Tiffany & Co., New York
Four years in the making, the remodeled iconic Tiffany & Co. flagship at the corner of Fifth Avenue and 57th Street (pictured above) just debuted, christened with a massive celeb-studded party (where Florence Pugh told THR, “My very, very first boyfriend actually got me my first Tiffany necklace, and I’ll never forget it.”) Newly dubbed The Landmark, the redesigned 1940 building features custom artwork, immersive displays and a dedicated high-jewelry space. The extensive 10-floor project took four years to complete and was overseen by architect and designer Peter Marino. On the main floor, what was once an interior of dark wood paneling has been transformed to become a light and bright space, including oversized arched “windows” that are actually video installations depicting the surrounding city. The main floor includes an overhead “Diamond Skylight” installation by artist Hugh Hutton, while the back wall is dominated by a 1982 painting by Jean-Michel Basquiat,...
Four years in the making, the remodeled iconic Tiffany & Co. flagship at the corner of Fifth Avenue and 57th Street (pictured above) just debuted, christened with a massive celeb-studded party (where Florence Pugh told THR, “My very, very first boyfriend actually got me my first Tiffany necklace, and I’ll never forget it.”) Newly dubbed The Landmark, the redesigned 1940 building features custom artwork, immersive displays and a dedicated high-jewelry space. The extensive 10-floor project took four years to complete and was overseen by architect and designer Peter Marino. On the main floor, what was once an interior of dark wood paneling has been transformed to become a light and bright space, including oversized arched “windows” that are actually video installations depicting the surrounding city. The main floor includes an overhead “Diamond Skylight” installation by artist Hugh Hutton, while the back wall is dominated by a 1982 painting by Jean-Michel Basquiat,...
- 5/6/2023
- by Laurie Brookins
- The Hollywood Reporter - Movie News
The sparkling silver Gucci gown Jessica Chastain wore when she presented at last month’s Oscars has a new home: Gucci Salon on Melrose Place.
The luxury house has just opened the new destination on the covetable corner that was long home to Marc Jacobs in the luxe shopping district where fellow brands Chloe, Bottega Veneta, The Row, Marni, Balmain, A.P.C., Isabel Marant, Oscar de la Renta and others are within a stone’s throw.
But Gucci Salon is not like all the rest. Described as an “ultimate luxury destination devised as a transformative, creative space with a tailored atmosphere,” it is not open to the public and will only be available to high-end clients by appointment only. And true to its salon name, the space is designed to be a home to “creative conversation, for exploration and amusement.” Gucci has reserved space for private clients in other locations,...
The luxury house has just opened the new destination on the covetable corner that was long home to Marc Jacobs in the luxe shopping district where fellow brands Chloe, Bottega Veneta, The Row, Marni, Balmain, A.P.C., Isabel Marant, Oscar de la Renta and others are within a stone’s throw.
But Gucci Salon is not like all the rest. Described as an “ultimate luxury destination devised as a transformative, creative space with a tailored atmosphere,” it is not open to the public and will only be available to high-end clients by appointment only. And true to its salon name, the space is designed to be a home to “creative conversation, for exploration and amusement.” Gucci has reserved space for private clients in other locations,...
- 4/10/2023
- by Chris Gardner
- The Hollywood Reporter - Movie News
Autobiographical clip, shot in various New York City locations, will premiere on E!
By Jocelyn Vena
Lady Gaga
Photo: Ethan Miller/ Getty Images
On Thursday, Lady Gaga will officially "Marry the Night." The singer announced on Twitter that she'll premiere her highly anticipated video for the song on E!
Directed by Mother Monster herself, it marks the first time she's ever directed a video completely on her own. Gaga previously directed clips in collaboration with her Haus or former creative director Laurieann Gibson.
Shot at various locations in New York City in October, including the Snug Harbor Cultural Center in Staten Island, Gaga weaves an autobiographical tale in the new clip. At another NYC location, Gaga was spotted rolling around on the roof of a car.
In a preview released earlier this month, a "Girl, Interrupted"-type story line was teased. In it, Gaga is rolled on a gurney through a mental ward.
By Jocelyn Vena
Lady Gaga
Photo: Ethan Miller/ Getty Images
On Thursday, Lady Gaga will officially "Marry the Night." The singer announced on Twitter that she'll premiere her highly anticipated video for the song on E!
Directed by Mother Monster herself, it marks the first time she's ever directed a video completely on her own. Gaga previously directed clips in collaboration with her Haus or former creative director Laurieann Gibson.
Shot at various locations in New York City in October, including the Snug Harbor Cultural Center in Staten Island, Gaga weaves an autobiographical tale in the new clip. At another NYC location, Gaga was spotted rolling around on the roof of a car.
In a preview released earlier this month, a "Girl, Interrupted"-type story line was teased. In it, Gaga is rolled on a gurney through a mental ward.
- 11/29/2011
- MTV Music News
Singer performs her latest Born This Way track, reveals video details in India.
By Jocelyn Vena
Lady Gaga in New Delhi, India
Photo: India Today Group/Getty Images
Back in April, Lady Gaga and the world of Indian pop culture kicked off their love affair when Indian composers Salim-Sulaiman produced a remix of Gaga's smash "Born This Way." And Gaga kept the fire burning during a recent trek to the country.
On Sunday night at a Formula One afterparty in Greater Noida, Gaga performed a Bollywood version of her Born This Way single "Marry the Night," according to Aceshowbiz.com.
"I feel like I've waited a long time to come here. And I feel very grateful," she told the excited crowd at the party. "For the first time ever, I'm going to sing 'Marry the Night.' "
Gaga sat at a piano and played a slowed-down version of the song,...
By Jocelyn Vena
Lady Gaga in New Delhi, India
Photo: India Today Group/Getty Images
Back in April, Lady Gaga and the world of Indian pop culture kicked off their love affair when Indian composers Salim-Sulaiman produced a remix of Gaga's smash "Born This Way." And Gaga kept the fire burning during a recent trek to the country.
On Sunday night at a Formula One afterparty in Greater Noida, Gaga performed a Bollywood version of her Born This Way single "Marry the Night," according to Aceshowbiz.com.
"I feel like I've waited a long time to come here. And I feel very grateful," she told the excited crowd at the party. "For the first time ever, I'm going to sing 'Marry the Night.' "
Gaga sat at a piano and played a slowed-down version of the song,...
- 10/31/2011
- MTV Music News
Nacho Libre
Jack Black, "School of Rock" writer Mike White and "Napoleon Dynamite" director Jared Hess make up the fearsome comedy tag team behind "Nacho Libre", an amiably clunky, unapologetically silly summer confection that nevertheless lands sufficient lethal slams to the funny bone to rake in mucho dinero for Paramount.
Set in the colorful world of Lucha Libre -- sort of the Mexican equivalent of WWE -- the deliberately off-kilter picture throws political correctness to the mat with abandon, but that unlikely will be much of a concern for its target demo.
Black takes on his most fully realized character to date as Nacho, the orphaned son of a Scandinavian missionary and a Mexican deacon (which would explain the wacky accent) who now is a cook in the monastery in which he was raised.
Tired of feeling put upon by the friars, Nacho finds relative respect by leading a double life as a masked luchador with plans to take his prize money to buy better food for the orphans which, in turn, would hopefully impress the lovely Sister Encarnacion (popular Mexican actress Ana de la Reguera).
Finding a worthy partner in the timid, skeletal Esqueleto (the hysterical Hector Jimenez), Nacho steps into the ring and puts his dream to the test opposite a succession of real-life luchadores including Ramses (Cesar Gonzalez aka Bronco) and, in the role of Satan's Helpers, the screeching midget duo of Filliberto Estrella Calderon and Gerson Virgen Lopez.
Given the comic talents involved, there might have been hopes for something more dynamic than the languid pacing and self-consciously quirky style found here, but those potential deficits prove to be part of the production's considerable charms.
Director Hess, who penned the script along with his wife and writing partner, Jerusha Hess and White, lends the film a fittingly eccentric look and feel with the assist of cinematographer Xavier Perez Grobet ("Before Night Falls"), production designer Gideon Ponte ("The Notorious Bettie Page"), and especially those wondrous Spandex creations of costume designer Graciela Mazon, a frequent Robert Rodriguez collaborator.
Filmed entirely on location in the southern Mexican state of Oaxaca, "Nacho Libre" makes effective use of both the local color and talent, especially in Jimenez, who has a knack for stealing attention away from the antics of his capable co-star simply by doing absolutely nothing.
Look out, Laurel and Hardy!
Nacho Libre
Paramount Pictures
Paramount Pictures presents a Nickelodeon Movies/
Black & White production
A Jared Hess film
Credits:
Director: Jared Hess
Screenwriters: Jared Hess & Jerusha Hess & Mike White
Producers: Mike White, Jack Black, Julia Pistor, David Klawans
Director of photography: Xavier Perez Grobet
Production designer: Gideon Ponte
Editor: Billy Weber
Costume designer: Graciela Mazon
Music: Danny Elfman
Cast:
Nacho: Jack Black
Esqueleto: Hector Jimenez
Sister Encarnacion: Ana de la Reguera
Guillermo: Richard Montoya
Ramses: Cesar Gonzalez
MPAA rating PG
Running time -- 91 minutes...
Set in the colorful world of Lucha Libre -- sort of the Mexican equivalent of WWE -- the deliberately off-kilter picture throws political correctness to the mat with abandon, but that unlikely will be much of a concern for its target demo.
Black takes on his most fully realized character to date as Nacho, the orphaned son of a Scandinavian missionary and a Mexican deacon (which would explain the wacky accent) who now is a cook in the monastery in which he was raised.
Tired of feeling put upon by the friars, Nacho finds relative respect by leading a double life as a masked luchador with plans to take his prize money to buy better food for the orphans which, in turn, would hopefully impress the lovely Sister Encarnacion (popular Mexican actress Ana de la Reguera).
Finding a worthy partner in the timid, skeletal Esqueleto (the hysterical Hector Jimenez), Nacho steps into the ring and puts his dream to the test opposite a succession of real-life luchadores including Ramses (Cesar Gonzalez aka Bronco) and, in the role of Satan's Helpers, the screeching midget duo of Filliberto Estrella Calderon and Gerson Virgen Lopez.
Given the comic talents involved, there might have been hopes for something more dynamic than the languid pacing and self-consciously quirky style found here, but those potential deficits prove to be part of the production's considerable charms.
Director Hess, who penned the script along with his wife and writing partner, Jerusha Hess and White, lends the film a fittingly eccentric look and feel with the assist of cinematographer Xavier Perez Grobet ("Before Night Falls"), production designer Gideon Ponte ("The Notorious Bettie Page"), and especially those wondrous Spandex creations of costume designer Graciela Mazon, a frequent Robert Rodriguez collaborator.
Filmed entirely on location in the southern Mexican state of Oaxaca, "Nacho Libre" makes effective use of both the local color and talent, especially in Jimenez, who has a knack for stealing attention away from the antics of his capable co-star simply by doing absolutely nothing.
Look out, Laurel and Hardy!
Nacho Libre
Paramount Pictures
Paramount Pictures presents a Nickelodeon Movies/
Black & White production
A Jared Hess film
Credits:
Director: Jared Hess
Screenwriters: Jared Hess & Jerusha Hess & Mike White
Producers: Mike White, Jack Black, Julia Pistor, David Klawans
Director of photography: Xavier Perez Grobet
Production designer: Gideon Ponte
Editor: Billy Weber
Costume designer: Graciela Mazon
Music: Danny Elfman
Cast:
Nacho: Jack Black
Esqueleto: Hector Jimenez
Sister Encarnacion: Ana de la Reguera
Guillermo: Richard Montoya
Ramses: Cesar Gonzalez
MPAA rating PG
Running time -- 91 minutes...
- 6/16/2006
- The Hollywood Reporter - Movie News
Abandon
"Abandon" is a highly schizophrenic movie that clearly wants to explore the lives of university students under stress their senior year but is forced to do so within a thriller format that requires spooky moments and malevolent ghosts.
Stephen Gaghan, the Oscar-winning writer of "Traffic", makes his directing debut here from his own script, "suggested" by Sean Desmond's horror novel "Adam's Fall". There are certainly enough Big Issues floating around: The movie's characters encounter academic pressures, substance abuse, fears of abandonment, romantic misfires and various other psychological challenges that lend themselves to an intense, compelling drama. But instead of a lively examination of human relationships and university life, we get cops, missing persons, dark tunnels and a twist ending.
With "Dawson's Creek"'s Katie Holmes and "Law & Order's" Benjamin Bratt top-billed and Halloween trappings of mystery and shock enveloping its fictional campus, "Abandon" should draw the younger crowd. Older audiences intrigued by the first film from the writer of "Traffic" may be disappointed, though, at how easily he abandons the dramatic merits of that film for thriller gimmickry.
We catch Holmes' Katie Burke in full stride her senior year. As graduation looms, she faces job interviews, final exams, a difficult thesis and, most troubling of all, continuing questions about a mercurial boyfriend, Embry (Charlie Hunnam), who vanished two years earlier. What provokes the latter is probing by detective Wade Handler (Bratt), a member of what must be the slowest acting police force in existence as it is only now looking into the 2-year-old disappearance.
Katie has two major problems. Her father's abandonment of her as a small child still clouds her relationships with men. What's more, she draws men to her like bees to nectar. Along with the missing boyfriend, fellow student Harrison (Gabriel Mann) can't take his eyes off her and the cop is soon mooning over her seemingly fragile beauty. When she toddles off to a shrink (Tony Goldwyn) to sort out her emotional life, even he can't help making suggestive remarks. What's a girl to do?
Gaghan's script is surprisingly wobbly at times. He handles exposition clumsily, with scenes so focused on backstory they impede the story's forward momentum. In one puzzling encounter, Wade waylays a student and friend of Katie's (Gabrielle Union) to ask her about Embry's drug bust more than two years ago. Why not consult Embry's rap sheet back at the station?
Gaghan's characters come loaded down with all sorts of personal travails that never pay off in terms of story or character development. Wade, for instance, is a recovering substance abuser in Alcoholics Anonymous, but nothing about this plays a significant role in the action.
About midway through, the tension between Gaghan's dramatic instincts and his need to fulfill genre requirements creates a kind of stagnation in the story. Relationships, especially the unlikely one between the coed and the detective, look promising. Yet Clint Mansell's score, with its eerie, tinkling sounds, and designer Gideon Ponte's claustrophobic sets, ranging from late-night library stacks to dark passageways and a dilapidated old house, continue to insist that genre elements will prevail.
Then the disappearance of a second character, triggering anxiety and suspicion among Katie's friends, tips the balance in favor of the horror/thriller. From that point on, Gaghan is forced to abandon the more interesting elements of "Abandon" to shepherd the thriller to a somewhat obvious conclusion.
ABANDON
Paramount Pictures
Paramount and Spyglass Entertainment present a Lynda Obst production
Credits:
Screenwriter-director: Stephen Gaghan
Producers: Lynda Obst, Edward Zwick, Roger Birnbaum, Gary Barber
Executive producer: Richard Vane
Director of photography: Matthew Libatique
Production designer: Gideon Ponte
Music: Clint Mansell
Co-producers: Elizabeth Joan Hooper, Shannon Burke
Costume designer: Louise Frogley
Editor: Mark Warner
Cast:
Katie Burke: Katie Holmes
Wade Handler: Benjamin Bratt
Embry Larkin: Charlie Hunnam
Samantha: Zooey Deschanel
Robert: Mark Feuerstein
Lt. Stayton: Fred Ward
Mousy Julie: Melanie Jayne Lynskey
Prof. Jergensen: Philip Bosco
Harrison: Gabriel Mann
Running time -- 98 minutes
MPAA rating: PG-13...
Stephen Gaghan, the Oscar-winning writer of "Traffic", makes his directing debut here from his own script, "suggested" by Sean Desmond's horror novel "Adam's Fall". There are certainly enough Big Issues floating around: The movie's characters encounter academic pressures, substance abuse, fears of abandonment, romantic misfires and various other psychological challenges that lend themselves to an intense, compelling drama. But instead of a lively examination of human relationships and university life, we get cops, missing persons, dark tunnels and a twist ending.
With "Dawson's Creek"'s Katie Holmes and "Law & Order's" Benjamin Bratt top-billed and Halloween trappings of mystery and shock enveloping its fictional campus, "Abandon" should draw the younger crowd. Older audiences intrigued by the first film from the writer of "Traffic" may be disappointed, though, at how easily he abandons the dramatic merits of that film for thriller gimmickry.
We catch Holmes' Katie Burke in full stride her senior year. As graduation looms, she faces job interviews, final exams, a difficult thesis and, most troubling of all, continuing questions about a mercurial boyfriend, Embry (Charlie Hunnam), who vanished two years earlier. What provokes the latter is probing by detective Wade Handler (Bratt), a member of what must be the slowest acting police force in existence as it is only now looking into the 2-year-old disappearance.
Katie has two major problems. Her father's abandonment of her as a small child still clouds her relationships with men. What's more, she draws men to her like bees to nectar. Along with the missing boyfriend, fellow student Harrison (Gabriel Mann) can't take his eyes off her and the cop is soon mooning over her seemingly fragile beauty. When she toddles off to a shrink (Tony Goldwyn) to sort out her emotional life, even he can't help making suggestive remarks. What's a girl to do?
Gaghan's script is surprisingly wobbly at times. He handles exposition clumsily, with scenes so focused on backstory they impede the story's forward momentum. In one puzzling encounter, Wade waylays a student and friend of Katie's (Gabrielle Union) to ask her about Embry's drug bust more than two years ago. Why not consult Embry's rap sheet back at the station?
Gaghan's characters come loaded down with all sorts of personal travails that never pay off in terms of story or character development. Wade, for instance, is a recovering substance abuser in Alcoholics Anonymous, but nothing about this plays a significant role in the action.
About midway through, the tension between Gaghan's dramatic instincts and his need to fulfill genre requirements creates a kind of stagnation in the story. Relationships, especially the unlikely one between the coed and the detective, look promising. Yet Clint Mansell's score, with its eerie, tinkling sounds, and designer Gideon Ponte's claustrophobic sets, ranging from late-night library stacks to dark passageways and a dilapidated old house, continue to insist that genre elements will prevail.
Then the disappearance of a second character, triggering anxiety and suspicion among Katie's friends, tips the balance in favor of the horror/thriller. From that point on, Gaghan is forced to abandon the more interesting elements of "Abandon" to shepherd the thriller to a somewhat obvious conclusion.
ABANDON
Paramount Pictures
Paramount and Spyglass Entertainment present a Lynda Obst production
Credits:
Screenwriter-director: Stephen Gaghan
Producers: Lynda Obst, Edward Zwick, Roger Birnbaum, Gary Barber
Executive producer: Richard Vane
Director of photography: Matthew Libatique
Production designer: Gideon Ponte
Music: Clint Mansell
Co-producers: Elizabeth Joan Hooper, Shannon Burke
Costume designer: Louise Frogley
Editor: Mark Warner
Cast:
Katie Burke: Katie Holmes
Wade Handler: Benjamin Bratt
Embry Larkin: Charlie Hunnam
Samantha: Zooey Deschanel
Robert: Mark Feuerstein
Lt. Stayton: Fred Ward
Mousy Julie: Melanie Jayne Lynskey
Prof. Jergensen: Philip Bosco
Harrison: Gabriel Mann
Running time -- 98 minutes
MPAA rating: PG-13...
- 10/18/2002
- The Hollywood Reporter - Movie News
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