15. SOMA MAGAZINE:
60 THOMPSON HOTEL
Hidden between Spring and Broome Streets, sheltered from the sidewalk by Birch trees,
the Pomeranc Group brings Soho its very first understated hotel that offers an elegant,
residential feel. What makes 60 Thompson so different is how living "la vie quotidien" is
rendered possible in this center of art and style where the buzz is constant. Patrons who
turn to 60 Thompson find the ideal refuge for repose (and the necessary disco nap) from
an ever-bustling Manhattan. Flawless modern touches grace all 100 guest rooms and
suites, each touting oversized marble bathrooms with Roman mosaic. Linens and robes
are no less than Frette, duvets are the most luxurious down, in-room apothecary is by
Philosophy, and the pantry is filled with treats by both E.A.T. and Dean & Deluca. On the
rooftop, a garden offers guests a perch for cocktail sipping with the backdrop of SoHo's
water-tower-filled skyline as the 360 view. The bar behind the lobby’s Venetian plastered
walls is also worthy of it’s own acclaim, turning out a mecca mixed of media, business, art
and fashion people. The hotel’s restaurant and street side café, "Thom", – the brainchild
of the Bond Sushi and Indochine team – is another gem on New York's dining scene.
Hotelier Jason Pomeranc describes 60 Thompson as "Service sans attitude. This is not
a nightclub." Most patrons have already confronted enough admiration cast by Soho’s
self-elected fashion critics, and appreciate the temporary escape this refined boutique
hotel offers from clipboard-toting doormen. 60 Thompson offers the essence of what one
would want to retire to before hitting the next hip locale on the itinerary.

16. SOMA MAGAZINE (‘00):
MEAT PACKING DISTRICT DESIGN:
Off the beaten path, Manhattan’s Meat Packing District is the rising destination of the
insider seeking unique pieces in modern interior design. While fashion shoots take place
on the granite sidewalks of this eclectic neighborhood, the mimosa sipping brunch
crowds of Pastis, Fressen, and Florent (to name a few local watering holes) gladly tackle
uneven cobblestone streets in their dainty Manolo Blahniks. The Chelsea gallery crowd
trickles down to peruse some of the top design stores of Manhattan for functional and
innovative art. Celebrities living in the Meat Packing District also discover design finds
that are the antithesis of anything Pottery Barn. Boutiques such as Auto, Move Lab, Area
ID, Breuklyn, and Gansevoort Gallery benefit from the aesthetically savvy foot traffic and
the large pool of loyal customers who seek them out.
The Meat Packing District design boutiques specialize in merchandise from independent
artists, local to Japanese. Sold is the stuff that the avante design audience dreams of.
Each store considers the other not as competition, but rather as part of a collective. A
warm community feel is shared among them. No two boutiques carry the same
merchandise and each store attracts more business for the other. There is nothing
mainstream about them. The rawness of the meat markets adds a nice irony to the
sleekness of the design boutiques that neighbor them. The spirit found here is literally a
melange of meat and modern.
Gansevoort Gallery (72 Gansevoort Street) has seen the evolution of the
neighborhood first hand. Open since 1995, the gallery paved the path for future design
stores by carrying twentieth century vintage modern furniture including Noguchi, Wright,
and Eames. Next came Auto (805 Washington Street). For two years it has been
carrying Leger de Moderne, Roma Luba, and local design works from Brooklyn, among
others. Move Lab(803 Washington Street), open since last November, sells pieces
from Cell Design, Zoco Barcelona, and Toto. Breukelen (68 Gansevoort Street), the
newcomer from last May, describes its interior design collection as “sketchy-edgy.”
Breukelen specializes in design of the modern organic kind: steel with leather, wood
sculptures, ceramics, Frederica Tondato carpet hangings, Monica Castiglioni jewelry,
and Alicia Warner paintings.
The Meat Packing District design stores have attracted other shops & restaurants, which
indicates the vitality of the neighborhood. High-end-hip retail boutiques like Jeffrey’s,
Destination, and the most recent addition, Jussara Lee, promise to keep the daytime

17. allure of the area going strong. Newcomers on the food front are another Jean-Georges
Vongrichten creation and the restaurant Meet, serving Mediterranean style fare. Tucked
somewhere in between is the bar A.P.T. Of course, the exact address does not matter
as much as the door person’s last word.
A newly renovated condominium in the works on the corner of 13th and 9th Streets will
also attract more people appreciative of the Meat Packing District vibe. Rumors of a
state-side SOHO House swirl. And, reluctantly to some, a neighboring Hotel Gansevoort
can be counted on in the not too distant future. Design boutiques welcome the thought of
more visitors, as long as the originality of the district remains. Boutique owners only hope
the area will not share the same fate as SoHo, where the art galleries and design stores
that helped define the neighborhood are now being replaced by shops such as Sunglass
Hut and Swatch. After all, the signature scent of local meat packing companies is what
defines the character of the neighborhood.

18. INT FREEMAN'S RESTAURANT LOWER EAST SIDE DAWN
A wad of paper flies past a salt and pepper shaker on the
wooden table of a banquette.
AIDEN (O.S.)
Yes! Goal!
In the British barn-type atmosphere with taxidermied animal
busts on old-world wallpapered walls, a FEW STRAGGLING
HIPSTER dine near Max and Aiden. Max aims a plastic ketchup
bottle at his fries, it makes an AWKWARD SOUND. They LAUGH
and plow away at their burgers.
A STRIKING WAITRESS WITH A BLACK BOB, 27, rushes to the
table. Max beams, turns to Aiden and points to the waitress.
MAX
Ding, ding, ding! Jackpot. See! Wha
d’I tell you about this place,
mate? I saw you losing faith.
The waitress stares at them, taps her foot. Aiden nods and
smiles, then slides over an empty glass.
AIDEN
Another, please? And, don't worry.
When I get drunk I get real quiet
and talk in a whisper.
Aiden plays table soccer. The waitress turns to Max.
DREAM
SERIES OF SHOTS
A THREE-YEAR OLD MAX cuddles with his MOTHER, 27, slim, with
a BLACK BOB.
A TEN YEAR-OLD MAX plays TWISTER with his BABY-SITTER, 13,
slim with a BLACK BOB.
AN 18-YEAR-OLD MAX admires his mini-dress-wearing TEACHER,
34, slim with a BLACK BOB. The chalk board reads SEX ED.
BACK TO SCENE
WAITRESS
Hullo. I said: “Yooou?”
MAX
You. Me. Us. I'm not often so
direct, but.. you’re stunning. A
slice of heaven. Really.

19. Aiden SNICKERS under his breath, Max jabs him.
MAX (CONT’D)
I’d love your number.
The waitress leaves. Max studies her walk.
AIDEN
It’s not you. It’s about her Dad.
Hahah!
MAX
Shut up, wanker! I think she likes
me.
AIDEN
What about the girl from last
night?
MAX
Oh. I wasn't as excited about her
this morning.
AIDEN
The medical term for that is sober.
MAX
Thanks for the diagnosis, Doctor
Wanky-wank. That waitress reminds
me of Lisle.. What was I thinking?
AIDEN
That you loved her and wanted to
marry her.
MAX
Shut up.
Aiden raises his brow. The waitress darts over with the
drinks and the bill. Max grins. She walks away. Aiden SLAMS
his drink, SQUIRTS the ketchup. Max LAUGHS.
MAX (CONT’D)
I noticed you ignored Celia
tonight. Jealous of that guy, eh,
mate!
AIDEN
Yeeaah. No! No. That’s the gin and
tonic talking.
(to the glass)
Shut up, damn glass.
2.

20. MAX
Aha! You’re getting crushy over
your best friend! Let’s just call
it what it is.
AIDEN
Sorry, Max. You're Playstation and
I'm Xbox. We're ships in the night.
Aiden watches THREE MODELS in mini sequin dresses and high
heels walk by, then plays more table soccer.
Aiden straightens the salt and pepper shakers, and looks up.
AIDEN (CONT’D)
There. They’re straight now.
MAX
If you really like Celia, just get
it over with. Y’know wha'I mean? No
holds barred. That’s my modus
operandi.
AIDEN
I take my time with things now. I'm
a changed man. Since I started
yoga.
MAX
Ha! Yesterday! To meet Christy
Turlington, changed man! What you
are is chicken.
AIDEN
So. What's wrong with the chicken?
MAX
Nothing, mate. The chicken's a fine
bird. Go ahead. Act like poultry.
See where it gets you. Bock! Bock!
Feed me!
AIDEN
Shut up. I was planning to tell
her. I even designed.. a.. ring.
For.. her birthday. But, I thought
she liked that guy Oliver. I guess
not? She left with that dork
tonight. What do they call guys
like me? Idiots?
MAX
I have nothing funny to say to
that. Bock! Boooock!
3.

21. Aiden flicks the paper wad past the salt and pepper shaker,
SLAMS down his drink, stares into space.
MAX (CONT’D)
I’m worried about you. You’re
hexed. I should charge you for this
session! One-seventy-five a pop!
Since you’re my friend, here’s some
free advice: Treat the situation
like a computer glitch. Walk away
from the screen and things reset
themselves. Then again, what do I
know? I’m always running to the
Genius Bar.
Aiden slaps money on the table.
AIDEN
I'm drunk. You drunk?
Max stares, deadpan.
AIDEN (CONT’D)
That's okay. You will be someday.
Max takes Aiden’s glass away.
MAX
Aha! Here. Watch my formula in
action: Don’t think. Just do.
The waitress nears the table, Max perks up. Aiden walks away.
EXT FREEMAN’S RESTAURANT LOWER EAST SIDE DAWN
In the brightly lit, dead-end alley with white brick walls on
either side, Aiden taps on his phone.
His finger hovers over his “Favorites” list, Celia’s name at
the top.
Max approaches. Aiden puts his phone away.
MAX
Hey, X-Box! Lemme show you a little
something!
Max hands Aiden a slip of paper. Aiden studies it.
AIDEN
That’s a little something, alright.
The slip of paper reads “Astrid 346-”
4.

22. MAX
Aw, fuck.. Me. Does that count as
rejection?
Aiden slaps Max on the back and walks on.
AIDEN
Thanks for your expertise, Mad Max.
Check’s in the mail.
5.

23. THE AUTEURS.COM:
VENICE VS TELLURIDE: TWO FESTIVALS AT THE SAME BUT OCEANS APART
Both the Telluride Film Festival and the Venice Film Festival are, internationally, considered top
tier for their own unique reasons. Both take place at the same time, but couldn’t be more different.
As it turns out, this year Venice was celebrating its 65
th
anniversary and Telluride its 35
th
. Being a
regular of Telluride for the past several years, it took a friend’s wedding in the vicinity of the
Venice Film Fest to sway me away from “The Show” in Colorado. Secretly, though, I was happy
to have an excuse to compare the two events.
Founded by Tom Luddy in nineteen-seventy-three, Telluride is the only major festival of its caliber
to be free of the marketing hype. It has no competitions, awards, red-ropes, or red-carpet. At
Telluride people walk on pavement. Or dirt. The focus is on the films, filmmakers and filmmaking.
To be part of its official selection is already a grand honor. The roster of projects presented
include found and restored art-house films that any serious cinephile would dream of. Luddy also
has the keen ability to predict the contenders for the Oscar podium year after year. Spanning four
days, the program is so tightly packed that the chances of finding any weak sisters here is as
likely as finding a bad heirloom tomato at Chez Panisse.
Across the big pond in Venice, the location and scale of this festival offers one of the few
opportunities to view some award-worthy international feature gems that will, sadly, never make it
state-side. This helps make up for the few bad apples in the mixed bag of films at this eleven-day
event. Unlike the rumors have it, however, screenings at Venice start on time, and prove that
Italians are more organized than commonly thought. While waiting in line for screenings, you will
certainly be surrounded by an international crowd, primarily Italian. This could be a perfect
opportunity to learn a romance language. Those with accreditation passes will also be offered a
taste of the industry lounges, Venetian style (reads: free flowing Prosecco to sip as a chaser to
slow films).
What these two festivals do share is ridiculously dreamy locations. The tiny valley in which
Telluride is nestled neatly contains the festival in this down-to-earth, disarming town. Years ago, it
served as the perfect place to pitch the tent of an unpretentious film celebration that focuses on
excellent films, and which can’t grow out of hand. Filmmakers and festival attendees simply
mingle as lovers of celluloid. The turbulent puddle-jumper trip across the mountain ranges of
Colorado, alone, filters out any star-seekers. This is the place where Laura Linney met her now
husband who was both her VIP guide and also a local who works in real estate in town.
As for Venice, yes, it is arguably one of the most breathtaking places in the world. A city-wide
architectural museum that one hesitates to think of in the context of An Inconvenient Truth. The
festival is headquartered on the nearby Lido – a promontory between Venice and the Atlantic
which is only a few boat stops away from San Marco Square. The trip on the vaporetto, small
ferryboats that navigate the Venetian waterways, may be the most idyllic form of public
transportation known to man. Once at the festival center, the layout is conveniently compact, with
three of the four theaters neatly clustered together, and the fourth just a few minutes away. The
nearby Excelsior Hotel – where the festival originally began – is still a major hub for networking.
Filmgoers will also be found mingling at festival cafés and other sponsored lounges. Milling
around on the staircase of the Palazzo del Casino between screenings is standard.
There’s no doubt that Venice is set up to welcome fans seeking autographs from the movie stars
they admire. This is where you’ll see the slew of camera shutters clicking away at break-neck
speed. The festival environment almost breeds the behavior. The same actors and filmmakers
who can easily go to a café by themselves and casually chat with people in line on Main Street in
Telluride will need bodyguards at Venice.
Both festivals have tributes to filmmakers and luminaries. The way they differ is pretty

24. characteristic of the two events. At Telluride you have intimate panel discussions open to
everyone in the cozy old-western courthouse, or at the town park. At Venice, those talks are
“Press only” and fans will be waiting for autographs outside.
Parties at Venice can be quite memorable. Ahhh, yes. One night out, for example, included a
lavish premiere party in an opulent Venetian hotel followed by drinks on the Grand Canal. The
journey from one five-star hotel to the other involved some traipsing down skinny Venetian
cobblestone corridors in the company of enthusiastic industry party-goers dressed in suits and
gowns. It all felt very 8 ½. Those without event invites, however, would be very happy back at the
seaside terrace of the Excelsior Hotel. This buzzing spot is always filled with movers and shakers
sipping cocktails. And for those diehard festival-goers who haven’t eaten all day, you’re in luck, as
hazelnuts are a common bar snacks in this region of Italy (an extra plus if you don’t like or are
allergic to their cousin, the peanut).
As for the nightlife at Telluride, the electric energy comes from festival attendees dashing out of
screenings en route to the dinner tables and barstools of their favorite spots in town to
passionately discuss the film they just viewed. You could easily get into a lively discussion with
the Oscar winning cinematographer of one film about the art direction of another, while having the
founder of the festival chime in. There is also a nightly film screening underneath the moon and
stars at the park on the main street, West Colorado. But bring your parka! This is a mountain
town, and temperatures at night turn chilly.
Although I am partial to the relative calm of Telluride, the charms of Venice certainly attract large
crowds for good reason. Between the films and the parties at Venice, you may want to gauge
your festival burnout rate, then push yourself to stay two extra days. If you’re attending Telluride,
try arriving a day early so you can fit in a hike before the all-engaging, non-stop festival schedule
of films and filmmaker talks begin – occurring both at the panels or eateries in town. Be sure to
stay for the entire weekend.
As for which festival has the strongest program, Telluride will make an educated film-buff out of
anyone who isn’t already. Venice, despite all its logistical challenges of being both sandwiched
between and far away from Telluride and Toronto's premier festivals, still screens some the of
strongest films circulating each year. Both festivals are stomping-grounds for an unforgettable
time. Which event sounds more appealing to a festival-goer is simply a matter of taste.

25. THE AUTEURS.COM:
THE CORTO CORTISSIMO COMPETITION
The Corto Cortissimo competition at the 65th Venice Film Festival this early September
showcased twenty shorts over three days – some from starting filmmakers with the
breeding of prestigious film schools, others from self-taught music video directors and
others were everything in between. The audience assumed their most comfortable film
viewing position to watch a sometimes clumsy array of shorts ranging from “good”, to
“hmmm”, to “what was that”, to “that one was better”, to “okay, now we’re talking”, to “we
see this guy going places fast”. With about 1,400 submissions, all shorts certainly had
something to make them stand out. If there were any reoccurring theme detected in the
program, it would be of family and relationships.
Natalie Portman’s directorial debut of her own writing, Eve, opened the competition,
attracting an enthusiastic, camera-clicking crowd. Her film had many of the right
ingredients to spur curiosity: the star-studded cast (Lauren Bacall, Olivia Thirlby, Ben
Gazzara), a talented cinematographer (Adam Kimmel, Capote), and music by Sufjan
Stevens. Working with a legend like Bacall could be intimidating for any first time director.
So, Portman’s casting decision was certainly a bold undertaking in this straightforward
tale about the dating-life of seniors. She certainly gets points for that. With so many
submission at the Corto, we should move on. But out of the twenty, we’ll focus on the
award winners and viewer’s favorites – in an attempt to tip our hat to brevity.
The Altruist by Koen De Jaegher, won the Prix UIP for Best European Short. De
Jaegher’s work illustrated the economical consequences of human relationship in a world
where happiness comes from the buying and selling of family members. The exchanging
of glances was the best form of dialogue. Shot in black and white, free of dialogue, what
made this darkly funny Belgian piece most interesting was its ability to laugh at itself. In
the end, the main character stands alone with a dog.
Tierra y Pan, by Carlos Armella, won the Corto’s Lion award. At a quick eight minutes,
this entry from Mexico was applauded for its ability to efficiently shape a drama about a
woman’s misery and solitude in one set-up through cinematography and narration free of
dialogue. One of the most rarely used tools in filmmaking seems to be restraint. And this
is the short that stays freshly in your mind and grows on you in its simplicity. Armella, with
a CV that includes working with Alejandro González Iñárritu, is impressively talented at
expressing ideas visually.
We Who Stayed Behind by Martin De Thurah was elegant, dream-like and melancholy in
both art direction and story. That the score complemented the mood so perfectly hinted
at De Thurah’s music video background. The short also stands out from the usual
Danish film because it has a happy ending. The organic connection between the young
actors drew audiences in as the children in this lifeless city watched their parents and
teachers lose their will to live. As this happened, their blood turned from red to grey and
they marched away like zombies. One boy triumphed over this seeming fate and saved
some young friends in the process. In doing so, he showed that in even the most
depressing of circumstances, hope is all that’s needed to go on, that it comes from within,
and that optimism is as contagious as despair.
The Dinner by Karchi Perlmann was a stand out for the audience as much as the jury,
winning the Special Mention award. The highly stylized combination of bright colors and
fairly-tale feel balanced out this short’s grim story. A quick synopsis tells of a man who,
while listening to a radio show where hosts tease callers sharing absurd stories of fatal
accidents, slips on what turns out to be a lethal dollop of pig manure in the pen of his
very, very hungry animals. That it was the clever vehicle to address life in Budapest after
the riots of 2006 is the extra thing that wins Perlmann a bookmark as a director to watch.
Though the ending of the short was by no means “happy” Perlmann’s ability to make this

26. piece reverent in feel shows his talent. You watch the credits feeling joyful and laughing
(partly at the oddness of human psychology).
Joost van Ginkel’s Sand was the most heart-warming and heart-breaking story. If jurors
were on the fence about honoring this film as well, it would not be surprising. Spot-on
casting (that 90% bit of directing, they say) allowed for chemistry between characters.
Art direction was so well executed that certain shots still stay fresh in my mind. As Luuk,
a sand-carting truck driver and gentle, loving father wrestles with his volatile ex-wife’s
treatment of their daughter, his seaside excursions with eight-year-old Isabel temporary
heal any of her sadness. One of the most memorable scenes in the entire Corto was that
of tall, big-bellied Luuk clumsily twirling alongside his petite daughter, gracefully dancing in
her white tutu, as classical music played from the truck stereo, with headlights serving as
spotlights. The story’s ending poignantly expresseed the futile tragedy of what it is to
have one’s hands tied as a parent in the legalities of child custody gone wrong.
Over the three-day span of shorts in competition at the Biennale, I walked away pleased
with the offerings. Like with all festivals, one exciting thing about the Corto was the
chance to see new talent. It will be interesting to see where these directors go next. And
how else is it possible to see such varied collection of shorts that are film festival worthy
without needing to sift through a number of insufferable ones? Even then, there always
seems to be one project in the mix that leaves you scratching your head and begs the
question as to whether the film is artistic, or just plain offensive. It would hardly be a
complete short program without one. We won’t cover that one here. In all fairness, I think
the audience members who walked out at that point weren’t quite sure what the doctor
was doing to the baby. Like at most festivals, the audience clap-meter did not always fall
in line with the judges’ choices. So, I can’t help but wonder if there were some other gems
hidden in the remaining 1,380.