The official website for Daniel Louis Rivas



Daniel Louis Rivas
Height: 5’10’’ Weight: 155 lbs. Eyes: Green Hair: Brown


Daniel Louis Rivas was born and raised in New York City. A multi media performer since he was a child. Daniel had his first speaking role opposite Gary Oldman in 'Sid and Nancy' He decided to pursue it as a career. After fronting the short lived punk rock band 57-Blankness at eighteen. He soon relocated to Los Angeles. He soon discovered being in front of the camera and stage was not his only creative outlet. He started writing and painting. Daniel has appeared in such films as 'Black Ops', 'Adrenaline', 'Shackles' , 'Never Been Kissed' and most recently as Indie rock star Richard Havoc in 'Altamont Now', in which he did is own singing and contributed his own music to the film. His TV credits include a recurring role on 'New York Undercover' (FOX) as well as stints on 'CSI: Crime Scene Investigation' (CBS)  &'Law and Order' (NBC) and 'American Family' (PBS). He was also a regular on 'The IT Factor, Los Angeles' (Bravo). A former Calvin Klein, Levis & Sketchers model. Daniel has shot with the worlds best photographers like Crag Mcdean, Ellen Von Unwerth, Carter Smith, Ben Watts, Sheila Metzner, Terry Richardson, Francesca Sorrenti & Marc Baptiste. And has appeared in countless magazines like Detour, Interview, Paper, Lumo Vogue, Flaunt and others. Daniel has become an accomplished painter having had solo and group shows of his art in New York, Los Angeles and Amsterdam. While in the Netherlands Daniel was the first American painter allowed to take up 'artist in residence' at the late infamous Herman Brood's atelier.

Black Ops Co-Star Rebel Films / Roel Reine
Lobby Lobster Supporting Ind. / Tony Kaye
Altamont Now Lead Ind. / Joshua Brown
Santa Teresa Lead Ind. / Brenda Zuniga
Shackles Lead Lead Sony Pictures / Charles Winkler
Our Lady of Hollywood Lead AFI / Kenny Williams
The Insect Chorus Lead Ind. / Chloe Aftel
Adrenaline Lead Rebel Films / Roel Reine
Violent Kind Supporting Xiot Prods. / Scott Morgan
Suicide Regimen Lead Lead Emergency Prods. / Jesse Lawler
Zigzag Supporting Sony/ Pictures / David S. Goyer
Never Been Kissed Supporting Fox 2000 / Raja Gosnell
Mascara Co-Star Anamorph Films / Linda Kandell
Walking Mele Lead Island Pictures / Anee Misawa
Me and Max Lead Ind. / Carter Smith
The Professional Principal Columbia Pictures / Luc Besson
Basketball Diaries Principal New Line / Scott Kalvert
Sid and Nancy Supporting New Line / Alex Cox
CSI: Crime Scene Investigation Guest Star CBS
NY Undercover Recurring FOX
The “It” Factor, Los Angeles Lead Bravo
American Family Guest Star PBS
Faceoff Guest Star NBC
Law and Order Co-Star NBC
NYPD Blue Co-Star ABC
413 Hope Street Co-Star FBC
Matt Walters Co-Star CBS
Dream Star Co-Star NBC
Gryphon Co-Star PBS
Fight Latin Festival at the Public Theatre/Duo Theatre
Member of the Wedding Hartley House Theatre
Latin Retreat American Theatre of Actors
Howard Fine
Heide Davis
Joanna Sanchez
Allen Sheterian (dialect coaching)
Merilyn Carney
Ghettogloss Gallery Los Angeles, California Group Show 08/ 2005
Herman Brood Gallery Amsterdam, Holland Solo Show 03/ 2003
The Stip Gallery Amsterdam, Holland Group Show 01/ 2003
Latino Museum Of LA      
+ Amnesty International Los Angeles, California Solo Show 01/ 2002
Latino Museum Of LA      
+ Benefit For Digna Ochoa Los Angeles, California Group Show 12/ 2001
Get Real Art Gallery New York, New York Solo Show 10/ 1999
Get Real Art Gallery New York, New York Group Show 09/ 1999
June 14th, 2008 · 4 Stars from Pulp Movies

Pulp Movies is an excellent website run by Paul P. out of Belgium– a nice compendium of all the genre filmmaking going on worldwide. Which makes it all the more exciting that Pulp Movies gave ALTAMONT NOW 4-stars! A little taste here…

Such an approach is not without its risks but writer/director Joshua Brown has managed to pull together a cast that is strong enough to make this work. All of the actors put in very solid performances and, although they are all stereotypes expressing clichés, you get a very strong sense that these are fully rounded stereotypes who really do believe in their clichés.
Special mention, though, has to go to Daniel Louis Rivas' utterly charismatic performance that manages to walk the very fine line between parody and slapstick. It is a great testament to Rivas' portrayal that, while I really did not like Richard Havoc at all, I was also very keen to know what was going to happen to him.
Also deserving of a mention is the soundtrack with which a variety of underground bands manage to generate a truly anarchic atmosphere and give the film a feel that sits somewhere between being a music documentary and an exploitation film.
Altamont Now is a very effective satire of the self-indulgent posturing and angsty whining of a bunch of wannabe rebels who are at a complete loss for anything to rebel against. This is an all-too familiar target and one that Brown gleefully and brilliantly skewers.

June 11th, 2008 · Bad Lit digs ALTAMONT NOW!

We're very excited that ALTAMONT NOW just received a really nice review from the underground film and comics website Bad Lit. Run by Mike Everleth, Bad Lit is an invaluable resource for finding out about great underground films and where to see them. So needless to say, we are… rather stoked/psyched/feeling warm all over!

If rock 'n' roll is all about sex and rebellion, then how fitting is it for Joshua von Brown to set his punk rock apocalypse, Altamont Now, in an actual nuclear missile silo?

There are two truly great things about this extremely fun film. The first is that von Brown found an actual missile silo in which to shoot. In no-budget underground films, one is used to seeing ordinary locations having some cheap decorations strewn about to sub for unfilmable places, e.g. Mike Kuchar thowing up a couple of tawdry curtains in his Brooklyn bedroom to become a futuristic palace in Sins of the Fleshapoids. But being able to film in a real abandoned military installation gives a nice air of gravitas to Altamont Now. Based on the location alone, the film demands the audience to take everything seriously despite it being an outrageous comedy.
The other great thing about this film is the star-making lead performance by Daniel Louis Rivas as Richard Havoc. Again, the film is a comedy, but von Brown has his actors playing the entire thing straight and Havoc is a completely unsympathetic, ego-bloated lunatic. Rivas has a difficult line to walk. His character is supposed to be over-the-top ridiculous, but Rivas holds enough of himself back so that he's not buffoonish. Much of the humor of the film comes from Rivas' straight-laced, deadpan delivery. All the other actors — including Frankie Shaw, Teddy Eck, Matthew Humphreys and Raphael Nash Thompson — all put in superb performances, too, but Rivas has a real forceful charisma that makes him thoroughly compelling to watch.

Although the movie kind of reminded me as a cross between Mike Z's classic hoax film How to Start a Revolution in America and John Waters' Cecil B. Demented, von Brown has a style all his own and has crafted a really nifty and funny social satire in Altamont Now.


Shackles" percolates with enough jailhouse energy and sufficient high-def dazzle to make up for many of its character flaws. Mixing music vid values, a literature lesson, a little '30s Warners prison drama and a soupcon of "To Sir With Love," helmer Charles Winkler stirs up a ready-to-blow inmate story in which the teacher and teenagers come to terms with themselves and their inner poet. Pic could find a solid aud among those its message is meant to reach: the young, the poor, the hip, the criminally inclined and those who want to save them.

Set largely in a Riker's Island-style facility (but shot mostly, and all too obviously, in Los Angeles), the film in many ways is a collection of conventions -- the teacher seeking redemption, the inmate students finding self-respect, and the whole thing culminating in a near orgy of righteous outrage. But it is the acting that gets Winkler over the hump -- that, and the perpetual motion of Roy Wagner's HD camera work.
D.L. Hughley is Ben Cross, a teacher haunted by his past, on whom the warden (Georg Stanford Brown) takes a chance and hires to teach at a pilot school at maximum security Shackleton Prison. (Actually, this is purely a plot device. None of the inmates has yet been tried or convicted so they should be at a detention center rather than a prison.)
Ben has to wrestles his own demons -- sporadic flashbacks slowly provide the details -- as well as the ridicule, threats and potential violence of his students, the worst of whom is the very literarily named Gabriel Garcia (Jose Pablo Cantillo). Gabriel, coincidentally, turns out to have the richest gift for both wordplay and the art of the poetry slam. It's like he's been doing it for years.
And this is a problem for "Shackles." Gabriel's star is born all too brightly and quickly. Likewise, Ben's bellicose attitude toward the prison staff seems either naive or stupid, and in either case implausible. Both indicate a distinct lack of character and narrative development.
But at the same time, a lot of "Shackles" works well. Daniel Louis Rivas makes Pretty, Gabriel's chief ally and a possible homicidal maniac, a complex and strangely attractive character. Both Hughley and Castillo, in comparison, suffer from being directed into overly broad, overly righteous performances, made all the more glaring by Cynthia Martell's performance as the jail guard Loretta. Martell has a one-minute scene of such quivering fury, fear and internal combustion, she steals the movie.

Copyright © Daniel Louis Rivas, 2011