Recession? What recession? Some brave restaurateurs are defying the economic gloom and doom and opening new places. We take a look at the design behind a select few. Today, Woodward in Boston--where a hip colonial might take his wench.
When it comes to strange bedfellows of design, combining the cutting-edge aesthetic of Morgans Hotel Group and the historic architecture of Boston is like imagining Snoop Dogg at the bar with Abigail Adams. It's easy to look ridiculous, tough to get right.
That, in a nutshell, was the schizophrenic challenge facing the Rockwell Group, when they got the nod to design the Mhg's latest outpost, the Ames Hotel in Boston, which opened in November 2009.
To start, the site of the new hotel was the historic Ames Building, an imposing 13-story Romanesque pile that was the first skyscraper in Boston, and once the tallest masonry building in America. Designed by the august...
When it comes to strange bedfellows of design, combining the cutting-edge aesthetic of Morgans Hotel Group and the historic architecture of Boston is like imagining Snoop Dogg at the bar with Abigail Adams. It's easy to look ridiculous, tough to get right.
That, in a nutshell, was the schizophrenic challenge facing the Rockwell Group, when they got the nod to design the Mhg's latest outpost, the Ames Hotel in Boston, which opened in November 2009.
To start, the site of the new hotel was the historic Ames Building, an imposing 13-story Romanesque pile that was the first skyscraper in Boston, and once the tallest masonry building in America. Designed by the august...
- 2/16/2010
- by Linda Tischler
- Fast Company
Film review: 'Divine Trash'
It may not exactly be fodder for one of those HBO "Making of" specials, but this documentary chronicling the career of iconoclastic filmmaker John Waters includes an extensive segment detailing the rehearsal and shooting of one of the most notorious scenes in screen history, Divine's ingestion of dog poop in "Pink Flamingos". For that alone, "Divine Trash" is worth the price of admission.
Made by Waters' longtime friend Steve Yeager and winner of the Filmmakers Trophy documentary award at Sundance a couple of years back, the film is receiving its New York theatrical premiere at Anthology Film Archives.
The low-budget effort concentrates on Waters' early years, up to and including the 1972 release of "Pink Flamingos", with only a brief coda showing him shooting "Pecker" to represent his more mainstream work. It includes current and vintage interviews with the filmmaker himself, as well as interviews with seminal figures in his life and career. Most amusing of these chats are with his parents, who admit that not only have they not seen "Pink Flamingos" (even though they provided the financing), they probably never will. Among the figures represented are filmmakers who influenced Waters (George and Mike Kuchar, Herschell Gordon Lewis), filmmakers he's influenced (Jim Jarmusch, Steve Buscemi, Hal Hartley) and such members of the Waters stock company as Edith Massey, Mink Stole and, of course, the late Glenn Milstead (a k a Divine).
Although the film unfortunately can't be considered a comprehensive portrait of Waters' career, it does provide fascinating information about his early years, beginning with his highly successful childhood puppet shows -- his talent for marketing apparently came early -- and continuing with his first films, shot on 8mm. One particularly interesting tidbit concerns the obviously enlightened minister who allowed Waters to hold the premiere of his first film, "Roman Candles", at his Baltimore church. Most amusingly, there is an interview with Mary Avara, now 84, who was the head of the Maryland Censor Board. Even today, the elderly woman becomes apoplectic at the mere recollection of Waters' work.
The centerpiece of the film is the segment concerning the making of "Pink Flamingos", with fascinating footage of Waters shooting his acknowledged masterwork. "Divine Trash" also serves as a tribute to Divine himself, who is revealed here to be a gentle and talented soul whose partnership with Waters was one of the most resonant director-performer matchups in screen history.
Divine Trash
Winstar Cinema
Producer-director:Steve Yeager
Screenwriters:Kevin Herrernan, Steve Yeager
Co-producer:Cindy Miller
Executive producers:Caroline Kaplan, Jonathan Sehering, Tim Kahoe, Brooks Moore, Thomas W. Yeager
Directors of photography:Jeff Atkinson, Jim Harris, Steve Yeager
Editors:Terry Campbell, Tim Kahoe, Steve Yeager
Music:Don Barto
Color/stereo
Running time -- 97 minutes
No MPAA rating...
Made by Waters' longtime friend Steve Yeager and winner of the Filmmakers Trophy documentary award at Sundance a couple of years back, the film is receiving its New York theatrical premiere at Anthology Film Archives.
The low-budget effort concentrates on Waters' early years, up to and including the 1972 release of "Pink Flamingos", with only a brief coda showing him shooting "Pecker" to represent his more mainstream work. It includes current and vintage interviews with the filmmaker himself, as well as interviews with seminal figures in his life and career. Most amusing of these chats are with his parents, who admit that not only have they not seen "Pink Flamingos" (even though they provided the financing), they probably never will. Among the figures represented are filmmakers who influenced Waters (George and Mike Kuchar, Herschell Gordon Lewis), filmmakers he's influenced (Jim Jarmusch, Steve Buscemi, Hal Hartley) and such members of the Waters stock company as Edith Massey, Mink Stole and, of course, the late Glenn Milstead (a k a Divine).
Although the film unfortunately can't be considered a comprehensive portrait of Waters' career, it does provide fascinating information about his early years, beginning with his highly successful childhood puppet shows -- his talent for marketing apparently came early -- and continuing with his first films, shot on 8mm. One particularly interesting tidbit concerns the obviously enlightened minister who allowed Waters to hold the premiere of his first film, "Roman Candles", at his Baltimore church. Most amusingly, there is an interview with Mary Avara, now 84, who was the head of the Maryland Censor Board. Even today, the elderly woman becomes apoplectic at the mere recollection of Waters' work.
The centerpiece of the film is the segment concerning the making of "Pink Flamingos", with fascinating footage of Waters shooting his acknowledged masterwork. "Divine Trash" also serves as a tribute to Divine himself, who is revealed here to be a gentle and talented soul whose partnership with Waters was one of the most resonant director-performer matchups in screen history.
Divine Trash
Winstar Cinema
Producer-director:Steve Yeager
Screenwriters:Kevin Herrernan, Steve Yeager
Co-producer:Cindy Miller
Executive producers:Caroline Kaplan, Jonathan Sehering, Tim Kahoe, Brooks Moore, Thomas W. Yeager
Directors of photography:Jeff Atkinson, Jim Harris, Steve Yeager
Editors:Terry Campbell, Tim Kahoe, Steve Yeager
Music:Don Barto
Color/stereo
Running time -- 97 minutes
No MPAA rating...
- 4/3/2000
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.