From to X-Men: The Last Stand, has directed some of Hollywood’s most successful films. He’s also rewarded himself with some very coveted watches. Lights,

BY Camera, CollectioMARK BERNARDO n

PHOTO: TIERNEY GEARON PHOTO:

124 WatchTime October 2009 CONNOISSEURS Brett Ratner

Ratner’s many “I’VE BOUGHT CARS AND GIVEN The watch itself came about through Rolexes include a Ratner’s involvement in Chrysalis, a rare Paul Newman THEM BACK. WITH WATCHES, I charitable organization that helps place model (third from poor and homeless people into jobs. bottom). NEVER WANT TO DO THAT. THERE’S Chrysalis had contacted Khankin about JUST TOO MUCH HISTORY THERE.” JOHN RUSSO PHOTO: creating four celebrity-branded time- pieces, a portion of whose proceeds would go toward the organization’s cause. Actor Eric Dane, singer Mary J. Blige and music mogul also contributed their names to watches in the “Time for Change” collection, but while each of those stars offered input, Ratner was the only one who took a per- sonal hand in the concept and design of n the sumptuous living room, which dou- his watch. As an introduction to the un- bles as a screening room, of his historic veiling of his collection, he is showing home in the upscale Hollywood Hills en- me — and the impromptu entourage clave of Benedict Canyon, Brett Ratner is that has gathered here for his interview putting the finishing touches on his latest and photo shoot — the vintage watches project, one near and dear to his heart. that inspired different aspects of that With the meticulous, critical eye of a sea- watch’s design: its 47-mm size is taken soned Hollywood director and producer, Ratner strokes his famously stubbled from a Panerai, its military-style canvas he scrutinizes the latest draft submitted chin and stares intently at the watch, with strap from a Breitling, its tri-compax for his approval, nods his head in appre- its black PVD-coated case and vintage- subdial design from a Heuer. “In film ciation, and then stops to ask for a final style nylon strap. “I’m happy with it; I school I used this old, German camera change. just thought you could do black on with a three-lens turret in front, and the “Do you see here where it’s black on black.” lenses were in this formation,” Ratner the outside of the case and also black in- “The gray gives it contrast, though. It recalls, pointing at the subdials of the side, on the dial?” he says, pointing to a looks nice,” another guest chimes in. This 1960s-vintage Heuer. “I’m also a fan of vintage watch and holding it up next to is Matthew Bain, watch expert, founder this military-style strap, like the ones the new prototype on his wrist. “That’s of the Senzatempo vintage-watch store in made for NATO in the 1940s and what I was going for… more black in- Miami Beach, and Ratner’s timepiece gu- 1950s.” Bain points out that this partic- stead of the gray.” ru — the man most responsible for the ular Heuer was, indeed, made for the “It’s gray because you’re looking 40-year-old director’s accumulation of a German military. through the ‘lens,’” responds one of Rat- watch collection that would be the envy What makes the Ratner Chrono- ner’s guests, referring to the shaded, cir- of many older connoisseurs. scope distinctive is its partly skele- cular area in the center of the prototype’s The project at the center of this dis- tonized dial, designed to evoke both the sapphire crystal. “The ‘lens’ is gray; the cussion, as should be evident by now, is viewfinder of a director’s camera and the calendar is white. It has to be white to be not one of Ratner’s films, not the latest shutter and lens of an old-fashioned I legible. See, when you move the hand, it’s addition to an impressive résumé that in- photographer’s camera. The Valjoux white. You’re just seeing the visible cludes the Rush Hour trilogy, Red Drag- movement is partially visible through parts.” This observation comes from on, Family Man, X-Men: The Last Stand the translucent crystal (the “gray” area Leonid Khankin, managing director of and the upcoming biopic of that sparked the previous discussion). Ernst Benz, producer of aviator-inspired founder . It is Ernst Benz’s The black matte finish on the case is mechanical Swiss watches. He is the man Brett Ratner Limited Edition Chrono- evocative of old-school military watch- primarily responsible for translating Rat- scope — the project that has enabled Rat- es. When the watch finally becomes a ner’s vision into concrete reality. ner, for the first time, to project his now finished project, meeting the approval of well-honed watch-collector sensibilities both Ratner and Khankin, it will be onto a limited-edition timepiece that will manufactured in a series of only 24 bear his own name. And if the detailed pieces, making it an instant collectible, discussion between him, Khankin and and thus a worthy addition to the cache Bain is any indication, getting it just right of horological treasures that Ratner has, is as important to Ratner as the final cut quite carefully and specifically, assem- of his next box-office blockbuster. bled over the course of his career.

126 WatchTime October 2009 WHILE BRETT RATNER’S love of days. Currently in development are Play- watches developed over time, his love of boy, his Hefner movie, and the latest in- filmmaking emerged almost from day stallment of another mega-successful ac- one. Born and raised in Miami Beach, he tion franchise, Beverly Hills Cop IV. made regular pilgrimages to the matinees Ratner has expanded his brand into — mostly action movies — with his other areas, as well, namely television, JOHN RUSSO PHOTO: Cuban grandfather. “As a Cuban, his for which he produced the successful English wasn’t perfect,” Ratner recalls, Fox-TV program “,” and “so it was easier for him to understand the upcoming comedy , “Cop what was going on in those types of House.” He has established his own films.” He knew around age eight that he book-publishing imprint, Rat Press, wanted to make movies, and in 1983, he which releases projects that speak to his got his first taste of a Hollywood career love of film history and vintage photogra- — snagging an uncredited cameo in the phy, with subjects ranging from Marlon Al Pacino classic Scarface while hanging Brando to to . around the set. He enrolled at NYU’s He has even dabbled in photography Tisch School of the Arts at 16, becoming himself, shooting covers for Vanity Fair the youngest film major in the depart- and Interview, and ad campaigns for ba- ment, and attended NYU Film School. by Phat, Jimmy Choo and Jordache. His His first big break came when he book Hilhaven Lodge: The Photo Booth screened his award-winning short-film Pictures is a compilation of photos taken project, Whatever Happened to Mason of celebrity visitors to his home. Reese, for his now fellow Chrysalis sup- porter and big-time watch freak, Russell AN INFORMAL TOUR of that home of- Simmons. fers glimpses into Ratner’s psyche. Hil- Simmons hired Ratner to direct music haven Lodge, built in 1923, has been videos, launching the young filmmaker’s home to film royalty: both Kim Novak highly successful career in that field, and Ingrid Bergman lived here, and the wherein he collaborated with a range of English-style architecture, wood accents, artists that included (Ratner rustic stone fireplace and cathedral-like won an MTV Video Music Award for ceilings have played host to parties for “”), , Jay- several generations of Hollywood glit- Z and Wu-Tang Clan. In 1997, he gradu- terati. The 1970s-style disco in the base- ated to his first feature-length film, Money ment was the work of the home’s most re- Talks, a sleeper hit starring Charlie Sheen cent owner, Allan Carr, the late, flamboy- and a then-little-known comedian named ant producer of Grease and Can’t Stop . A year later, Ratner struck the Music. It was the disco — with its DJ Vintage models from Rolex, Patek Philippe and other classic brands make up much of Ratner’s collection. box-office gold with Rush Hour, which booth, Egyptian statues and mirrored teamed Tucker with Hong Kong martial- ceilings — that sold Ratner on the house, arts-film icon . The culture- and he has, according to the celebrity clash buddy comedy grossed $250 million press, done his part to continue Hil- worldwide and spawned two blockbuster haven’s festive tradition. While he obvi- sequels. Having put his stamp on the ac- ously approaches his work with tireless tion genre, Ratner branched out into ro- zeal, Ratner has also found time to pro- mantic comedy (with 2000’s The Family vide the gossip rags with plenty of mate-

PHOTO: JOHN RUSSO PHOTO: Man), suspense thriller (2002’s Red Drag- rial: past dating companions have includ- on, a Silence of the Lambs prequel) and Ratner wears a ed model , actress crime caper (2004’s ) be- prototype of the and tennis star Serena fore tackling his biggest budget and most limited-edition Ernst Williams, and he has also been linked to “I DON’T HAVE GAUDY WATCHES. ambitious project, X-Men: The Last Benz Chronoscope notorious party girls Lindsay Lohan and Stand, the third film in the mega-popular that bears his name Paris Hilton. I PREFER TO WEAR ONES THAT Marvel Comics mutant superhero fran- He also has devoted a significant chise, which in 2006 shattered the record amount of time indulging a serious mania ONLY A FEW PEOPLE IN THE for the biggest Memorial Day weekend re- for collecting — and not only watches. lease ever, taking in $123 million in four Down the hall from the disco is a pool WORLD NOTICE ARE SPECIAL.”

October 2009 WatchTime 129 CONNOISSEURS Brett Ratner

“THERE ARE COLLECTORS WHO room with walls full of glass cases hold- ing a cavalcade of eclectic memorabilia ONLY COLLECT SPORTS WATCHES from his career: Ratner’s NYU student ID, a ticket to the Oscars, numerous OR ROLEXES... I HAVEN’T REALLY movie posters and signed photos, a mint- condition copy of Giant-Size X-Men #1, FOUND MY NICHE YET.” undoubtedly used for research on the Rolexes are quite rare and astonishingly film, invitations from Hollywood players valuable. The model received its unofficial and Washington power brokers. The liv- moniker when Newman’s wife, actress ing room is bedecked with art, mostly Joanne Woodward, presented one to the vintage photography as well as modernist blue-eyed Hollywood icon as a gift when sculpture. It also holds numerous books, he took up auto racing in 1972. Ratner mostly photography volumes and biogra- owns two — a steel one that he likes to phies; old magazines; and antique and wear and a gold one that mainly stays in decorative ashtrays. storage. As with many celebrity watch enthu- In keeping with his love of both film PHOTO: JOHN RUSSO PHOTO: siasts, Ratner caught the collecting bug and old books, Ratner has sought out ex- right around the time when he could af- amples of another classic, collectible ford to indulge it. “I was, like, 26 when I Rolex, this one associated with a classic got my first big check, and that was when character that has thrived in both: Ian I could afford a good watch,” he reveals. Fleming’s James Bond. He owns several After being blown away by the vintage vintage models of the Rolex Submariner, Rolex on the wrist of one of his watch- Ref. 6200, one of the first divers’ watches fan friends, and finding out that it came issued by Rolex in 1954, and similar to from Bain, Ratner tracked the latter the one Sean Connery wore in the very down, and his watch education began in first Bond movie, 1962’s Dr. No. (Con- earnest. “I would hang out in Matt’s store nery actually wears a Ref. 6538 in the for hours just looking at every watch,” he film.) The watch features an oversized says. In a process that Bain calls a “slow winding crown (differentiating it from graduation,” Ratner worked his way up similar, subsequent models such as the from moderately expensive, simple mod- 6204 and 6205) and was the first Sub- els to some of the rare holy grails of mariner to incorporate the so-called watch collecting. “Mercedes” hands. The other telling fea- One of Ratner’s favorites, the so- ture is the “Explorer” dial layout, with called “Paul Newman” Rolex, is one of the large numerals 3, 6 and 9. those grails. At first glance simply a Rolex Cosmograph Daytona of 1960s vintage, AS COVETED HOROLOGICAL rarities what makes this timepiece special is its di- go, however, even the James Bond and al, which features a number of subtle dif- Paul Newman Rolexes might pale in ferences from the typical Daytona dial. comparison to the watch he’s currently The subdials have block indices; each sub- wearing, one of the direct inspirations for dial has crosshairs meeting in the center; the Ernst Benz Ratner Edition Chrono- and, most tellingly, the minutes subdial at scope: an original Panerai Radiomir, 9 o’clock is marked at 15, 30, 45 and 60 made for the Italian navy in the 1930s rather than at 20, 40 and 60. Only watch- and ’40s — one of only around 300 be- es in References 6239, 6241, 6262, 6263, lieved to still exist. As all the Paneristi out 6264 and 6265 are considered authentic there are aware, Florence-based Panerai Paul Newmans; as the dials have been out was a company that started making pre- of production since the early 1970s, these cision instruments such as compasses and The director’s vintage Panerai calculators for the Italian Navy around Radiomir is a rare treasure, made the time of World War I. When Navy even more valuable by its original commandos needed timepieces they leather strap. could use in underwater missions, they approached the company, which used its Swiss-watch industry connections to de-

October 2009 WatchTime 131 velop the quintessential Italian diving action guy…’ Directors like Spielberg and given them back; two years later I’m watch. The very first ones used move- and Zemeckis are able to mix it up, but tired of them. With the watches, I never ments and other parts provided by Rolex. few others do.” want to do that; there’s just too much Ratner’s bulky, 47-mm Panerai is the gen- That striving for versatility — the de- history there.” uine article, with a Rolex bezel and a sire not to be pigeonholed — also ex- When asked which of his many Rolex “crown” logo on the oversized tends to his watch tastes. The director beloved timepieces he would choose if winding crown. It is also still on its origi- prides himself on not limiting his scope forced to choose only one, the inveterate nal, weather-beaten leather strap, an to one style of watch or one brand. In film buff cannot help but illustrate his added value for a collector that many fact, he hasn’t even limited it to wrist- answer with a movie moment, one famil- otherwise-intact original Radiomirs can- watches. His collection includes vintage iar to fans of classic, silver-screen come- not claim. “You could sell this strap,” dress pocket watches, including a plat- dy. “If I had to hold on to just one, it says Khankin, “and buy two new Panerai inum Cartier, an ultra-thin Vacheron would definitely be my gold Paul New- watches.” Constantin in a platinum hunter’s case man,” he says. “It’s the most beautiful, Another particular style of watch that and a Patek Philippe made, according to it’s incredibly rare, and it’s probably Ratner seeks out is the triple-date moon- Bain, exclusively for Cartier. “What can tripled in value since I bought it. It phase, most notably represented by an- I say? I have eclectic tastes,” says Ratner. would be like the scene with Steve Mar- other very coveted collectible in his line- “There are collectors who only collect tin in The Jerk, where they told him he up, Patek Philippe’s Reference 1518, pro- sports watches, or only collect Rolex has to get out of his house and he’s like, duced from 1941 through 1954 (only Paul Newmans. I haven’t really found ‘I don’t need anything but this! This 281 pieces total), which was the first seri- my niche yet. I do know I’ve never really chair, I’m taking with me!’ That’s what ally produced mechanical watch that bought them for investment purposes. I’d be like. Take everything, but you’re combined a perpetual calendar with a They’re for me to enjoy. They’re what I not getting this watch. This watch is chronograph. Ratner describes the Patek buy to reward myself. I’ve bought cars coming with me.”  as one of his most cherished watches, and it’s easy to believe him: Bain admits that he sold it to him seven years ago but “I haven’t seen it in five years; it’s been in the safe deposit box.” Another Rolex, one of the most complicated in Ratner’s collec- tion, is a triple-date chronograph from 1950. It is another valuable watch that Ratner wears only occasionally, as wrist- watches often tend to get abused a bit in his line of work. The sets of one of his films — known for car chases, explosions and martial arts throwdowns — can be hazardous places for a watch. “I’m very active and hyper, always handling the camera, bumping into people; I really bang them around. That’s why I don’t have a lot of gaudy watches. I prefer to wear ones that only a few people in the world notice what makes them special.” While he’s acknowledged as an au- teur of the genre, he mildly bristles at the notion that he’s primarily a director of high-octane action flicks, pointing out “I’ve done films in at least four different genres. I’d love to do a musical, crime drama, political drama. Fifty years ago, directors would go from genre to genre Triple-date calendar watches, some of them with moon-phases, are because their job was to be storytellers. among Ratner’s favorite timepieces, It was like an assembly line. Now we especially models from Rolex and tend to put directors in a box. It’s like, Patek Philippe. ‘Okay, you’re the comedy guy, you’re the JOHN RUSSO PHOTO: