Diablo Cody

I am a big fan of the "homie" Diablo Cody. I can't wait to see her on The View and see her new tv show (United States of Tara). She has the best blogs in the world.

Diablo Cody's Myspace Page

Congrats girl.

Tiffany Limos is Alright...

Hey guys, here is a little clip of an interview of what is to come...
xoxo,
Tiffany


August 2008

Larry Clark

The Kids Are Not All Right

Larry Clark on Wassup Rockers and More

"For me it was like, How do I manipulate this kid so he can do this and he's comfortable?, which is all part of directing."

By Damon Smith

Pervert. Pornographer. Pedophile. Larry Clark has been tagged with many unsavory sobriquets since his in-your-face debut in 1995 with Kids, a film that ignited lots of anxious adult conversation and talk-show sermonizing about drugs, parenting, AIDS, family dysfunction, and juvie sex habits. Scripted by then-unknown enfant terrible Harmony Korine, Kids depicted a day in the life of morally blunted skater punk Telly (Leo Fitzpatrick), who roams New York City with a boarding buddy getting high, chugging brewskis, and deflowering "young baby girls" while an HIV-positive ex-conquest (Chloë Sevigny) tries to hunt him down before he contaminates another nubie. As a raw, quasi-documentary exposé of the wayward morals of today's youth, Kids was, at least to some hand-wringers, a potent wake-up call: The kids are not all right. And they're screwing! Yet many were unnerved by the film's nihilism, too, and wondered if all the gratuitous fondling and dead-end teenie sex talk made the middle-aged filmmaker complicit in his lurid depictions of underage excess.

Questions about Clark's character have never really gone away. Despite the accusations of voyeuristic exploitation, Clark has always crabbily maintained his status as an artist, an outsider whose films align in a thematic continuum with his equally provocative photography. In his landmark 1971 photo collection, Tulsa, Clark aestheticized the gritty, back-alley depravity of Oklahoma's druggie subculture in a series of coolly iconic black-and-white images echoed in the early cinema of both Martin Scorsese and Gus Van Sant. His 1983 follow-up, Teenage Lust, offered more of the same: young dopers, post-coital idlers, hard-luck cases in repose, and one scantily clad lad monkeying around with a handgun. Without a doubt, Clark enjoys ruffling feathers and riling social hang-ups with his caressive bod-cam shots of lithe young flesh and shocking depictions of fringe-world behavior. After the furor over Kids, Clark's dark, rollicking Another Day in Paradise (1997), a semi-autobiographical film about two renegade addict couples, positioned him as a more conventional film artist, but a peek-a-boo crotch shot in his brutal, high-school true-crime thriller Bully landed him in hot water with star Bijou Phillips. Then came the ill-fated Ken Park, scripted by Korine and co-directed by Ed Lachman, with its spiky-haired-waif-boy-on-MILF cunnilingus and one prolonged, hilariously distasteful scene of autoerotic asphyxiation. No wonder the French love him!

But the question still nags: Is Clark an old chickenhawk or a canny purveyor of low-rent erotic images? He seemed to satirize that puzzle himself with his ludicrously tasteless, flesh-and-gore remake of Roger Corman's Teenage Caveman, produced by trash-schlock king Samuel Z. Arkoff for Cinemax. (Tagline: "The future sucks." And how!) Either way, Clark's abiding subject is clearly the mannerisms of urban youth: how they speak and dress, how they behave, how they view the world, and yes, how they fuck. Occasionally, like Paul Verhoeven, he makes a vital movie from his recurrent motifs of sex and violence. Wassup Rockers, which tails a rambunctious crew of Latino skater kids on a slapstick adventure from their South Central L.A. ghetto into the frilly bedroom of a Beverly Hills hottie, was a departure of sorts for Clark, and earned mixed notices on its release. Yet before it devolves into an absurdist romp, there are moments of pure charm, and the opening split-screen docu-homage to pubescent skater Jonathan Velasquez, Clark's ready-made star, has the touching quality of a religious diptych. Wassup Rockers may not rock as hard as its youthfully yowling hardcore soundtrack, but it does offer a window into the woof and warp of Clark's unapologetic kid-mania.

Since Clark's never really out of fashion, as a March photo exhibit at London's Simon Lee Gallery (one of many in recent years) attests, it seemed like a good time to revisit a memorably colorful conversation I had with the old troublemaker and eternal adolescent on the eve of Wassup Rockers' theatrical release in 2006. I spoke with Clark about his method of working with young actors, his disreputable obsessions, and his checkered past as an artist with an intimate knowledge of his sometimes sordid subject matter.

Not long ago, you said you wanted to make a film about ethnic kids growing up in America. Did that idea morph somehow into Wassup Rockers?

That film is called American Girl from Texas, written by Tiffany Limos, my actor from Ken Park, about growing up in racist Texas. But the interesting thing is, I was with Tiffany when I met Porky and Kiko. Ken Park was opening in Paris, and a French magazine asked her to make some photographs. I didn't want to do it, but it was going to be good press for the film. So these two French ladies flew in from Paris, and Tiff and I went out to L.A. I was going to photograph her with some of the kids from Ken Park. They weren't around, so I said, We'll find some skate kids. We went down to Venice and we met Porky and Kiko, who looked different, and a little out of place there. They were skaters, but they were wearing really tight clothes, they had long hair, their skateboards were shabby, and their shoes were falling apart. They taped them up and painted their shoes with spray paint. They had style, you know? So we started talking to them, and they said they were from South Central. They ended up taking us out to South Central, where we met Kiko's brother, Carlos, and Jonathan and his brother Eddie. We took them all over L.A. and Hollywood for four days, photographing for this magazine. When the magazine came out, they gave us 23 pages, and they did a second cover with Jonathan, this little man-child with a moustache. All the women fell in love with this kid. So I took the magazine back to the kids, and their parents were amazed. And the kids wanted to go skating again. I took them skating every Saturday for over a year. I was always dependable, I'd always show up. I'd take them all over L.A., feed them, and bring them home. And by doing that, we really got to know each other well.

The whole article here: The Kids Are Not Alright.

Mentioned Already?

I get a text this morning from Mike Malbon at Frank151 magazine and he tells me to go to Frank151.com and this is what I saw...



*** Shout out to Mike! Thank you!

Than I randomly saw these...









I just put up this blog a day ago!
.................................................................

Tarantino & Limos serve it like THE MUTHERS!

BLAST FROM THE PAST.... AUGUST 2007

Quentin and I did the whole Asian tour last year and it was pretty fun.
We met all of the icons we idolized when we were younger, mind you I had seen the same B movies he was watching when he was working at the videostore. Most of the B movies were shot in the Philippines, I will get into more of that later.
Prince Chatri from Thailand came to hang out with us for a little bit as well.
We met up with the President and had a great time.
I still have alot of photos to scan and put up from this time, I would like to share that experience. Its not everyday that you get to see something like this in the South Pacific.

Arrival in the Philippines: Tiffany Limos and Quentin Tarantino

Quentin Tarantino: I'm a big fan of RP movies

By SCOTT GARCEAU
The Philippine Star

It's been 15 years since Quentin Tarantino's first film, Reservoir Dogs, exploded onto screens at the Sundance Film Festival. And it's been 13 years since Pulp Fiction took the Palme d'Or at Cannes. So it may strike the 44-year-old filmmaker as a bit amusing that he's being given a Lifetime Achievement Award at this year's Cinemanila Festival. As much as he's drawn from Asian cinema — evident in the black-suited killers in Reservoir Dogs, the Samurai sword-wielding Bruce Willis in Pulp Fiction and the "Crazy 88" Yakuza in Kill Bill — he's also had a huge worldwide influence on a generation of young filmmakers — including Filipinos.

Tarantino found himself arriving at Centennial NAIA-2 Airport around 1 p.m. (arriving from Japan on time on a PAL flight, no less) and wandered his way through the arrival terminal, where he met with Cinemanila founder Tikoy Aguiluz and a few assistants. Tarantino looked every inch the Manila tourist — tall, laid-back, dressed in black T-shirt, black shorts and black sneakers, and donning black wraparound sunglasses. But he also looked like Quentin Tarantino, the quintessential film geek who grew up in Los Angeles in the 1960s, dropped out of school, took acting classes, found a job at Video Archives (a video rental place in Manhattan Beach), and proceeded to pen a pile of scripts that brought him immediate Hollywood attention, and finally his shot as a director.

Since then, Tarantino has dabbled in theater (appearing in Wait Until Dark on Broadway in 1998 to less-than-rave reviews), adapted an Elmore Leonard novel into a film (the underrated Jackie Brown), worked with director Robert Rodriguez on films like From Dusk Till Dawn, Sin City and the recent B-movie "double feature" Grindhouse. Kill Bill 1 and 2 meanwhile brought his pop-fueled consciousness to a new set of film viewers — those who might have missed out on Reservoir Dogs but who find a Japanese schoolgirl lethally wheeling around a mace to be the coolest eye candy around.

Tarantino walked through the sliding glass doors with light luggage and was immediately beset by dozens of questions from TV and The Philippine STAR, but he was friendly and effusive, granting quick-fire answers as he slowly inched his way toward a waiting car.

"I'll be staying through next weekend," he told one journalist. "I don't know my schedule, but I'll be seeing the different movies and films at the festival, and just hanging out and taking in Manila."

Is this your first time here in the Philippines?

Very first time, very first time. I've been wanting to come here since I was a kid. And now I'm finally here.

You get so many invites to so many film festivals around the world every year. Why did you choose this one?

Oh, I've always wanted to go to the Philippines. And also I've become friendly with Cirio H. Santiago, and knowing that Eddie Romero was going to be here, and we're going to be talking about Philippine cinema, which I've been a big fan of, it's going to be great.

What Philippine films have you enjoyed?

Oh, there's a lot of them I like. Cirio Santiago's The Mothers. I love Eddie Romero's war films, The Ravengers, Leyte Gulf, all right? Walls of Hell is terrific. I love the Blood Island movies with John Ashley. Bamboo Gods and Iron Men, that's a terrific movie.

Congratulations on the Lifetime Achievement Award.

I know. That's really cool to be getting that here, yes. I'm also doing a panel, I think, on Filipino action and horror cinema.

We hadn't noticed any explicit connection between your movies and Filipino B-movies, but we figured that it was only a matter of time...

Even in Kill Bill, the Hattori Hanzo character that Sonny Chiba plays, there's a little bit of that based on the character in The Last Samurai — not the Tom Cruise movie, but the Cirio H. Santiago movie with James Englehart, there's these two Japanese soldiers on the island? I kind of based a little bit of their relationship on those two characters from Santiago's film.

We hear there will be a Quentin Tarantino film festival as part of this year's Cinemanila.

I know, they're showing all of my movies. This is actually the first time I've allowed a festival to do a retrospective of my work; this is the first time.

We're very happy about that.

(Laughs)

Have you had a chance to check out any younger Filipino directors or more recent films made here?

No, I haven't. So this will be a good chance, at the Manila film festival, to check out some of their films.

Do you see yourself as an influence on Asian filmmakers today, just as Asian cinema has had such an impact on your films?

Well, that's for them to tell me. (Laughs)

How did you and Tikoy meet?

I had actually sought out Cirio H. Santiago myself, to introduce myself, because I'm a big fan, and after that introduction, and from another friend of mine, Tiffany Limos, I got the invitation for the Cinemanila Film Festival, and I took (Tikoy) up on it right away.

Are you scouting locations here?

Nope! Just going to Manila, having a good time.

What's the latest on Inglorious Bastards (Tarantino's long-evolving war script, now reportedly up to 600 pages)?

Pen is on paper right now. We'll see what happens. (Laughs)

Have you always been attracted to Asian cinema?

It's always been a big influence on me. I can't help it.

Is the "Asian horror" genre played out yet?

I'm still watching it!

What have you watched recently?

There was a Korean horror movie called The Red Shoes. That was pretty good. Not bad.

Other directors have directed your scripts; would you ever direct a script written by somebody else?

Probably not.

Why not?

Because I like to start with a blank page. I usually lose interest if it didn't originally come from me.

Where do you do most of your writing? California?

I do it all over the place. I write in California, I write in restaurants, I write in cafés, in bars. When I'm on the road I write, and when I'm at home I write.

Would you consider guest directing another TV show, like E.R. or C.S.I.?

If it's another TV show that I really like again, and I've become a huge fan and I want to jump into their world, then possibly.

We like that you create strong women characters (say in Kill Bill, or Jackie Brown). But how does that fit into your male testosterone world?

Well, I'm the creator, so they're my characters. I love them. And not only do I create them, I am them when I create them.

Do you feel different when you're writing those characters?

Well, I'm a method writer. I am them while I'm writing them.

Can you characterize Filipino movies, the ones you grew up enjoying?

Well, you can't break that down to a couple words. They're very different. Cirio H. Santiago's Blaxploitation movies are very different from his Vietnam movies. And Eddie Romero's World War II movies are very different from his Blood Island movies. And the "women in prison" movies are different from the rest.

Why was Grindhouse (the "double-feature" B-movie homage shown in the US) split into two separate movies here?

Well, because we didn't want to show it as a double feature around the world, because not everyone has that thing, that tradition. And also, we had to cut the movie back drastically to do the double feature, so when Death Proof plays here, it's going to have a half hour more than Grindhouse. The Death Proof that's being released here, that's the script I wrote.

Any advice for aspiring young Filipino filmmakers?

Yes. Come up with a story that you want to tell, that you have to tell, and tell it well.

The REAL Comeback KID! AWEEEE yeah Mickey "FUCKING" Rourke!!!

I went to the premiere of the The Wrestler in New York. Whew! All I know is that I ended up dancing at Marquee with an elated Mickey Rourke who was not without his many women at his booth.

During the summer I get a phone call from Larry Clark and he tells me that The Wrestler is getting rave reviews in Venice. I email Darren Aronofsky, the director of the film, and I tell him congrats. Larry and I have been wanting to work with Mickey since 2001 and have been hanging out with him since then. Alot of people objected with my choice but now all the naysayers are silenced! (yessssss!)

Tonight, Mickey's win at the Golden Globes has just sealed his comeback status. I am so happy for the true life comeback kid. No one thought it would happen. (yeah!!!)

Just started...

I just started this blog today and as you can see, it is short. I will try my best to update it but I have too much work that has to come first. But you can check out...

Tiffany Limos Official Website

The Official Myspace of Tiffany Limos

Tiffany Limos TWITTER


I started to go on twitter but I had to stop, it was consuming too much of my precious time. The official website bio was done by Natalie Guevara and the design by Brandon Russell. It's pretty simple. If you really have alot of time to spare, just go to my myspace page. There are tons of archived blogs, photos, and etc. I am trying to actually put some of that stuff up on this blog because I just think that it is too congested on myspace. See ya'll soon. (I'm a real Texan, born and raised, and yes I can say that with pride. I am not like some people who claim to "sort of" be from here and now think it is all of a sudden cool to be from "The South" or "Texas")



KARL & TIF kick'n it at Monihan's crib in the BK. 2008
Here is Karl's Blog: G.O.O.D. Music Blog

Michel Gondry + Paul Gondry + Tiffany Limos + Claudia Wu = Me Magazine

Claudia Wu is one of my oldest friends in New York City. We used to work at Visionaire together in the late 90's and were at the forefront of the beginnings of V Magazine together along with Alix Browne, Stephen Gan, and Alessandro Magania. (and if you have never heard of those people, do your homework kids, they are some heavy-hitters in the publishing world) She is a little genius and has achieved respected work for various prestigious magazines and ads. She started Me Magazine a while ago and as of recently I have just helped out a little bit.

Claudia Wu.


Spring 2008.

Claudia and I go to Michel's house to visit Paul to discuss the Me Magazine x Paul Gondry concept. Michel and I play around with the webcam. HA! (All of a sudden I couldn't find my black fedora hat, I search for it, Michel searches for it, Paul searches, Claudia... than were are all frantic, ... Alas, Michel had been sitting on it the whole time while this photo was being taken!)


Michel and I waiting for Paul to show up at the Gary Panter gallery show. Photo by Quark Henares.


Claudia and I go to Brooklyn to wrap things up. On the way to Michel and Paul's new house, we hit the thrift store next door for some new hats!

Photo by Quark Henares...

Voila! The final product! After all those years of trying to finish this issue, it was finally completed! I couldn't make the wrap party because I was out of town! But I heard that Kaws showed up to the event at Dactyl. Thank you Neil!


Me Magazine

Check out the website above for this issue and past issues. Let Claudia know what you think of the magazine. Her info is on the site. Merci Beaucoup!

Tiffany Limos x FUCT x Larry Clark = $$$$$$$$$$$$$

Funny thing is, this shirt is not being sold anymore. I get an email from someone that used to work at Rocafella Records that tells me that there is my shirt on Hypebeast.com I have no clue what they are talking about. Then I see it on Ibn Jasper's site aka Ferrarimurakami. (Kanye West's righthand man) Then I start seeing it all over the place, than I start to get calls from Diamond aka Nick Tershay of Diamond Co. and various people. I don't have any so do not ask me but here you go, for all the Larry Clark fans out there... and FUCT collectors. Oh, one more thing, this photo is probably the most famous photo that Larry Clark has ever taken of me that was featured in his punk Picasso show that was well received by critics and his peers (Helmut Newton, Ralph Gibson, Nan Goldin, MoMa, Luhring Augustine Gallery, Nobuyoshi Araki, and the list goes on). (Gros Bisous!) * I have seen some selling on eBay for $300 to $500 US dollars, BONNE CHANCE!!! *I only promised one shirt to someone and it was Busy P. (désolé)

Official photo:


One of the blogs:


From Ibn Jasper's Blog (F.M. Phenomenal):

Election Night 2008

So this is what I did on Election Night.



Yes, that is Pedro Winter aka Busy P. and no I did not just meet him. I met him in the late 90's along with Daft Punk way before this night. I was waiting for the whole French posse at Diplo's event but they decided to go to Cinespace. Yes, they were all there (Daft Punk/Justice) ladies and yes, they are just my friends.

Photos by Cobrasnake (Los Angeles 2008) * A$A on the right of me.

My First Official Blog

I am new to this so I am not sure what to do. I think I will treat it like a virtual diary somewhat? I think I will start with some recent stuff and go back, then forth.

Some people have been wondering where I have been. Even some of my closest friends have been wondering what I have been up to, I just do whatever I feel like doing. I am the real M.I.A.



Here is a photo of me by my friend Juan e. Martinez by my old stomping grounds near my Tribeca studio in New York City. This was taken in October of 2008.

An old bio written by Natalie Guevera in the beginning of the 2000's, probably in 2004. This bio was published in the DDD magazine, on MySpace, and TiffanyLimosOfficialWebsite (that is now defunct):

Bio by Natalie Guevara

TIFFANY LIMOS

Those who claim the new millennium has yet to find its definitive It-girl icon had better brace themselves for Tiffany Limos. A modern-day Renaissance woman, Limos has worked extensively in all spheres of the entertainment industry, including film, music, art, writing, fashion, dance, and behind-the-scenes production. Boasting an impressive resume sprinkled with acting credits, magazine titles, and numerous accolades from colleagues and fans alike – as well as the distinction of being the sole female muse to filmmaker Larry Clark – she is not only a force to be reckoned with, but the living embodiment of hard work and perseverance. Blessed with brazen determination and an optimistic, sky-is-the-limit outlook, Limos is a breath of fresh air for critics who insist the Hollywood stars of today have lost all charisma and sparkle. In performing a deft balancing act between the mainstream and downtown art worlds, Limos has defied any fanciful notions of what an ingenue should be and do, preferring instead to go about things her way, all the way. Hers is a story that is the very quintessence of the American dream, seemingly impossible yet awe-inspiring all at once.

AMERICAN GIRL FROM TEXAS

A first-generation American, Tiffany Rochelle Limos was born January 31, 1980 in Dallas, Texas to Licerio and Nanette Limos, both Filipino immigrants. Her father hails from Pangpanga, Philippines – notable for its Muslim religion and tribal culture – while her mother was born in Leyte, regarded as the most Catholic and Spanish-dwelling island of the Philippines. A family friend of jazz composer Duke Ellington and distinguished Spanish and Chinese artists in America and Internationally, it is no surprise that her daughter's interest in the arts, particularly the cinema, developed at a very early age. Spurred by her equally passionate father to pursue a home-schooled, yet top-notch film education, Tiffany Limos began a steady consumption of almost ten films a day, familiarizing herself with everything from the Blaxploitation pictures of Jack Hill to acclaimed foreign films like the Godard masterpiece Band of Outsiders. B-movie rentals from the neighborhood video store were the norm at the Limos household – not, as one would suspect, out of preference, but because, at one dollar per movie, it was what the family could afford. Campy fare such as Silent Night, Deadly Night (1984), Little Shop of Horrors (1960), and Dolls (1987) entertained young Tiffany for hours, leading her to playfully refer to these films as her "babysitters." These early films meant so much to Limos that they would reapper in her adult life - in the form of a vintage "Dolls" movie poster fellow B-movie expert Quentin Tarantino gave the passionate (B-movie) fan for her birthday.

By the age of eight, Limos had mastered the art of using both video and photo cameras, and by age ten her knowledge of distinguished directors – Howard Hawks, George A. Romero, and Martin Scorsese, to name a few – rivaled that of many film scholars. Never the type to settle only for those who have achieved mainstream success, Limos also fostered great appreciation for underground cinema and the maverick filmmakers who shaped it, including John Cassavetes and Samuel Z. Arkoff – the latter of whom would eventually go on to work with Limos on Teenage Caveman (2002), Larry Clark's playful send-up of the '50s-era sci-fi movie.

FASHION, FLAIR, & VISIONAIRE

At fourteen years old, Limos put down her video recorder and tried her hand at working in front of the cameras instead. Her short-lived but successful career as a model spawned print work for various catalogues and campaigns as well as fashion editorials in YM, Seventeen, Sassy, and the popular UK publication i-D, the first magazine to ever feature Limos. Two years later, Limos' unique look and innate sense of rhythm enabled her to embark on a stint as a backup dancer; she went on to appear in music videos for hip-hop stars such as Brandy, the Fugees, Lauryn Hill, Nas, Snoop Dogg, and the Wu-Tang Clan.

That same year, Limos' experience in the fashion world qualified her as the perfect assistant in shoots for eminent American designers Tommy Hilfiger and Calvin Klein. At nineteen, she quickly upgraded from assistant to magazine maven when she helped jumpstart the innovative fashion publication V Magazine along with Stephan Gan, Cecilia Dean, James Kaliardos, Alix Browne, Alessandro Magania and Claudia Wu. Limos also explored the alternative fashion magazine realm by joining editors-in-chief Bay Garnett and Kira Jolliffe in launching Cheap Date Magazine, a fun, unpretentious look at shopping and style. With contributors ranging from the high-end to the hip – Kate Moss, Anita Pallenberg, Marlon Richards, Chlo.. Sevigny, Rachel Weisz, Liv Tyler, and Harmony Korine were but a few of the notable names involved – Limos was in excellent company.

Motivated by the advice of her colleague, Anette Wenzel (of Wilson/Wenzel), these years also witnessed Limos pursuing higher education in the top-tier New York universities NYU and Columbia, successfully maintaining a 4.0 grade-point average despite her involvement in various extracurricular activities.

"YOU SHOULD BE IN PICTURES…"

The year 1999 proved to be a fateful one for Tiffany Limos. Much like the starlets of yesteryear who were accidentally "discovered" in commonplace drugstores and diners, Limos encountered industry outlaw Larry Clark, a critically-acclaimed photographer and director of the controversial hits Kids (1995) and Bully (2002), in the most ordinary of places: a New York City bookshop. Clark's eye for talent (previous discoveries include Chloe Sevigny, Harmony Korine, Rosario Dawson, Leo Fitzpatrick, Harold Hunter, Michael Pitt, Justin Pierce, and Daniel Francese) was, once again, spot-on: he knew he had something special with Tiffany Limos. In turn, Limos – who always knows a good opportunity when she sees it – seized the chance encounter to show Clark several writing samples. Impressed by this ballsy wunderkind with an artistic voice sophisticated beyond her years, Clark commissioned Limos to write several screenplays. The deals were inked in 2001.

This is not to say there weren't certain interruptions in Limos' burgeoning writing career, however. In 2001, Clark began casting roles for his most complex and character-driven film to date, Ken Park. The character of Peaches de la Cruz, a teenage girl who is regularly abused by her religious fanatic of a father, possessed a strong emotional arc requiring everything from sweet naivet.. to sexual curiosity to psychologically-charged hopelessness and despair – hardly the kind of role given to a typical ing..nue. Limos' limited acting experience was exactly what Clark was looking for; he wanted an unknown, someone who looked young but could express mature emotional depth, drawing more on raw feeling than stylized acting technique. Limos, whose biggest role up to that point was playing the Virgin Mary in a school play, accepted Clark's offer with little trepidation. She went on to star in Ken Park alongside fellow first-time actors James Bullard, Stephen Jasso, and Mike Apauletegui.

The film opened in 2002 to much controversy, with some critics calling it Larry Clark's most dangerous, risk-taking offering to date. Nevertheless, Ken Park garnered critical acclaim and various accolades from distinguished individuals in the art world, including fashion designers Marc Jacobs, Hedi Slimane, Karl Lagerfeld, Raf Simons and legendary filmmakers Spike Lee, Quentin Tarantino, Michel Gondry, Woody Allen, Olivier Assayas, Wong Kar-wai, Gaspar Noe, Takashi Miike, and Jean-Luc Godard (whose sister, Veronique, served on the jury of the 2003 Nantes Film Festival with Limos and later went on to produce and collaborate on projects with the starlet). Limos' performance as Peaches was especially lauded, with Clark himself singing her praises in numerous interviews. "In Ken Park, we were doing amazing things in front of the camera. Tiffany is the perfect example," he revealed to Paper magazine later that year. "What she does in front of the camera is so real and so tender. In the scene where Peaches' father has caught her having sex with her boyfriend and forces her into a ritualistic repentance ceremony, I was crying the whole time."

PRINTED MATTER

Though several acting offers came her way after Ken Park, Limos decided to settle down and focus on her greatest passion: writing. She has always felt a natural inclination to be behind the scenes and create rather than seek the glow of the spotlight; indeed, it is through words and the documentation of experiences that Limos reaches her strongest form of expression.

In the midst of her fruitful writing period, Limos still found time to provide great features for several magazines. In particular, her OneWorld Magazine cover story on music superstars the Neptunes (a production duo comprised of Pharrell Williams and Chad Hugo) yielded some thought-provoking responses from the interviewees, with Williams offering insightful comments about race relations and the African-American community and Hugo claiming it was the first time he was asked about his Filipino roots. "You are one of the very few people that actually approached me about [being Filipino]," he told Limos in the interview. "I think it helps younger people realize that it's not impossible to do what you want to do. The only thing is, is that if you do it, you gotta be great at it."

Hugo's message was one Limos could relate to. In 2003, her candor and honesty in regards to race and ethnicity made her a compelling subject for the many magazines that featured her. To date, Limos has graced the covers of U-Topic (the premiere publication of Tahiti); "Rebel," one of France's top fashion magazines – Limos' cover outsold previous covers starring supermodels Kate Moss and Gisele Bundchen, and helped launch the stars of Larry Clark's 2006 feature "Wassup Rockers");Audrey; El Mundo; UK magazine The Face(along with Larry Clarks other famous "kids" – Sevigny, Fitzpatrick, Pitt, Hunter, Dawson, and Rachel Miner); and Trace, being the first Polynesian to do so (Limos went on to be featured in their book Transculturalism as one of the celebrity transculturalist icons to watch along with Rosario Dawson, songstress Alicia Keys, and Nigo of the clothing line Bathing Ape). It was in this landmark spread for Trace that Limos, a go-getter involved in all facets of art and entertainment, gave herself her most appropriate title to date: hustler. "I did everything," she boldly told scribe Claude Grunitzky. "I hustled! You want to talk about a girl who's a hustler? Tiffany Limos is a hustler."

Limos was also profiled in such prestigious publications as Complex, The Dallas Times, Flaunt, Harper's Bazaar, Interview (in which she was hailed as one of the "Catchers in the Rye" for the new art generation and influential for years to come), The LA Times, The New York Times, Nylon, Paper(in which she was featured as one of the "Most Beautiful People of 2003"), Radar, V/Visionaire, Vibe, Vice, Vogue (UK, French, Japan, Spanish, and Italian editions, the last of which she was hand-picked as a favorite cinema personality by famed photographer Ellen Von Unwerth for a sensuous spread), and Women's Wear Daily (in which she was selected, along with Maggie Gyllenhaal, James Franco and other ingenues, as one of the millennium's most promising young cinematic influentials).

REBEL QUEEN

The years 2004 and 2005 also found Tiffany Limos steadily at work, particularly in the music industry. With her remarkable creative foresight, Limos envisioned a harmonious match between avant-garde music video director Michel Gondry and upcoming hip-hop star Kanye West; this eventful meeting, hatched and arranged by Limos, eventually led to the Gondry-directed video for "Heard 'Em Say," Kanye's third single off of his sophomore album, Late Registration (2005). Limos helped produce the effort alongside Gondry and Julie Fong.

Limos' networking prowess also spawned meet-ups between artists as dynamic and diverse as Paul Barman, Pharrell Williams, Kelis, Fiona Apple, Jon Brion, Sean Lennon and Andre 3000 of Outkast; she even did a bit of collaborating of her own when she lent her vocals to Sam "Squeak E. Clean" Spiegel's Bumble Beez album and assisted Sean Lennon on a film short that accompanied his critically-acclaimed "Friendly Fire" (2006) album.

Limos re-teamed with Gondry to collaborate on his film The Science of Sleep (2006), a charming study on dreams and reality starring fresh-faced international icons Gael Garcia Bernal and Charlotte Gainsbourg. She also collaborated with Gondry and comedian Dave Chappelle – whom Limos has known since 1996 – on the documentary Dave Chappelle's Block Party (2005), an innovative take on the regular stand-up comedy routine/concert inspired by Richard Pryor's Wattstax (1973).

TRANSCULTURALISM

Naturally, being a small minority in an industry overpopulated with the thin, blonde-haired, blue-eyed female ideal is difficult, especially when the minority happens to be Polynesian, one of the most poorly represented cultures in Hollywood. Ever since she was a child, Limos has endured racism and discrimination; her hope is that, rather than derail her, these hardships will only deepen her drive to succeed. Despite any criticism she may receive for her differences, these very characteristics are what have made Limos a cut above the rest. They have landed her in the pages of the most esteemed fashion magazines, positions Limos has wisely used to her advantage by showcasing both her beauty and brains, promoting her film projects, and speaking out about the issues of most importance to her. As she explained to Trace magazine: "We are a new breed of people. It's harder for us because we have to live up to the Filipino communities, we have to live up to the American communities. We're not Filipino enough, we're not American enough, we're not Spanish enough."

But people have begun taking notice. Last year, The Filipino Channel (TFC), the highest-rated channel in all of Asia, featured Limos in a segment titled "The Biggest Filipinos in America" along-side Filipino-American icons DJ Q-Bert (Skratch Piklz), Chad Hugo (The Neptunes) and APL (Black Eyed Peas). The actress was interviewed about her views on the Polynesian community and praised for challenging conventions and embracing her sexuality, both on- and off-camera. Limos is already a well-known media figure in countries such as France, Italy, the Philippines, and Tahiti.

UP-AND-COMING

With several projects on the horizon, the future seems bright for Tiffany Limos.

When not discussing production duties or developing her screenplays, Limos makes time to involve herself in worthy causes: several charities she works closely with are Love 4 Leyte (which helps the landslide victims in her mother's native island) with DP Magazine and the Black Eyed Peas, the Children of the Philippines, Hurricane Katrina, The Writer's Foundation, The Agape Spiritual Center in Culver City in California, St. Michael's Catholic Church in Dallas in Texas and the Harold Hunter Foundation (established in loving memory of the late skateboarding star).

One may have to look back to the example set by outstanding artists such as Dennis Hopper, Cindy Sherman, and Jean-Michel Basquiat to be reminded of those who, in not limiting themselves to one gimmick, sphere, or profession, have become an essential part of the very innovative dialogue that bore them. Over the years, Limos has successfully navigated her way through artistic communities both large and small; she has rubbed elbows with everyone from fashion photographer Bruce Weber to renegade artist Nobuyoshi Araki and formed an extraordinary network of inventive friends and revolutionaries along the way. Tiffany Limos is a deserving member of this circle of dreamers and boundary-pushers. Ever familiar with the bold-faced names of the glitterati and hipster elite, it will not be much longer until her own creative brilliance comes to light.