#drama production industry conference

[ohumrak]

Ni Ni 倪妮 | 1st China TV Drama Production Industry conference - part 1 [2025.02.21]

[cnladies]

NI NI 倪妮 in Georges Hobeika 2025 Spring/Summer Haute Couture | 1st China TV Drama Production Industry Conference Ceremony

Ni Ni: more photos here China TV Drama Production Industry Conference: more photos here

[seventeenreasonswhy]

Same Team! A YJH Office Romance Pt. 1

Idol!Jeonghan x ProductionStaff!Reader

You’re serious about your job, but not as serious as Yoon Jeonghan is about flirting.

Part 1: ~2k words, Part 2

Series Content: slooowwwwww burn, fluff!, cute flirting!, will-they-won’t-they vibes!, tension!!, office crushes, office romance, appearances by all of the members, reader is shy and gets flustered easily!, jeonghan is jeonghan-ing!

My Masterlist

Author’s Note: This is just Part 1! Not sure how long this series is going to be, but I promise there will be smut eventually lol! I just got into the head of this MC and wanted to create a tense, flirty coworker dynamic with Yoon Jeonghan, the prettiest man alive! Also, I should mention that the representation of Koreans in this chapter is completely fictional and in now way representative of how actual Korean people feel about foreign coworkers! It’s a little K-Drama “ice queen” trope, sorry! I hope you enjoy! 😊

~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+

If you had known there was going to be so much paperwork involved, you would have just printed and signed everything ahead of time. But they had mentioned that the in-person onboarding was required.

“Sign here,” the onboarding representative pointed to various lines for your signature.

Payment, discretion, benefits... the contract was airtight.

That’s the K-Pop industry for you, you thought as you diligently scanned through each line. You could feel the other new hires at the onboarding getting restless.

“Sorry,” you said to the room, “I’m kind of slow at reading Korean.” You could practically smell the mixture of surprise and annoyance coming from the others seated around the long conference table. If you were being honest, you knew that your Korean was pretty good. (Not that you’d ever admit it out loud!)

“Wow, you speak pretty well,” the onboarding representative said.

“Thank you,” you smiled politely.

“Is she pretty, too?” you heard the woman seated across from you mutter to the woman on her right, eliciting a soft giggle. You caught her eye for a moment, smiling, but she looked away quickly.

You had to remember that small gestures you considered normal in the States might come off as rude or overly familiar. You focused again on the contract in front of you, trying not to mind whether you were the last one to finish signing.

“Once everyone is done signing everything, we’ll take you on a tour of the building, and we’ll end the day by swinging by the practice room and meeting the members.” The onboarding representative clapped his hands cheerfully, and everyone stood, bowing and shaking each other’s hands as they left the room. You were selected to go with the second tour group, with the two women seated across from you and another young man. You were all new “executive production staff” and would be sharing a four-desk cubicle.

“Nice to meet you, I’m Y/N,” you said, bowing politely to your new colleagues. They greeted you politely, if a little stiffly. The two women seemed to know each other already and were sticking together. The young guy was typing rapidly into a messaging app on his phone.

“Um,” one of the women said in a timid voice, directed at you.

“...Yes?” you asked as politely and as gently as possible.

“Where are you from?” The other woman asked more boldly. You noted that she didn’t use polite speech.

“I grew up in <hometown>, in the U.S.,” you answered politely, deciding to ignore this woman’s attitude.

“What are you doing here? Don’t they have plenty of production jobs in the States?” she asked in English.

Ah, she’s gonna be a tough nut to crack. You anticipated some culture-clashing and were prepared to answer any questions or handle any tension that might arise. You wanted to be prepared, so you had done your best to study the culture before moving, talking to friends whose parents were from Korea and reading books about Korean history and social norms. And by watching (probably too many) TikToks. But, you had focused most of your energy on learning the language.

But the fact still remained: you were the outsider here.

“Fluent English speakers are in high demand, after all,” you tried to answer as smoothly as you could in English.

“Jiyeon-shi,” the woman’s friend gently hit her arm, her tone both amused and chiding. The woman, “Jiyeon,” just stared at you, her expression smug.

“Well, don’t expect to turn Korean just because you got a job here and use our skincare routine,” she said, her words laced with venom. Ah, she’s speaking Korean again, you noted.

“I would never presume such a thing. I look forward to working with you,” you bowed deeply. Kwon Jiyeon scoffed just before the four of you were guided toward the office floor.

“This is where you’ll be working,” the tour guide, a young woman wearing a face mask and glasses, gestured to a partitioned-off space in a sea of similar cubicles. “You’ll likely not spend much time at your desk, but please make yourselves comfortable.” She directed you and the others to the staff kitchen, the lounge, the row of conference rooms that needed to be booked at least two days in advance, the company cafeteria, the courtyard on the roof, the editing bays, and finally, you were at the practice rooms.

“This is where various groups and their performance coaches and choreographers can be found,” the tour guide said. You could feel the bass of a song pulsating through the walls and could see tight groups of dancers practicing in the mirror through the small windows in the doors to the spacious, sprung-floored rooms.

You were assigned to exclusively work with the group SEVENTEEN, probably the number one K-Pop group in the world at the moment. You felt unbelievably lucky to have gotten the gig. You were fully expecting to work with idols who hadn’t even debuted yet, but the interviewer was so impressed with your experience in the American music industry—and the way you picked up the language quickly—that he felt it would be a waste of your talent to send you to a group that could disband in a couple of years.

“Okay, it looks like they’re about to take a break,” the tour guide said before facing the four of you. “Listen, the members are very polite and kind, but please respect their privacy and their position at all times. This is meant to be a formal meeting, so please remember to be professional.”

Interesting warning, you thought. You figured there had probably been incidents with staff in the past. You could imagine. There was a lot asked of the idols in this industry. Not to mention they were all gorgeous. You hoped they wouldn’t be uncomfortable working with you. Jiyeon and her friend (“Daein” you learned) were visibly flustered. You averted your eyes, trying to focus on your breathing. I can’t get nervous, you thought, these are going to be my colleagues.

The tour guide opened the door, and the four of you filed into the studio. The atmosphere was rowdier than you expected, and more crowded.

So many people around just for a dance rehearsal? Or is it just open studio time?

There were a group of girls, one in a folding chair, the others sitting or stretching on the floor nearby, facing away from the mirrors. A group of guys on the far end of the studio, some of them even snacking, some of them talking to each other or into a camera, held by some other young person wearing a face mask. All the while, music was playing at the far end of the studio, and there they were.

Well, some of them.

You felt your stomach flip.

Well, you couldn’t imagine not reacting to them, right? They were famous. And... you didn’t know how to describe it. Standing there, next to this wary Jiyeon and her follower, Daein, and the other young guy on your tour whose name you already forgot... and the nice tour guide, and the staff in the corner she was talking to...

Somehow they all just disappeared, and you were watching the group of men in the middle of the hard studio floor, dancing in perfect sync to the music.

So this is what it’s like to be in the presence of real celebrities, was all you could think.

Your heart was pounding like crazy. You could tell that your face was probably beet red. You tried to breath.

They’re ...boys, really—you told yourself. You’d learned that age was important in Korea. You’d also learned that you were a year older than the group’s oldest member.

Seungcheol, you remembered. That was his name.

... A pretty name.

You couldn’t take your eyes off of their dancing, until suddenly the music died down.

“What, what!”

“Hey!”

“Why are we stopping?”

A flurry of protests came from these men (—boys), and the tour guide clapped her hands together.

“We apologize for the interruption,” she bowed to the group, now paying attention to her—and facing in the direction of where you’d entered the studio, facing the four of you.

“We’d like to take just a quick moment to introduce you to these four new executive production staff that will be working with you from today. They are the sharpest and most creative candidates, and some are even coming from overseas. Please let me introduce...” she gestured to each of us, gave us a moment to bow, and tell these ... men ... that we looked forward to working hard together.

You realized there were only eight of them standing there in front of you. It didn’t feel real. ...Aren’t there thirteen of them? you wondered.

And then, as if summoned, three more of them appeared from the other side of the long room—the boys who you’d seen talking into a camera. You involuntarily caught eyes with one of them, briefly. He bowed slightly, his kind eyes crinkling.

Cute... you thought involuntarily, quickly averting your eyes and bowing slightly.

You recognized him. “Joshua.” His Korean name was “Hong Jisoo.” You wondered what to call him... You’d both lived in America, right? “Joshua” was fine, right?

“And this is Y/N, coming to us from the United States,” the tour guide said. You snapped out of it, turning to the members and bowing quickly, unable to look at them directly to see their reactions.

“It’s nice to meet all of you!”

Fuck, I sound so nervous. What the hell...

“Nice to meet you!”

“Thank you for being here!”

“Whoa, you’re American!”

“Do you speak Korean?”

“Really? Wow!”

“Wait, you know Korean?”

“We go to America all the time.”

Again, a flurry of words flew from the crowd of boys. You don’t really realize until you’re in front of this many people, but 13 is a lot... you continued to stare nowhere in particular, just avoiding their faces. But even judging by their feet, there were still only 11 of them.

As Jiyeon and the young man—who had finally put his phone away—bowed shyly and exchanged some words with a couple of the members... from what you could tell... That one must be “Hoshi”... a surprisingly average-height man with bleached blonde hair and a baggy hoodie on, speaking politely with Jiyeon, who was covering half of her face with her hand.

“Nice to meet you.” A velvety voice came from right next to you, and you jumped a little in spite of yourself before turning to face the most angelic looking man you’d ever seen in your life—grinning softly and staring right at you. You managed just a fraction of a second of eye contact before averting your gaze, positive that your face was flushed and Yoon Jeonghan could absolutely tell.

“Nice to meet you.” You bowed, suddenly conscious of every tiny gesture you were making, wondering if you shouldn’t have worn your hair down—if a ponytail or a bun would have looked more polished, or maybe you chose the wrong outfit, the wrong shoes...

“Thank you for your work,” another voice came from next to Jeonghan, and you turned and bowed. It was Seungcheol, the leader. He looked spectacular up close. They all did. It was like they weren’t even real. You couldn’t believe that real people could look so stunning, just casually.

Jeonghan and Seungcheol joined the other members, and everyone exchanged greetings before gradually returning to practice.

You couldn’t help but look at him again. He was so beautiful. You’d never seen someone like him before. Your heart was hammering in your chest. You didn’t even care how red your face probably was. How he had such a beautiful face, and a slight build... but he looked so strong at the same time. You glanced in his direction before the tour guide rounded you up again to leave for the day. 

But he was already looking right at you.

It was too unbelievable for you to look away...

“Welcome,” he mouthed at you, smiling as you were led out of the room—completely speechless.

Your eyes stayed locked until you were out of sight.

[accio-victuuri]

wang yibo - global times weibo update ; war of faith

The first China TV Drama Production Industry Conference and the 10th China (Shenzhen) International TV Drama Program Fair were held in Shenzhen. 20 TV series were selected for the "Annual Drama Recommendation"

[pynkhues]

do you feel like acquiring newsreader indicates an investment or confidence in Sam/IWTV? I'm excited to finally be able to (legally lol) watch it.

Mm, yes and no? I think there are a few things at play, but I do think it indicates some interesting strategic moves and them strengthening their relationship with the ABC, which is our Australian equivalent of the BBC in the UK as a taxpayer funded, government-owned national broadcaster. The ABC makes The Newsreader, but also already airs a lot of AMC shows here (IWTV, Killing Eve and Kevin Can Fuck Himself being the main ones, I think), so they already seem to have some sort of distribution deal between them.

The Australian government has been in the process of introducing quotas for international streamers. This has been a long, drawn out, politically fraught process in the industry, so I won't get into the weeds of all of it, but the basic facts of it are that some time in the next year or so, the Australian government will be telling Netflix, Disney, Prime, etc. that they have to invest a certain amount in Australian content, either by making it or acquiring it, if they want to continue operating in the country.

The streamers - particularly Netflix - have been aggressively fighting the government on this, hence this process has been drawn out and the unions have all been doing a lot of work to keep it high on the agenda (like, we were supposed to know what the quotas were going to be in mid-2023 and probably won't until mid-2025 at this rate. Netflix is the one who was pushing it back specifically until after the election, because they think a Trump administration might be able to crush the quotas going through at all - it's been....pretty ugly and very frustrating and very much a reminder that Australia has very little weight on the world stage).

AMC (and Prime, actually, of which AMC+ is a channel on here) though has kind of I'd say been leaning into it a little? They've been really ramping up their presence at conferences and markets here and seem to be genuinelly trying to work with local producers in getting ahead of it. AMC hasn't made many Australian shows yet (although they've made a First Nations vampire show, Firebite, which is unfortunately not very good), but I know they've been out here quite a lot in-person, and I know my producer has met with them a few times and likes the team and thinks they're genuine in wanting to work with Australian creative teams.

The ABC makes quite a lot of Australian shows (again, they're owned by the Australian government, so they kind of have to, haha) and a lot of it is pretty good? The Newsreader's just one part of their drama slate, but they do a lot of comedy (including two of our best sitcoms, Utopia and Fisk) too. Developing a stronger relationship with the ABC and potentially having a reciprocal distribution deal could be a very good way for AMC+ to get on top of the streaming quotas early, become a preferred partner for Australian producers by being an early adopter, and just overall develop relationships with Australian talent, which they're doing not just with Sam through IWTV, but Emma as a director who also directs both for IWTV and literally every episode of The Newsreader.

That's not even getting into the fact that Australia has one of the best tax offsets for productions and post-production in the world, which is definitely of interest to them, I'd say, given one of the only country's that beats our offset is Prague which is notably where they shoot IWTV, haha. It's why so many blockbusters are shot here though, from Fall Guy to Aquaman, and why so many films do their post-production here.

So yeah, I would say it's probably a little bit indicative of an investment in Sam (and Emma), but I think it's also probably more about shoring up their relationship with the ABC ahead of the quotas being introduced (if they even are anymore). That said, I do think AMC is invested in IWTV - they're putting a lot into building out that storyworld and spinning off franchises and IWTV is the anchor of all of that. :-)

[mysmorgasbordoffantabulosa]

Not Taekook related, but I was thinking a lot about the whole Min Heejin and HYBE drama, particularly the stories about the shaman and BTS, the leaking of private/personal information about idols (possibly Garam, Youngseo and others), also the allegedly trying to snare V. All this makes me wonder if MHJ had a hand in V's scandal with Jennie. It would be good to get your thoughts on it all.

This is all so seriously messed up. I think there is faults on both side but also some valid points too.

Whilst I will answer your main question about taennie and possibly the whole JK fake apartment video, I feel I need explore the situation as a whole. So I will structure it like this:

Thoughts on the key points/accusations on boths sides about the whole dispute

Was Heejin involved in rumours about BTS members

What I think will happen

Final thoughts

Ok...

Thoughts on the key points/accusations on boths sides about the whole dispute

I do think Heejin has some valid points about the visual concepts being used by other HYBE artists, although technically, MHJ doesn't own any of the IP she created with ADOR. I know a little about IP and Copyright there are 4 types...

Creator / 1st Owner - where the creator is also the owner of the product, for example: The author and first owner of copyright in a sound recording is the record producer. The author and first owner of the copyright in a broadcast is the broadcaster. The author and first owner of the copyright in a published edition is the publisher.

Works created for an employer - (this will apply to MHJ) Where a literary, dramatic, musical or artistic work, or a film, is made by an employee in the course of his employment, his employer is the first owner of any copyright in the work (subject to any agreement to the contrary).

Commissioned works - This is like when HYBE commissions a producer/writer to create something, the rights belong to the company/person who creates the work (say Andrew Watt) not the commisioner (HYBE)

Joint Author/Co-Written - Joint ownership might arise, for example, if a person was commissioned to create a website together with one of the company’s employees. It is likely that both the person being commissioned and the company would be joint first owners of copyright in the website. For co-written songs the songwriters share ownership.

So unless MHJ had a special contract that gave her special rights over something, she has no control over what she creates as it BELONGS to HYBE, that includes NewJeans, the concepts and other IP.

It's clear HYBE has the evidence to show there is something underhand going on, and has probably had evidence for weeks. They probably discovered the plot because of the copying on files by that VP at ADOR. Also why would anyone make plan to takeover a company for the hell of it... it doesn't make sense.

Is it unfair that MHJ has a clause stopping her from working in the industry for a period of time if she leaves HYBE/ADOR... NO, these are common place in businesses, plus she negogiated and signed her contract... unless she didn't do the proper due diliegence.

The MHJ press conference was a masterful display of media play/manipulation. She deliberately wore clothes that made her look dishevelled, also the cap adequately hide the fact that she never actually shed a tear once in the whole 2 hours and her make up helped with this impression, by making her cheeks look wet from tears.

HYBE in a cult...

But obviously not true and MHJ and co are clearly dropping fake stories to tarnish everyone.

I certainly believe (after that news conference where she slandered nearly every HYBE group) that this woman leaked private and confidential information about trainees and idols.

Her and Bang PD were not close... so which CEO hired her in 2019, I'll give you one guess and his name is in this sentence... so he must have spent time with her and cultivated a working relationship at BIGHIT Entertainment prior to HYBE forming... MHJ was VERY selective in of which chats to share with the press... I expect Dispatch to expose more her conversations with BPD, which will paint things in a different light.

MHJ lied in her press conference... she took, with HYBE's blessing, Source Music trainees, staff and other resources to form NewJeans and ADOR... with HYBE's money.

HYBE CEO is dirt bag who likes vaginas... simply because he oversaw video game that was quite rude. It's not like he designed it himself, he simply oversaw the project, plus unfortunately that's a big thing in the Video Game world... it can be very msygonistic.

Was Heejin involved in rumours about BTS members

So was MHJ involved... on the surface one might think so.

I do think she might have had a hand in the Garam scandal and the leaking of Youngseo, members of two groups she saw (in her own words) as threat to NEWJEANS and her vision.

However, I don't think she had anything to do with Taennie or JK's fake video, it's clear (at least for Taennie), that YG was heavily involved and possibly HYBE too.

Now to the recent stuff that's currently be "leak" and stuff that might come out in the next few weeks... I think her involvement might be more logical.

What I think will happen

I think within the next month HYBE via a shareholders meeting with ousts the ADOR board and replace it with their own board and subsequently remove MHJ from her pssost.

ADOR's new CEO will be another woman from within the company

From what I understand, MHJ might have a problematic history with young people... I'm sure if she does it will come out.

There will be a trial of some kind and MHJ and co will be found guilty in someway

I think HYBE in general will take more control (at least at board level) of every sub-label over the next year, to strengthen its position but also but to improve coordination between labels to stop classes that have occured in the past.

NewJeans won't be leaving ADOR/HYBE, mostly because HYBE owns the brand of NJs and their concepts, but also it's be intimated that NJs would have to pay hefty reparations for said IP and to be released from their contract. I suspect post MHJ HYBE will sweeten the NJ's current deal with additional stuff.

Final thoughts

It's a mess, but within a few weeks/months it'll all be partly resolved to a certain extent.

I suspect this week HYBE through outlets like Dispatch will leak even more of the incriminating shit it has on MHJ and her co-conspiritors.

HYBE will remove the current board of directors at ADOR and then remove MHJ and he co-conspiritors.

I suspect we'll also get some expose about her time at SM that isn't pretty and adds more fuel to the fire and may show she has a track record of causing trouble.

I also suspect that when MHJ tries to sell her shares she'll end up having to sell them back to HYBE because I they will make it difficult for her to sell it to anyone else.

I predict NewJeans will have new comeback post MHJ that's even more successful than before.

[noonesgaylikegatson]

November 18, 2023

TOKYO (AP) — Japanese actor-director Takeshi Kitano says he wanted his new film “Kubi” to show the world of samurai in ways that mainstream movies have rarely done before, by portraying the homosexual, love-hate relationship of warlords in one of Japan’s best known historical episodes.

“What is never shown is relationships between men at that time, including their homosexual relationships,” Kitano told a news conference at the Foreign Correspondents’ Club of Japan on Wednesday ahead of the Nov. 23 opening of his film in Japan.

The story of “Kubi,” or “neck,” shows the 1582 ambush of Oda Nobunaga, one of Japan’s best-known warlords, at the Honnoji temple in Kyoto by an aide, Akechi Mitsuhide.

Past dramas from that period have only shown “very cool actors and pretty aspects,” Kitano said.

“This is a period when especially men were keeping up with their lives for other men within these relationships, including sexual relationships,” he said. ”So I wanted to delve into showing these more murky relationships.”

He wrote a script for the idea 30 years ago, then released the novel “Kubi” in 2019, leading to his production of the film. He also plays Toyotomi Hideyoshi, who takes over after Nobunaga, in the film.

Kitano, 76, began his career as stand-up comedian Beat Takeshi before becoming a TV star.

Kitano said he has seen the dark side of the Japanese entertainment industry, which recently has been shaken by a scandal involving the decades-long sexual abuse of hundreds of boys by the late founder of a powerful talent agency. Recently, the suicide of a member of a hugely popular female-only theater company Takarazuka prompted criticism over its alleged overwork and widespread bullying.

“In old days, in the Japanese entertainment industry, I wouldn’t go as far as calling it slavery, but people used to be treated a commodities, from which money is made while showing them off. This is something that’s still left in the culture of Japanese entertainment,” Kitano said.

In his early days as a comedian, there were times when he was paid not even one-tenth of the worth of his work, he said. “There have been improvements in recent years, but I’ve always thought severe circumstances have existed.”

Kitano, who debuted as a film director in 1989 with “Violent Cop” and won the Golden Lion at the Venice Film Festival for “Hana-bi” in 1997, is known for violent depictions in his gangster movies like “Outrage.”

“Kubi,” which refers to traditional beheadings, has ample violence. Violence and comedy are an inseparable part of daily lives, he said.

“Laughter is a devil,” he said. “When people are very serious, such as at weddings or funerals, we always have a comedy or a devil coming in and making people laugh.”

Same for violent films, he said. “Even when we are filming very serious scenes, there are comedic elements that come in on the set, as the devil comes in and makes people laugh,” though those scenes are not in the final version of films.

“Actually, my next film is about comedy within violent films,” Kitano said. It will be a two-part film, with his own violent story followed by its parody version. “I think I can make it work somehow.”

[denimbex1986]

'Christopher Nolan is freaking me out.

“There’s a pretty simple argument mathematically for saying the world will end in nuclear Armageddon simply because that’s a possibility,” he’s calmly explaining. “Over an infinite timeline, it’s going to happen at some point.”

It’s hard to dispute Nolan’s logic that civilization will one day vaporize, but as he tops off his mug of Earl Grey tea from a small kettle on the table in front of him, he hits a slightly more hopeful note. “My optimistic human self has to believe we’ll find a way to avoid that, but I don’t take a lot of reassurance in the idea that mutually assured destruction has prevented a cataclysm so far. It’s the ‘so far’ that’s the problem.”

Nolan is something of an authority on the apocalypse. After all, “Oppenheimer,” his look at J. Robert Oppenheimer, the architect of the Atomic Age, is one of the most-seen films of this or any year. The three-hour, R-rated drama where the action mostly unfolds in laboratories and congressional hearings has grossed nearly $950 million globally, more than almost any recent Marvel movie. In the process, it’s reshaping Hollywood’s idea of what constitutes blockbuster entertainment.

Over the past two decades, comic book adventures subsumed the movie business, with studios churning out an assembly line of sequels and spinoffs featuring superpowered heroes. But “Oppenheimer” reveals that audiences will turn out in record numbers for darker, more complex stories. That is, if they’re told with the epic flair that Nolan has honed in movies like “The Dark Knight” and “Dunkirk.” And it’s giving other filmmakers hope.

“Not only did ‘Oppenheimer’ work, but it seemed to work in defiance of received wisdom,” says Damien Chazelle, the Oscar-winning director of “La La Land.” “Before I even saw the film, it felt like one of those test-case scenarios. All around the industry, a lot of people were saying, ‘This is not what the audience wants — it’s a bummer, and they just want escapism.’ And they were all wrong. So that makes its success all the sweeter.”

Nolan is stunned by the grosses, as well as the Oscar buzz that “Oppenheimer” is generating. “With certain films, your timing is just right in ways that you never could have predicted,” he says. “When you start making a film, you’re two or three years out from when it’s going to be released, so you’re trying to hit a moving target as far as the interest of the audience. But sometimes you catch a wave and the story you’re telling is one people are waiting for.”

In this case, the film reached screens at a moment of roiling global anxiety. Russia’s invasion of Ukraine, which took place just as Nolan and his cast and crew were starting production, has elevated fears of a potential nuclear conflict. And when we meet on an October morning in a lifeless conference room in lower Manhattan, blocks from where the World Trade Center once stood, we are a week away from the terrorist attack on Israel, which has resulted in unspeakable violence in the Middle East and the prospect of a widening war. Our troubled world has only grown more turbulent since “Oppenheimer” was released four months ago. (The film will be available on Blu-ray, DVD and digital on Nov. 21.)

“The awful truth of nuclear weapons is that concern about them ebbs and flows with the geopolitical situation,” Nolan says. “But it shouldn’t. The threat is always present, but sometimes an event will happen that brings it more front of mind. But that’s not how it should be; it’s a danger that hovers over the planet and will never go away.”

On the night “Oppenheimer” opened in July, Nolan sneaked his mom, his producing partner and (wife), Emma Thomas, along with three of their four kids into the back of the Imax theater at Manhattan’s AMC Lincoln Square to see how the sold-out crowd was enjoying the movie.

“I usually don’t want to go, but the minute I’m there, something magic happens,” says Thomas.

In the theater that night, as Oppenheimer and his team prepare to detonate the first nuclear weapon, Nolan felt viewers’ concentration intensify. “It was a remarkable experience to be there,” he says. “Every seat was filled, and the focus on what was happening on-screen was so strong. That level of engagement was something that I’d never really felt before. Real attention was being paid.”

On that morning downtown, Nolan, 53, is wearing a collared shirt, slacks and a blue blazer. He rarely deviates from this proper, vaguely professorial look, which colleagues say is intentional.

“His dressing style is a manifestation of the fact that he’s putting his energy elsewhere,” says “Oppenheimer” cinematographer Hoyte van Hoytema. ”He wears the uniform to make things easier for himself and to strip away the bullshit. He likes certain routines, and he hangs on to them in order not to have to think about anything else. He has such a hawk’s-eye focus on the task at hand. There’s no other director I’ve ever worked with who has such a specific devotion and dedication.”

There are certain rituals on a Nolan production too. He shoots on film, even though most of the industry has moved to digital, using Imax cameras to give his movies the scope and scale that he prefers. And he surrounds himself with a close-knit group of frequent collaborators — from Cillian Murphy, who took the lead role in “Oppenheimer” after five previous Nolan outings, to van Hoytema, who returned for a fourth go-round with the director. Despite his films’ big budgets, he likes to keep his sets small, shunning a video village. And he discourages his actors from spending a lot of time in their trailers.

“There’s not a lot of waiting around,” says Thomas, “because Chris is fast and efficient when he works.”

Thomas, who has produced all her husband’s films and co-founded their production company, Syncopy, says Nolan maintains an atmosphere on set. “Chris is clear about what he needs,” she says. “But there’s also a sense of calm, which allows people to do their best work.”

When he’s not shooting a movie, Nolan takes notes about ideas that, more often than not, never become a finished film. “His office is a shambles,” says Thomas. “It’s filled with notebooks. There’s no method to them — there are sketches of things or a logo for a movie he’s going to make or a little bit of a story he may want to tell. He writes everything down.”

But Nolan doesn’t start writing a script until he knows he’s actually going to make the movie he sees in his head. That’s partly due to his experience writing a biopic about Howard Hughes in the early aughts. He loved the screenplay he’d finished and expected to cast Jim Carrey as the reclusive billionaire, but he had to abandon it when a competing Hughes project, Martin Scorsese’s “The Aviator,” went into production. To this day, he hasn’t seen Scorsese’s film, something he had to confess to its star, Leonardo DiCaprio, when they made “Inception.”

“It was very emotional to not get to make something I’d poured all that into,” he says.

The idea for “Oppenheimer” was kindled when Robert Pattinson gave Nolan a book of the physicist’s speeches at the wrap party for his 2020 film “Tenet.” Nolan had been born into a world where nuclear weapons were a fact of life, but he was struck by how Oppenheimer and his fellow scientists were grappling for ways to make sense of the destructive power they had unleashed. “It was a brilliant mind asking how we manage this change we’ve wrought,” Nolan remembers.

That led him to revisit “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography. It documented how a socially awkward academic became the unlikely leader of America’s efforts to beat the Nazis in developing an atomic bomb. It also chronicled the aftermath of that discovery, as well as Oppenheimer’s conflicted feelings about the nuclear arms race it sparked. Nolan began to see the cinematic potential.

“This was a man who was a remarkable combination of integrity, sincerity and theatricality,” Nolan says. “I’m drawn to complex and contradictory protagonists.”

For most of his career Nolan made movies for Warner Bros. He never had a production deal with the studio, but Warners put him on the A-list by selecting him to oversee its “Batman” reboot, leading to the hugely successful “Dark Knight” trilogy. Warners then released other Nolan hits, such as “Dunkirk” and “Inception.” But in 2020, with the pandemic raging and theaters struggling to draw audiences, WarnerMedia chief Jason Kilar decided to premiere a year’s worth of films on HBO Max, the streaming service that Warner Bros.’ parent company had recently launched. Nolan didn’t have a movie slated to open during this period, but he was incensed by the precedent. He released a statement slamming the strategy as a bad business decision, writing, “Some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service.”

So it wasn’t surprising that when it came time to make “Oppenheimer,” Nolan went elsewhere, to Universal. He had established a strong relationship with its head, Donna Langley, while working on a film adaptation of the TV series “The Prisoner” several years before. He couldn’t quite “crack” the adaptation, he says, which went unmade, but the pair stayed in touch, with Langley seeing Nolan and Thomas for the occasional lunch. Nolan appreciated Langley’s reputation for protecting and supporting top talent, while the executive was eager to land the next film from such a high-profile filmmaker. Still, “Oppenheimer,” with its nearly $100 million budget and lengthy discussions of theoretical physics, was a risky proposition.

“A biopic at this length about this subject matter should not do well,” says Langley. “But when you factor in a filmmaker like Chris, who is undeniably theatrical and who has a strong following of fans ranging from teenagers to adults, that’s the differentiator.”

Nolan didn’t want to make the movie on studio sets. He wanted to immerse viewers in the world of his protagonist, so he shot the film on location in New Mexico, near where Oppenheimer’s team made the bomb, as well as in Princeton and Berkeley, where he spent most of his academic career. The production also used historical locations, filming scenes in the actual Los Alamos home where Oppenheimer lived with his wife and young children as he oversaw the Manhattan Project.

“The audience may not notice the difference, but shooting as much as we can on the real locations gives everyone so much more to tap into,” says Thomas.

“Oppenheimer” unfolds in two overlapping sections. One, shot in color, is told from Oppenheimer’s perspective and is set largely during World War II. The other, produced in black and white, centers on Lewis Strauss, an original member of the U.S. Atomic Energy Commission, as he clashes with Oppenheimer over the scientist’s eventual opposition to the development of the hydrogen bomb. Strauss’ anger over slights, real and imagined, sets in motion a plot to discredit Oppenheimer and deny him his security clearance.

Nolan’s film depicts the Trinity test, the first detonation of the bomb in the New Mexico desert, in nail-biting detail, but it does not show the destruction of Hiroshima and Nagasaki, an omission that Spike Lee and others have criticized. Nolan says that was intentional — Oppenheimer was half a world away when the bombs were dropped. He learned about their detonation on the radio.

“The film presents Oppenheimer’s experience subjectively,” Nolan says. “It was always my intention to rigidly stick to that. Oppenheimer heard about the bombing at the same time that the rest of the world did. I wanted to show somebody who is starting to gain a clearer picture of the unintended consequences of his actions. It was as much about what I don’t show as what I show.”

Oppenheimer did grow more concerned about nuclear proliferation, and he advocated for the creation of an international body to control the production of radioactive material. However, he never publicly criticized the decision to drop the bombs. It’s a debate that continues to divide people. So what does Nolan think?

“My research and my engagement with this story tell me that anyone claiming a simple answer is in denial of a lot of the facts,” he says. “Obviously, it would be much better for the world if it hadn’t happened. But so much of the attitude toward the bombing depends on the situation of the individual answering the question. When you speak to people whose relatives were fighting in the Pacific, you get one answer. When you look at the devastating impact in Hiroshima and Nagasaki, you get another.”

Nolan says that he and the movie he made are more interested in provoking discussion than providing resolution. “The film is an honest attempt to express my feelings about it,” he says.

Shortly after Nolan and Langley announced in September 2021 that Universal would produce “Oppenheimer,” they revealed that the film would open two years later, in July, the same month that the director had launched two “Batman” movies, “Dunkirk” and “Inception.” “Chris is somebody who likes tradition,” Langley notes.

Nolan may have had sentimental reasons for picking July for “Oppenheimer” to drop, but he couldn’t foresee the stiff competition his film would face when it was released. In April 2022, Warner Bros. announced that it would open “Barbie” on the same day as “Oppenheimer.” It looked like the studio wanted to kill Nolan’s movie.

Nolan deflects when I ask him about it. “It’s always daunting when you start to see how the competition for the summer is shaking up,” he says. “I’ve been releasing summer films for 20 years, and it’s always crowded.”

If Warner Bros. intended to hobble Nolan’s film, the plan backfired spectacularly. Instead of cannibalizing each other, the prospect of two major movies opening in the same weekend galvanized audiences. It inspired memes that encouraged people to turn the confluence of blockbusters — one a neon-pink comedy, the other a somber drama — into an unlikely double feature.

“People had forgotten what it was like pre-COVID,” says Nolan. “Not that long ago, there often was more than one big film opening on a weekend. That can be stressful for filmmakers, but it’s better for theaters.”

It also seemed like a sign that audiences are desperate for something that isn’t a reboot or a retread. For the first time since 2001, the year’s three highest-grossing films, “Barbie,” “The Super Mario Bros. Movie” and “Oppenheimer,” aren’t sequels or comic book adventures.

“It’s clear from the box office that audiences are looking for things they haven’t seen before,” Nolan says. “We’ve been through a period where it was wonderfully reassuring for studio executives to feel that their franchise properties could go on forever and be predictably successful. But you can’t deny filmgoers’ desire for novelty.”

Despite the drama involving the “Barbie” and “Oppenheimer” release date, as well as his criticism of Warner Bros., Nolan’s relationship with the studio isn’t irretrievably broken. “It’s water under the bridge,” he says of the feud.

For one thing, the media chiefs that Nolan came out swinging against are gone. AT&T, which had prioritized streaming above all else, sold a controlling stake in the company to Discovery in 2022. The newly rechristened Warner Bros. Discovery then installed CEO David Zaslav, setting the stage for Kilar’s exit. Zaslav also recruited new movie chiefs, Michael De Luca and Pam Abdy. So is Nolan open to working with Warner Bros. again?

“Oh yeah, absolutely,” he says. “Pam and Mike and Zaslav, they’re trying to do some great things with that studio, which is encouraging to see.”

It also helps that the entertainment industry, and Warner Bros., have begun to share some of Nolan’s skepticism about streaming. For a time, nearly every major media company was busy dropping licensing deals that allowed their movies to appear on cable or platforms like Netflix. They wanted to bolster subscriptions to their own streaming services by offering their movies exclusively on the likes of HBO Max or Disney+. However, as Wall Street looked more closely at the economics of these platforms, it found them overly costly and insufficiently profitable.

Nolan, who clearly understands the film business as well as the art, says he slammed the HBO Max plan partly because of the shoddy economics. And he thinks that Hollywood’s decision to push a streaming model above all else caused the writers’ and actors’ unions to strike this year because they weren’t earning the same type of royalties they once did.

“Part of the craziness with the labor negotiations this summer has been the studios sitting there and going, ‘Well, we can’t pay you because we don’t have enough money,’” Nolan says. “To which the answer is ‘Well, you don’t have enough money because you’re not managing your business correctly. You’re not getting the same amount of money for your product that you were before.’ The shift to streaming has disrupted the entire industry and created problems for everybody.”

‘‘Are you making me look amazing?” Nolan asks.

He is in high spirits as he calls me a few days after our initial meeting to answer some follow-up questions and to see how the story is progressing. That includes teasing me when I ask him if he’s thought about what’s next after the blockbuster success] of “Oppenheimer.” “Why? Do you have a script to pitch me?” he asks with a laugh.

It’s a warmer, droller side of Nolan, and one I haven’t experienced before. Not that he’s prickly — he’s unfailingly polite, generous with his time and thoughtful in his responses. Yet, he’s also keenly aware of how his remarks may be misinterpreted on social media or repackaged online, which can lead him to approach certain topics gingerly. For example, when I ask him if he’s seen “The Batman,” Matt Reeves’ recent film about the Caped Crusader, Nolan says he doesn’t want to answer that question. “If I start talking about comic book movies, that would be the only thing anybody pays any attention to in the article,” he explains. He’s probably right.

Nolan hasn’t made up his mind about the kind of movie he’ll make next. And when I push him on whether he’d return to franchise filmmaking, as he did so effectively with his “Batman” films, or if he’d prefer to make a movie purely based on an original idea, he leaves the door ajar.

“Ideas come from everywhere,” he says. “I’ve done a remake, I’ve made adaptations from comic books and novels, and I’ve written original screenplays. I’m open to anything. But as a writer and director, whatever I do, I have to feel like I own it completely. I have to make it original to me: The initial seed of an idea may come from elsewhere, but it has to go through my fingers on a keyboard and come out through my eyes alone.”

It will be intriguing to see how Nolan spends the capital he’s accrued from the critical and commercial success of “Oppenheimer.” Ever since “The Dark Knight’’ topped the box office, studios have been lining up to work with him. He’s used their interest to greenlight cerebral epics and historical dramas that others might have had trouble getting made. These movies, whether they take place in the streets of Gotham City or on the beaches of France, center on similar themes. Many, if not most, of Nolan’s films contain a warning: The search for knowledge is perilous. That danger is front and center in “Oppenheimer,” where the quest to harness the power of the atom creates unimaginable suffering.

“This film has impacted people and made them think very deeply about all the ways in which we can be our own worst enemy,” says Thomas.

“Oppenheimer” also feels like the culmination of a phase of Nolan’s artistic journey.

“There was a sense that he’s been working his way toward this film,” Steven Soderbergh, the director of “Traffic” and an executive producer of Nolan’s film “Insomnia,” says. “It required all the tools and experience that he’d had up to that point to pull something like this off. This was the cinematic equivalent of a mic drop.”

Realizing his bold vision cost Nolan something. The darkness of the subject matter, along with the existential questions it raises, weighed on him as he edited the movie. One stormy day in Los Angeles, he was returning home when he noticed raindrops falling on a puddle. It evoked the beginning of “Oppenheimer,” where the intense physicist stares down at rainwater sloshing on the ground. It’s a moment of contemplation for a brilliant mind who, over the course of the film, will become painfully aware of humanity’s boundless potential to build, as well as destroy.

“As I looked at it, I had a distinctly negative reaction,” Nolan says. “That gave me the faith that the film was working on me. And it made me glad to leave it behind, which I haven’t felt with my other films. I was ready to think about other things.”

“So, thank you,” he says jokingly. “Thank you for dragging me back into this.”'

[stefankarlfanblog]

Low quality screenshots of Angel no. 5503288

I was recently able to find an interview with the director of the movie which had screenshots of Angel no. 5503288. The interview mostly discusses a different film that he was working on at the time so I'll be focusing on the mentions of Angel no. 5503288.

Learn more about Angel no. 5503288 right here!

Interview was written for Morgunblaðið by Árni Þórarinsson on the 26th of January 2003: https://timarit.is/page/3462512

Getting scared regularly

"This will be a drama with pitch-black humor," says filmmaker Ólafur Jóhannesson, who is currently preparing his first full-length movie, Stóra planið, based on Þorvaldar Þorsteinsson's novel, Við fótskör maisteranns. In a conversation with Árni Þórarinsson, Ólafur talks about this first big plan in his career.

Ólafur Jóhannesson: Human beings are constantly hiding from themselves… (Note: The picture behind him has what seems to be a cover of Angel no. 5503288)

ÓLAFUR Jóhannesson attracted attention a few years ago with Angel no. 5503288, which won second prize at the Short Film Days in Reykjavík in 2000 and was shown on TV, being an original and beautiful work. He is 27 years old and self-educated in the film industry after graduating from the physics course at the Gymnasium school in Breiðholt. Ólafur worked at the company Megafilm and was its manager for a while, but then "went out on a more personal path in film creation," as he puts it himself. He has directed, produced, edited and composed dozens of projects for television in Iceland and abroad, produced e.g. series for Tjónvarpið on modern Icelandic art, directed in collaboration with Þorvald Þorsteinsson the documentary Jesus Is Closer to Home about human life in the Rauða Hverðin in Amsterdam and it has been shown all over the world. Ólafur has now founded the company Poppoli together with Þorvald Þorsteinsson, Ragnar Santos, Pavel E. Smidt, Kristján Ottó Hreiðarsson and Ágústi Borgthór Sverrissson, and it prepares the production of Stóra planið.

A film made out of loss

Ólafur decided to try directing feature material first at the end of 1999, the short film Angel no. 5503288. “It was a very difficult time for me, because my father, who had been suffering from depression for many years, decided to leave this life. We just don't win every fight in life and that's okay. The idea and the desire to make the angel image came from loss. In that film I worked with great colleagues and actors and also got confirmation of my capabilities. But that took its toll. After I finished The Angel, I was done with it, I had worked almost every day for five years, trained myself well in filmmaking but did not take care of myself. So I decided to change my environment, went to Berlin and stayed there with my brother for over a year. I worked there, among other things while editing Ólaf Sveinsson's documentary about Hlemm. It turned out to be a tremendously good time for me; I got a lot of rest, played soccer with an amateur team, and started working on the script for Stóra planið."

In addition to preparing the movie, Ólafur has been dealing with various other projects recently. "I've made some entries for Mósaík this winter, and Ragnar and I have more films in the works for Poppoli, including documentary about Bubbi Morthens and we have to work on it for the rest of the year. Next month I will go to the Berlin Film Festival and participate in the Film Talent Campus that I was selected for; many aspiring filmmakers will be gathered there for some kind of conference. Then, when I get home, preparatory work and rehearsals for the movie and the search for funding take over."

In other respects, Ólafur Jóhannesson says the future is a blank slate. "I wouldn't still be in this job if it didn't help me personally." You have to scare yourself regularly, find your limits and study them. Human beings are constantly hiding from themselves, want things to be comfortable and safe, preferably sleep through life. We often do not dare to discover ourselves and how far we can go. Yet our works in life are worthless in the end, for we have to leave this place after all."

Finally, I tried to enhance this photo of the film with Stefán Karl using gigapixel to see it better.

I have also answered an ask regarding information of finding the movie which you can find here!

[ohumrak]

Yu Hewei 于和伟 | 1st China TV Drama Production Industry conference [2025.02.21]

[cnladies]

NI NI 倪妮 | 1st China TV Drama Production Industry Conference Ceremony

Ni Ni: more photos here China TV Drama Production Industry Conference: more photos here

[petrossianaerial]

The Future of Event Photography: Why Drones Are a Game-Changer in Los Angeles

The evolution of photography has taken a significant leap forward with event drone photography. From weddings and corporate gatherings to concerts and sports events, drones have transformed how moments are captured, offering breathtaking aerial views that traditional photography simply cannot achieve. In Los Angeles, a city known for its vibrant events and stunning landscapes, drone photography is revolutionizing the way organizers and attendees experience and relive special moments.

How Drones Are Changing Event Photography

Traditional event photography has always been limited by angles, space, and accessibility. However, drones eliminate these restrictions, providing a fresh and immersive perspective that enhances storytelling and visual engagement.

Unique Aerial Perspectives

One of the biggest advantages of drones is their ability to capture breathtaking aerial shots. Whether it’s an outdoor festival, a beachside wedding, or a corporate gala in a skyscraper, drones can:

Showcase large crowds and venues from above

Capture dynamic motion shots that add depth and drama

Provide cinematic-quality footage that enhances event marketing

Improved Event Coverage

Drones are equipped with advanced cameras that allow for wide-angle shots and real-time streaming. This ensures that no moment is missed, and every aspect of an event is documented with precision.

Live-streaming capabilities for virtual audiences

High-resolution imagery that captures intricate details

Multi-angle shots that add variety to event coverage

Cost-Effective and Efficient

Compared to hiring a helicopter or setting up multiple stationary cameras, drones offer a more affordable and flexible solution. Their ability to quickly maneuver through different areas allows photographers to maximize coverage without requiring extensive setups or additional equipment.

Industries Benefiting from Event Drone Photography

Weddings and Private Celebrations

Couples are increasingly turning to drone photography to capture their special day from a unique perspective. Whether it’s an intimate backyard wedding or a grand ballroom celebration, drones help create cinematic memories with:

Aerial views of the wedding venue and ceremony

Dramatic shots of the couple’s first dance

Dynamic footage of guests enjoying the festivities

Concerts and Festivals

Large-scale events like music festivals and outdoor concerts benefit greatly from drone photography. Drones can:

Capture crowd energy and stage performances

Provide sweeping panoramic shots for promotional content

Enhance live-streaming for remote viewers

Corporate Events and Product Launches

Businesses hosting conferences, trade shows, and product launches in Los Angeles use drone photography to elevate their branding and marketing efforts. Benefits include:

Aerial shots of large-scale corporate events

Professional video production for promotional use

Engaging social media content that boosts visibility

Sports and Adventure Events

From marathons to extreme sports competitions, drones add an exciting element to sports event coverage. They can:

Follow athletes in motion with precision tracking

Provide aerial views of race routes and sporting venues

Capture thrilling action shots that enhance promotional videos

Why Los Angeles is the Perfect City for Drone Event Photography

Los Angeles, with its diverse event venues, picturesque beaches, and iconic cityscapes, is an ideal location for drone photography. Whether capturing an elegant rooftop event in downtown LA or a lively beach festival in Santa Monica, drones allow photographers to showcase the city’s beauty while providing event organizers with high-quality content for marketing and documentation.

Legal and Safety Considerations

While drones provide unparalleled photography opportunities, it is essential to comply with FAA regulations and local drone laws in Los Angeles. Hiring a professional drone service like Petrossian Aerial ensures:

Proper permits and regulatory compliance

Skilled drone operators trained in safe aerial navigation

High-quality footage that meets industry standards

Conclusion

As event photography continues to evolve, drones have emerged as an essential tool for capturing immersive and visually stunning moments. Their ability to provide unique aerial perspectives, improve event coverage, and offer cost-effective solutions makes them a game-changer for photographers and event organizers alike. With the growing demand for high-quality visual content, commercial drone photography is set to become the future of event documentation, offering new possibilities for storytelling and engagement in Los Angeles and beyond.

[shrenikmarble]

Discover the Best Top Imported Marbles in Kishangarh for Your Home and Office

When it comes to luxury flooring, countertops, and home décor, top imported marbles in Kishangarh are often the first choice for homeowners, builders, and interior designers alike. Known for their stunning aesthetics and timeless appeal, imported marbles elevate any space with their unique colors, patterns, and textures. Kishangarh, often referred to as the "Marble City of India," is home to some of the finest marble suppliers in the country, and Shrenik Marble in Kishangarh stands out as one of the leading names in this industry. This article will explore why top imported marbles in Kishangarh are so highly sought after, and how Shrenik Marble in Kishangarh plays a significant role in bringing these exquisite stones to customers worldwide.

Why Choose Top Imported Marbles in Kishangarh?

Kishangarh is renowned for its marble production, and it is often the go-to destination for high-quality, imported marble. The demand for top imported marbles in Kishangarh is driven by the unique blend of tradition, craftsmanship, and advanced technology that the local suppliers offer. These marbles are sourced from premium quarries across the globe, bringing the best international stones to the Indian market.

What makes top imported marbles in Kishangarh so special is their variety and quality. The range includes marbles from Italy, Turkey, Spain, and other countries, each with its own unique characteristics. Imported marbles are known for their superior polish, rich patterns, and incredible durability, making them perfect for both residential and commercial spaces.

The Role of Shrenik Marble in Kishangarh in Supplying Imported Marbles

When it comes to sourcing the finest top imported marbles in Kishangarh, Shrenik Marble in Kishangarh is a trusted name. With years of experience in the marble industry, Shrenik Marble offers a vast selection of imported stones that are perfect for a variety of applications. Whether you're renovating a home, designing a luxurious office, or installing flooring in a high-end retail space, Shrenik Marble in Kishangarh provides marble that combines elegance and functionality.

Shrenik Marble in Kishangarh specializes in importing marbles that are not only aesthetically pleasing but also highly durable and suitable for the Indian climate. They have built strong relationships with global suppliers, ensuring that their customers receive the best marble options available.

Popular Types of Top Imported Marbles in Kishangarh

The selection of top imported marbles in Kishangarh is vast, and different types cater to various preferences and styles. Below are some of the most popular imported marbles you can find at Shrenik Marble in Kishangarh:

Italian Carrara Marble: Known for its pure white appearance and delicate veining, Carrara marble is one of the most popular imported marbles. It is widely used in both modern and classical settings. The subtle elegance of Italian Carrara makes it a perfect choice for luxurious flooring, countertops, and wall cladding.

Turkish Beige Marble: Turkish beige marble is a warm, neutral stone that offers timeless elegance and durability. It’s often used for flooring, bathroom cladding, and other decorative elements. Its soft, beige tones complement a variety of interior styles, from contemporary to traditional.

Spanish Crema Marfil: Crema Marfil is a luxurious beige marble from Spain that features soft gold veining. It is one of the most sought-after top imported marbles in Kishangarh due to its versatility and classic appeal. This marble is often used in luxury interiors, from kitchens to bathrooms and even accent walls.

Macleod Marble: This is another imported marble that has gained popularity in Kishangarh for its beautiful mixture of white and gray tones. It’s perfect for creating an elegant atmosphere in spaces such as lobbies, living rooms, and conference rooms.

Black Marquina Marble: For those seeking a dramatic touch, Black Marquina Marble from Spain is an excellent choice. Its deep black color with white veins creates a bold statement, often used for high-end commercial spaces or modern home designs. It can be used for countertops, flooring, and accent walls.

Benefits of Choosing Top Imported Marbles in Kishangarh

Opting for top imported marbles in Kishangarh has numerous advantages. Some of the benefits include:

Superior Quality: Imported marbles are known for their exceptional quality. They are mined from the finest quarries, ensuring a level of craftsmanship that is unmatched by local stones.

Unique Designs and Patterns: Imported marbles offer rare and distinctive patterns that are not commonly found in domestic marbles. Whether you want classic white with veins or dramatic black and gold designs, imported marbles are perfect for those looking to make a statement.

Durability and Strength: Imported marbles are not only beautiful but also durable. They are built to last, withstanding the wear and tear of daily use while maintaining their glossy finish for years.

Aesthetic Appeal: The timeless beauty of imported marbles adds an air of sophistication and luxury to any space. Whether you choose a sleek, minimalist design or an ornate, detailed pattern, imported marbles can transform any room into a masterpiece.

Wide Selection: One of the main reasons why Shrenik Marble in Kishangarh is a go-to destination for marble lovers is the extensive range of imported marbles they offer. From classic white Carrara to dramatic black marble, top imported marbles in Kishangarh ensure that there is something for every style.

Why Choose Shrenik Marble in Kishangarh for Imported Marbles?

Shrenik Marble in Kishangarh stands out as a premier supplier of top imported marbles in Kishangarh for several reasons. First and foremost, they are committed to offering the highest quality marble, sourced directly from the best quarries around the world. Their vast selection ensures that you can find exactly what you're looking for, whether it's a unique piece of marble for your home or a large quantity for a commercial project.

In addition to offering top-quality marble, Shrenik Marble in Kishangarh is known for its customer-centric approach. They provide expert advice to help you choose the right marble for your space, whether you need guidance on style, finish, or installation.

Moreover, Shrenik Marble in Kishangarh offers competitive pricing, ensuring that you get excellent value for your investment. Their focus on quality, affordability, and customer satisfaction has made them a trusted name among marble suppliers in Kishangarh.

Conclusion

When it comes to investing in top imported marbles in Kishangarh, Shrenik Marble in Kishangarh is a name you can trust. With a wide range of imported marble options, from luxurious Carrara to bold Black Marquina, Shrenik Marble ensures that you can find the perfect stone to suit your design needs. Whether for residential or commercial projects, their commitment to quality and customer satisfaction makes them a top choice for marble lovers in Kishangarh and beyond.

[mykpoplovers]

KOREAN-AMERICAN VOCAL DIVA - AILEE, STUNS AND DAZZLES FANS WITH HER FIRST SOUTH-EAST ASIA SOLO CONCERT IN MALAYSIA

• AILEE, I AM: HERE Sold-Out Concert Draws Super Fans from the UK, Indonesia, Dubai, Singapore, and world wide

• Ailee belts her smashing OSTs to cheers, tears and encores. Promises fans to be back again soon to Malaysia

• LOL ASIA positions itself as an Asia wide entertainment brand

KUALA LUMPUR: She came, she was stunning, she brought Mega Star Arena and over 3500 fans who travelled from all across South East Asia and the Middle East to roaring, screaming cheers. She cried drawing audiences into her life and human vulnerabilities hitting each smashing OST and popular chart-busters to her famous high notes, chatting with her super Aileeans across stage barriers making them seen, making them heard, drawing them close to her, making the long 11-year-wait worth every second spent with their pop idol. Proving to fans, critics, industry heads and the several awards showered upon the diva why AILEE is truly the consummate performer and the crowned goddess of her K pop generation. Her star power and inimitable celebrity charisma making AILEE, I AM: HERE the singing sensation’s solo debut concert here in Kuala Lumpur, Malaysia, a smashing success!!

For LOL Asia the success of AILEE, I AM: HERE marks a strategic direction to its vision as an Asia wide entertainment brand. Earlier at a Press Conference held at Mega Star Arena by LOL ASIA and attended by over 50 local and international media titles, CEO, LOL ASIA, Rizal Kamal hosted an intimate Q & A with the icon sharing highlights of her highly successful musical career, whilst answering questions from the media with her charming confident dexterity. Ailee shared her prep routine before belting out chart-topping OSTs in the studio, candidly confessing her heartfelt intention to bring excitement and emotion into the scene of a song, whilst focusing to adding joy and happiness into the hearts of her music followers. “I want to touch the hearts of the people with my music. I want to relate with them, and add more happiness to their lives. The world is missing on a lot of love. I want to bring connection with each other. That’s what I want the most,” she stated emotionally to her already charmed audiences. But the heatwave bounced a Fahrenheit higher with Malaysia’s own vocal dynamo, AINA ABDUL opening for AILEE at the I AM: HERE concert at Mega Star Arena. Winner of the `Best Vocals’ awardfour years in a row, singer, songwriter, record producer, actress and vocal powerhouse Aina Abdul opened with `Semalam’ and `Terus Hidup’ (a Korean version of her own song) wearing a stunning fuchsia ensemble. Crediting her own successful musical career to being inspired by Ailee, Aina enraptured her local fans with an OST English hit `You Are My Everything’ from `Descendants of the Sun’ K Drama Series hyping audiences to receive the American-Korean four times consecutive `best female vocalist’ Ailee with love to Malaysia. It was truly a rare occasion for fans to witness two goosebumps worthy phenomenon’s, two celebrated vocal icons showcase their spine-tingling talent on one stage, at one big concert.

However, the moment of true reckoning breaking all sound decibels was when Ailee hit the stage to excellent show direction and production values curated by Show Director, Deon Lee. Headlining AILEE,I AM:HERE with a special curated song-list for Malaysia featuring `I Will Show You,’ followed quickly with `Don’t Teach Me,’ `No, No, No,’ `Don’t Touch Me,’ `Singing Got Better’ and so forth, fans joined in unitedly as one voice singing emotionally with the mega star to the tunes of `Heaven’ – Ailee’s debut first single in 2012 which peaked at No 3 on the Gaon Digital Chart and brought the awards pouring in her career.

Dedicating `I Will Go To You Like The First Snow’ to Malaysia, Ailee had fans flashing show banners to one swaying rhythm across the super energised auditorium, even as the star regaled fans with impromptu smooth dance moves and a little teasing twerking to songs like `Ra Ta Ta,’ `Mind Your Own Business,’ `U & I.’ Her vocal strength and pitch complimenting uniformly as Ailee danced her show routines with her crew proving herself as a wholesome performer and getting her fans into dizzy screaming for encores over several times.

To a showcase of solidarity and hospitality on why Malaysia truly loves Ailee, local artisanal pastry chef Edwin Chan and fashion designer, Ashley Wong presented a tribute to the beloved artiste with a three tier cake in I AM: HERE concert colours and a stunning sequinned kebaya respectively. Promising not to keep her fans in Malaysia waiting for another 11 years, Ailee promised to be back soon with more hits, more energy, more charm and more love to the city that took her breath away. Chief Executive Officer, LOL Asia, Rizal Kamal stated confidently, “We are really happy and enjoyed working with Ailee. We thank K-pop fans in Malaysia and those who travelled from international destinations. We plan to expand this relationship even further with more concerts beyond Malaysia, and we will continue to support Ailee to become a global artiste,” he shared at the super success of AILEE, I AM: HERE concert in Malaysia.

Ailee’s first solo concert in Malaysia thus marks a significant milestone in her illustrious career, as she brought her infectious energy and chart-topping hits to fans in the region. With a string of chart-toppers and numerous accolades under her dainty belt, the K-Pop Powerhouse captured the hearts of her Malaysian fans giving them a taste of her unmatched talent up close and personal. From powerful ballads to infectious dance tracks, her diverse musical repertoire truly leaves fans with an unforgettable night and wanting for more.

Ailee, I AM:HERE was presented by LOL Asia, and supported by A2Z Entertainment, HOT FM, FLY FM and Ascott Hotels.