Mastro's Steakhouse - 246 N. Canon Drive, Beverly Hills, California, USA

Adrian Grenier and Kevin Connolly in Entourage (2004)

This is not a drill. This is not an emergency!

Fuck the phones, Lloyd! Unless Carmen Electra calls for an emergency titty fuck, don't answer!

Beverly D'Angelo, Jeremy Piven, and Rex Lee in The Release (2006)

Kevin Dillon and Jerry Ferrara in The Release (2006)

Kevin Dillon and David A. Arnold in The Release (2006)

Kevin Connolly

Adrian Grenier

Kevin Dillon

Brian Burns

Doug Ellin

Lisa Alden

Vince may still get a break now that the studio is launching Queens Boulevard commercially, but he agrees with the director their re-cut is artistic murder. Johnny has an Edward Burns pilot audition, but throws a ridiculous tantru...

Patty Jenkins

The Release

What ELSE the episode teaches...

Your comment on &quot;art&quot; vs. commercial films is idealistic and unrealistic. Who do you think finances this &quot;art&quot; films. If it&apos;s not the studio offshoots, Picturehouse, Vantage, Sony Classics, Fox Searchlight, then it&apos;s a group of doctors, lawyers, or large Wall Street investors. In other words, rarely if ever, the artist.

Obviously, this leads to a certain responsibility to the investor, if the artist desires to see his film get distribution, and more importantly, the ability to make another one. So Hollywood and the artists it supports have a co-dependent relationship, like it or not.

Of course there are always certain tasteless &quot;suits&quot; who will try to inflict their opinion on a film in order to better its odds of a return to investors, but have the interest of the artists at heart as well, because nobody wants to anger them for fear that they flee to a rival agency/studio. That&apos;s pretty well covered in the Entourage series and there are treatises on how FEAR is behind every move &quot;Hollywood&quot; makes.

Your comment on "art" vs. commercial films is idealistic and unrealistic. Who do you think finances this "art" films. If it's not the studio offshoots, Picturehouse, Vantage, Sony Classics, Fox Searchlight, then it's a group of doctors, lawyers, or large Wall Street investors. In other words, rarely if ever, the artist.

Obviously, this leads to a certain responsibility to the investor, if the artist desires to see his film get distribution, and more importantly, the ability to make another one. So Hollywood and the artists it supports have a co-dependent relationship, like it or not.

Of course there are always certain tasteless "suits" who will try to inflict their opinion on a film in order to better its odds of a return to investors, but have the interest of the artists at heart as well, because nobody wants to anger them for fear that they flee to a rival agency/studio. That's pretty well covered in the Entourage series and there are treatises on how FEAR is behind every move "Hollywood" makes.

Vince may still get a break now that the studio is launching Queens Boulevard commercially, but he agrees with the director their re-cut is artistic murder. Johnny has an Edward Burns pilot audition, but throws a ridiculous tantrum, during which his car is stolen, so he isn't even on time.

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