From Rush Hour to X-Men: The Last Stand, Brett Ratner 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 Russell Simmons 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 Playboy that sparked the previous discussion). Ernst Benz, producer of aviator-inspired founder Hugh Hefner. 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 “Prison Break,” and “so it was easier for him to understand the upcoming comedy pilot, “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 Robert Evans to Jim Brown. 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 Madonna (Ratner rustic stone fireplace and cathedral-like won an MTV Video Music Award for ceilings have played host to parties for “Beautiful Stranger”), Mariah Carey, 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 Chris Tucker. 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 Jackie Chan. 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 Rebecca Gayheart, actress crime caper (2004’s After the Sunset) be- prototype of the Zhang Ziyi 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.