Philippe Starck: Difference between revisions
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{{advert|date=February 2017}} |
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Paul Blart Mall Cop by Callum Williams |
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{{Infobox person |
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|name = Philippe Starck |
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|image = Phillippe Starck 2011.jpg |
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|caption = Philippe Starck in 2011 |
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|birth_date = {{birth date and age|1949|1|18}} |
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|birth_place = [[Paris]], France |
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|nationality = French |
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|website = [http://www.starck.com Starck.com] |
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}} |
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'''Philippe Starck''' (born January 18, 1949)<ref name=moma>{{cite web |url=http://www.moma.org/collection/artists/8418 |title=Philippe Starck French, born 1949 |website=moma.org |publisher=Museum of Modern Art |access-date=31 January 2016}}</ref> is a French designer known since the start of his career in the 1980s for his interior, product, [[Industrial design|industrial]] and architectural design including furniture.<ref>Les Années 80, Flammarion, 1984</ref><ref>Le Petit Larousse Illustré 2012</ref> |
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==Career== |
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Let's go! |
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The son of an aeronautical engineer, Starck studied at the [[École Camondo]] in Paris. An inflatable structure he imagined in 1969 was a first incursion into questions of materiality, and an early indicator of Starck's interest in where and how people live. In the same year, [[Pierre Cardin]] appointed Starck as the art director of his furniture sector. {{citation needed|date=September 2015}} |
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Move it! |
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===Starck Product=== |
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While working for [[Adidas]], Starck set up his first [[industrial design]] company, Starck Product – which he later renamed Ubik<ref>"The who's who of design. Name: Starck Philippe, born 18 January 1949, son of Andre Starck, [[aeronautics engineer]]. His family originally coming from [[Alsace]] region, before his grandfather had moved to [[Paris]]. Studies: Ecole Camondo in Paris. Profession: designer, boss of Ubik. Distinctions: Award for the Paramount Hotel in New York (1992), Best Design Oscar for the Beneteau yacht (1990); Platinum Circle Award (Chicago 1987), Designer of the Year (1985). Management n°24, p 122, February 1997</ref> after [[Ubik|Philip K. Dick's novel]] – and began working with manufacturers in Italy ( Driade), [[Alessi (company)|Alessi]], [[Kartell]] – and internationally, including Austria's Drimmer, [[Vitra (furniture)|Vitra]] in Switzerland and Spain's Disform. His concept of democratic design led him to focus on mass-produced consumer goods rather than one-off pieces, seeking ways to reduce cost and improve quality in [[mass market]] goods.<ref>Designs on love, Le Monde, 10 February 2008</ref> |
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50 more yards! |
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In 1983, then-French President [[François Mitterrand]], on the recommendation of his Minister of Culture, [[Jack Lang (French politician)|Jack Lang]], chose Starck to refurbish the president's private apartments at the [[Élysée]]. The following year he designed the Café Costes.<ref>Philippe Starck pulled off his first feat with his interior for the Parisian nightclub and restaurant Les Bains-Douches, followed by Café Costes, "Psychoanalysis of the Starck Object", ''[[Le Monde]]'', 27 January 1994</ref> |
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All right, let's go! Pick it up! |
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Starck's output expanded to include furniture, decoration, architecture, [[street furniture]], industry (wind turbines, [[photo booth]]s), bathroom fittings, kitchens, floor and wall coverings, lighting, domestic appliances, office equipment such as [[stapler]]s, utensils (including a juice squeezer and a [[toothbrush]]), tableware, clothing, accessories (shoes, eyewear, luggage, watches) toys, glassware (perfume bottles, mirrors), graphic design and publishing, even food ([[Panzani]] pasta, Lenôtre [[Yule log]]), and vehicles for land, sea, air and space (bikes, motorbikes, yachts, planes). The buildings he designed in Japan, starting in 1989, went against the grain of traditional forms. The first, Nani Nani, in [[Tokyo]], is an anthropomorphic structure, clad in a living material that evolves over time. The thesis being: design should take its place within the environment but without impinging on it; an object must serve its context and become part of it. |
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- Let's go! |
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- Yes, sir! |
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A year later he designed the [[Asahi Beer Hall]] in Tokyo, a building topped with a golden flame. This was followed in 1992 by Le Baron Vert office complex in [[Osaka]]. Starck's buildings, while dedicated to work, are no less instilled with life and its constant effervescence. In France he designed the extension of the École Nationale Supérieure des Arts Décoratifs ([[ENSAD]]) in Paris (1998). |
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You're running out of time, Bryant! |
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[[File:Alhondiga.jpg|thumb|[[Alhóndiga Bilbao|Alhondiga]], Bilbao, Spain, 2010]] |
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Make it all the way around the track! |
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Come on! |
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The [[Alhóndiga Bilbao|Alhondiga]], a more recent project, is a 43,000 sq. m culture and leisure venue in [[Bilbao]] that opened in 2010.<ref>The master of metamorphosis, Philippe Starck has transformed this former oil and wine warehouse into an arts and leisure centre. Each function has its own space, defined by set theory. Figaroscope, June 2010</ref> |
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Starck, who loves ships and the sea, designed the new infrastructure for the [[Port Adriano harbour]] on the south-west bay of [[Palma de Mallorca]], and was also artistic director for the interior. It opened in April 2012. He also designed [[Steve Jobs]]'s yacht, [[Venus (yacht)|Venus]], which launched in October 2012.<ref>Just over a year since the death of Apple's founder, Steve Jobs's yacht, designed by Philippe Starck ... was moored in the Netherlands where it is being completed. L'Express, October 2012</ref> |
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You want to be troopers? |
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You better move it! |
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===Hotels=== |
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For the past thirty years{{since when|date=November 2017}} Philippe Starck has been designing hotels all over the globe, including the [[Royalton Hotel|Royalton]] in New York in 1988, the [[Delano Hotel|Delano]] in Miami in 1995, the [[Mondrian Hotel|Mondrian]] in Los Angeles, the St Martin's Lane in London in 1999, the [[Sanderson Hotel|Sanderson]], also in London, in 2000, and the complete 2001 renovation of the historic [[Clift (hotel)|Clift]] in [[San Francisco]] with its updated art-deco bar, the Redwood Room.<ref>{{cite news|last=Thornburg|first=Barbara|title=Suites of San Francisco|url=http://articles.latimes.com/2001/dec/16/magazine/tm-15271|accessdate=26 June 2014|newspaper=[[Los Angeles Times]]|date=16 December 2001}}</ref> In South America, Philippe Starck designed the inside and outside of the Hotel Fasano in Rio de Janeiro in 2007 using materials such as wood, glass and marble. He then turned his attention to luxury hotels: in 2008, [[Hôtel Meurice]] and the [[Royal Monceau]] in 2010.<ref>Starck invents tomorrow's luxury hotel, ''[[L'Express (France)|l'Express]]'', 15 September 2010</ref><ref>Starck reveals all, ''[[Les Échos (newspaper)|Les Échos]]'', 15 January 2010</ref> |
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All right, next, get up here! |
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From 1990, Philippe Starck has worked to democratize quality "designer" hotels, beginning with the [[Paramount Hotel|Paramount]] in New York. Offering rooms at $100/night, it became a classic in its genre. In 2008, Starck brought this humanist concept to Paris as the [[Mama Shelter]]. A second Mama Shelter opened in Marseille in 2012. In April 2015, Mama Shelter had six hotels with new locations in [[Bordeaux]], [[Istanbul]], [[Los Angeles]] and [[Lyon]].<ref name="Mama is getting Bigger">{{cite news|title=Mama is getting Bigger|url=http://www.accor.com/fileadmin/user_upload/Contenus_Accor/Presse/Pressreleases/2014/UK/20141028_pr_accor_has_acquired_a_stake_in_mama_shelter.pdf|publisher=Accor.com|date=28 October 2014|accessdate=10 April 2015}}</ref> |
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Let's hit it now. |
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In 2010, Philippe Starck opened the Co(o)riche Hotel at the Dune du Pyla.{{cn|date=October 2016}} |
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Dean, come on! |
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In North America, in the 2000s, Philippe Starck with entrepreneur [[Sam Nazarian]] created the concept for [[SLS Las Vegas|SLS]], a chain of luxury hotels. The Bazaar lobby at SLS Hotel in Beverly Hills quickly became a public space with its [[tapas]] restaurants, Norwegian health bar, pâtisserie and a [[Moss Bros Group|Moss]] concept store. |
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All right. |
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You've all completed the written exam. |
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===Restaurants=== |
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[[File:MamaMarseille.jpg|thumb|[[Mama Shelter]], Marseille, France, 2012]] |
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However, you must now pass |
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the obstacle course |
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Philippe Starck has several restaurants to his credit: Bon (2000), Mori Venice Bar (2006) and Le Paradis du Fruit (2009) in France, and the notable launch of Katsuya in Los Angeles in 2006, the first in a series of Japanese restaurants. The A'trego opened in Cap d'Ail in 2011. He designed the interior and exterior of Ma Cocotte, a restaurant that launched in September 2012 at the [[Saint-Ouen flea market]] near Paris. In 2013, he designed Miss Ko, an Asian-centric concept restaurant in Paris. |
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to be admitted into the training program. |
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In November 2011, Lodha Group appointed Phillippe Starck for "yoo inspired by Starck", to design the residential development at New [[Cuffe Parade]], Mumbai.<ref>{{cite news|title=Lodha Group partners with Philippe Starck Partners|url=http://www.indiainfoline.com/Markets/News/Lodha-Group-partners-with-Philippe-Starck-Partners/5321140055|accessdate=22 December 2013|newspaper=[[India Infoline]]|date=28 December 2011}}</ref><ref>{{cite news|last=Chadha|first=Sunainaa|title=Lodha bets big on Central London, Canadian Embassy is just the first stop|url=http://www.firstpost.com/business/lodha-bets-big-on-central-london-canadian-embassy-is-just-the-first-stop-1257595.html|accessdate=22 December 2013|newspaper=[[First Post (India)]]|date=29 November 2013}}</ref> |
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And remember, survive this, |
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===Yachts=== |
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* [[A (yacht)|The two "A" yachts]] for [[Andrey Melnichenko]]: [[A (motor yacht)|the motor yacht '''''A''''' (2008)]] and [[A (sailing yacht)|the sailing yacht '''''A''''' (2017)]] |
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and you're on the front lines |
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* [[Venus (yacht)|'''''Venus''''' (2012)]] for [[Steve Jobs]] |
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of keeping New Jersey safe. |
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===Objects=== |
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* [[Lemon_squeezer#As_a_decorative_object|The '''''Juicy Salif''''' lemon squeezer]] for [[Alessi (Italian company)|Alessi]] (1990) |
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Yeah. |
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===Other projects=== |
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In November 2012, Starck published his first book of interviews, ''Impression d'Ailleurs'', with [[Gilles Vanderpooten]]. In it, he expresses his view of the challenges facing the world to come – ecology, solidarity, youth, science – and, as a humanist, suggests ways we can make a difference. |
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Sorry about the test, Dad. |
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His work is seen in the collections of European and American museums, including the [[Musée National d'Art Moderne]] (to which he has donated several pieces, in particular prototypes) the [[Musée des Arts Décoratifs, Paris|Musée des Arts Décoratifs]] in [[Paris]], the [[MOMA]] and the [[Brooklyn Museum]] in [[New York City]], the [[Vitra Design Museum]] in [[Basel]] and the [[Design Museum]] in [[London]]. More than 660 of his designs were inventoried in French public collections in 2011.<ref>Design Portal, 20th and 21st century objects and furniture in French public collections (archive)</ref> |
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We all have our crosses to bear, sweetheart. |
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Philippe Starck was the first designer to participate in the [[TED (conference)|TED]] Talks (Technology, Entertainment & Design).{{citation needed|date=February 2016}} |
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Mine is named hypoglycemia. |
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Alongside his work Philippe Starck partnered with Moustache Bikes for the M.A.S.S. (Mud, Asphalt, Sand and Snow). A portfolio of four e-bikes that use a Bosch electrical engine and battery pack.<ref>{{Cite web|url = http://www.maismotores.net/2014/09/philippe-starck-desenhou-a-mais-bela-bicicleta-eletrica/|title = Philippe Starck desenhou a mais bela bicicleta elétrica|date = 15 September 2014|accessdate = 15 September 2014|website = Www.maismotores.net|publisher = R Barros|last = |first = }}</ref> |
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Well, that's why you always have to have |
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sugar nearby. |
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Starck helped design the [[Xiaomi]] Mi MIX smartphone, notable for having a 6.4-inch "whole surface screen".<ref>{{Cite web|url = http://www.mi.com/mix/#section6|title = 小米MIX-小米商城|date = 25 October 2016|accessdate = 26 October 2016|website = www.mi.com}}</ref> |
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Are you gonna have pie? |
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==Philosophy== |
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Not tonight, Ma. |
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===Democratic design=== |
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[[File:Volteis.jpg|thumb|Volteis electric car, 2012]] |
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I'm just kidding. |
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[[File:Kartell Tic Tac® Wall Clock by Philippe Starck.JPG|thumb|Kartell Tic Tac® wall clock by Philippe Starck]] |
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Yeah, I'm gonna want some pie. |
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Through his "democratic design" concept, Starck has campaigned for well-designed objects that are not just aimed for upper-tiered incomes. He has expressed this as a utopian ideal,<ref>"So it is absolutely possible to talk about a utopian project with Starck", Benoît Heilbrunn, Starck in Words, 2003</ref> approached in practice by increasing production quantities to cut costs and by using mail-order, via [[Les 3 Suisses]]. In January 2013 he redesigned the Navigo travel pass.<ref>Philippe Starck waived his fee for designing this new-generation card, said transport authority STIF. Its pared-down design is intended to make it last, Le Parisien, January 2012</ref> |
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One of the ways Philippe Starck has economized costs for the public,<ref>"I'm against beautiful objects. I prefer good objects [...]. I'll stop when my chairs cost fifty bucks", L'Express, 22 October 1998</ref> is his plastic-furniture line, producing pieces such as the Kartell Louis Ghost chair, over a million of which have been sold. He has also been involved in the development of Fluocaril toothbrushes to bathroom fittings for Duravit, Hansgrohe, Hoesch and Axor, from Alessi's Juicy Salif lemon squeezer to Zikmu speakers, Zik headphones by Parrot, Laguiole knives, Starckeyes glasses by Mikli and the Marie Coquine lamp for Baccarat.<ref>"Philippe Starck sets in motion an education of the masses. To the greatest number of people, he distributes forms that educate the eye […] From the minute to the immense, Starck marks out the paths that reconcile aesthetic, ethical and political", Michel Onfray, Starck in Words, 2003</ref> |
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You... |
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===Political messaging=== |
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Sometimes pointed political messages<ref>I'm convinced that for many, the political nature of his work is not only hard to detect but of little interest [...] yet for most of us, the most sensational thing about Starck's architecture and design is the combination of fun and the unexpected, Zoom sur Philippe Starck, Courrier International, 2 September 1995</ref> can be found in projects, such as the subversive Gun Lamp (Flos, 2005), the Superarchimoon floor lamp (Flos, 2000), in fact a giant architect's lamp standing 217 centimetres high, the Haaa!!! and Hooo!!! lamps he imagined with the American artist [[Jenny Holzer]] (Flos/Baccarat, 2009) and the chandeliers in the Darkside collection, featuring the Zenith chandelier (Baccarat, 2005). |
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No, I meant now, Ma. Get the pie now. |
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With environment and ecological concerns, he created the Good Goods catalogue with [[La Redoute]]. He also set up AOA, an [[organic food]] company. His latest eco-friendly designs are the V+ Volteis electric car, the Pibal bike for the city of [[Bordeaux]], Zartan chairs for Magis and Broom by [[Emeco]]. |
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- Okay. |
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- You said it, |
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==References== |
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{{Reflist|30em}} |
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and I just kind of got that |
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stuck in my head now, |
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==External links== |
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{{Library resources box|by=yes|onlinebooks=no|about=yes|wikititle=Philippe Starck}} |
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and can't really get it out. Pie. Here we go. |
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{{commons category|Philippe Starck}} |
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*{{Official website|www.starck.com}} |
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*[http://www.bbc.co.uk/imagine/article/exquisite_corpse.shtml BBC Imagine...] [[Exquisite Corpse]] game, contribution by Philippe Starck |
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*[http://www.ted.com/index.php/talks/philippe_starck_thinks_deep_on_design.html Philippe Starck thinks deep on design] Talk at [[TED (conference)|TED conference]] |
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{{Authority control}} |
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It really helps heal. |
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{{DEFAULTSORT:Starck, Philippe}} |
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[[Category:French designers]] |
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And, you know, not always, but sometimes, |
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[[Category:French industrial designers]] |
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[[Category:Industrial designers]] |
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[[Category:Product designers]] |
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you gotta do like the kids say, |
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[[Category:1949 births]] |
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and just say, "Whatever." |
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[[Category:Living people]] |
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[[Category:Businesspeople from Paris]] |
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[[Category:French people of German descent]] |
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Kids don't talk like that. |
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[[Category:Prix Versailles-winning architects and designers]] |
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Some do, sweetheart. The older ones, okay? |
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I hear them in the mall. You know? |
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Peanut butter. |
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It just fills the cracks of the heart. |
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Go away, pain. |
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- What? |
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- Paulie. |
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Oh, no. Come on, Ma. |
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I'm not ready for this right now. |
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- Dad. |
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- Please. |
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We just don't want to see you go through |
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another holiday alone. |
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But I'm not alone. |
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I've got you two. You know? |
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And besides, Black Friday's coming, |
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so my dance card's gonna be pretty full. |
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What? |
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It's the busiest shopping day of the year. |
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Yeah, I should have known better |
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than to try to explain it to civilians. |
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I wish I had a coworker here, like, "Tyler, |
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hey. You know, Black Friday's coming." |
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"Gee, Paul, you don't have to tell me |
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Black Friday's coming. |
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"Why do you think |
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I've been walking around here |
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"with the eyes of an eagle?" |
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- We prepare. |
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- Dad, what does all that have to do |
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with being happy for the rest of your life? |
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You said, and I quote, |
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"If I don't have a girlfriend by November, |
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"I'll let you sign me up |
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for perfectmatch.com." |
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That was last year. |
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Okay. |
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- Here we are. |
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- Okay. |
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"What are you looking for in a woman?" |
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Well, your mother certainly |
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had something special. |
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Yeah, illegal immigrant status. |
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She married you, got citizenship, |
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and then she left us. |
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That's not entirely true. |
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We did have some good times |
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back when she was still trying to trick me. |
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- Well, I hate her. |
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- Well, you shouldn't. |
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She gave me you. |
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- I am pretty great. |
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- You are. You are. |
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Okay, next question. |
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"Tell us about yourself." |
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Let's see. |
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I know a lot about sharks. |
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Let me stop you right there. |
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Well-built and a great hugger. |
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Awesome, Grandma. |
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Not as awesome as this. |
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What are you doing? |
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Beefing up your profile with that |
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nifty video that you made a few years back. |
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Ma, no. |
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I don't know. Don't you think |
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it's a little too, "Hey, look at me"? |
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Well, that is exactly what we want. |
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Eyes on the prize. |
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And don't worry, |
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I will edit out the sweaty parts. |
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Dear God! |
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Hey! Back away from the vehicle. |
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Oh, dear God. Please. |
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Chompers, get down! |
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Hey, you know where a men's room is? |
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I do. |
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You're gonna want to go to Lord and Taylor. |
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They got 12 stalls and heated seats. |
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Okay, keep the balls in the pit, kids. Kids! |
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Okay, my lip is numb. |
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All righty. |
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- There you go. |
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- Thank you. |
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Hey. |
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Yeah, I know. |
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That's not supposed to be here. |
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It's a minivan. |
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... he can't handle it. |
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The puck travels to the far board... |
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He keeps the play alive. |
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- Paul! |
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- Hey. |
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What is this? |
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That's my report on how to ease |
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traffic flow from Macy's |
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down through the specialty shops. |
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- How's that working out for you? |
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- Actually, it's for all of us. |
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You see, if we could reroute the customers |
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away from the food court, |
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it's gonna help the kiosks |
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and cut down on shopper frustration. |
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It's your classic two-bird, |
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one-stone scenario. |
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- Can I ask you something? |
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- Anything. |
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Why can't you just punch in, shut up |
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and punch out like the rest of us? |
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Safety never takes a holiday. |
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Did your mom crochet that on a pillow? |
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Blart. |
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This is Sims. He's a new trainee. |
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Let him trail you today. |
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Hey. Paul Blart. Ten-year veteran. |
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Wow. Veck Sims. |
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Well, Veck Sims, welcome to the show. |
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Let's mount up. |
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Oh, yeah. That's the good stuff. |
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That's it. Treat her gentle, son. |
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Slap it, honor it. |
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So what made you want to pursue security? |
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I never finished high school. |
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This is all I could get. |
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Yeah, I'm currently working on becoming |
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a state trooper, myself. |
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Right now, I'm goose egg for eight. |
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Hypoglycemia. |
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Confusing, right? Cut yourself some slack. |
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My first week riding on the job, |
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I got lost behind the Sears. |
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They found me later in the fetal position, |
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sporting a full beard. |
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I'm kidding. I can't grow a beard. |
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My uncle can. Stay snug. |
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Now, in the event |
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that you approach an assailant, |
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here's what I want you to do. |
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You're gonna pull up, |
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left hip forward, placing your right hand |
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on your away hip thusly, |
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giving the illusion that you have a gun. |
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Which, of course, we both know |
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you don't. |
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Okay? But you know what we do have? |
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Our voices! We have our voices. |
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If you remember one thing |
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from today, it's this. |
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The mind is the only weapon |
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that doesn't need a holster. |
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Right. Awesome. |
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How long do we get for lunch? |
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Half hour. But I eat in 20, which leaves me |
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five minutes for social time, |
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five minutes to get refocused. |
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We got a high roller. |
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Sir, I'm gonna need you to pull to the right. |
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Please pull to the side, sir. Out of traffic. |
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Tan jacket, red scooter, |
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please pull to the right, out of traffic. |
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Sir. |
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Thank you. |
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Driving kind of recklessly back there, sir. |
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You're kidding. |
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I don't joke about shopper safety. |
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I'm afraid I'm gonna have to |
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issue you a citation. |
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Gonna need your first and last. Last first. |
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Sir. Sir. Sir, sir, sir. |
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Please don't make this more difficult |
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than it needs to be, okay? |
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Are you able to... |
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Sir. Sir! Sir. I am warning you, sir. |
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You're pushing it. |
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Sir. Sir. I am warning... Sir. |
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Sir. Sir. Sir. |
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Okay. |
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This is adding up, sir. He'll be back. |
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He'll be back. He'll be back. |
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- Hey. |
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- Hi. Do you need something? |
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Yes. I'd like to welcome you to our mall. |
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Well, thank you. |
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Is there something else? |
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Yeah. Yeah, yeah. |
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Just looking for some hair extensions. |
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Need a little more volume up top. |
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Do you do men? |
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Do you do men hair? Do you do men hair? |
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On the men? |
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Are you the guy |
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that crashed into the minivan? |
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I don't think so. Which one? |
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Well, that one. That one right there. |
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Yeah. That one, yes. That... |
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You know, that one was me. |
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- Oh, wow. Are you okay? |
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- Oh, yeah. Never better. |
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Although they're docking the paycheck |
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pretty good. |
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Yeah. |
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You know what you should do? |
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You should get the security tape, |
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and then, like, sell it to one of those shows, |
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you know, where people crash into stuff. |
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- Hello, early retirement. |
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- Yeah, right? |
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Volume. Right, let me just see what I've got. |
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Yeah, this is Blart. |
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If you need me, I'm over by the kiosks. |
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Who is this? |
|||
It's Officer Blart, reporting from Sector 5. |
|||
What the hell are you bothering me for? |
|||
- Just a Code B check. |
|||
- What a moron. |
|||
You know, I'll check in with them later. |
|||
It's pretty intense. |
|||
Oh, right, yeah. Life of a security guard. |
|||
- What, what? |
|||
- No, it's just that you said security guard, |
|||
and it's perfectly acceptable... |
|||
I'm so sorry if I called you the wrong thing. |
|||
No, no, no, no. You did fine, you know? |
|||
It's just that there's a huge, |
|||
huge controversy |
|||
brewing in the industry right now, |
|||
whether the title should be |
|||
Security Guard or Officer. |
|||
I'm sure you heard about it. |
|||
- I didn't. |
|||
- You will. You're gonna. |
|||
- But I'm sure I will. |
|||
- It's out there. |
|||
So, you all set |
|||
for the busiest shopping day of the year? |
|||
Yeah, right. |
|||
And the worst day for a birthday. |
|||
This year, it falls on a Black Friday, which |
|||
means I probably won't even get a card. |
|||
Everyone's too busy shopping. |
|||
You know what? Yeah. Autumn Ash. |
|||
- Yeah. |
|||
- I think that's your color. |
|||
- I think this'll work. |
|||
- It's a winner. |
|||
- So that's $9.95. |
|||
- $9.95? |
|||
- Yeah. |
|||
- Wow. |
|||
At those prices, |
|||
now you got me thinking ponytail. |
|||
All right. Thank you. |
|||
Thank you. |
|||
- Right. So there you go. |
|||
- Okay. |
|||
And, there you go. |
|||
Thank you, Amy. |
|||
Thank you, Officer Blart. |
|||
Hey, Blart. Wow, nice shirt. |
|||
You went with a medium? |
|||
It's a bit formfitting, |
|||
but that's 'cause we're required to wear |
|||
protective vests under our... |
|||
No. Not buying it. No. |
|||
'Cause I don't see any vest |
|||
underneath here, so... |
|||
No, but it's a thick T-shirt. |
|||
Basically like a thermal they have you wear. |
|||
Nope. Nope. No. |
|||
I don't understand why you're laughing. |
|||
I just called you fat. |
|||
I'm not laughing. |
|||
Yeah, whatever. Amy. |
|||
Hey, everyone's going to American Joe's |
|||
tonight, and I want to see you there. |
|||
Okay? |
|||
We're gonna split some onion strings. |
|||
Wow. Wow. |
|||
Good. |
|||
Good hang. |
|||
Wow, yeah. That's great. |
|||
Hey, Blart, they need you |
|||
at Victoria's Secret. |
|||
Okay, roger that. |
|||
Okay, I gotta go. |
|||
Okay. Bye. |
|||
- I found it first. |
|||
- No, you didn't. |
|||
Ladies. Problem. |
|||
What's the genesis? |
|||
She's trying to take |
|||
the last push-up bra in this size. |
|||
There's gonna be a new shipment tomorrow. |
|||
They'll be here by noon. |
|||
Well, I need this one now. |
|||
I have a date tonight. |
|||
Really? Is he blind? |
|||
Whoa! |
|||
Waterproof shoes and Baggies on the socks. |
|||
Not my first rodeo. |
|||
Okay, ladies, need to see some ID. |
|||
No, you don't. |
|||
Ma'am, I should warn you, I do have |
|||
the authority to make a citizen's arrest. |
|||
So does anyone. |
|||
I could arrest you right now. |
|||
- That's true. She could. |
|||
- Hey, not talking to you. Okay? |
|||
Can I see you for a second, please, ma'am? |
|||
Look, I understand your sensitivity. |
|||
I've had some issues with weight myself. |
|||
- Are you calling me fat? |
|||
- No. No, no, no, no. |
|||
I'm just saying I've been down that road. |
|||
I mean... I mean, I'm still on it. |
|||
We both are, you know? Stranded. |
|||
Let's face it, we eat to fill a void, right? |
|||
But as soon as I started eating healthier, |
|||
I noticed I wasn't so moody. |
|||
And PS, your skin's gonna clear up. |
|||
- Can you hold onto these? |
|||
- Sure. |
|||
Ma'am. |
|||
You... |
|||
She's got tremendous upper body strength. |
|||
Backup! Backup! |
|||
She's biting my neck. She's biting my neck. |
|||
Backup! |
|||
Backup! Backup! |
|||
Look, I know you're new here and all, |
|||
but "backup" seems like |
|||
a pretty universal term. |
|||
Hey. Can I give you a lift? |
|||
What, on that? |
|||
With an inexperienced driver |
|||
I would recommend no, |
|||
but with me, |
|||
you'll be as safe as the President. |
|||
I don't know. Couldn't that get you fired? |
|||
Yes, it could. |
|||
Okay. |
|||
- Is this all right? |
|||
- Absolutely. |
|||
And here you go. Safe and sound. |
|||
- '65 Mustang. |
|||
- Yeah. |
|||
Fun fact for you, a lot of people think |
|||
the Mustang was named after the horse. |
|||
It was actually named after |
|||
the P-51 Mustang. |
|||
- That's a plane. |
|||
- I didn't know that. |
|||
Well, thank you for the ride, Paul. |
|||
That was so much fun. |
|||
No problem. |
|||
Listen, |
|||
if you ever, you know, need rides anywhere, |
|||
Dispatch, they can get me. You know. |
|||
- Or we could just text each other. |
|||
- Yeah. |
|||
- Yeah, give me your cell phone. |
|||
- My cell? |
|||
Yeah, and I'll punch my number in. |
|||
Left it in the casuals. You know what? |
|||
Just give me your number |
|||
and I'll remember it. |
|||
- Okay. Ready? |
|||
- Yep. |
|||
- All right. 555... |
|||
- Not yet. Just... |
|||
Now I'm ready. |
|||
- 555... |
|||
- 555... |
|||
...01... |
|||
...01... |
|||
...78. |
|||
- Eight. Got it. |
|||
That's it. It's locked. |
|||
Great, so I'll see you tonight |
|||
at American Joe's, right? |
|||
Yeah, I mean, everybody's going, so... |
|||
- Yeah. |
|||
...why not me, too? I'll be... |
|||
Yeah, I'm there. |
|||
- Great. Bye. |
|||
- Okay. Bye. |
|||
- Hey. |
|||
- Hey! Hey. Glad you made it, Paul. |
|||
Good to be here. |
|||
- Fun fact for you... |
|||
- This place sucks. |
|||
- You want to get out of here? |
|||
- No. |
|||
I'm sorry, what were you saying? |
|||
No, I was just saying that |
|||
the first American Joe's actually opened |
|||
its doors in 1972. |
|||
And most people, |
|||
because of its service and theme, |
|||
think that it's derivative of Abe and Louie's, |
|||
but it's not. |
|||
It's its own thing. |
|||
You really know a lot of facts, Paul. |
|||
Hey, Blart, I heard you got your ass handed |
|||
to you by a fat chick at Victoria's Secret. |
|||
Well, I don't hit women, |
|||
- so I don't even know what... |
|||
- Yeah. Just minivans, right? |
|||
Hey, why don't you go over to the bar |
|||
and grab yourself one of those girly drinks? |
|||
- I'll meet you over there. |
|||
- Okay. Does anybody else want a drink? |
|||
- 'Cause Stuart's buying. |
|||
- No, no, no. They're good. They're good. |
|||
- So... They're good. |
|||
- Okay. |
|||
Hey, listen, I... |
|||
We're basically already together, so... |
|||
I wasn't... I didn't even realize that. |
|||
- And I was... I wouldn't... Doing anything. |
|||
- Yeah. |
|||
I just want you to grab a hold of it, tight. |
|||
- Okay? |
|||
- I got it. |
|||
I mean, |
|||
it's not like you really had a chance, okay? |
|||
Security guard? Really. |
|||
But you're a pen salesman, dude. |
|||
Yeah, and I just bought a Camry, |
|||
so you can eat me. |
|||
All right, bro. Back off. |
|||
You know, we're all just here having fun. |
|||
Okay, bro. |
|||
What? |
|||
Hey, thanks |
|||
for getting my back there, brother. |
|||
Security blood runs deep between... |
|||
Yeah, let's just go. |
|||
- Round six. |
|||
- Let's do this thing. |
|||
- Gentlemen ready? |
|||
- No. |
|||
Not yet. Now I'm ready. Okay. |
|||
And, go! |
|||
Leon, I can't give you the Heimlich, |
|||
so you better chew. |
|||
I know. |
|||
Told you, boy. You better hurry up. |
|||
There you go. Nachos in my face. |
|||
Oh, my God. These peppers. |
|||
The peppers are hot. |
|||
Oh, my God. Oh, that's a hot pepper. |
|||
Nachos are good, man. |
|||
Better inform all your friends, boy. |
|||
Nachos about to be gone. |
|||
You're lagging behind. |
|||
Come on, Paul. Playing games. |
|||
I love these nachos, I'll tell you that much. |
|||
- That lemonade is insane. |
|||
- Yeah, Paul. |
|||
- That's because it's a margarita. |
|||
- No. I don't drink. |
|||
Twist it. |
|||
Feel the nub. |
|||
- Hey, you want some? Here. |
|||
- Yeah. |
|||
You want fruit? |
|||
Bye! You blinked! You blinked. |
|||
Time to pluck the grape from the vine. |
|||
Still got the Baggies! Hot jiggity. |
|||
Coming on the left. |
|||
False alarm. |
|||
Told my mom everything about us. |
|||
What are you talking about? |
|||
You're acting coy. Come on. It's natural. |
|||
You know. You so know. |
|||
No, I'm sorry, Paul. I don't know. |
|||
Snap. Pop goes the weasel. |
|||
So happy! |
|||
Yeah! |
|||
Yeah! |
|||
I believe in magic! |
|||
No way! |
|||
I'm sorry it didn't work out, dear. |
|||
It's fine, Ma. |
|||
- Hey, Dad, why don't we check for matches? |
|||
- Yes. |
|||
Yeah, I don't think so, sweetheart. |
|||
I think I'm just gonna turn in. |
|||
Well, how about something special |
|||
for lunch tomorrow to cheer you up? |
|||
I don't think so, Ma. It's fine. |
|||
If something's gonna work, |
|||
it would be the sloppy joe. |
|||
But that would probably... You know. |
|||
You know, if you're doing the sloppy joe, |
|||
do the sweet potato fries. |
|||
But it... Whatever, you know. |
|||
Well done. Yeah. |
|||
Maya. Hey. |
|||
Dad. I'm so sorry. |
|||
It's okay. |
|||
There are other fish in the sea. |
|||
You just gotta keep looking. |
|||
And it doesn't matter what you do. |
|||
Because once someone takes the time |
|||
to get to know the real you, |
|||
all bets are off. |
|||
If it doesn't work out, you'll always have us. |
|||
I'm sorry, sweetie, I popped my ears. |
|||
I didn't hear a word you were saying. |
|||
You just have to... |
|||
Is that a tattoo? |
|||
I... Yeah, yeah, it is. |
|||
When did you get it? |
|||
- I got it last night. |
|||
- What is it? |
|||
It's the Loch Ness monster. |
|||
I don't drink. |
|||
- Hey. |
|||
- Hi. |
|||
That was |
|||
a little weird the other night, huh? |
|||
Yeah, you know, it had its moments. Yeah. |
|||
Was one of them |
|||
when I tried to make out with your purse? |
|||
You see, alcohol instantly turns to sugar |
|||
in the blood. |
|||
And what happens is the capillaries... |
|||
Yeah, look. A lot of people... |
|||
Pretty much everybody, you know, tends |
|||
to write me off. |
|||
And if you did, too, believe me, I get it. |
|||
I just... |
|||
I guess what I'm asking is that you don't. |
|||
Okay. You know, I'm sorry, I've just... |
|||
I've gotta cash my paycheck |
|||
before the bank closes. I'm... |
|||
No problem. |
|||
Maybe we could talk later or something? |
|||
- Yeah, sure. You could just text me, or... |
|||
- Okay. |
|||
- Yeah. |
|||
- I can do that. I can do that. |
|||
You know, Paul, everybody texts these days. |
|||
I can't believe you don't have a cell phone. |
|||
I'm not about all this technology, Vijay. |
|||
I prefer face-to-face interaction |
|||
or a nice handwritten sentiment. |
|||
300 bucks? |
|||
I dug myself into a really deep hole |
|||
with this girl, you gotta help me. Please. |
|||
Paul, you've always been a straight shooter, |
|||
so I'll tell you what. |
|||
Why don't you take my daughter |
|||
Parisa's phone? |
|||
- No, I can't do that. |
|||
- No, no, no, no, no, no. |
|||
I'm punishing her. |
|||
No. What with all the parties |
|||
and that ex-boyfriend Pahud, |
|||
she went over her minutes. |
|||
When and if she decides to turn |
|||
her life around, I'll simply take it back. |
|||
Until then, you use it. |
|||
- Thanks. |
|||
- Sure. |
|||
- Stay within the minutes. |
|||
- Of course. |
|||
Hey. It's too late to go in that way, guys. |
|||
It's closed. |
|||
- No one's going in there. |
|||
- Yeah. I think we are. |
|||
Hey, yo, Paul. Come here, man. |
|||
Look, I know you been feeling down, |
|||
so I got this for you. |
|||
"The Devil's Crotch." |
|||
Feel the burn, baby. |
|||
- Thanks, Leon. |
|||
- Get back at me, man. |
|||
- Loading dock's ready. |
|||
- Got it. |
|||
Yeah. |
|||
You need a pen, don't you? |
|||
You know what? No, I'm good. |
|||
- I'll just use one of their pens. |
|||
- Yeah, you do. |
|||
Yes. The Summit 5280 fountain. |
|||
- That's stunning. |
|||
- Yeah, I know. |
|||
How would you like to sign your name |
|||
with this panther? |
|||
You know what? More than anything. |
|||
- Yeah, that'd be great. |
|||
- Here. Yeah. |
|||
It's yours. I insist. |
|||
Oh, hey, guys. |
|||
- Hey. |
|||
- Hey. |
|||
- Hey. |
|||
- Don't you just love Fridays? |
|||
- Yeah. |
|||
- Best night of the week. |
|||
Yeah. |
|||
- Excuse me. Sorry. |
|||
- Hey. |
|||
Paul. Paul, can you help me out? |
|||
I need to shoot over to the bank |
|||
for a minute. |
|||
There's a few kids inside, |
|||
just finishing up their games. |
|||
Could you close up the arcade for me? |
|||
- Yeah, sure. No problem, Mr. Ferguson. |
|||
- Okay. |
|||
- You okay? You seem a little down. |
|||
- Yeah, I'm fine. |
|||
You know, video game might |
|||
cheer you right up. |
|||
Nah, I'm on duty. |
|||
Welcome to the games! |
|||
Get set. |
|||
Go. |
|||
Foul. Foul. |
|||
Foul. Foul. |
|||
Foul. Foul. |
|||
Foul. Foul. Foul. Foul. |
|||
Game over. |
|||
We are ready. |
|||
Let's do this. |
|||
Attention shoppers. |
|||
Please make your way to the nearest exits. |
|||
Unfortunately, the mall will be closing early. |
|||
- Everybody out! |
|||
- Everybody out! |
|||
Everybody out, now! |
|||
You, too! |
|||
Hi. Hey! Hey! You got me... |
|||
I'm at the West Orange Pavilion Mall. |
|||
Hey, yo. Hey, there's some crazy-ass people |
|||
trying to take over the mall. |
|||
- I'm out of here. |
|||
- Everybody on the floor! |
|||
Tell them to bring SWAT. |
|||
There may be hostages. |
|||
What are you doing? Get down. |
|||
Oh, my God. |
|||
Surprised? I know. |
|||
But here's the craziest part. |
|||
I'm the leader. |
|||
Reports are, they're inside the bank |
|||
and they got hostages. |
|||
This is Sergeant Howard. I need four units |
|||
around the back to secure the perimeter. |
|||
See if we can establish visual. |
|||
Report back to me immediately. |
|||
Let's get all these civilians out of here. |
|||
See if we can gain access |
|||
into the loading dock. |
|||
- Go. |
|||
- I'm on it. 94, move 'em out. |
|||
Hello? |
|||
Feeling alive? |
|||
I'm sorry? |
|||
Parisa. |
|||
She makes you feel alive, doesn't she? |
|||
This must be Pahud. |
|||
Pahud, no, I'm not with Parisa. |
|||
My name's Paul Blart. |
|||
Parisa's dad took her cell phone away, |
|||
and he lent it to me. |
|||
Do not lie to me, Paul Blart. |
|||
Do not lie to me. |
|||
You are probably |
|||
sweating over her right now. |
|||
I'm not lying. |
|||
I mean, I am sweaty, |
|||
but I'm not sweating over anyone. |
|||
That woman is like an angelic goddess |
|||
who only brings goodness to this world. |
|||
Plus, she has some crazy sexy feet. |
|||
Paul, the pain of this breakup |
|||
is far too much for me to bear, man. |
|||
Pahud, no one can blame you |
|||
for being upset. |
|||
I mean, the holidays are tough enough |
|||
without adding heartbreak to the mix. |
|||
Wow. Them's some heavy words, Paul Blart. |
|||
Hey, life is heavy. |
|||
Indeed. Now, you are at the mall, huh? |
|||
So why do you not head over |
|||
to Orange Julius, |
|||
call up my friend Sameer Oh? |
|||
Tell him you are now my homeboy. |
|||
He will hook you up. |
|||
Wait a second. |
|||
How'd you know I was at the mall? |
|||
I track Parisa's phone with GPS. |
|||
Don't you judge me. |
|||
Closing time already. |
|||
Okay, there are 223 stores in this mall. |
|||
Here is a list of the 15 that I need you to hit. |
|||
And 15 for you. |
|||
Okay. |
|||
Now this is the key to retrieve the codes |
|||
from each store's credit-card machine. |
|||
They change every day, so make sure |
|||
that you bring me back the codes |
|||
for today, Friday. |
|||
Veck, six guys in standard formation, |
|||
just like you said. |
|||
Perfect. |
|||
Bomb! Bomb! Bomb! Bomb! |
|||
And these little piggies went |
|||
all the way home. |
|||
Do it. |
|||
Gary usually delivers the leftovers |
|||
to the Mission. |
|||
Hey, everyone. A couple requests. |
|||
Kindly tie up the person beside you, |
|||
keep your mouths shut, |
|||
give up your cell phones, |
|||
and as a general rule, do as I say. |
|||
You do all these things... |
|||
Well, you'll be back at home in no time. |
|||
Back to your mediocre lives. |
|||
- I don't have one. |
|||
- Amy. |
|||
I was hoping that you and I could have |
|||
a whole Bonnie-and-Clyde thing going on. |
|||
You know, minus dying |
|||
in a hail of gunfire, of course. |
|||
What do you say? |
|||
Go to hell. |
|||
Ouch. |
|||
Hey, Stewie, you don't mind |
|||
that I'm hitting on your girlfriend, do you? |
|||
What? No. She's not my girlfriend. |
|||
But I specifically heard you say |
|||
that you two were "basically together." |
|||
No. I didn't say that we were together. |
|||
I said that she's into leather. |
|||
Have at it. If you... |
|||
God, you're an idiot. |
|||
Hello? |
|||
This is Sergeant Howard |
|||
of the West Orange Police Department. |
|||
- Who am I speaking with? |
|||
- Hi. |
|||
Yeah, well, so here's the deal. |
|||
As you learned the hard way, |
|||
I have motion sensors by all the doors, |
|||
so if you wanna enter my mall, |
|||
you might as well bring |
|||
at least six body bags. |
|||
He's drilling the safe, |
|||
and they have eyes on us. |
|||
See if we can tap into the security cameras. |
|||
Now look, no one's gonna try |
|||
and enter the mall. |
|||
Is there anything you need? Do you need |
|||
any food? Do you need any water? |
|||
Oh, man. This dude |
|||
doesn't deviate from the book at all. |
|||
You know, since you're asking, |
|||
I would love a Happy Meal, |
|||
you know, but... |
|||
Make sure the toy is the sea monster, |
|||
'cause I already have the dragon. |
|||
Okay, okay, now what is it you really want? |
|||
Silence. |
|||
Hey, I'm sorry, mall's closed, |
|||
but I can help you find the nearest exit |
|||
if you just tell me where you parked. |
|||
Sweet mercy. |
|||
This is not happening, |
|||
this is not happening, this is... |
|||
Oh, God. All right, think, Paul, think. |
|||
Now what are you trained to do? |
|||
Nothing. |
|||
Detect, deter, observe, report. |
|||
I gotta report it. Reporting it. |
|||
Yo, we got a straggler. |
|||
- It's a security guard. |
|||
- What should we do? |
|||
I don't know. Give up, I guess. |
|||
Guys, what is wrong with you? |
|||
We stick to the plan. |
|||
We got a 911 operator connecting us |
|||
with some guy named Paul Barth. |
|||
He says he's a security officer in the mall. |
|||
Hey. Blart? He's one of my guys. |
|||
Paul, this is Sergeant Howard |
|||
of West Orange Police Department. |
|||
The mall has been taken over, |
|||
and they have hostages. |
|||
I need you to exit the building immediately. |
|||
We don't need any wild cards |
|||
in this situation. |
|||
Copy that. Never been a wild card. |
|||
Unless you consider the game of Uno wild. |
|||
- Blart! Can we focus here, please? |
|||
- Yes. Yes, sir. On my way out. |
|||
Okay, okay. Come on, don't die. Don't die. |
|||
Blart. |
|||
Don't pee. Don't pee. |
|||
Guys, motion detector just went off |
|||
at Door 26. Everybody on it. |
|||
Amy. |
|||
What the hell is he doing? Come on! |
|||
- Paul, come on! |
|||
- Paulie, come on! |
|||
- What's he doing? |
|||
- Come on, Blart! |
|||
Blart, come on! |
|||
- Let's go! Move it! |
|||
- Come on! Come on! |
|||
- Get out of there! |
|||
- Come on! |
|||
Is he crying? |
|||
- I can't leave her. |
|||
- Where's he going? |
|||
- Blart! |
|||
- Where's he going? |
|||
Blart, get back! Will you talk to him, please? |
|||
Blart, this is Brooks. What's going on? |
|||
Sir, I took a sworn oath to protect this mall |
|||
and all inside it. |
|||
What oath? We don't have an oath. |
|||
I sort of made up my own. |
|||
It's on a plaque in my room. |
|||
Listen, I think you're making a big mistake. |
|||
SWAT's on the way. |
|||
And I'm not gonna sugarcoat it, |
|||
you're untrained, you're unarmed, |
|||
and let's face it, son, |
|||
you present a huge target. |
|||
With all due respect, sir, |
|||
I can't observe and report from the outside. |
|||
Over. |
|||
Well, Sergeant, |
|||
looks like you got your eyes on the inside. |
|||
Amy, Paul Blart here. |
|||
Are you still in the mall? |
|||
Send. |
|||
Got him. |
|||
Oh, my God. Oh, God. |
|||
Think. Think. Think, think, think, |
|||
think, think, think, think! Think! |
|||
Hold it together. |
|||
Heart of a warrior. |
|||
I missed lunch. |
|||
Thank you. |
|||
This isn't happening, this is not happening. |
|||
Hey! Don't make this hard. |
|||
You like that? |
|||
Brooks, I took out a girl, |
|||
but the guy, he ran away. |
|||
- Wow, Paul, you got one. |
|||
- Yes. |
|||
But let the record show, |
|||
I did not hit a woman. I just... |
|||
I put all my weight on her. |
|||
Oh, Paul. |
|||
No, no, no. She's fine, she's fine. |
|||
Well, good, let's get you out of there. |
|||
No can do, sir. |
|||
I am gonna finish what I started. |
|||
What the heck is this? |
|||
Give me that. |
|||
Paul, this is Sergeant Howard again. |
|||
Since you refuse to come out, |
|||
I'm gonna need you to go into the bank |
|||
and find out |
|||
where they're holding the hostages. |
|||
With honor, sir. |
|||
Good to know. |
|||
Hey, I haven't heard back |
|||
from Donner or Vixen. |
|||
Okay. I'm calling an audible here, everyone. |
|||
And I need to get this mall locked down |
|||
from the inside immediately. |
|||
Why don't we just start wasting hostages? |
|||
That'll stop them. |
|||
Well, that's one way to go, but our hostages |
|||
are the only thing keeping the cops outside. |
|||
I'm Commander Kent. My team is deploying. |
|||
I need this location secured. |
|||
- We got a three-block perimeter... |
|||
- Establish a perimeter |
|||
and get all these people out of here. |
|||
Whoa, whoa, this is all done already. |
|||
My men are gonna do it again, the right way. |
|||
Have your guys fall back, now. |
|||
Have there been any demands? |
|||
- A Happy Meal and absolute silence. |
|||
- Well, let's make some noise. |
|||
I got snipers at the ready, |
|||
communications in check. |
|||
Let's tap into security now, |
|||
and let's get some visuals. |
|||
You can't. |
|||
They knocked out the video cameras. |
|||
I'll be ready to take on-scene command |
|||
in three, two, one. I'm in charge. |
|||
Brooks, I'm observing the bank now. |
|||
They got one assailant |
|||
guarding the hostages. |
|||
There she is. |
|||
My, God. You are my angel pie. |
|||
Here come the love sweats. |
|||
Paul, your radio's still on. |
|||
Roger that. |
|||
- What's going on? Who is that? |
|||
- We got a guy on the inside. |
|||
Don't tell me one of your beat cops |
|||
is trying to be a hero. |
|||
No, he's neither. His name is Blart. |
|||
He's one of my security guards. |
|||
- Wait a minute. Blart? |
|||
- Yeah. |
|||
- Paul Blart? |
|||
- Yeah. |
|||
Are you kidding me? We used to abuse |
|||
that loser in high school. Give me that. |
|||
Blart. |
|||
This is Commander James Kent. |
|||
New Jersey SWAT. |
|||
We went to high school together. |
|||
Remember? |
|||
I set you on fire at the pancake festival? |
|||
Oh, yeah. Hey, Jimmy. |
|||
Go Green Hawks. |
|||
Yeah, listen. I've got 50 highly trained, |
|||
armed professionals out here. |
|||
At my command, |
|||
we are retaking this location, |
|||
and there's no way I'm compromising |
|||
this mission so that some mall monitor |
|||
who used to eat lunch |
|||
with his imaginary friend can screw it up. |
|||
Sorry, Jimmy, I had the button pressed. |
|||
All I heard was "lunch" and "friend." |
|||
Could you do me a favor |
|||
and put Chief Brooks back on? |
|||
Listen to me, Blart, |
|||
you are no longer communicating |
|||
with Chief Brooks. Is that clear? |
|||
Hello? |
|||
Hello? |
|||
Yeah? Oh, hey, Paul, how you doing? |
|||
Well, it looks like they moved the hostages |
|||
into the teller area. |
|||
I'm gonna get a closer look. |
|||
Veck. |
|||
There he is! |
|||
- Everyone in the back room, now! |
|||
- Come on, move, move! |
|||
Let's get in the back, huh? |
|||
Brooks. I lost visual on the hostages. |
|||
I couldn't get them out. |
|||
But I know who the leader is. It's Veck. |
|||
Veck? The trainee? |
|||
- No. The brainee. |
|||
- I don't believe this. |
|||
I'll pass it on to Howard. |
|||
Oh, God. |
|||
Trapped is fine by me. |
|||
Commence tanning. Three, two, one. |
|||
Yeah! |
|||
Yes! |
|||
Time for some big-game hunting. |
|||
Open, open, open! Thank God. |
|||
Oh, no. |
|||
Sir! Sir! Sir! Sir! Sir! Sir! We get it! |
|||
Get him! Get him! Get him! |
|||
You better run. |
|||
- Rudolph, where are you? |
|||
- I'm about to end this. |
|||
Amy, huh? What a coincidence. |
|||
We got a cute little redhead |
|||
down at the bank named Amy. |
|||
- Strawberry blonde, actually. |
|||
- Yeah? |
|||
Well, I guess I know who I'm killing first. |
|||
- Catch you later! |
|||
- Yeah? |
|||
Well, it looks like you just ran out of mall. |
|||
It'll be over quick. She won't feel a thing. |
|||
You aren't gonna touch her, |
|||
but you are gonna feel this. |
|||
Nobody wins with a head butt. |
|||
- Give me your cell phone. |
|||
- I don't have one. |
|||
What are you talking about? |
|||
Every kid has a cell phone. |
|||
I prefer handwritten sentiments. |
|||
Who are these sloppy joes for? |
|||
And who gave you this? |
|||
They're mine. |
|||
I'm late for my shift at Foot Locker. |
|||
We're getting the leader on the horn. |
|||
He wants to talk to you. |
|||
Silence, my ass. |
|||
What's the matter? |
|||
Throw a few jabs your way, |
|||
you curl up in a corner, suck your thumb? |
|||
If you don't go toe-to-toe |
|||
with that scumbag, |
|||
he's gonna roll over on you all night long. |
|||
It's all right. That's not my style. |
|||
Well, just in case, I wrote down |
|||
a couple of clever comebacks, like... |
|||
Here. |
|||
This is what you been doing? |
|||
"Yeah, you and what army?" |
|||
- What's wrong with that? |
|||
- He has an army. |
|||
Everyone deserves a card on their birthday. |
|||
So when you and Rudolph |
|||
were laughing it up back at the crib |
|||
about how easy all this was gonna be, |
|||
were you guys like, |
|||
"Man, any brain-dead mall cop |
|||
that gets in the way is gonna get smoked"? |
|||
And then... And then what? |
|||
You guys all high-fived? |
|||
- Veck, this guard is... |
|||
- Winning! I know this, because I am all set! |
|||
But sadly, no codes! |
|||
And I'd say, considering |
|||
all the luxury items that I have stacked up |
|||
in my Amazon shopping cart, |
|||
situation unacceptable! |
|||
No, no, no, no, no, no. He looking. |
|||
Give me a gun. |
|||
Put it down. Put it down. |
|||
What are you nodding about? |
|||
I was just wondering, |
|||
were you serious about that Happy Meal? |
|||
It isn't coming, is it? |
|||
What? |
|||
This is Commander James Kent, |
|||
New Jersey SWAT. |
|||
You wanted to speak to me? |
|||
I just wanna make sure |
|||
that no one does anything stupid. |
|||
You should know my men are deployed |
|||
and ready to bring this thing to a resolution. |
|||
The easy way or the hard way. |
|||
That is such a tough call, but... |
|||
Yeah, I'm gonna go ahead and go with C, |
|||
none of the above! |
|||
I'm Amy, by the way. |
|||
- Amy? From unbeWEAVEable? |
|||
- Yeah. |
|||
I'm Maya. |
|||
My father talked forever about you. |
|||
And I gotta say, he really does like you. |
|||
I'm gonna throw up. |
|||
Oh, that's not so bad. |
|||
Oh, my God. |
|||
They've got his daughter. |
|||
- Dad? |
|||
- Maya. |
|||
- Everything's gonna be okay. |
|||
- How's your blood sugar? |
|||
Don't worry about me, okay? |
|||
I'm worried about you. |
|||
I love you. |
|||
All right, now, I'm gonna get you all out. |
|||
You just hang in there, okay, sweetie? |
|||
I will. I'm a Blart, remember? |
|||
Yeah. I'll see you soon. |
|||
I'm supposed to be on my way |
|||
to the Cayman Islands with the hostages. |
|||
And where the hell is Rudolph? |
|||
He should be back by now. |
|||
"If Veck gets the codes, |
|||
he's taking us to Cayman Islands"? |
|||
Well, Veck Sims, welcome to the show. |
|||
Come and get me, Veck. |
|||
I got your codes |
|||
for the credit-card machines. |
|||
- Yo, you hear that? That's Paul, baby! |
|||
- Blart? |
|||
That's who's been screwing all this up? |
|||
You have got to be kidding me. |
|||
Give me a radio. |
|||
Let me tell you something. |
|||
You take hostages in my mall, |
|||
you are making a big mistake. |
|||
You seriously undermissed... |
|||
And you seriously... |
|||
Oh, no! |
|||
Blart? |
|||
Sugar. Sugar. |
|||
Blart? You there, Blart? |
|||
Hello, Blart. You there? |
|||
Hey, Blart! |
|||
I was hoping we could get an ETA |
|||
of when you're gonna give up. |
|||
How about now? |
|||
I'll meet you on the corner of Ne and Ver. |
|||
Yeah, you heard me. Never! |
|||
All right, Dad. |
|||
Hey, fellas! You looking for me? |
|||
Come on. Come on, come on. Come on. |
|||
Follow me. |
|||
There he is. |
|||
We got him trapped in Rainforest Cafe. |
|||
Great. Wait for me. |
|||
You know, my mom always said, |
|||
"If you want something done right, |
|||
waste the guy yourself." |
|||
I'm paraphrasing, of course. You stay here. |
|||
Prancer, take the back. |
|||
Hey, you. Scuba Dooby-Doo. |
|||
Hey, hey, hey, hey, hey. |
|||
Can I have my codes now, please? |
|||
Why? No codes, no Cayman Islands? |
|||
Looks like Paul Blart turned into |
|||
quite the badass. |
|||
Whoa, whoa, whoa. Relax. |
|||
No. |
|||
One thing I know is |
|||
Paul Blart is not a badass. |
|||
Comet! Don't come back till he's dead! |
|||
Brooks. Only one more left. |
|||
Then it's just me and Veck. |
|||
Okay, who's talking to Blart? |
|||
Was it you, sugar mouth? |
|||
All right. Let's try this again. |
|||
Wait! No, no, no! No, no, no, no, no! |
|||
It's her phone, it's hers. |
|||
She's talking to him. |
|||
She's talking to him, and I told her not to. |
|||
And it's under her leg. |
|||
The phone. Her right leg. Right there. |
|||
That's good. |
|||
Okay. |
|||
That was close. |
|||
He is a pro. |
|||
Listen, Blart, time's up. We're busting in. |
|||
Wait! Look, Veck's after |
|||
the credit-card codes, and I got them. |
|||
Just give me a few minutes. |
|||
No problem. |
|||
Isn't that cute? |
|||
- Hey, Amy. I'm on my way. |
|||
- Oh, hey, Blart. |
|||
Wow. Our boy Stuart just turned me on |
|||
to your profile |
|||
on lonelyloser.com. |
|||
"Likes morning rain, walks on the beach." |
|||
Who are you, Olivia Newton-John? |
|||
I was just speaking from the heart. |
|||
Yeah, well, I didn't have to go online, Paul, |
|||
to know that you love peanut brittle. |
|||
You're so pathetic. |
|||
Trippy. |
|||
This I can use. |
|||
What do you want, Veck? |
|||
I just want the $30 million |
|||
that I came here for. |
|||
But, you know, I would settle offing |
|||
your dream girl, or maybe your daughter. |
|||
You touch them, I swear I'll end you. |
|||
What're you gonna do, Paul? |
|||
You gonna pull up with your left hip forward |
|||
giving the illusion that you have a gun, |
|||
which you and I both know you don't? |
|||
- I could. |
|||
- You're not gonna do squat. |
|||
The next time I see you, Paul, |
|||
I'm gonna put a bullet in your head. |
|||
I don't think so. I'm taking you down. |
|||
Blart! |
|||
Oh, Blart. |
|||
Sweet mercy. |
|||
I wish I had a bat. I would bust you open, |
|||
see how much candy fell out. |
|||
- Too tight! |
|||
- This is not happening. |
|||
- It's not happening. |
|||
- Come on. |
|||
Bravo. That was awesome. |
|||
And you were just so close |
|||
to making it, too, Paul. Just so close. |
|||
- It's not over yet. |
|||
- Yeah, I think it is. |
|||
Now the only thing I need are my codes, |
|||
which, judging from your text messages, |
|||
you have been so sweet as to enter them |
|||
into your phone just for me. |
|||
You think I'm gonna carry the phone |
|||
with me that actually contains the... |
|||
- Yello? |
|||
- Peanut Blart and Jelly. |
|||
What's up, man? |
|||
So good to hear your voice. |
|||
Yeah, it's good to hear |
|||
your voice, too, Pahud. |
|||
Listen, I'm gonna have to call you back. |
|||
- What? When? |
|||
- I don't know when. I'll talk to you later. |
|||
Okay, Paul, call me back! |
|||
Call me back, Paul! |
|||
I mean, |
|||
this just keeps getting better and better. |
|||
I mean, you are impossible |
|||
to underestimate. |
|||
I mean, you can't pass the trooper exam, |
|||
you black out if you don't have |
|||
a Snickers bar like every 20 minutes, |
|||
you had the chance to be the MVP, |
|||
and you blew it. |
|||
Again, like you always do. |
|||
Ain't that right, Maya? |
|||
What do you want me to say, Veck? |
|||
You're smarter than me. |
|||
You're good on computers, |
|||
you kept your weight under control. |
|||
I mean, people, |
|||
they look at me and you, and... |
|||
Yeah, it's a landslide. |
|||
It's no contest. |
|||
Sorry. |
|||
Right now, you're the man with the gun. |
|||
So here you go. |
|||
Come on! |
|||
Go get him! |
|||
Go, Dad. |
|||
What... |
|||
Probably should have capitalized on that. |
|||
Dad! |
|||
Lock and load, boys. We're going in. |
|||
Hey, we're on the move. |
|||
Let's go. |
|||
Come on, come on, come on. |
|||
Paul. Think, Paul. Think! |
|||
Let's go, men. Take it down. |
|||
Secure the suspects. |
|||
Get down! |
|||
Hold your fire! Hold your fire! |
|||
Down. The other one. That's the back one. |
|||
No, no. That's the same one. No! |
|||
The other one! |
|||
Veck got away with my daughter and Amy. |
|||
Entry team, clear the mall. We'll pursue. |
|||
Light. |
|||
Open the door. |
|||
Let's do this. |
|||
Jimmy, give me your cell phone. |
|||
Gotta hand it to you, Blart. |
|||
You're really taking care of business. |
|||
What up? |
|||
Pahud, do you still have GPS |
|||
on Parisa's cell phone? |
|||
You know I do, Paul. You know I do. |
|||
What can I do for you? |
|||
I need to know where it's headed. |
|||
Paul, it looks like |
|||
they're on their way to McGuire Airfield. |
|||
I know where that is. Thanks. |
|||
Hang on. |
|||
My God. There they are. |
|||
Jimmy, take the wheel. |
|||
What? |
|||
Here we go! Here we go! |
|||
That was me. I can't... |
|||
Here I go! No! |
|||
Blart! |
|||
Don't do it! Blart! |
|||
Oh, God. Oh, God. |
|||
Maya! Maya, get inside. |
|||
- Oh, God! |
|||
- Dad! |
|||
Paul? |
|||
I really don't drink. |
|||
Come on. Oh, yeah? |
|||
- Dad! |
|||
- Come on. |
|||
Dad! |
|||
Man, that hypoglycemia is a killer. |
|||
I told you I'd take you down. |
|||
Blart! |
|||
Very impressive, |
|||
taking down an assailant without a gun. |
|||
I hope you don't mind if I use one. |
|||
What? |
|||
- Oh, no. |
|||
- Oh, yeah. |
|||
I guess |
|||
it's off to the Cayman Islands then, huh? |
|||
Soon as I get my money. |
|||
Yeah, well, you'll be needing this. |
|||
Just give it to him, Dad. |
|||
Oh, I will. Suck on that! |
|||
Okay. Situation update? |
|||
We have seven assailants in custody, sir. |
|||
- Great. Nobody talks to them but me. |
|||
- Yes, sir. |
|||
You see, jackass? I don't need the phone. |
|||
'Cause I got all the access codes |
|||
written on their arm. |
|||
Now, I kill you three, |
|||
there'll be no witnesses. |
|||
And since everybody thinks |
|||
this was a bank... |
|||
I got a newsflash for you. |
|||
Your flight's been canceled. |
|||
That's better than anything I got. |
|||
You did good, Dad. |
|||
Yeah, I am pretty great. |
|||
You know, she doesn't need a green card. |
|||
I don't know what to say. |
|||
I have something I want to say to you. |
|||
Happy birthday, Amy. |
|||
I heard you applied to be a state trooper. |
|||
You say the word, |
|||
my department would be proud to have you. |
|||
Thank you, sir. But I think |
|||
I'm gonna stick with what I do best. |
|||
It's protecting the people |
|||
of the West Orange Pavilion Mall. |
Revision as of 12:56, 18 September 2018
This article contains promotional content. (February 2017) |
Philippe Starck | |
---|---|
Born | Paris, France | January 18, 1949
Nationality | French |
Website | Starck.com |
Philippe Starck (born January 18, 1949)[1] is a French designer known since the start of his career in the 1980s for his interior, product, industrial and architectural design including furniture.[2][3]
Career
The son of an aeronautical engineer, Starck studied at the École Camondo in Paris. An inflatable structure he imagined in 1969 was a first incursion into questions of materiality, and an early indicator of Starck's interest in where and how people live. In the same year, Pierre Cardin appointed Starck as the art director of his furniture sector. [citation needed]
Starck Product
While working for Adidas, Starck set up his first industrial design company, Starck Product – which he later renamed Ubik[4] after Philip K. Dick's novel – and began working with manufacturers in Italy ( Driade), Alessi, Kartell – and internationally, including Austria's Drimmer, Vitra in Switzerland and Spain's Disform. His concept of democratic design led him to focus on mass-produced consumer goods rather than one-off pieces, seeking ways to reduce cost and improve quality in mass market goods.[5]
In 1983, then-French President François Mitterrand, on the recommendation of his Minister of Culture, Jack Lang, chose Starck to refurbish the president's private apartments at the Élysée. The following year he designed the Café Costes.[6]
Starck's output expanded to include furniture, decoration, architecture, street furniture, industry (wind turbines, photo booths), bathroom fittings, kitchens, floor and wall coverings, lighting, domestic appliances, office equipment such as staplers, utensils (including a juice squeezer and a toothbrush), tableware, clothing, accessories (shoes, eyewear, luggage, watches) toys, glassware (perfume bottles, mirrors), graphic design and publishing, even food (Panzani pasta, Lenôtre Yule log), and vehicles for land, sea, air and space (bikes, motorbikes, yachts, planes). The buildings he designed in Japan, starting in 1989, went against the grain of traditional forms. The first, Nani Nani, in Tokyo, is an anthropomorphic structure, clad in a living material that evolves over time. The thesis being: design should take its place within the environment but without impinging on it; an object must serve its context and become part of it.
A year later he designed the Asahi Beer Hall in Tokyo, a building topped with a golden flame. This was followed in 1992 by Le Baron Vert office complex in Osaka. Starck's buildings, while dedicated to work, are no less instilled with life and its constant effervescence. In France he designed the extension of the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris (1998).
The Alhondiga, a more recent project, is a 43,000 sq. m culture and leisure venue in Bilbao that opened in 2010.[7] Starck, who loves ships and the sea, designed the new infrastructure for the Port Adriano harbour on the south-west bay of Palma de Mallorca, and was also artistic director for the interior. It opened in April 2012. He also designed Steve Jobs's yacht, Venus, which launched in October 2012.[8]
Hotels
For the past thirty years[when?] Philippe Starck has been designing hotels all over the globe, including the Royalton in New York in 1988, the Delano in Miami in 1995, the Mondrian in Los Angeles, the St Martin's Lane in London in 1999, the Sanderson, also in London, in 2000, and the complete 2001 renovation of the historic Clift in San Francisco with its updated art-deco bar, the Redwood Room.[9] In South America, Philippe Starck designed the inside and outside of the Hotel Fasano in Rio de Janeiro in 2007 using materials such as wood, glass and marble. He then turned his attention to luxury hotels: in 2008, Hôtel Meurice and the Royal Monceau in 2010.[10][11]
From 1990, Philippe Starck has worked to democratize quality "designer" hotels, beginning with the Paramount in New York. Offering rooms at $100/night, it became a classic in its genre. In 2008, Starck brought this humanist concept to Paris as the Mama Shelter. A second Mama Shelter opened in Marseille in 2012. In April 2015, Mama Shelter had six hotels with new locations in Bordeaux, Istanbul, Los Angeles and Lyon.[12]
In 2010, Philippe Starck opened the Co(o)riche Hotel at the Dune du Pyla.[citation needed]
In North America, in the 2000s, Philippe Starck with entrepreneur Sam Nazarian created the concept for SLS, a chain of luxury hotels. The Bazaar lobby at SLS Hotel in Beverly Hills quickly became a public space with its tapas restaurants, Norwegian health bar, pâtisserie and a Moss concept store.
Restaurants
Philippe Starck has several restaurants to his credit: Bon (2000), Mori Venice Bar (2006) and Le Paradis du Fruit (2009) in France, and the notable launch of Katsuya in Los Angeles in 2006, the first in a series of Japanese restaurants. The A'trego opened in Cap d'Ail in 2011. He designed the interior and exterior of Ma Cocotte, a restaurant that launched in September 2012 at the Saint-Ouen flea market near Paris. In 2013, he designed Miss Ko, an Asian-centric concept restaurant in Paris.
In November 2011, Lodha Group appointed Phillippe Starck for "yoo inspired by Starck", to design the residential development at New Cuffe Parade, Mumbai.[13][14]
Yachts
- The two "A" yachts for Andrey Melnichenko: the motor yacht A (2008) and the sailing yacht A (2017)
- Venus (2012) for Steve Jobs
Objects
- The Juicy Salif lemon squeezer for Alessi (1990)
Other projects
In November 2012, Starck published his first book of interviews, Impression d'Ailleurs, with Gilles Vanderpooten. In it, he expresses his view of the challenges facing the world to come – ecology, solidarity, youth, science – and, as a humanist, suggests ways we can make a difference.
His work is seen in the collections of European and American museums, including the Musée National d'Art Moderne (to which he has donated several pieces, in particular prototypes) the Musée des Arts Décoratifs in Paris, the MOMA and the Brooklyn Museum in New York City, the Vitra Design Museum in Basel and the Design Museum in London. More than 660 of his designs were inventoried in French public collections in 2011.[15]
Philippe Starck was the first designer to participate in the TED Talks (Technology, Entertainment & Design).[citation needed]
Alongside his work Philippe Starck partnered with Moustache Bikes for the M.A.S.S. (Mud, Asphalt, Sand and Snow). A portfolio of four e-bikes that use a Bosch electrical engine and battery pack.[16]
Starck helped design the Xiaomi Mi MIX smartphone, notable for having a 6.4-inch "whole surface screen".[17]
Philosophy
Democratic design
Through his "democratic design" concept, Starck has campaigned for well-designed objects that are not just aimed for upper-tiered incomes. He has expressed this as a utopian ideal,[18] approached in practice by increasing production quantities to cut costs and by using mail-order, via Les 3 Suisses. In January 2013 he redesigned the Navigo travel pass.[19]
One of the ways Philippe Starck has economized costs for the public,[20] is his plastic-furniture line, producing pieces such as the Kartell Louis Ghost chair, over a million of which have been sold. He has also been involved in the development of Fluocaril toothbrushes to bathroom fittings for Duravit, Hansgrohe, Hoesch and Axor, from Alessi's Juicy Salif lemon squeezer to Zikmu speakers, Zik headphones by Parrot, Laguiole knives, Starckeyes glasses by Mikli and the Marie Coquine lamp for Baccarat.[21]
Political messaging
Sometimes pointed political messages[22] can be found in projects, such as the subversive Gun Lamp (Flos, 2005), the Superarchimoon floor lamp (Flos, 2000), in fact a giant architect's lamp standing 217 centimetres high, the Haaa!!! and Hooo!!! lamps he imagined with the American artist Jenny Holzer (Flos/Baccarat, 2009) and the chandeliers in the Darkside collection, featuring the Zenith chandelier (Baccarat, 2005).
With environment and ecological concerns, he created the Good Goods catalogue with La Redoute. He also set up AOA, an organic food company. His latest eco-friendly designs are the V+ Volteis electric car, the Pibal bike for the city of Bordeaux, Zartan chairs for Magis and Broom by Emeco.
References
- ^ "Philippe Starck French, born 1949". moma.org. Museum of Modern Art. Retrieved 31 January 2016.
- ^ Les Années 80, Flammarion, 1984
- ^ Le Petit Larousse Illustré 2012
- ^ "The who's who of design. Name: Starck Philippe, born 18 January 1949, son of Andre Starck, aeronautics engineer. His family originally coming from Alsace region, before his grandfather had moved to Paris. Studies: Ecole Camondo in Paris. Profession: designer, boss of Ubik. Distinctions: Award for the Paramount Hotel in New York (1992), Best Design Oscar for the Beneteau yacht (1990); Platinum Circle Award (Chicago 1987), Designer of the Year (1985). Management n°24, p 122, February 1997
- ^ Designs on love, Le Monde, 10 February 2008
- ^ Philippe Starck pulled off his first feat with his interior for the Parisian nightclub and restaurant Les Bains-Douches, followed by Café Costes, "Psychoanalysis of the Starck Object", Le Monde, 27 January 1994
- ^ The master of metamorphosis, Philippe Starck has transformed this former oil and wine warehouse into an arts and leisure centre. Each function has its own space, defined by set theory. Figaroscope, June 2010
- ^ Just over a year since the death of Apple's founder, Steve Jobs's yacht, designed by Philippe Starck ... was moored in the Netherlands where it is being completed. L'Express, October 2012
- ^ Thornburg, Barbara (16 December 2001). "Suites of San Francisco". Los Angeles Times. Retrieved 26 June 2014.
- ^ Starck invents tomorrow's luxury hotel, l'Express, 15 September 2010
- ^ Starck reveals all, Les Échos, 15 January 2010
- ^ "Mama is getting Bigger" (PDF). Accor.com. 28 October 2014. Retrieved 10 April 2015.
- ^ "Lodha Group partners with Philippe Starck Partners". India Infoline. 28 December 2011. Retrieved 22 December 2013.
- ^ Chadha, Sunainaa (29 November 2013). "Lodha bets big on Central London, Canadian Embassy is just the first stop". First Post (India). Retrieved 22 December 2013.
- ^ Design Portal, 20th and 21st century objects and furniture in French public collections (archive)
- ^ "Philippe Starck desenhou a mais bela bicicleta elétrica". Www.maismotores.net. R Barros. 15 September 2014. Retrieved 15 September 2014.
- ^ "小米MIX-小米商城". www.mi.com. 25 October 2016. Retrieved 26 October 2016.
- ^ "So it is absolutely possible to talk about a utopian project with Starck", Benoît Heilbrunn, Starck in Words, 2003
- ^ Philippe Starck waived his fee for designing this new-generation card, said transport authority STIF. Its pared-down design is intended to make it last, Le Parisien, January 2012
- ^ "I'm against beautiful objects. I prefer good objects [...]. I'll stop when my chairs cost fifty bucks", L'Express, 22 October 1998
- ^ "Philippe Starck sets in motion an education of the masses. To the greatest number of people, he distributes forms that educate the eye […] From the minute to the immense, Starck marks out the paths that reconcile aesthetic, ethical and political", Michel Onfray, Starck in Words, 2003
- ^ I'm convinced that for many, the political nature of his work is not only hard to detect but of little interest [...] yet for most of us, the most sensational thing about Starck's architecture and design is the combination of fun and the unexpected, Zoom sur Philippe Starck, Courrier International, 2 September 1995
External links
- Official website
- BBC Imagine... Exquisite Corpse game, contribution by Philippe Starck
- Philippe Starck thinks deep on design Talk at TED conference