what? It’s wonderful when you’re able to step back and say, this role is yours. Run, enjoy, feel it, and experience it. Witnessing the actors coming together and what was made, the writing was elevated to such an extent, but that is exactly again, going to the beauty of relationships. I have to say that I think that what Michael and a lot of our actors did is that they gave very honest performances. There’s a lot of truth in them and I think that everyone is always talking about forgetting to go to the movies. I always say that I like to remember things and I like to feel that scene in my heart and gut and I want to wake up thinking about that.

Certain images – I like when everything comes together and that’s usually as a common goal. There are a lot of surprising scenes that on the page read one way, but my God it’s gorgeous to witness 2 lovely actors take it and run with it. You know, it was magic. I spent a lot of time crying when I was looking at the monitors. It was huge moments of gratitude for me.

AM: Michael, was there anything that stuck out with you?

MCP: In the filming? Every single day! Every single day, every single moment. It’s a beautiful memory for me. Listening to Jack talk, you know, I don’t know why I started thinking about when I was a little boy and my mother has 4 kids tugging on her and we’re trying to make ends meet and she would buy $1 movies at Blockbuster. Blockbuster was going out of business and she would buy $1 movies, and I would just sit in front of all of these movies and I never saw a bad movie, I never saw a movie that I didn’t like.

JH: Yeah, right!

MCP: These films changed people. A film that makes you feel is a film that you see and it changes people. Those were films that changed my whole direction of life!

Every moment of every single day of every single second that I was filming, it was incredible! So people should go see it!

AM: In thinking about the concept of deadlines with the movie literally being the Day of the Fight, you know that you’re seeing everything that is happening or lead up to the day of the fight, but you also understand that there is this health condition that is going on so if he does box, this could be another timeline that takes place. What was the thought behind running these multiple timelines as well as the past, present, future, aspect as well?

MCP: Jack, you mentioned this wonderful quote by Hitchcock (Psycho, Rear Window, The Birds) and I think it’s so great that you need to say it.

JH: Yeah, Hitchcock did an early - well before I say that, in this film initially, you didn’t find out about his medical condition in this script until the fight and when he gets knocked down. Then you put things together and realize why this day has been like this.

It’s funny because when I was in the edit, I used an old Hitchcock quote which is, “2 people sitting at a table having a conversation and that’s one thing. You put a bomb under the table, the conversation becomes very different.”

MCP: So his condition is the bomb.

AM: Right.

JH: His condition is the bomb, but the audience –

MCP: Which is brilliant.

JH: It’s good for the audience to know that because every single one of those scenes where you know it’s a ticking bomb makes that scene all the more weighty because it’s possibly the last time that he is seeing any of these people. So you’re on this journey that only Irish Mike knows about!

MCP: From a writing standpoint, it’s a really brilliant thing for people to hear.

JH: Yeah.

MCP: It sets and puts the tension in every scene.

JH: Every scene!

MCP: It puts the motivation in every scene, every character, and so his condition is the bomb under the table during the conversation.

JH: And you know that, so it’s even better when you’re watching it for the second time. Even though you know it when you're watching it for the first time, it works great for the second time as it is really set in. A lot of people have come to multiple screenings and they have told me that they are so happy that they got to see it again. They gained so much more from the second viewing. I love films that you can watch over and over again! I think that this is a film that you can watch a bunch of times.

AM: Our thoughts exactly as we want to watch it again. Even when watching it last night in preparation for today’s discussion, it was incredible. We love a film that is in black and white. There was nothing to not love about this film. In an additional viewing, it will be great to see more of the little things that maybe weren’t seen the first time! Just from top to bottom, it was a great watch! Then to be able to see it and talk with both of you about this has been really amazing!

MCP: Ditto! Ditto! It’s really nice to talk to you as well.

AM: So great chatting with you and I hope that it gets all of the awards it deserves because it’s so great!

JH: You’re so sweet! Please go yell that at the rafters as we need people to come and support this movie!

AM: 100%

JH: We love you for it!

IG @dayofthefight

@thejackhuston

@michaelcarmenpitt

PHOTOGRAPHY CREDITS | Front/Back Cover, PG 16 - 27 + 30 - 43 Day of the Fight/Jeong Park | PG 28 Day of the Fight/Peter Simsonite |

Read the DEC ISSUE #108 of Athleisure Mag and see FIGHT FOR WHAT YOU LOVE | Jack Huston + Michael C. Pitt in mag.

THE LEGACY CONTINUES | TITUS WELLIVER

We've been fans of Prime Video's Bosch where we follow along as Harry Bosch solves a number of cases regardless of how many feathers he ruffles in the process. On May 6th, the story continues on Amazon FreeVee with Bosch: Legacy. We see how Bosch continues to fight for victims as his daughter Maddie Bosch continues to walk in her father's steps and how he will reconnect with former nemesis, Honey Chandler.

We enjoy the way Titus Welliver leans into his characters and draws us in. Whether it's his work in ABC's Lost, FX's Sons of Anarchy, HBO's Deadwood and countless other TV shows and movies, we know that Titus is going to leave quite a memory with us in the characters that he plays.

We talked with him about becoming an actor, working in the industry and taking on Bosch which comes from a series of books written by Michael Connelly.

ATHLEISURE MAG: What was the moment that you realized that you wanted to be an actor?

TITUS WELLIVER: Oh boy, you know, I think I was born acting. I don’t know about that, I think it’s difficult or I can say, it was right after I realized I didn’t want to be a firefighter or a policeman anymore like all little boys do.

Actually, there was a filmmaker named Rudy Burckhardt and he made some films and he asked me to be in a film of his when I was about 5 and it was a very simple little bit where I played a little boy that had a shiny penny in his pocket and he was walking down a road. He had a hole in his pocket and he lost the penny and the penny was stolen from him by this stingy old man. I remember sort of thinking that it was kind of fun, but I didn’t really consider it any further than that. I did some little bits in school plays and things like that.

I really was initially trained to be a painter – a fine artist, that’s really what I wanted to do. But I always had an interest certainly in film and I watched a lot of television. I was spending a summer with my mother – she was living in Boston, but I didn’t go to school there so I didn’t have any friends there and I didn’t know any kids there. She was living in an area where there just wasn’t that kind of accessibility and I was sort of left to my own devices which meant I was just going to the Cineplex – to the movies all day long. She signed me up at a place called The Actors Workshop in Boston and I was 14 years old. I was reluctant, I wasn’t a camp kid, I liked sports camps and things like that. I went and after the first day, I came back to my mother and asked her if I could do more days of that. I ended up doing 5 days a week and it was a professional school for both adult and kid actors. I did that and I spent the summer doing that, but I still stayed on the trajectory that I was going to go to art school and I painted and I studied and studied.

I did a few productions in high school and enjoyed doing that and after a year of art school, I was left kind of cold to a certain degree and I had a conversation with my father who very directly said to me, “you know, when you’re not thinking about girls and drinking beer, what do you think about?” I said, “I think about acting.” My father said, “so not painting?”and I said no. He told me that I needed to be an actor. That was kind of it!

AM: What’s your process like when you’re thinking of attaching yourself to projects? We’ve enjoyed seeing your in Deadwood, Sons of Anarchy and of course Bosch – what are you looking for?

TW: Well, when you’re starting out, it’s about paying your bills, but also gaining experience. I mean, I did a lot of teeny tiny parts in plays, in short films and things because I was just trying to learn and gain that experience. So there’s that, but I think that more then anything, it starts with the writing. I've read a lot of bad scripts and I have acted in a few. But when the material is good, then it’s on! Then you realize that you’re in the presence of some material that’s going to challenge you and also that it will hopefully teach you something. Because I always say, I like to be in a constant state of learning and getting better. I think that with time, age and experience, the hope is that we evolve and certainly as artists, otherwise, you get kind of bored and you go and do something else. I’ve been extraordinarily fortunate that I have worked with great writers, producers and directors over the years – David Milch (Deadwood, NYPD Blue, Hill Street Blues) and Steven Bochco (NYPD Blue, Doogie Howser, M.D., Brooklyn South) to name a few and here I landed with Michael Connelly (The Lincoln Lawyer, The Dark Hours, The Poet) and Eric Overmyer (The Wire, Boardwalk Empire, The Affair) and Tom Bernardo (Bosch, Bosch: Legacy) – a very gifted and dynamic group of people. To be given the opportunity to play this very iconic character, he’s kind of like Santa Claus for an actor, he goes down the chimney every time that I go to work and it’s nice.

AM: We’ve been a fan of Michael Connelly books for a number of years so when Bosch went to Prime Video it was exciting and then that you were going to play the title character, we knew that it was going to be so good. How did that come together for you to be part of this?

TW: Well, I was initially sent the script and I read it very quickly. I had only read one of the Bosch books many many years prior to. Unbeknownst to me, my younger brother had read and re-read the books and to this day possesses a kind of encyclopedic knowledge of Bosch as well as everything that Michael has written.

Through a series of mishaps, I kept trying to meet with Michael and the meetings kept getting pushed off and I was shooting Transformers: Age of Extinction which had me traveling all over the place in Chicago, Michigan and then Hong Kong. We just kept missing. I got a call a couple of months later from my manager who told me that I had a little window and Michael Connelly was in town and I would be able to meet with him. At that point, I thought that that boat had sailed as it had been a couple of months that had passed. I went in and met with him and the producers and the director and I was – as my grandmother would say, I was blessed at that moment. I left that audition feeling good, but you know, I have been doing this long enough and have enough humility to know that that’s all you can do. I got the call from my manager that I had been cast as Bosch and to say that I was thrilled was an understatement. It was just more realized after the first day of shooting that I knew I was part of something that was different. I’ve played other cop characters and I’ve done lots of procedural cop shows. Look, when you’re doing something from the ground up, it’s tricky but, when you have source material, like Michael Connelly’s books, you have to work really hard to mess it up. You know, in less capable hands, it could be very very messed up. The temptation to sex things up for a lack of a better word – to have him wearing Brioni suits, driving a fast car and jumping in and out of bed like James Bond, I was relieved that there was never any kind of consideration to do anything because I have always felt that if it ain’t broke, there’s no need to fix it.

Because of the ways that Amazon and the executives work which is at the beginning of the studios, they have a prime directive which is to get the material, but then to delegate the process to the creative people and not to micromanage. They delegated to people that they knew that they trusted. They really did that and they stood behind the show. When we needed things, they always showed up. Because we had such a great group of writers and producers, we were excited by the acceptance and the invitation into people’s homes for the show and the success of the show. But I think that we always felt that it speaks back to what I said in evolving and learning. I felt that the show just continued to get better and better and here we are now in Bosch: Legacy which is a continuation of the work we have been doing for all of these years.

AM: For those who might need a refresher, where did we leave Bosch in season 7 and where do we pick up with him again as we continue his saga in Bosch: Legacy?

TW: Well, Harry’s you know in the last season of Bosch, he’s so completely fed up and disenfranchised that he gives his badge to the Chief of Police and says he’s done. There’s a great line that Irving (Lance Reddick – Bosch, John Wick franchise, The Wire) says to him in that moment, he says, “who are you gonna be if you’re not a cop and you don’t have a badge, who are you going to be?” Harry says, “I guess we’ll find out.” In the final scenes for a little Easter egg scene, we find Harry filling out his paperwork to become a private investigator.

We pick up a little over a year later after that season and Harry is working as a private eye, but he’s doing divorce cases and things here and there. It’s not like he’s got this bustling business and Maddie (Madison Lintz – The Walking Dead, Bosch, Bosch: Legacy) has joined the force and has been on the force for awhile. She’s still working with a training officer, so she’s a boot and she’s trying to find her own legs, but she’s Harry’s daughter and it’s really in her DNA, she carries a lot of the work ethic and the same characteristics and has the same moral compass as well as independent thinker which places her at odds, but she’s out there doing it. We find Chandler (Mimi Rogers – Mad Men, Bosch, Bosch: Legacy) sort of reeling from the very serious PTSD from almost being killed and the person who orchestrated her attempted assassination and Maddie’s looks like he’s going to go free.

You find that everybody is in these states of being kind of fractured and broken. You know, Harry is untethered, he's kind of wandering and he's always been a kind of an isolated character, but he's more isolated than ever now. Maddie, as she’s navigating it, she’s also trying to come into her own because Harry’s legacy has cast a very, very big shadow and that’s not all great! Harry’s reputation was one of being a closer and a great detective, but he pissed a lot of people off because he was a very direct guy and not exactly user friendly. The name Bosch on her uniform is not necessarily a great thing and she doesn’t use her father’s reputation as commerce within the department. So we find these characters really navigating things at the same time and interacting so it doesn’t necessarily feel like it’s a triptych, everything intertwines. But it’s also not like you have Maddie, Chandler and Harry having dinner at the house together – it’s not contrived like that. They’re all living their different lives and they’re all finding their way.

AM: How excited are you in being able to continue this story?

TW: I’m very excited and the idea when we were shooting the final season of Bosch, there was a heaviness for everyone involved. We had become very very close like a family as productions do and we were all invested and were very, very connected and committed to our characters and to the show and so when the opportunity presented itself that we would continue, obviously with a smaller ensemble cast and the ability to focus more on 3 central characters, but still bring in the characters that people know and love that populate the Harry Bosch universe – it’s a thrill! I’m very excited for the show to come out there because the fans of the show that have been so incredibly supportive over the years are really eager and hungry and they want to see what it’s going to be like. I have confidence that we will meet and surpass their expectations.

IG @tituswelliverofficial

PHOTOGRAPHY CREDIT | PG 46 - 51 + 55 Prime Video/Bosch | PG 52 Amazon FreeVee/Bosch: Legacy |

Read the APR ISSUE #77 of Athleisure Mag and see THE LEGACY CONTINUES | Titus Welliver in mag.

Beyond the Barre

Emily Tyra plays Mia Bialy on STARZ Network’s, ‘Flesh & Bone’ which debuted in Fall 2015 as a limited series. Within seconds of the first episode viewers are introduced to her character who is a part of the fictional American Ballet Company. The series looks at the grit and glamour that takes place in the ballet world within the dance company, rehearsals and the lives of talent and management.

On the day of our shoot at Loft Twenty in Flatiron in NYC, our entire creative team enjoyed getting to know Emily, who is like hanging out with your favorite girlfriend.

FEB COVER STORY

| PHOTOGRAPHY Carlos David | STYLIST Kimmie Smith/Accessory2 | MUA Kat Osorio | HAIR Selda Cortes | COVER STAR Emily Tyra |

Photographed at Loft Twenty in Flatiron, NYC

ATHLEISURE MAG: When did you begin ballet and acting?

EMILY TYRA: I started dancing when I was about 4 years old. I was a really shy kid, so my mom put me in dance classes to bring me out of my shell. I would never let her watch me dance! I started acting classes and singing lessons in middle school. Once I got to highschool, I was a complete artsy kid. I anchored the school news, lettered in choir (of course), did the plays and musicals and was in our extracurricular improv troupe. The serious ballet came later when I had a growth spurt and it was clear I was built for it. My teachers started encouraging me to train more intensely
around age 14. That is when I started getting scholarships to study at places like American Ballet Theatre, here in NYC.

AM: Did you begin your career thinking that you would do both?

ET: I really wanted to find a way to do both. Ballet had a shorter timeline and an immediacy. You have to do it while you are able physically and emotionally. I had decided against college and after a few big ballet company cattle calls, I moved to the east coast to dance with Boston Ballet. I got it out of my system and now I don’t wonder “what if?” Also, it keeps reappearing in my life as an actor, like with Flesh & Bone. It’s something that makes me a little special. There are a lot of actors out there. I have a vivid memory of a former mentor of mine telling me “You’ll always be a dancer.” When I am trying to be something else, I hate that. But he was right. That part of me will always be important in some way.

AM: When you heard about Flesh & Bone what drew you to the show and the character?

ET: I was excited to see a ballet show finally cast real dancers and not glamourize the whole thing. My personal experience in the ballet world left me with a lot of complexities and I was excited about the idea of contributing to this kind of authentic drama. I wanted it to be done right, just like our creative team, the network and the rest of the cast.

I was also up for the challenge of getting back into “ballet” shape. I hadn’t danced in a company or taken regular ballet classes for about 6 years. It scared me, so I knew I needed to do it. It was hard! But so worth it.

AM: During the episodes we see you and the cast during rehearsals. How many hours did you prepare for these scenes?

ET: The cast operated on a schedule almost like a real ballet company. We would train together in the mornings when we weren’t shooting ballet scenes. Next, we’d take class and warm up together and then have various rehearsals throughout the day. The dancers in the final performance worked with our choreographer, Ethan Steifel, almost every day as he created the original piece for the show. Long hours on set and off. Some of the shoot days in the studio set were 15 or 16 hour days, especially in the beginning when our production team was figuring out how to tackle the beast of shooting ballet.

AM: What do you love about playing Mia?

ET: She’s no nonsense. Blunt. Honest. Sexy. Manipulative. But deeply insecure. I love her darkness. Some would call her a mean girl. I hope most
people would say she’s not like me. It is hard to understand why people behave that way until you figure out their vulnerability. Mia’s arc was a slow burn. She started out as this one thing and became something else as the story unfolded. Also, she had some pretty good one-liners. I love a good comeback. Especially when it’s written for me. I can never seem to come up with them quickly enough in real life.

AM: What similarities and differences exist between you and the character?

ET: I think we posses a similar fire. I am pretty passionate about stuff. I have an extreme personality. If I’m into something, I am SUPER into it. And if I dislike something it is dead to me. I also like to think I infused her with a little pluckiness. I’m a true goofball. Someone on twitter recently called me a ‘glamorous clown’. I will no longer go by any other title. 

AM: What was your favorite part of the show?

ET: I loved all of the milestones, such as our first table read when we were all trying to figure out our characters; the first class together as a company; watching the sun come up over the East River on a Saturday morning after wrapping the final scene for the entire show; watching the pilot episode at the network in LA with my agent and manager; and reuniting with the cast for our premiere in NYC.

AM: What can you tell us about next season?

ET: Unfortunately we are not doing a 2nd season!:( Flesh and Bone was released as a limited series to stand on its own!

AM: Athleisure includes styles that reflects looks worn throughout your lifestyle, what are your go to looks?

ET: I love a printed legging. Lululemon or Bandier. I like funky colors and prints with a neutral oversized top and boots. Gauzy white t-shirt, a blazer and a beanie or my MN Twins cap. :) All things cashmere - all of the time. Nikes with everything, I love comfy footwear. Ballet did a number on my feet, so if at all possible I will wear flats or athletic wear. Harem pants or high-waisted/pleated/tapered pants of any kind. Smartwool socks. Always.

AM: How do you stay in shape?

ET: I have a Crunch membership. I am a cardio junkie, but i dont love group fitness. If at all possible, I prefer to be outside. I run almost everyday. Outside, I’ll run a mix of terrain, and on the treadmill I like to do sprint and hill intervals. In the summertme, I ride my bike everywhere. I also use studio space at the gym to do my own ballet and yoga exercises. I listen to my body and ballet gave me a good self discipline. I will never decline the invitation to take a fun dance class with friends, though.

AM: In your free time what are 3 things that you enjoy doing?

ET: I love to cook. I wish my kitchen were bigger. I live in a tiny studio. Maybe someday I’ll have the luxury of counterspace in a NYC kitchen.
I frequently take myself to the movies. I sneak a beer in my purse, get a popcorn, and turn my phone off. It is an awesome escape from the mayhem of the city.

Traveling has become a favorite and often impulsive activity. If i have time off and an opportunity to go anywhere, I’ll do it. Currently on the wanderlust list: Thailand, Spain, Croatia and Ireland.

AM: How do you maintain your balance between work, friends and more?

ET: I try to take enough time for myself. As long as I can have an evening to myself once a week to have a good workout, cook a meal, get a manicure, read, etc, I’m in balance. This is a tricky business as we are often living out of a suitcase, the inbox is full, you have 3 scripts to read, and you owe your mom a phonecall. Adulting and living in NYC is hard, in showbiz or not!

AM: What kind of role do you see yourself playing next?

ET: I can’t say what is up next for me yet! Flesh and Bone was such an intense project, I’m thinking about swinging in the opposite direction with something really hilarious. I’m enjoying being in the TV world, as a lot of incredible people are writing and working in Television right now. The scripts I am reading just keep getting better. Long term, I’d like to do more film. I like changing things up and TV tends to be a long term commitment.

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