Tonight is the NY and LA theatrical release of Across the Hall, starring Brittany Murphy, Danny Pino and Mike Vogel. This past week, I posted a review from the NY private screening and had the pleasure of interviewing Danny Pino (Terry), Director Alex Merkin and Brad Greenquist (the Porter).

After returning to his hometown of Miami this past summer to perform in a play at The Actors Playhouse, Danny was kind enough to take some time from production for the hit television series, Cold Case, in Los Angeles.

Scene B Seen: How did you get involved in Across the Hall?

Danny Pino: Mike Vogel, who plays Julian in the movie, called and said he had read the script and was involved with this film and they were looking for someone to play his best friend. You know, Mike and I are very good friends and have known each other for a while and we always wanted to find something to work on together. So I read the script and thought that the character was something that would be challenging, interesting and had something that was very different from what I usually do on the TV series [Cold Case]. And so that and meeting the director Alex Merkin and speaking with him about what his ideas were with the script and the writer Jesse Mittelstadt. I felt like it was going to be a good fit for me. I was actually nervous.

SBS: Nervous? What were you nervous about?

DP: 1st off, I knew that we were only going to have 17 days to shoot and the way that the script is set up, it’s chopped up, it has different cuts and it shifts out of sequence, some scenes, if you were to eliminate those cuts, and were to read them in a sequential order, they run 10-15 pages long. That’s a pretty long scene when it comes to film and TV world. I mean, when you’re on stage, its par for the course, usually longer then that.

SBS: Right.

DP: When you’re doing a play, you’ve got several weeks of rehearsal… to be able to make that happen. Here we were looking at 1 week before we were going to start shooting. All of those elements made me nervous. But, I was really excited to be working with Mike and I thought the script was in a very good place. Alex and Jesse were very dedicated to what we were doing.

SBS: So, did you shoot sequentially or out of order like the script reads?

DP:  Well when we rehearsed it, we rehearsed in sequence… so, it really felt like there was something going on when you went back into the scene, you were already at that level. There was an intensity there and there was a life flowing through the characters rather than starting at zero again.

SBS: Absolutely.

DP: So, we mostly shot it that way. There were some things that Alex had to do with the camera, and Andrew, the DP, wanted to do with the camera, so we were cut in certain places so that we would have a nice transition into whatever the next scene that they would be cutting into was. We tried to stay within the same “world” and certainly within the same scene as often and much as we could. In essence, we block shot it and shot it very much like a play.

SBS: Interesting.

DP:  You know it’s shot in a very classic noir style, but it has modern elements that are very quick, quick cuts. I think the camera and a lot of the visual elements that Alex has put into the film, really moves the story along, sometimes more then the script does.

SBS: Yeah, except for two shots, I think, everything was eye level and the camera was always moving in the same direction. Cold Case and Across the Hall are very stylistic, does style effect how you take on a character?

DP: I think it’s a consideration, you know, to live within that “Noir World”. Everyone needs to know what the stakes are and all the acting 101 stuff, but then after that, you’re sort of on your own. Then when you come to set, you hope that there’s some sort of harmony to what your bringing to the character and what the camera is doing, the lighting, sound and set design. That’s where the synergy comes in with filmmaking. Especially when shooting within 17 days… hopefully it really comes through.

SBS: I definitely think it did. So, you knew Mike prior to this film, did you know Brittany [Murphy]?

DP: I knew her work and was excited that she was a part of the ensemble, but I did not know her personally.

SBS: The chemistry between all of you is phenomenal. Everyone has a secret and is very devious, so it’s very impressive that only after a week of rehearsal… was Alex a big part of how you all interacted together?

DP: Alex was definitely a big part of that. Alex is very cohesive. He had a lot of considerations to address as we were shooting, some relative to the actors and mostly not. Mostly in relation to the camera or the lighting.

SBS: How much actor directing did he do or was it mostly lighting and camera direction?

DP: What’s interesting though, I can’t really speak for the other actors but, because of the experiences that I’ve had on Cold Case, we work very quickly. We sometimes shoot 8-10 pages a day, which is pretty high when you consider motion picture world… you don’t have a lot of time to rehearse. You basically have to be comfortable with what you’re doing and that everybody is on the same page and prepared.

SBS: Right.

DP: So, thankfully we were when we were shooting. I think all the actors knew that we were on a time crunch and we were under a lot of pressure to bring what we were gonna bring, almost ready to perform. And just search for those “happy accidents” in the scenes and that something real happens, ya know?

SBS: Yes.

DP: I think that happened quite a bit throughout the 17 days, where something real would happen and we would engage within the given the certain circumstances in the scene, that would help us carry through the rest of it. You get enough of those and all the sudden; you’ve got a 90-minute movie that delivers.

SBS: Well, I have to be honest with you, I Tivo Cold Case and watch 2-3 episodes before bed every night [laughter]. I know it’s very strange to watch that type of show before bed, but I didn’t even recognize it was you for the 1st half hour of Across the Hall.

DP: Wow! That’s a compliment.

SBS: It is! The character is so far removed from what you normally do, it didn’t even occur to me. Which I think is pretty cool.

DP: Thank you for that. I really appreciate that. That is something I really love doing- playing against what I’ve been doing, been blessed to be doing for the last 7 years… It’s also fun to challenge yourself by playing someone like Terry. He’s so desperate and going through such a desperate time, that he doesn’t see any other way out.

SBS: Absolutely. It was a great performance and I hope to see you in more of these dark roles. It’s refreshing to see an actor play against “type”. Thank you so much for taking the time to chat.

DP: It’s my pleasure and thank you for taking the time to promote our film.

Danny is currently shooting the episode, "Metamorphosis", which he co-wrote with Adam Glass. The episode takes place in 1971 about a small traveling circus. Set to all Doors music, the segment which is scheduled to air in February 2010, promises to be psychedelic, dark, very desperate, and devious.

*photo 1: Danny Pino

*photo 2: Across The Hall Los Angeles Premiere 12/01/2009 - Laemmle's Music Hall 3: Danny Pino, Brittany Murphy and Mike Vogel

*photo 3: Across The Hall Los Angeles Premiere 12/01/2009 - Laemmle's Music Hall 3: Brittany Murphy

*photo 4: Across The Hall Los Angeles Premiere 12/01/2009 - Laemmle's Music Hall 3: Danny Pino

*photo 5: Across The Hall Los Angeles Premiere 12/01/2009 - Laemmle's Music Hall 3: Mike Vogel, Alex Merkin and Danny Pino

*photo 6: Across The Hall Los Angeles Premiere 12/01/2009 - Laemmle's Music Hall 3: Across the Hall Cast and Crew

Tonight is the NY and LA theatrical release of Across the Hall, starring Brittany Murphy, Danny Pino and Mike Vogel. This past week, I posted a review from the NY private screening and had the pleasure of interviewing Danny Pino (Terry) and Brad Greenquist (the Porter).

Scene B Seen: How did you get involved in Across the Hall?

Brad Greenquist: I read for the role. Just a usual audition. What’s interesting is that Alex cast me at all, because what I did in the audition was not really what the character ended up being. I was muscling it a bit much at the audition. On the set Alex had me back off and make the character very much internal. Good thing he did!

SBS: What was your 1st instinct when you read the script?

BG: Great script! Sharp scenes, economical dialogue, non-linear storytelling – something fairly unusual for a screenplay. I was hooked after two pages.

SBS: I’m sure the limited locations helped, yet how was it shooting a film that required so much energy and emotion in 17 days?

BG: Well, just a word about the set: for me, the set WAS the character of the Porter. All my work had been done by the designers! Also, for me it was very very cool to be filming on the stage where Lon Chaney had shot Phantom of the Opera back in 1924. The Opera House set still stands. Very inspirational!

SBS: The chemistry between all the characters is fantastic, how did you manage that in such a short period?

BG: For myself, the Porter is quite removed from all the other characters. I only had scenes with Danny and Brittany, both of whom were trespassers in a way, so whatever chemistry was or was not there was imminently playable. By the way, both of them were tremendously giving when the cameras were rolling. That’s all an actor needs, really.

SBS: Everyone is so devious; do you think people with those qualities are capable of true love?

BG: Every human being is capable of anything. All humans embody qualities that are contrary to one another.

SBS: Is it love that drives the behavior?

BG: Well, for the porter it’s a love of his Hotel, his idea of the hotel and his fantasy of the hotel. Love of his fantastical idea of his hotel – yeah, let’s put it that way. And that certainly drives his behavior throughout the film.

SBS: What aspect of your character could you relate to personally?

BG: Well, this is an interesting question as far as the porter goes. My job, as an actor, was to be the personification of the hotel Riverview itself. The Porter is a bit obsessed with this odd thing, the hotel and it’s history, that nobody else really cares about. This was easy to tap into, perhaps everyone has something like this- some oddball thing they care greatly about that they really can’t speak about to others. My particular obsession has always been with silent films. Seriously, I could actually tell you the precise recipe that was used for the pies that would be thrown into a comedian’s face! The Porter’s obsession was with this old hotel and his job within it; he has one foot in reality, and one foot in a fantasy world where the Hotel Riverview is a magnificent place where important people stay. The fantasy world crashes whenever a guest checks in. Very interesting.

SBS: Were you aware of the style the director was going for, and if so, how did that shape your character (or not)?

BG: Yes. Noir. A contemporary noir thriller. This was really evident in the set design and the lighting. And if you know these films, all those great noir films from the 40s and 50s, the style just kind of falls into place in a subconscious way. My only real concern while we were shooting, the one thing I kept bugging Alex about, was whether or not my performance was too internal for the camera to see. He kept assuring me it was not. Jesse Mittelstadt, the writer, was a great source of inspiration on the set, I think he knows every noir film ever made, and he turned me on to a lot of really great films that I would watch on my days off during the shoot. Perhaps that fed my performance, I don’t know, these things don’t happen consciously. I don’t know that an actor can play a style consciously.

SBS: You rock, any upcoming projects?

BG: For myself, I’m putting off all offers, saving myself only for Alex!

Last week, I reviewed the premiere of Splinterheads, starring Lea Thompson, Dean Winters, Christopher McDonald, Rachael Taylor, and newcomer Thomas Middleditch. The rom-com made a comedic impression on me as a film, but I was mainly captivated by it's leading man. I was left with the feeling that this up and coming comedian, Middleditch, is destined to carve out his own niche, or ditch as the case may be, as Hollywood's newest leading funny man. Therefore, I was absolutely delighted when we met up for a chat.

Scene B Seen: So, you’re from Canada?

Thomas Middleditch: I am from Canada, British Columbia. A small town in the hills, Nelson. It’s like a hippie town, there are some hockey players, but it’s very bohemian.

SBS: Do you ski or snowboard?

TM: I used to ski and then I had problems with my knees, and then I got really into computers. Half of my life is spent on video games and tooling around on computers. I’m like a super huge nerd.

SBS: Do you create video programs?

TM: I can program, but like, my website, I made a lot of the content on it, Thomasmiddleditch.com… I won’t lie to you. A lot of my time is spent playing video games.

SBS: That’s okay. As long as you get some fresh air every once in a while.

TM: Fresh air? What’s that?

SBS: Yeah, right?! So, after highschool…

TM: I knew I always wanted to do comedy and sketch comedy… so I went to college for 2 years, but I dropped out to go to a more intense program in Toronto. I started doing improv and was part of two groups… But in Canada, I found out real quickly that it’s a totally different entertainment system [then the States].

SBS: How so?

TM: It’s hard to move up. And the things you move up with, are not necessarily all that satisfying… So then I was like, I want to go to Second City, but I got rejected to Second City in Toronto. I was like, huh- okay. So then I auditioned for the one in Chicago. I was like I will be in the epicenter. I got in, so I was in Chicago for a few years doing that and IO, formally known as Improv Olympics.

SBS: There’s a lot of improv there.

TM: Yeah! Chicago’s another one of those cities where it’s so welcoming and it’s got such a great scene, but it’s kind of like a middleman and you can reach that feeling pretty quickly. Like in three years, I was- I’m not trying to brag, but I was on some of the top teams and I was there… I had done everything I could do, touring, everything.

SBS: You capped out and decided your next move was what?

TM: Well, it’s so weird. I think life is so funny because, at that point I was sitting there, like, there’s not really any money in improv. Even Second City. They make like $70 a show. That’s them doing the main stage.

SBS: Really?

TM: Yeah… I was second guessing the whole deal. What you can do, Second City has touring companies. They have the main stage and they have these cruise ship companies, they have a contract with Norwegian Cruise Lines. You can go on there for 4 months. You do Second City like sketch review and improv games, and stuff like that. But it’s only a total of like 8 hours a week and then you have the rest of the time to yourself.

SBS: On this huge cruise ship.

TM: It’s a little maddening… it was my first encounter with some proper guidos… To sum it up, that experience was extremely surreal. A week into it, I found out Saturday Night Live was coming to Chicago to audition… So I flew out of Bermuda to do the screening/audition, then met up with them [cruise] in New York. I got back to New York and walked onto the ship and there I was, back in the crazy life again.

SBS: No way!

TM: To give you an idea of what it was like, it’s like a floating hotel slash prison. It’s cool because you can go to a nice restaurant, get these five-course meals, then you get up and walk away- you don’t pay anything. But it’s also weird because you can’t leave the boat and you have all this free time, so you end up working out a lot, like you do in prison. You just rip up and drink.

SBS: What happened with SNL?

TM: Seth Meyers and Mike Shoemaker, who’s now the producer for Jimmy Fallon, they wanted to meet up with me… They were like, ‘Cool, we just wanted to meet with you and make sure you weren’t a crazy person.’… Long story short, they kind of already have the skinny white guy demographic covered. I look a lot like Seth Meyers, you know, that kind of thing matters. But no big deal. I would love to do that, but…

SBS: Well, maybe later. SNL will always be there.

TM: But during that time and because of this commercial I had done of me and my friend rapping about Chicken McNuggets… because of these two random things, that’s when I got in touch with my manager and my then agent. They sent over some stuff… and CBS offered me a holding deal… I was like, ‘Great. I guess I’m moving to New York now.’ I really made a mountain out of a mole hill.

SBS: When was that?

TM: 2 years ago… Then I was in New York, kinda miserable. It’s a very intimidating city if you don’t have friends or a community to belong to… Then I got into UCB [Upright Citizens Brigade], other improv scenes and doing stand-up. That’s when Brant Sersen [writer/director of Splinterheads] got into me.

SBS: He discovered you at UCB, right?

TM: Yeah. When I do stand-up, I do these characters… This one night, I’m doing the most furthest removed from the character Justin Frost, you know, [Splinterheads] is like a boy meets girl movie, and I’m doing this character, a Native American action-comedy juggeler… Brant saw that and totally dug it. I had no idea… then he saw another show. He like stalked me out.

SBS: He’s your first stalker!

TM: Yeah! Then, I did some internet shorts with Seth Meyers and some of the SNL gang, ‘cause I think they thought I was still funny. So while we were shooting, I got the script of Splinterheads.

SBS: You totally pulled off that awkward kind of guy that gets the hot girl and the audience falls in love with you, did you ever think this type of role would come to you or you could do that?

TM: I don’t know. When I read the script, I was like this is a formula we’ve seen before and I wondered how we could make that different… How can you play the awkward guy, who’s a little socially inept, and put your own stamp on it? …There’s elements in Justin from characters I’ve done like, ‘Sure. I will do anything to break the silence.’ He doesn’t like those awkward moments and he gets really uncomfortable in them.

SMS: Definitely not.

TM: It’s funny that you say that actually, because, I never really thought of myself as the lead. Up until that point, I always thought of myself as the weird character guy, like the supporting guy. Like Wayne Chung, is to Justin.

SBS: He’s great, and that name just makes it awesome. He, Jason Rogel, is a newbie and so were some of the other actors, but there are some really established actors in the film as well. How was working with them?

TM: It was interesting… I enjoyed working with Lea [Thompson] for sure. She’s had experience with huge films and now she was doing something smaller. I think she just really wanted to have fun and do something cool… I picked Frankie Faison’s ear as well, ‘cause he’s had some really neat roles.

SBS: Yeah.

TM: I was so nervous for the 1st two weeks. I was having trouble getting my groove… Then when Chris [McDonald] and I shot our 1st scene… we were just riffing and I was like, here we go. I am good at this, this is what I like to do, and I relaxed a bit… He was cool in that sense, ya know. He’s a confident guy.

SBS: Did you guys partake in any of the actual carnival stuff where you shot a good part of the film?

TM: Well, when we shot that scene with me and Jason going around on that thing, that was pretty funny. You know, he’s a heavier guy, and he’s on the inside and I’m on the outside, it’s supposed to be the other way around. So with the G-forces, he’s like crushing me, that line in the movie, that’s me actually screaming. We were laughing, ‘cause it’s funny, but it hurt… I remember spinning around and being like, “Stop it! Stop it!” And I could see everyone through my blurred vision laughing, and I’m like, “Darren, the producer! Stop this ride!”

SBS: They were probably like, “This is great! Keep rolling!”

TM: Yeah, yeah.

SBS: I think setting it with the carnival as a backdrop, helped the challenge of the boy meets girl formula.

TM: Brant likes Fringe cultures.

SBS: It really counteracts the norm. It’s almost like one interaction is weirder then the next, but it somehow made it good.

TM: I remember him [Brant] saying he wanted to make something more commercial, more acceptable. So you take that archetype, but then you put it into something else. It helps change everything and make it more interesting.

SBS: Did this movie open you up to doing different types of roles that you maybe never thought of approaching before?

TM: My career is fledgling… but anything that would stretch and pull, I would love to do… I mean, many of the characters I do are tragic. I think sadness is funny… Just the awful things that happen, make the tiny victories even bigger…

SBS: You can’t have comedy without tragedy.

TM: I like that kind of stuff. My aspirations lie in sense of creating stuff, be it a television series or writing my own stuff…

SBS: What are you working on now?

TM: I’m doing lots of stuff. I shoot stuff with my friends TJ Miller and Jordan Vogt-Roberts. TJ is definitely on the up and up in terms of acting and comedy, he’s got a lot of big parts in a lot of movies coming up…

SBS: And you’re still performing?

TM: Yeah, at UCB. I’m in a group called, Baby Wants Candy at The Barrow Street Theater. One act, fully improvised, Broadway musical style. It’s really zany and fun. Oh my god! I just said zany with a straight face.

SBS: Yes, you so did! How were you as an adolescent, with girls and friends?

TM: I was very shy growing up. At social functions, I remember hanging out for hours on end with my head buried in my Mom’s dress. When I was by myself, I was pretty vocal and weird, and played GI Joe pretty crazy. Then in middle school, my drama teacher, Ken Wilson, got me into my 1st play… and I was like, ‘I’m funny,’ and kids were like, ‘You’re funny,’ but then later would tease me… Slowly and surely I got my confidence and the kids that were teasing me, kept me around ‘cause I was the funny kid.

SBS: Is it hard to translate from dealing with social situations with comedy to being real with people?

TM: I don’t think so. To me these days, it’s like a relief. As much as I love doing bits with people, if that can’t come to a natural conclusion, and be able to talk about whatever, it becomes a problem… That’s like a signifier, to be like that’s cool, there’s something more.

SBS: Right.

TM: At some point you master confidence… When you find your home and your thing to do, and especially when it’s on stage… like if I didn’t do that or have that 'thing', I would probably still be that shy kid. You know what I mean?

SBS: Yeah.

TM: That’s why when I first in New York, I was like, ‘Man, I suck.’ ‘cause I didn’t have that 'thing' and as soon as that happened, it was like ‘Titty-City!’

[Laughter]

Perhaps Middleditch isn't that far off from the Justin Frost character in Splinterheads after all. Both of them were in search of their 'thing'. The difference, however, is that while Justin realized that his 'thing' was to have no 'thing at all', Middleditch seems to have found his groove. To which I believe, is only the beginning to a solid career.

You can catch Middleditch performing with Baby Wants Candy at The Barrow Street Theater every Saturday at 10:30pm... "When I'm in town, it's a regular gig, but naturally, when I'm out of town- I'm out of town."

I spent Wednesday, October 14th, travelling from one end of the island to the other, and back again. It was a cold and dreary day, which was not conducive for the amount of meetings and events confirmed on my ical. However, when I entered the Grand Ballroom at Cipriani down on Wall Street, my mood suddenly rose and my senses enhanced.

Autism Speaks Co-Founders Suzanne and Bob Wright joined Executive Chef and Co-Owner of Le Bernardin Eric Ripert and CNBC Squawk on the Street and Street Signs Anchor Erin Burnett to host an evening of fine dining and entertainment to help increase awareness about autism and raise funds for autism research. Autism Speaks to Wall Street: 3rd Annual Celebrity Chef Gala, featured the culinary talents of over 80 of the nation's leading chefs.

The VIP affair began with a cocktail reception where seven chefs served hors d'oeuvres in the library and on the mezzanine level. Apres cocktails, a sit down dinner commenced, where fifty of the nation's top chefs prepared and served a four-course meal exclusively for their table of 10 guests- one chef per sponsor table.

I joined Autism Speaks Committee Members at table 25 featuring Executive Chef Thomas Ciszak, Copeland Restaurant, and French Culinary Institute Pastry Chef Instructor, Michael Zebrowski.

As we chatted about Autism Speaks we oohed and ahhed over the lovely presentations, and the tasty delicacies.

Amuse: Hawaiian Tuna with Tapioca Coconut, Chili and Kaffir Lime.

First Course: Seared Day Boat Scallop with Vanilla Scented Butternut Squash and Pumpkinseed Foam.

Second Course: Tagliatelle with Mangalitsa Lardo, Truffle and 40 Minute Egg.

Third Course: "Sweet Spot" of Rib Eye with Foie Gras, Celery Puree and Red Shallot Confit.

It was around the Third Course that Cathleen Lewis addressed the guests, telling us about her remarkable life and her extraordinary son Rex. "He was born with an array of problems so extreme it looked as though he might never walk, talk, or do much of anything. And yet he has a talent the rest of us can only dream of."

As a blind and autistic baby, Rex's world was filled with noise and chaos that was so painfully sensitive to his hearing and touch, he would lay curled up with his fists held up to his ears. For his 2nd birthday, Rex was given a piano keyboard, Cathleen soon learned of the resilience of Rex's spirit and together they learned the power of music. The piano became Rex's first voice and music cleared up the chaos.

Cathleen played Mozart, Beethoven, and Chopin for her son. Music acted as a bridge for Rex, which allowed him "to step out into the world. The two world began merging." Soon, Rex began to walk... to the rhythm of the music, and soon could speak through playing the piano and his own voice.

Now I must tell you, that the dessert portion of the evening was doubly as sweet. As we enjoyed our Pear-Almond Cream Tart with Caramel-Ginger Ice Cream prepared by Chef Zebrowski, we were treated to an amazing Musical Performance by Rex Lewis-Clack.

Accompanied by Cathleen onto the stage, Rex asked the guests, "So, are you ready for some music?"

Rex took a seat at the piano and played a Brahms Waltz. It was at this moment that I was reminded why I do what I do... why Scene B Seen exists. I was astounded by the ease, joy, and the fluidity of that of a trained pianist Rex demonstrated.

Then my heart-warmed tears came as Rex played a "romantic number" by Chopin. It was absolutely magical, fleshed out with passion and grace. All the nuances incorporated in a Chopin piece flowed through Rex's heart and out his fingers.

Following the standing ovation, Rex decided to mix things up a bit. He played Phantom of the Opera's "Music of the Night", in various rhythms from Beethoven to a rockin' Boogie Woogie.

The power of music and the power of Autism Speaks certainly did speak to Wall Street on this chilly October evening. After Rex's performance, it was time for the live auction featuring 7 various packages. From the Need for Speed package: NASCAR Sprint Cup Series race, 2 "Hot Passes", personal security escort, dinner for 2 at Frankie's, an autographed hat, and a "Track Pack", to Savor South Africa: a 9 day, 8 night luxury tour/safari to South Africa.

Thank you Autism Speaks, for speaking louder through your efforts.

To watch the 60 Minutes segment, "Catching Up with Rex" with Lesley Stahl, please click HERE

*images courtesy of Autism Speaks by Chae Kihn

Most of us know Zach Hyman as a photographer for Patrick McMullan, but as Mr. McMullan so eloquently joked, "Who knew Zach was such a nudist?".

Hyman's exhibit, Decent Exposures, opened Thursday evening at the Chair and the Maiden Gallery, to a fantastic reception. The collection featured 14 large format photos of nude models in unexpected places, the subway, a carnival, Wall Street, Times Square, and even in a church. Giving himself 30 seconds for day shots and needing about 2 1/2 minutes exposure for night and darker shots, there is an implicit shock value (Double entendre: exposure... Anyone?). Yet, New York being New York, I can't help but think most people didn't even notice the models.

While we do get a sense of an explicit unveiling, Hyman is truly able to capture the beauty of the human form. Utilizing the given time and environment constraints of available light, the pieces take on a simplicity that is captivating. For example, in the carnival photograph, the bright colors of the game booth, prizes, and sunny light, it almost seems perfectly natural that there would be a blond haired nude model just chillin'. Likewise, the enclave that is Wall Street, why wouldn't there be a girl riding that darn bull bareback with the light hitting the silhouette of her body just so?

Regardless, Hyman is surely making headlines, including Huffington Post, Newsday, Post Chronicle, The Inquisitr, and CBS News, to name a few.

Conclusion: Zach Hyman- I take my hat off to you sir... and my shirt... and my knickers...

FYI: Look out for a story about the exhibit on Entertainment Tonight Insider.

To view the SBS Event Picts, please click HERE

*Photo 1 by Zach Hyman: Jocelyn Saldana

*Photo 2 by Dylan Armajani: Jimmy Knehans, Zach Hyman, and Justin Tranter