#exhibitor interviews

[kenpiercemedia]

Toy Exhibitor Interviews from Toy Insider's "Sweet Suite" 2024: Part Two

Continuing along with my adventures from the recently attended “Sweet Suite”, which is the mega-toy preview event held by the fine folks over at The Toy Insider. I was among other select media and assorted influencers at a space called The Glass House. While some of my coverage was shared over on the PiercingMetal website, it seems like much more of it was settling over here on “The Chronicles”.…

[bigangrytrev]

Transformer Fan Interview - Michael Vella

It’s been over a year since the last installment, but we have another entry in the ever popular Transformer Fan Interviews!  In this latest interview with Aussie TF collectors we are talking to Michael Vella, a young bloke who in recent years has become well known to many fans  of Transformers down under. Name and/or nicknames: Michael Vella but I also go by Tha_Phantom online. Family? Married…

[beardedmrbean]

Bad Dragon is suing SinSaint over copyright infringement of their dildo designs. What I want to know is, can you copyright the shape of a dog's dick? Because if you can, you shouldn't be able to.

I did knot need to hear about this one.

one more pun

TSG is gonna be one of the more reputable sources for this one

MARCH 25--A manufacturer of “fantasy-themed sex toys” has accused an upstart Brooklyn, New York firm of knocking off its distinctive designs, according to a federal lawsuit alleging that the defendant has infringed on copyrights for dildos such as “Spritz the Seadragon” and “Tyson the Water Buffalo.”

In a March 20 complaint filed in U.S. District Court in Arizona, Bad Dragon Enterprises contended that its “sculptural” products have been illegally copied by SinSaint, which is headquartered in a Coney Island warehouse and advertises that all its “Ethically Manufactured” toys are “made in Brooklyn, USA.”

Bad Dragon, which noted that it has had “significant commercial success” in the adult toy field, alleged that SinSaint has been selling the duplicative dildos through its website and other trade channels, including the recent AVN Adult Entertainment Expo in Las Vegas (where the new firm’s exhibitor booth was next to that of the all-nude Palomino strip club).

The lawsuit identifies 13 separate dildos that Bad Dragon claims have been copied (and renamed) by SinSaint, which was incorporated in New York last year. The colorful silicone toys feature scales, tentacles, suction cups, and other design elements meant to mimic the genitalia of dragons, sea creatures, and other fantastical characters.

Some of the Bad Dragon products that SinSaint is accused of swiping are “Kelvin the Ice Dragon,” “Stan the T. Rex,” and “Vergil the Drippy Dragon.” SinSaint has not been accused of pirating other Bad Dragon offerings like “Jason the Demogorgon” or “Cuttlefish of Cthulhu.”

According to the lawsuit, SinSaint’s counsel last month stated that the company had begun removing “some of the allegedly infringing listings for product redesign.” This response, Bad Dragon contended, was “unacceptable,” adding that it “continues to be harmed by Defendant’s ongoing, unlawful conduct.”

The Bad Dragon complaint seeks an order enjoining SinSaint from continuing any further alleged

copyright infringement and seeks “disgorgement of all of Defendant’s profits” related to the artificial penises. The company may also seek statutory damages of up to $150,000 for each of the dildos in question.

For more than a decade, Bad Dragon has sought trademark and copyright protection for various product lines. While often successful, the firm’s application to trademark its “Cum Tube” was abandoned after a government attorney rejected the ejaculating dildo because the “applied-for mark consists of or includes immoral or scandalous matter.” The application included a very NSFW image, which can be found on the U. S. Patent and Trademark Office website.

According to an August 2023 trademark application, SinSaint’s owner is Oleg Semenenko, 50, a resident of Brooklyn’s gated Seagate community. Semenenko lives less than a mile from SinSaint’s warehouse, which shares an address with GlobMarble, an industrial molds business for which Semenenko is listed as “manager” in a separate trademark application filed this month.

In a brief interview today, Semenenko was asked how a dildo firm grew out of his original business. “We work with rubber,” he replied. Semenenko dismissed Bad Dragon’s claim that its products were unique and original: “How can octopus hand can be your idea?” (4 pages) ____________________________________________

Hope the judge that did the recent trump case gets this one, even though I know that's basically impossible, just the thought of making him listen to hours of testimony about how these rubber fantasy dildos are protected by copyright or trademark law, or something like that is funny to me.

It's not a revenge thing wanting it, just a keep him humble thing. I know you think you're hot shit now, so here listen to these arguments for a bit.

Totally different note, I'm wondering how long until the discourse starts up, or if it has already started up, where using horse dildos is either bestiality or a gateway to bestiality because what with the way people treat cartoons of fictional people I can't imagine it's far off or not already here.

Look to japan for the tentacle ones.........

[weclassybouquetfun]

Next month is the annual exhibitor showcase Cinemacon where movie studios tout their wares for the very anxious theater owners.

It has already been announced that Sony is sitting this year out, so no info on VENOM 3: THE LAST DANCE, to be released October 25, 2024.

While I assume there will be some changes to the lineup, so far it is shaping up to be:

OPENING DAY: International Day features a screening of Universal 80s series remake THE FALL GUY starring Ryan Gosling, Emily Blunt, Hannah Waddingham and Aaron Taylor-Johnson (who has said in a recent interview that it is a small role) ; directed by David Leitch (BULLET TRAIN, DEADPOOL 2)

DAY ONE: WB pulls up with their presentation "The Big Picture". It will be the first Cinemacon for James Gunn in his position as Co-Chairman and Chief Executive Officer of DC Studios.

I expect a song and dance from Gunn about how awesome sauce the new DC film universe will be

I'll believe it when I see it.

Sure to tease SUPERMAN LEGACY which stars David Corenswet as the title character, Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor.

JOKER: FOLIE A DEUX, BEETLEJUICE, BEETLEJUCE

MORE STUDIO OFFERINGS

Also, FURIOSA: A MAD MAX SAGA

, the supernatural horror film THE WATCHERS, directed and written by Ishana Night Shyamalan, daughter of M. Night

, M. Night Shymalan's TRAP starring Josh Hartnett, ALTO KNIGHTS with Robert DeNiro playing a dual role.

Certainly don't expect anything to hear about THE BATMAN sequel other than it won't shoot until 2025. There has been no reason provided, but some say there isn't even a script, others say it was because there were no soundstages available in London to shoot this year.

DAY TWO: ANGEL STUDIOS - The outfit behind SOUND OF FREEDOM.

I suspect they will tease SIGHT starring Greg Kinnear and BONHOEFFER (aka GOD'S SPY) about German theologian Dietrich Bonhoeffer, starring August Diehl, Flula Borg and Clarke Peters.

LIONSGATE: I suspect they will tease Guy Ritchie's THE MINISTRY OF UNGENTLEMANLY WARFARE starring a pick-a-mix of men for all tastes - Henry Cavill, Alan Ritchson, Alex Pettyfer, Henry Golding and Hero Fiennes Tiffins

; the action-thriller BOY KILLS WORLD fronted by Bill Skarsgård and costarring Sharlto Copley, Andrew Koji (who is working like mad), Famke Janssen and Isaiah Mustafa.

Surely, another Bill Skarsgård film THE CROW with fka Twigs

; THE STRANGERS: CHAPTER 1, which is the third film in the franchise - doing a bit of FAST AND THE FURIOUS mathing. It stars Madelaine Petsch, Froy Guittierez and Gabriel Basso

At long last the BALLERINA has pliete into the spotlight. This JOHN WICK spinoff stars Ana De Armas, with Anjelica Huston reprising her role from JOHN WICK 2. It's direct by Len Wiseman who directed the UNDERWORLD films starring his ex-wife Kate Beckinsale.

BORDERLANDS, an action-comedy based on the game, brought to the screen by Eli Roth. Starring Kevin Hart, Jamie Lee Curtis, Jack Black, Cate Blanchett, Haley Bennett and Édgar Ramírez, amongst others.

and WHITE BIRD, which is in the same universe as the excellent children geared film WONDER. It was due to come out in 2023 but was pushed back due to the actors strike.

UNIVERSAL / FOCUS FEATURES: I suspect teases for Dev Patel's directorial debut MONKEY MAN. The film was originally slated to go to Netflix but Jordan Peele, under his Monkey Paw shingle, bought it and took it to Universal so it could have a theatrical release. *Granted, Netflix does a theatrical release for most of their films in certain markets, but I get Peele's rationale.

Their Monsters Universe theatrical idea didn't work, but Universal has realized there is more than one way to skin a cat. They are creating a Universal Monsters themed area at their parks and their monster/horror film ABIGAIL is a re-imaging of DRACULA'S DAUGHTER. It stars Alisha Weir, Melissa Barrera and Dan Stevens and features Angus Cloud in one of his last roles.

THE FALL GUY most definitely will have a place. Same with THE BIKERIDERS (with Austin Butler, Tom Hardy, Jodie Comer, Norman Reedus, Mike Faist, etc.), which was a 20th Century (Disney owned) Film, and even though it was the first major film out the gate ahead of Oscars/Golden Globes' FYC season with a screening and Q&A held in L.A., the studio purposely stalled the engine and towed it off their schedule. It will now be distributed by Focus Features in the U.S., and Universal, internationally.

Other possible teases? DESPICABLE ME 4, TWISTERS, the standalone sequel to the 90s film TWISTERS

, horror film SPEAK NO EVIL starring James McAvoy and Mackenzie Davis

, WICKED: PART ONE and Sir Ridley Scott's GLADIATOR 2 with Paul Mescal and Pedro Pascal.

There will also be a surprise screening; studio unknown.

DAY THREE: PARAMOUNT: Expected: the mixed live-action and animated comedy IF starring Ryan Reynolds, written/directed and produced by John Krasinski.

A QUIET PLACE: DAY ONE, GLADIATOR 2 (though this is a co-production with Universal, so maybe Uni will tout it), SONIC THE HEDGEHOG 3, the unending production that is MISSION IMPOSSIBLE 8,

WALT DISNEY: Possible: THE FIRST OMEN, KINGDOM OF THE PLANET OF THE APES

, MOANA 2, INSIDE OUT 2, DEADPOOL 3, ALIEN: ROMULUS, CAPTAIN AMERICA: BRAVE NEW WORLD and SNOW WHITE.

CinemaCon always closes out with their awards (which always ties into an upcoming release. Funny how that works.

So far the honourees are:

Star of the Year - Lupita Nyong'o (A QUIET PLACE: DAY ONE)

Breakthrough Performer of the Year - Joseph Quinn (A QUIET PLACE: DAY ONE)

CinemaCon Vanguard Award - Amy Poehler (INSIDE OUT 2)

Director of the Year - Shawn Levy (DEADPOOL AND WOLVERINE)

[abyzzwalker]

So I was at Gamescom again. This year was seriously lame because once again too many of the bigger publishers were absent (I was especially sad about Square Enix not being there). Also I was hoping for Neowiz to make an appearance, because they were THERE to represent Lies of P, but without a public booth! There was a huge ass wall with Pinocchio on it somewhere and I spent my whole 3 days wandering the halls to find it, but I wasn't successful :( I even searched the business area, which is for people with an exhibitor's pass or press ticket only, but nope. The dev team had some interviews but other than that they made themselves scarce. I would've loved to meet them again. But hey one of them was waiting at the train station alongside me yesterday, that kinda lightened up my day a little.

I really hope Gamescom goes back to it's roots. It used to be much more of an experience than it is right now and it's gotten too common to bring video material instead of playable demo's. It seems like many publishers don't feel the need to come anymore bc they have either shifted to online marketing or they're making their own showcases. But while I get that it's not as profitable anymore, nothing beats the experience of a convention. And I will always be there.

[hunkydorkling]

My god, I am casually (excitedly) catching up on all that I've missed for the whole month and some change that I was away from everyplace thinkable. Now that I'm having the longest break until I'm back on my feet again, let me do a skinny.

The feature I had with a local news outlet could not have come at a better time. June kicked off with a rocky start within the art community, and prior to the taping of that episode, a gaming event shitshow unavoidably made it under everybody's radar. (You may want to checkout CON/Quest if you want to read deep into the lore). With the privilege given, I pushed my personal advocacy as both an exhibitor and an event organizer known. All I'm willing to say is that by an (un)fortunate turn of events, my words aimed towards one event fiasco fit the bill for another convention fiasco. Ain't that fate. (And if you ever want to check out the interview... good luck finding it without asking me🌚)

My convention prepwork and the moments leading up to the Pride event, save for a couple of difficulties (lack of sleep, crunch times, losing the will to live in the process), I am proud to say what an absolute delight the three weekends have been. The collaboration pack between me and one of my greatest friends sold like hotcakes, and I wouldn't have traded the experience for anything else, honestly. Might even be the best event in terms of sales, too!

I thought I wasn't going to survive the next work event I had after that, but my body managed to power through last weekend. This is running on ≤5 of sleep at a time, and much less on the event days, but it felt like I was still riding along the high from all the other big events in my life. I got to see a lot of my work in large-scale printing, and other people besides my co-workers have appreciate the work I've put into designing merch products.

But all of this is tiring, and I promised myself that I won't be tabling at conventions anytime soon for the sake of better health and work focus (even though I mostly dislike everything else I do over there). Couldn't have been better timing, but the best thing I want now is to learn, write, and draw lots of things. I'm trying to hold myself accountable to all of these goals now, so here's to hoping for more fanart/fanfic, and everything else in between.

Before I forget: Happy Pride! 🌈

[harishblogger]

The Role of Digital Media in India's Travel Exhibitions

In recent years, digital media has revolutionized how businesses, consumers, and travelers interact, and this transformation has been particularly evident in the realm of travel exhibitions. In India, events like the India International Travel Mart Ahmedabad (IITM) have been at the forefront of integrating digital media into their platforms, redefining how these exhibitions operate and how they engage with audiences.

The Rise of Digital Media in Travel Exhibitions

Digital media encompasses a wide range of tools, including social media, online advertising, websites, mobile applications, and virtual reality experiences. For travel exhibitions in India, these tools have opened up new avenues for marketing, networking, and enhancing the overall visitor experience.

Historically, travel exhibitions relied heavily on physical brochures, face-to-face interactions, and traditional advertising methods. While these elements still play a role, the integration of digital media has expanded the reach and impact of these events. With India being one of the largest and fastest-growing markets for travel, the role of digital media in exhibitions like IITM has become more crucial than ever.

Enhancing Visibility and Engagement

One of the most significant contributions of digital media to travel exhibitions is the enhancement of visibility and engagement. Platforms such as Facebook, Instagram, and Twitter allow event organizers to reach a broader audience by creating and sharing content that resonates with potential visitors. In the case of IITM, digital campaigns can promote the event months in advance, generating excitement and anticipation among travelers, industry professionals, and tourism boards.

Social media platforms also facilitate real-time engagement during the exhibitions. Live streaming of events, behind-the-scenes content, and interactive polls can keep the audience engaged, even if they are not physically present. This engagement not only boosts the event’s popularity but also creates a sense of community among attendees.

Moreover, the use of digital media extends beyond the event itself. Post-event content, such as highlights, interviews, and testimonials, can be shared online to maintain the momentum and keep the audience engaged until the next exhibition. This continuous engagement is essential for building a loyal following and establishing the exhibition as a must-attend event in the industry.

Personalization and Targeted Marketing

Another critical advantage of digital media is the ability to personalize and target marketing efforts. With tools like Google Analytics and social media insights, travel exhibitions can gather data on user behavior, preferences, and demographics. This data allows event organizers to create targeted campaigns that speak directly to the needs and interests of different audience segments.

For instance, IITM can tailor its digital marketing strategies to attract specific groups, such as adventure travelers, luxury tourists, or cultural enthusiasts. By delivering personalized content, the exhibition can increase its relevance to potential visitors, ultimately driving higher attendance and participation.

Targeted marketing also helps exhibitors connect with the right audience. Travel companies, hotels, and tourism boards participating in IITM can leverage digital media to promote their offerings to specific market segments, increasing the chances of meaningful connections and business opportunities.

Virtual Reality and Immersive Experiences

One of the most exciting developments in the intersection of digital media and travel expo's is the use of virtual reality (VR) and augmented reality (AR). These technologies offer immersive experiences that can transport visitors to different destinations without leaving the exhibition hall.

At IITM, for example, exhibitors can use VR to give potential travelers a virtual tour of their destinations. Whether it’s a walk through the bustling streets of Tokyo or a serene beach in the Maldives, these immersive experiences can inspire visitors and give them a taste of what they can expect.

Additionally, VR and AR can be used to create interactive exhibits that engage visitors in new and innovative ways. These technologies not only enhance the visitor experience but also provide a unique selling point for exhibitors, making their booths stand out in a crowded exhibition space.

Facilitating Networking and Business Opportunities

Digital media has also transformed how networking and business opportunities are facilitated at travel exhibitions. Platforms like LinkedIn and event-specific apps enable exhibitors and attendees to connect before, during, and after the event. These platforms provide opportunities for networking, setting up meetings, and sharing contact information, making it easier for industry professionals to establish and maintain relationships.

In the context of IITM, digital tools can help streamline the matchmaking process between buyers and sellers. Exhibitors can use these platforms to showcase their products and services, while buyers can browse offerings and set up appointments with exhibitors who meet their needs. This level of connectivity enhances the efficiency of the exhibition and increases the chances of successful business deals.

Challenges and Future Directions

While digital media offers numerous benefits to travel exhibitions, it also presents challenges. The rapid pace of technological change means that event organizers must continually adapt to new tools and platforms. Additionally, the reliance on digital media requires a robust infrastructure, including reliable internet connectivity and digital literacy among participants.

Looking ahead, the role of digital media in travel exhibitions is likely to grow even further. The continued evolution of VR and AR, the increasing importance of data analytics, and the rise of new social media platforms will all shape the future of events like IITM. As these technologies develop, they will provide even more opportunities for engagement, personalization, and innovation in the travel exhibition space.

Conclusion

In conclusion, digital media has become an integral part of India’s travel exhibition's, particularly at events like IITM. By enhancing visibility, engagement, personalization, and networking opportunities, digital media has transformed how these exhibitions operate and interact with their audiences. As technology continues to evolve, the role of digital media in travel exhibitions will only become more significant, offering exciting possibilities for the future of the industry.

[back-and-totheleft]

INTERVIEW: OLIVER & SEAN STONE (ALEXANDER REVISITED)

Q: When we talked to you during the junket for the theatrical release of Alexander, you weren’t a fan of the DVD format. Have your feelings changed now that DVD has allowed you to do several cuts of your movie?

Oliver Stone: Yes. DVD gave me a creative freedom I’ve never had before. This was an unrated three-hour-forty-five-minute cut, which would’ve been unacceptable in theatrical exhibition terms. They just don’t do it anymore. I grew up in the 1950s, and we had roadshows all the time. And the intermission aspect of it was like theater today; if you have an Act One, Two and Three, you can get out in the middle, take a breather, and think about what you’ve seen. That was the right length to this movie. It always was. It was in the script. Unfortunately, I didn’t [initially] see it quite that way; I was arbitrarily trying to make this movie three hours or less. So, as you know, I made two cuts of it. About two-and-a-half years after the film was released was when I worked on this – during the editing of World Trade Center. And I was finally able to come to peace with myself, letting the whole script express itself. It has a different pace, this film; the emotions come out differently. And the intermission comes at the right spot: it comes when Ptolemy and Alexander are in the mountains and deciding to go into India, and Alexander says, "We must make an end; we must find an end." It just has the right feel for me.

Q: Is this really the "Final Cut"?

Oliver: Yeah, I can’t do anything more. This is it. (Laughter)

Q: It’s just that you didn’t refer to this as your cut.

Oliver: I didn’t even bother. I called the second one the "Director’s Cut" because I thought that would be the end, but, in fact, two-and-a-half years later, I would call this "Revisited". But this is it. I promise you I won’t be back. (Laughter) All the footage is here, and this is the film I’m happiest with. DVD does give you that, and although I may have disparaged the idea that people are looking at films on smaller and smaller screens… it’s a shame that people have to watch DVDs with the lights on in a television-type situation where people are wandering in and out of the room. Movies are different from television, and you cannot watch movies like television. It distorts it.

Q: You mentioned the old road shows, and the way that these films used to play – like David Lean films. And in the documentary, Sean mentions that you had to pull Alexander together in less than ninety days. I know David Lean had a lot longer to make Lawrence of Arabia, and, yet, this film strives for that scale. When you have that limited amount of time, how do you bring all of these elements together to make something that is as big, hopefully, as Lawrence of Arabia?

Oliver: You can’t do it anymore. I think Ridley Scott is the perfect example, with Kingdom of Heaven and Blade Runner. He wanted to make more ambitious films, and he finally got the chance with DVD. I don’t know how, because exhibitors have cut it off. They have to make so many shows a day, it’s impossible to sell a three-hour forty-minute movie. I could never have gotten this through the system; it would’ve been a scandal. I have thought of alternative scenarios. Since you guys are mostly buffs, I would say to you that if I had had the guts, which I don’t think I had, I would’ve released a three-hour forty-five-minute cut in Europe. They probably would’ve done it. Remember, we were truly an independent film; we were financed essentially from Europe, an English-French co-production. I probably would’ve released this version in Europe and given it Warner Brothers, and they would’ve probably cut it. It would’ve been the typical Sergio Leone scandal, and I don’t think I’d be here right now. (Laughter) It’s just this system. You live in this system.

Q: Since this is an art form that costs millions and millions of dollars, what does an artist do?

Oliver: You can’t make big movies. You have to make smaller movies. You can’t take on Alexander unless you figure out a way to do it for less than three hours – which is possible. I couldn’t do it that way. Honestly, it does cut down your ambitions. Because some movies do take longer. There is a breadth to them.

Q: Does that mean that in the future you would won’t go for that kind of scale, or that you’ll look for other options?

Oliver: If seventy–five percent of the revenue is coming through DVD, you have to assume that there is a possibility of doing this, but you have to do it for DVD – unless an occasional theatrical would break through. But I don’t see that happening because who would put up the money for these kinds of things unless DVD becomes highly profitable?

Q: Would you be able to live with compromising for the theatrical release knowing that you’ll get your Director’s Cut somewhere down the line?

Oliver: That’s a very good question. You don’t set out to do a DVD cut and a theatrical cut, but perhaps because of the nature of circumstances, now we have to think that way. But, no, I would go for the best on theatrical.

I had a very short [production period on Alexander]. There are two versions of this story, but David Lean [said] he did not start cutting [Lawrence of Arabia] until it was over. In other versions, it was cut during. But, honestly, when we finished this thing, we had four or five months to get ready for mix, and that was too short a time. And it was my fault. I thought I could pull it off, but I just couldn’t. I mean, I was happy with the film theatrically; I wouldn’t have released it otherwise. But it would’ve been a huge scandal to pull out [of the release date]. Marty Scorsese had done it two years before with Gangs of New York. He did take that extra year, but that was a different situation; we didn’t have the money to do that because of the interest rate. It would’ve been an enormous problem for us, so we had to get it out.

Q: Did you see Sean’s documentary before it was approved for the DVD? At times, it’s not a flattering picture of what filmmaking is like.

Oliver: Sean was courteous enough to show it to me before, and I made some suggestions, but only for filmmaking reasons. I was embarrassed about some things in it, but I said, "Fuck it! I’m going down anyway with this movie. I might as well tape the whole thing." (Laughter) It wasn’t very flattering at times, but there was a special moment in our relationship because he was coming of age. And it was the first time we really had truly spent time together in a working environment over a long period of time, which was very good for him to see and for me to bond with him. He was shooting at weird times, but he was my son. Had it been a documentary crew, it would’ve been more difficult for me. He was in the hotel room, and on the way to the set, on the way back from the set… I mean, these are key moments for a director to say things they wouldn’t normally say.

Sean: I’m curious as to what you’re thinking of when you say "more embarrassing" or "private" things. There’s the aspect of the budget and producers, but from [Oliver’s] point of view I don’t see why that would hurt at all, because it only helps the audience understand what kind of pressure the director is under. That was the intention behind most of that: understanding what this project means, how big it is, how much money, how many people are working on it, and what’s on the line. You can understand the process better by this.

Then there was the personal aspect, which is the father-son relationship, which is what we were exploring towards the end. Actually, he incited it; he was the one who encouraged me to put the camera more on myself and introduce myself as a character. Initially, it was just going to be about him, purely as a portrait of a director.

Q: Oliver, there are some scenes with you going back and forth with the producers over money. Is that a variation of a conversation that happens on every movie?

Oliver: Oh, definitely. I would say it’s even more intense. I’m glad he caught that scene because we’ve had several conversations like that. I happened to have a great producer on this show: Moritz Borman. He was truly an independent. And the fact that we had French and German partners gave me… when Warners saw the first and second [theatrical] cuts, they would’ve cut all references to sexuality and all of the gorier stuff. All of the primitive warfare that you just saw, they would’ve cut that. They would’ve probably simplified the story enormously; the eunuch would’ve been gone. It was a very tough one to get through.

Q: Those cuts would be for getting the proper rating?

Oliver: No, we knew we were in for an R-rating. It was just to avoid an NC-17, but I think we got through that, Rosario Dawson withstanding. (Laughs) The eunuch was the biggest problem, I think, in terms of sexuality; the fact that he was a military commander who had Greek proclivities was not easy, because that’s not the way Americans like to think of military people. But the eunuch was a real hang-up. He was chopped out of the theatrical version. And I’m glad he’s back because he brings a humanity to Alexander when he’s dying; you see the emotions in the eunuch’s face. That’s part of allowing the emotions to play themselves out.

Q: Do you think production documentaries take on the face of the film that they’re talking about naturally? Or was that something created in the editing room?

Sean: The only thing I had as a model was the Apocalypse Now piece, Hearts of Darkness, which was very well done. It really gives you a sense of what that shoot must’ve been like, how hellish it was. And then, of course, I liked Lost in La Mancha. But, when I went into it, there wasn’t much that I was working with as a model; it was something where I shot everything over eighty-something days with 100 hours of material. I didn’t really know what I was doing. (Laughs) I didn’t catalogue it, so at the end I come back to it and I start working with an editor, and we just had to go through it. We had to watch and categorize all the interviews we had, and the material we had. Out of that, you kind of start to build a story. He often was saying, "Why don’t you shoot the clock, and pay attention to the time, and do a day in the life of a filmmaker and how stressful that is?" Well, I didn’t want to do just one day. I had so much material, and nothing that just added up to one day. So it was trying to do a metaphor by using three or four different locations, and giving you an impression of arriving on the set in the morning time, the slow build-up. And then how you get through one day, and then will be in the editing room until ten or eleven at night. You really don’t sleep much. You get home for like six or seven hours, and then you’re back out to the set. Some of those days you really did finish at five in the morning. It was insane.

Q: How inviting was the cast and crew to your filming? We see one moment where Colin says, "Fuck off with your documentary bollocks!"

Sean: Colin was great, actually. That was a joke for him. It wasn’t intended to be nasty. That’s just his humor. But when [Oliver] was dealing with actors, I didn’t want to intertwine into that relationship that he had going, so I would try to stand back and get some audio bytes if I could. But mostly I respected that distance. I would take the actors separately, approach them, start a conversation, and just deal with them independently. Angelina, for example, made sure I made an appointment for the interview with her because she has her own PR people and a lot of security. Val Kilmer I’ve known since I was seven, with The Doors, and he was just great joking around all the time. But because I was [Oliver’s] son, and I was there every day, you do break down the barriers.

Q: Oliver, is it difficult to direct when you have cameras lingering around? It was obviously more impersonal when you had to contend with EPK (Electronic Press Kit) crews.

Oliver: It’s very difficult, talking to actors especially. It’s the most personal stuff. Each actor requires a different language. It’s very personal. It’s like sex; sometimes you don’t want to be filmed doing that. But if anybody is going to do it, I think your son… and I had committed to the idea that he was going to work with me. He started as a soldier in the phalanx, actually, and after doing that for a few days, he switched over. Then he was behind camera. As I said, I committed to being honest. He may have cut out some stuff that may have embarrassed me.

Q: Was the presence of the cameras ever irritating?

Oliver: There were times I was irritated, yes. Things would not go well, you know. But, as I said, it was a warts-and-all kind of thing. I knew this project was going to be a tough one, and that the chances of its success would be very tough. So if you’re going to sink, you might as well go down in all its glory.

Q: How do you split your time between the tent (Stone sets up his video village, a bank of monitors where the director watches each take via video, under a big black tarp) and talking to the actors?

Oliver: I balance it out. When the take is done, I’m out there mixing it up. I keep a hands-on relationship. I don’t want to make it remote. If anything, it’s very touch-and-feel, like looking in the face of the actor. But the tent is crucial because it’s an objective perception. And I had many cameras, too, so I had to look at various cameras. But it’s a way to really concentrate because the one thing you lose on the set is the script. The script is the bible. What is your original intention in this chaos, this puree, this noise, this money, all of the thousands of issues of everyday. You often lose sight of what was the original intention. And having worked on the script so hard… every time we would roll, I would basically have the script in front of me. And when I was in doubt, I would look at the line and try to remember the moment of the writing. That helps to balance out the madness. That’s why [the tent] exists: you need a sacred place. If you’re out there all the time in the noise with horses and elephants and dust, you become so externalized that you lose your internal.

Q: When do you feel you’re at your best on set, and when do you feel you’re at your worst?

Oliver: I’m at my most when I arrive. (Laughs) It’s hardest when you arrive because so much has to happen. And I think I’m at my best towards the end as I’m getting it. When you’re getting it, you really feel it. Sometimes you get the essence of the day in the late morning, and sometimes you don’t get it until after lunch. But the important thing is to get it. If you feel you don’t get it, that’s really frustrating.

Q: At the beginning of the documentary, Sean talks about how you were so prolific as a director during his childhood. You were making films at a year clip. In 1991, you had two films come out: The Doors and JFK. You were a machine in the sense that you were really locked-in. And with every film, there was a certain expectation: when you went to see an Oliver Stone film, you knew you were getting a certain kind of experience, what with Robert Richardson as your cinematographer, and the use of different film stocks and so on. Finally, in 1997, with U-Turn, you shifted gears. Was it that you got bored, or that you had exhausted that style of working and that you had to pull back?

Oliver: I think the latter would be the case. U-Turn was the eleventh film in twelve years. But it was ten films in ten years [from Salvador to Nixon]. We had worked at a pace that was incredible. I mean, one film a year of that size, that energy – and you can imagine the details that went into those films. They were huge films. They were muscular and big. And I do think we reached a natural exhaustion point. And then, in 1996, I edited a novel I had written earlier [A Child’s Night Dream]. I really worked on the novel; I went back to writing. U-Turn was a smaller film done with a smaller budget; it was done quicker. So I was tired. Then, when I did Any Given Sunday, I re-exhausted myself again, because that was probably one of the most difficult experiences, having to stage those football games. And then Alexander, with the documentaries in between. The pace has let up, but the intensity has not. And, actually, World Trade Center was exhausting. There was so much dust, and to shoot in those conditions, that was physically exhausting to all of us. So I’d love to do a little drawing room drama. I’d love to do Gosford Park. (Laughter)

Q: Around the time JFK came out, you became the go-to guy for conspiracy theories. I’m sure you must have some opinions about what’s going on now. (There’s laughter, as well as an audible groan from one of the publicists.)

Oliver: Listen, I think the obvious has been missed, which is that the conspiracy these days has been so overt. You don’t need to hide it. There’s no need for covertness. If the President of the United States has been caught leading us into a war under false circumstances and everyone knows about it, that is a conspiracy. And no one seems to have impeached him for it.

Q: But we really need our agitators at this point. I think it’s interesting that you’re going to do Pinkville next, which is about the My Lai Massacre, and here we have another filmmaker of your generation, Brian De Palma, who’s doing a film about Iraq [Redacted]. I think it’s interesting that… it seems like you might want to attack what’s going on right now by going back to what you know best and what you’ve done best. Is that what you’re doing with Pinkville?

Oliver: I’m not going back to Vietnam per se; I’m going back because it’s a hell of a script [written by Mikko Alanne]. In 2001, it came in, and we worked on it. It’s more like JFK in that it’s an investigation of how things get covered up. I think that’s an old fashioned genre. In a sense, it’s a crime thriller, because a crime happens but it’s covered up, and it takes the tenacity and the veracity of two, three, four… actually, more men, but two main men to really uncover this crime. Because it was buried. People forget that My Lai did not come out for a year-and-a-half, and it was only in dribbles and drabbles. I didn’t even know as a soldier what exactly had happened until I read Alanne’s script in 2001. So the full implications of it, people still don’t remember. And certainly the new generation doesn’t remember. I think there is an historical obligation to remember. If we don’t remember, we’re really fucked.

Q: You still bounce back-and-forth between directing other peoples’ work and writing your own scripts. How does that work?

Oliver: When I’m working with another writer, I tend to make a lot of effort. When I collaborate with a writer, I’m not interested in credit, but I’m feeding him stuff all the time that I feel is important to shaping the script. We’ve been working very hard on Pinkville. We’ve had about eight drafts since 2001.

Q: Many people stop being writer-directors at a certain point and just become directors. Could you see yourself doing that?

Oliver: No. I love the act of writing. I like the quiet, internal aspect of it. If I lost track of that, I couldn’t direct the same way. I couldn’t be a director for-hire; it’s just not my nature. (Pause) I take that back, because you’re going to catch me one day. (Laughter) If there was a script that fit my sensibility to a T, I would take it and I wouldn’t change a word. But that hasn’t happened yet.

Q: We talked to Shekhar Kapur yesterday for Elizabeth: The Golden Age, and he was asked if there were parallels to contemporary issues. He said, "Of course, there is. Otherwise, what’s the point of making the movie?" Do you agree with that?

Oliver: I think we can only see the past through the conditions we live in in the present. Therefore, we’re conditioned. The past assumes the nature of the present. Certainly, Elizabeth means something to Shekhar Kapur in terms of today. We’ll see what it means when I see the movie. I’m a history person; I love history, so I don’t look for that necessarily. But I am conditioned by the present.

Q: Have you every thought about looking forward? Have you ever thought about doing a film depicting where you think society is headed?

Oliver: I’ve tried. I’ve developed several sci-fi projects over the years. I wrote The Demolished Man years ago. I wrote Conan the Barbarian as a sci-fi. But I’ve never been happy enough to make [that kind of] film. It’s a high-level field; you’re going into Kubrick-land, Ridley Scott… there have been some great sci-fi films, and I don’t want to make a half-assed film. It’s not my area of expertise. But that’s not to say it won’t change. I will say, in answer to your question, that the reason for Alexander… is that Alexander is one of the greatest inspirations. He’s an example to the youth of today – of leadership, of guts, of bravery, of following your dream. True, at the same time, with inspiration there is also misery and suffering and burden that he had from his youth. But I wanted to show the young generation that there are heroes; there are people who can change the course of history – for better or for worse. In Alexander’s case, it’s one of the greatest models, and I think we’ve forgotten that – especially in America. They know Alexander much better abroad. We did much better in Japan. (Laughs)

Q: Looking at the full range of your films, all of your protagonists have something in common with Alexander, whether they’re charismatic and self-destructive, or going up against impossible odds. Do you think this is an outgrowth of your interest in Alexander, or is he just another character in that line?

Oliver: I would say that Alexander was in that line of people; otherwise, I wouldn’t have focused my life around Alexander. As a young man, I read Mary Renault’s books, and they much moved me. And then I read Robin Lane Fox’s great biography from 1972, which gives you a very Western-oriented overview of it. Alexander is a prototype. You realize that when he went to the East with this size Army, no one had done that. All the Greek mythic heroes had gone east, but they were myths. Achilles was a myth. Perseus, Theseus, Hercules… they probably existed in some form. But they all went east. That’s where a Greek went to make his bones so to speak. And Alexander was the first man who actually went east not to plunder, not to loot and come back to Greece – which is where the Macedonians wanted to go back with the money. He stayed. And he became half-Eastern. That was the interesting thing about his journey. It wasn’t like "Let’s get out of Iraq." He went over there to stay. He probably didn’t know that at the beginning, but there was something that chased him out of Greece. I hypothesized some of it had to do with his mother. Why didn’t he ever bring his mother out to see him? It beats me. But I’m fascinated by the idea of this man. He did something that no one’s ever really done before. Even the Mongols went home.

Q: There’s a quote in the documentary: "Perfection is the enemy of good." I’m wondering if you can elaborate on that. And did you always feel that way, or did it take you some time to come to that conclusion?

Oliver: That’s my personal idiosyncrasy. It’s a French expression. Perfection is the enemy of good. You do hear of these cases of the Kubricks of the world who do take after take in search of perfection, but I think that’s an illusion. I really do think that it’s subjective. The kinds of films I’m making, which are fairly large and ambitious… and they’re controversial, and you can’t get a lot of money to make them. I say you have to settle. Get the overall. Some of my films may have been crude at times, or tough, or missed the points, but I’ve tried to get the overall in. I think that’s more important. You may miss a thing or two, but you move faster. If you can do it in three takes, do it in three takes.

There’s the great story with John Huston and Jack Nicholson, where he said to Nicholson, "You got one take." And he didn’t believe him. But he actually did have one take, and he got it right. I’ve been on sets as a writer before where actors would warm up with the first take. I don’t believe that. I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. I think Clint Eastwood would agree. Try to make it good the first time.

Q: The Hand is coming out on DVD in a couple of weeks. Have you looked at it? Is there anything different about it?

Oliver: No. That was an early work. It’s flawed. But the last time I saw it a year-and-a-half ago, I thought some of the dialogue was really good. And the story is based on a good thriller. Michael Caine’s performance in interesting. It’s a strange movie; it’s an uncomfortable blend between the psychological and the horror. I was pressed to put more horror in there. I was a young filmmaker, and I had a good dose of studio pressure there.

Q: As an experienced filmmaker, do you think, "Hey, there’s some good stuff in there," or do you obsess on the mistakes?

Oliver: I see the mistakes, yeah. But I think there’s some very good stuff. It did take a beating. I did not work as a director for four or five years until Salvador, and I had to do that off-lot with British [producers]. I suffered for that film. But it did make money, ultimately, for Warners.

Q: You talk about how you knew you were going down with Alexander. At what point of the production did you feel that, and how did you then rear your shoulders up and keep going?

Oliver: You know, I felt the same thing on JFK: that this was going to be the end of me. I really did. It was another three hour-plus movie, the dialogue was cerebral, there was enormous amounts of difficulty, it was a complex screenplay and a very complex edit. I didn’t think it would make it, and I was amazed when it did. It resounded as it went around the world. JFK was a huge hit. So I guess that emboldened me to keep going, but I knew that one day I would come to this point that I would make something so outrageous and so ambitious that… it’d be that Don Quixote feeling, that I’d have to tilt at a windmill. Sometimes you’ve got to do it. That’s the only way you can do things.

Nixon was a setback for me financially, far worse than Alexander. Alexander did well abroad, and will make money for its participants. Warner Brothers is doing well with it on DVD. But Nixon was the biggest setback; we spent $42 million, I think, and we grossed $13 million. I love that movie; it’s one of the most ambitious I’ve made on the political scene. But it just did not take. I guess the character of Nixon was not attractive to American people or foreign people. That was the worst setback. But people who write about the setback of Alexander are wrong. My worst period was Nixon, Heaven and Earth and U-Turn. Those were the three least performing pictures I directed.

Q: Sean, my favorite part of the documentary is when you confront your father with what the critics have said about him – in particular, the charge of heavy-handedness. How did you work up to that? Was there some trepidation there?

Sean: No, I think that was one of the first questions I asked. (Laughter) It’s important to have a good ongoing dialogue, and [Oliver’s] never been shy about hiding things from me or talking to me about those things. Honestly, I think it was one of the first things we were talking about. It’s one of the things critics do reference: heavy-handedness. Aside from the conspiracy theorist thing, which sort of gets thrown as a jab.

Q: Oliver, how do you draw the line between being an artist and a businessman?

Oliver: I think you can maintain two tracks. I think you have to. That’s what this kind of filmmaking is about. If you’re not aware of the limitations of what you’re up against… it’s like a general: you have to know your artillery and you have to know your infantry. You have to know what you have. You have to marshal your forces and use them well. It comes down to the personal and the intimate, but at the same time you have to have the big picture.

Q: Given the television landscape today, is there anything you’ve thought about developing for maybe HBO or F/X?

Oliver: I produced films for television, including Wild Palms for ABC back in 1993, which was pretty advanced for its age. But I would work in television if I had no choice. It’s not a hot medium. It’s a cool medium: people walking out of the room, the lights are on, your wife or husband is talking, your kid is talking. It’s mind-boggling. It’s a medium in which you can miss something and come back to it. But film… I make my films like you’re going to die if you miss the next minute. You better not go get popcorn. (Laughter)

Q: Don’t you think shows like Heroes and Lost have afforded people the opportunity to bring a more film-like attitude toward television.

Oliver: Well, they have. Television has usurped everybody from film. And so have commercials, by the way. In a sense, we’ve democratized the image. If you look at the techniques of JFK and Natural Born Killers, they’re all over commercials now, all over TV, all over the place. I see them so constantly that I feel that it’s a degeneration; there’s no point or purpose for it. To the contrary, stylistically, I would go the other way like with World Trade Center, where you’re really concentrating on the acting, the lighting and the story. This is what we are: we’re storytellers. There are reasons for stylization, but let’s do it better than television. The stock is great, and they have access to digital. Everyone has DI [Digital Intermediate] now, and they can make their films look great. But, for some reason, television still bores me. Even the best shows. I’m not a Sopranos fan, I hate to tell you.

Q: You talked about how your aesthetic was appropriated by commercial directors. They took the look of your films to sell product, and now there’s no meaning to it.

Oliver: It’s not just me. They’ve taken from all of us. A lot of the good cameraman who we used are doing television work; they’re doing commercials for a lot of money. And the commercials look incredible. But what’s it about? I made three major commercial campaigns. I enjoyed it, I experimented with it, and at the end of the day I felt no satisfaction. It was like having a fast food lunch.

Q: But when you consider how people have gotten used to your aesthetic in the hands of other people, did it force you to completely change? And was that frustrating?

Oliver: I would never go back to the style of Natural Born Killers. You always try to find the right style for the movie. That’s the key. Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original. But with television, the image has been degenerated, no question. With the internet, commercials… people are much too cynical about image. It’s stale. And all over the world, not just America. I was on a plane two days ago from Asia, and you can’t believe the flatscreen images on the plane. So what can you do? You have to find another way.

Q: With movies becoming more television-like, especially with the glut of ads and previews beforehand-

Oliver: Oh, god.

Q: -how do you make sure that film stays unique?

Oliver: It’s very difficult. When I go to the movies, and I have to sit through ten previews of films that look [alike] and tell the whole story, you know that we’ve reached an age of consensus. And consensus is the worst thing for us. We all agree to agree. That’s where we lose it as a culture. We have to move away from that. That’s what I’m trying for, and what I hope [Sean] is trying for. I would like to see originality. It’s so difficult.

Q: Sean, what are your ambitions as a filmmaker, and does it help that your father’s an established filmmaker?

Sean: I’m not sure yet. (Laughter) I wouldn’t have been able to get this documentary done if that weren’t the case. This was a unique circumstance. But on the other hand, I’m proud of the work. And I’m now doing a documentary for the Nixon DVD release from Disney next year. It’s a featurette about Nixon; we did about eighteen interviews with people from that time period – historians, politicians, law professors. Beyond that, we may be able to take that material and do a feature documentary with it. Long term, I love writing and I’d like to direct ultimately. But in the meantime you have to do what is available to you, and documentary is what I can do now.

Oliver: I just want to say that he’s a little modest. He’s cut a a thirty-four minute documentary called "Beyond Nixon". Nixon is very specific to our age because we have another president who’s gone way beyond Nixon. So what he’s done is remind us of who Nixon was, what he did, and it’s a very succinct documentary – very good writing and especially writing. The interviews he did with people from Gore Vidal to John Dean to reposition Nixon in this era to remember who he was for young people.

Q: With that in mind, a natural fit for you would be George [W. Bush]. With the father, the son, the war and conversations with God, it sounds like something right out of a movie. Is that something that might interest you?

Oliver: (Big smile) Yes, very much so. (Laughter and applause.)

Q: When?

Oliver: Soon.

Q: How soon?

Oliver: Soon, soon.

Q: Sean, what did you learn about your father as a filmmaker from doing this documentary?

Sean: I mean, he’s one of the masters as far as I’m concerned. What I saw from filming him actually made me much more aware of why he is such a great director. Direction is a thousand choices, a thousand decisions a day. And having a vision of what you want, and then knowing what you want frame-by-frame, second-by-second… if you don’t have it laid out in the design and in the way the actor performs it, it’s not going to happen. So for somebody to craft that mentally, it gives him the opportunity to develop the story over time. And he always chooses the right people to work with; he always has a great sense of who would be right for what role in terms of actors, but also for the crew – what kind of DP, art director, set designer, costume designer. He knows every aspect of the filming process. Then, of course, the editing process… he’s there every day. Shooting all day, going into the editing room at night, looking at the material, covering it, working with the editors hands-on. That’s a total filmmaking process, and I don’t know what to compare it to because I’ve never seen other directors work. But you can see that in the output: this is someone’s vision. When you see so many films [that are a] consensus form of cinema, where they have a certain look because the studio or producers or director are limiting themselves, saying "It has to look this way, and this is the standard form of performance"… then, when you see a film like Alexander, it does challenged the audience. And it’s something that has to be done. You have to challenge people to reconsider what is art, what is taste. Because it’s someone’s point-of-view. I think that’s the strongest thing he offers: you’re going in to see an Oliver Stone film, and you’ll know it’s an Oliver Stone film. You may not like it, and you may disagree with things, but you get art.

Q: I remember reading your script for Nixon, and it was like 300 pages. What is your writing process like? Do you edit yourself when you’re writing, or is the script the bible and we’ll worry about how long it’s going to be later?

Oliver: I’ve fallen into that trap. My scripts do tend to be long. I wrote Nixon with two other young men, Chris Wilkinson and Steve Rivele, and they really did a great job. Nixon was a mind-twister, but it’s a wonderfully structured script. I love the way it’s structured about that life. It is a story of his life, but it’s unlike other biopics I’ve seen because of that structure. The structure was very important, and the length was three hours and ten minutes. (Sighs) What do you do about it? You cut the script as much as you can to get to the essence. But some lives take time. I don’t know what the answer is, except DVD. (Laughter)

Q: You’ve done a lot of Director’s Cuts of your films. Is there a particular film you’d like to revisit like you’ve done with Alexander?

Oliver: No, I’ve done what I’ve wanted to do. There’s an unrated cut of Natural Born Killers which I prefer; it was released briefly by Lionsgate. And there is a director’s cut of JFK where I’ve added some scenes to make it longer. Nixon‘s got a director’s cut, which is longer.

Q: Is that the version you’re doing for Disney? Will it have new footage?

Oliver: No. It’s the director’s cut with additional scenes, but they’re more integrated. Before, we didn’t have the technology to integrate that. Right now, it’s the best looking cut, but it’s the same cut.

Q: Forgive me if this is a touchy subject, but what’s your relationship with Quentin Tarantino? We understood that there was a great falling out over Natural Born Killers over what you did to his script. Do you guys talk?

Oliver: I’ve talked to him many times since then. We do get along. He was upset at the time; he was a young filmmaker, and he was upset that we changed… not his story, but the screenplay quite a bit. We put more emphasis on other things. He was upset, and he came out publicly.

Q: By that same token, when you were a younger writer, you had your screenplays turned into very notorious films – in particular, Scarface. It’s an indelible work. It’s really impacted the culture in a huge way and, some might say, in a pernicious way, because some people misinterpreted the meaning of that film. How do you now view the film and the reaction to it.

Oliver: I always thought it was a satire. I never saw it as threatening to be reality. It never sought to be The Godfather. I think Brian was the right director for it because he has the necessary sarcasm. There is a lot of humor in the film, but it was sort of lost at the time because of the bloodbath, the violence and the viciousness of the characters. My model with it was twofold: one was Bertolt Brecht’s Arturo Ui and the other one was Richard III. Those were the models, and they were not exactly reality models. But the film was attacked for being literal. Natural Born Killers was attacked for being literal, and it wasn’t. As you know, with Wall Street they took the Michael Douglas character and made him into a role model, which was not intended. You can never judge how the film will be taken; you can only make your best effort, and put out what you feel. How it’s read, you never can tell. Or remembered for that matter.

Q: Could you ever see yourself working in another medium? Opera seems like it might suit you.

Oliver: For length purposes? (Laughter)

-Jeremy Smith, CHUD.com, Sept 19 2007

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[27timescinema]

INTERVIEW — EUROPA CINEMAS LABEL JURY 2024

By Victor Courgeon (FR) & Maarja Hindoalla (EE), pics © Saulė Savanevičiūtė (LT)

The four members of the Europa Cinemas Label Jury at the 2024 Giornate degli Autori —Daira Āboliņa (Artistic director, Splendid Palace, Riga, Latvia), António Costa Valente (Director and Programmer, Teatro Aveirense, Aveiro, Portugal), Andrea Porta (Social Media Manager and Projectionist, Cinema Teatro Nuovo & Cineclub Filmstudio 90, Varese, Italy) and Jana Trnková (Programming Director, Kino Světozor, Prague, Czech Republic)— were interviewed by representatives of the 27 Times Cinema to discuss their role at the festival and their expectations about this year's selection.

What do you expect from the selection, as you are yourselves programmers? What do you consider to be a good competition?

Daira Āboliņa: I aim to discover young European authors, a new cinematic language, and new aesthetics: I'm searching for the next generation of film directors! Another concern is whether the films can interest wider audiences: how universal are they?

Jana Trnková: I always look for something that excites me. I don’t have specific expectations or search for particular qualities—I just want to be impressed by something special. I’m looking for that feeling you get as a spectator, but also as an exhibitor: the desire to share the film and the excitement that you experienced with other people.

Are your views as spectators and as exhibitors the same? Or are they different?

JT: I'm in a very privileged position (laughs). Kino Světozor shows basically what I like and what I want to watch! We program festival films that are on the verge between artistic and mainstream. Something innovative, different, and exquisite, but also accessible to a wider audience beyond just cinephiles.

In addition to the first question, can you tell us about your criteria for judging a film and giving awards?

Andrea Porta: It is quite difficult because each movie has its own specific characteristics. Each film could be interesting for different reasons. We must pay attention to everything —the actors, the photography… There are no canons that we must follow.

JT: We don’t have a table or spreadsheet where we score the points. We are quite different from each other—different countries, different ages, different experiences… The ideal movie is the one that offers each of us something different that we are intrigued by.

AP: A universal movie…

JT: … that offers something for everyone!

António Costa Valente: For me, it is better not to have strict rules when programming or watching films at a festival. The essential elements are a big screen and a great movie. The important is not the chairs, as comfortable as they can be… You must be taken by the film. In Giornate degli Autori, I expect to see these kinds of movies!

Over the past five years, Europe has been through different crises—sanitary, political, geopolitical… How does it affect the audience? Have you had to innovate to bring people back to the cinema?

DA: In general, I think people are back. It depends on the content. If you have strong films, it doesn’t matter if it’s July! Even in the summer, if a film sparks discussion, it works. I’m from a Baltic country, and I work for the biggest and oldest cinema in the country, the Splendid Palace, founded in 1923, now 101 years old!

Nowadays, people are confused and living in the shadow of the war. Many Ukrainians live in Latvia, and we have special free screenings for refugees. We try to understand how to live together with people that suffer from war. Some Russians are also coming to our country and trying to find places to live. The geopolitical situation makes everyone nervous… For that reason, we are looking for strong narratives which reflect the complexity of the current world situation. In Eastern Europe, people look for films that are honest and open to discussions about “living together”.

In my region, people are deeply affected by the current global situation, and we feel responsible for helping them find some stability and positivity. The criteria for judging films are now higher than before COVID—we need stronger films!

ACV: During COVID-19, we opened a drive-in cinema where people watched films from their cars and, instead of clapping at the end, they blinked their car lights and honked their horns. It was fantastic for the audience.

DA: We also opened an open-air cinema next to the wall of our historic venue. This year we had a great summer in the Baltics, it was very warm, and the cinema was absolutely successful. This year we introduced Jacques Demy’s films and musicals, and it was 90% full every screening.

What about Southern European countries? They don’t have the same proximity to the war but face other issues. Cinemas are closing in Spain—what about Italy and Portugal?

AP: In Italy, it’s the same. I live in Milan, and the historic cinema near the Duomo, right in the city centre, closed quietly. The cinema just shut down, and no one was talking about it. For me, it’s a tragedy.

I started working at my cinema in Varese two years ago, so I wasn’t there during the COVID-19 crisis. Now, I think people want to see movies they can’t watch on their laptops or smartphones—something special. One of the most interesting films in Italy last year was La Chimera by Alice Rohrwacher. It is a great movie you must see in a theatre, like Perfect Days by Wim Wenders, which was an unexpected success. Arthouse cinemas must go that way, offering something special.

DA: We sometimes especially announce films as “only for the big screen”. For example, the new Latvian film Flow is a very positive, dynamic, and light story with philosophical depth. Everybody knows that this film will only be in theatres until mid-2025. If someone wants to see it, they need to come to the cinema—and they do! Last year, some films were already available on platforms just three or four weeks after their theatrical release. Some people preferred to wait because COVID habits persisted. But now, the big screen is back as a big event, and Flow helps to open a new era for our cinemas.

JT: After COVID, some people obviously waited for films to come to small screens. But that doesn’t mean films stop being successful in theatres. For example, Poor Things, The Menu... —these films continue to do well even though they’re available for free if you have a subscription. However, now there is so much digital content that you start to lose common themes and topics with your friends. Some have Netflix, others have HBO, some have Disney+, and everybody watches something different. Cinemas, especially arthouse cinemas, offer curated content with a limited number of titles, making it easier to watch the same thing or even meet and watch it together. And then, have a debate. I think that a very important part of the experience of watching audiovisual content is talking to someone about it and sharing your thoughts. In this regard, VOD services and digital spaces are losing a large portion of their audience, who are returning to curated content.

ACV: It’s difficult for me to speak about cinema exhibition in Portugal as a whole, but I can easily talk about the exhibition in my cinema at Teatro Aveirense. The curation of films is crucial for our audience. Directors are crucial when selecting films because people know their names. Not so much the actors, who are more important in the context of American titles. Also, presenting films with the presence of directors, actors, or other filmmakers is very impactful and easy for us to organise with Portuguese films.

JT: I also feel that the post-COVID return has been kinder to arthouse cinemas and smaller theatres than to the huge multiplexes, partly because of the atmosphere. The content is also essential. People stop going to see a lot of these products that are usually shown in the multiplexes because they are not as important, while in arthouse cinemas there are films that spark discussions, films people talk about for months. There’s Anatomy of a Fall, there’s Miyazaki, Wim Wenders... These are topics that start buzzing in May during film festivals and continue until they reach the cinemas, and then people go see them. It doesn’t have to be with a Q&A, but our titles are not products—they’re different films on various topics that engage people. They last longer in the cinema. For example, we have been playing Perfect Days for eight months, and people are still coming to see it. This doesn’t happen with whatever films are screened at multiplexes.

What about young audiences? Children are growing up with small screens, and there’s a crucial age when they could learn to have a shared experience with a film on the big screen. What can arthouse cinemas do to help develop this habit?

ACV: Our best experience with children was with the first Portuguese feature animation, in collaboration with the education department of the region and various schools. At each session, which we held on weekends when the cinema was booked exclusively for this event, they made drawings after the screening about the film. It was a big experience for them, and their reflections are very good.

DA: We have a special program for young audiences called Cinema Academy, and we create special programming for them. Some films are suitable for all ages, but these screenings include additional content, like a lecture specifically for young audiences. We also involved cinema influencers who work with cinema issues in our region. They are younger and have many thousands of followers. Of course, not all of them will come to the cinema, but if they discover, discuss and debate some topics in the films, then people will come to the cinema.

Splendid Palace is a popcorn-free cinema and for young audiences, this is an important issue. We’re planning our first cinema lunch event with a film for a younger audience, featuring special gourmet dishes. We’re still committed to being a popcorn-free cinema, but we’ll see what happens.

JT: Don’t give up on that! (laughing).

We also have a state programme called Schoolbag, supported by the Ministry of Education, where teachers can decide whether to spend a small amount of money on cinema, theatre, museums, or something else. There are many options, but some teachers are our regular audience, and they come almost every year because they trust our taste. You need to impress the adults to bring the kids to the cinema, and school screenings are a perfect example. I think this is something exhibitors should focus on—talking to teachers, talking to adults, and of course, offering options that are educational but also fun and exciting. When kids go to a cinema with their school, it shouldn't be a hardship. It should be fun, it’s something that they should look forward to. If it’s an exciting experience, then they will want to do it even without the school.

[kenpiercemedia]

Toy Exhibitor Interviews from Toy Insider's "Sweet Suite" 2024: Part One

As previously noted, I was once again invited to participate in the annual “Sweet Suite”, the mega-toy preview event held by the fine folks over at The Toy Insider. Assorted media and influencers assembled over at The Glass House to learn about the latest and greatest toy releases from a respected batch of exhibitors. I’d be doing double duty at this one with some content being posted over on the…

[jimmyaquino]

Comic News Insider Episode 1528 - Flame Con Recap/Interview w/ Robin Ha!

Comic News Insider: Episode 1528 is now available for free download! Click on the link or follow on Spotify/subscribe on iTunes!

We interrupt all of this amazing SDCC coverage to give a recap on the amazing Flame Con held in NYC recently. Jimmy attended and gives his thoughts on it all. Exhibitors, guests, cosplay, atmosphere, crowd, etc. Always a fantastic show. He also had a chance to catch up w/ his friend Robin Ha to discuss her most recent graphic novel THE FOX MAIDENS. An incredible retelling of the classic Korean mythological tale of the 9 tailed fox. They talked about the comic, gumihos, the fantastic clothing from the Joseon period in Korea, music, food, Korean dramas, what's next and more!

Also, get a hold of us!

Thanks for listening!

[sa7abnews]

Chez Artiste is second Landmark movie theater to shutter in under a month

New Post has been published on https://sa7ab.info/2024/08/06/chez-artiste-is-second-landmark-movie-theater-to-shutter-in-under-a-month/

Chez Artiste is second Landmark movie theater to shutter in under a month

Less than a month after closing the 97-year-old Esquire Theatre, California-based exhibitor Landmark Theatres said it will shut down south Denver’s Chez Artiste as well. Located at 4150 E. Amherst Ave. in the University Hills neighborhood, the arthouse theater with a trio of modest screens has, for decades, cultivated a crowd that attends nearly every premiere, party and — in the past — celebrity visits during the Denver Film Festival. Chez Artiste’s final day will be Thursday, Aug. 8, according to a notice on the front door. “It has been our pleasure to serve you!” the sign said, and listed Landmark’s two remaining theaters in the metro area: Denver’s Mayan Theatre and The Landmark Greenwood Village. Landmark marketing and brand chief Mark Mulcahy told The Denver Post by email that the closure comes in the wake of the company’s regular market evaluations, as well as its individual theater performance. “We’ve made the decision to close the Chez Artiste location but look forward to servicing our Chez Artiste guests and broader Denver audience at our local Greenwood Village location or The Mayan in downtown Denver,” he wrote. “Our goal is to move some of the specialized content Chez Artiste played to the Greenwood Village [location].” South Denver’s Chez Artiste movie theater, which has been open since 1972, is closing Aug. 8, according to owner Landmark Theatres. (John Wenzel, The Denver Post) Despite its small capacity, Chez Artiste boasted things its competitors didn’t: a rotating selection of TCM-era classics from the 1930s-’70s and its status as a cultural destination that was not dependent on its neighborhood or spare, concrete surroundings. Originally opened in 1972, the Chez Artiste has been operated by Landmark since 1992. It was renovated in 2012 to add digital projectors and sound, new seating, wider rows and various design touches.

Fans of the Chez Artiste will throw a party for the theater and its staff on Aug. 8 at the theater, according to people interviewed for this story. One of the theater’s fans, Stan Ward, wrote a letter to Landmark, criticizing the company for the way it has handled the closure. “The management staff there has provided the best movie-going experience in Denver for 15+ years,” Ward wrote in a note that he shared with The Denver Post. “I believe the Esquire theater was given several months notice of their closing. To give Chez one week’s notice after their long, exemplary service is, in my opinion, almost criminal. The staff there have earned the right to be treated far better than a one week’s notice.” Mulcahy responded by saying that “key longtime staff” were asked to consider a move to Landmark’s Greenwood Village location. He also talked about the industry as a whole. “We flourish when large numbers of people patronize the theatre weekly, daily, monthly, purchasing food & beverages,” he added in the response. “We would not close a theatre that is flourishing. We must make tough decisions when a theatre constantly loses money.” Other supporters posting on Instagram, Facebook and X have suggested that Landmark wait until the end of the calendar year to shutter Chez Artiste. Landmark, which has been an exhibitor for 50 years, previously shut down Denver’s historic Esquire Theater on July 17. The company had stopped paying rent in April 2020, according to commercial real estate firm Unique Properties — which then tried to sell the building for $3.3 million. It has since been purchased and will be redeveloped for mixed-use tenants. Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.

[eventdisplay]

Media Wall Printing: Enhancing Events with Customized Backdrops

Media wall printing involves creating large-scale, custom-designed backdrops used primarily in events, trade shows, conferences, and media appearances. These walls serve as impactful branding and promotional tools, providing a professional and polished background for interviews, photoshoots, and presentations.

Components of Media Walls

Media walls typically consist of the following components:

Frame: The frame is usually made from lightweight aluminum or another sturdy material. It provides the structure and support for the wall.

Fabric Graphic: The fabric graphic is the printed material that covers the frame. It is usually made from polyester or a blend of polyester and other materials. The fabric is designed to be wrinkle-resistant and durable.

Printing Method: Graphics are printed using dye-sublimation printing, which produces vibrant colors and sharp images. This method ensures that the graphics are long-lasting and can withstand repeated use.

Benefits of Media Wall Printing

Brand Visibility: Media walls prominently display logos, brand messages, and visuals, ensuring that they are visible in event photographs and videos. This enhances brand recognition and visibility.

Professionalism: Media walls create a clean and professional backdrop, enhancing the overall look of events and making them more attractive to attendees, media, and stakeholders.

Versatility: They can be used in a variety of settings, including indoor and outdoor events. They are also versatile in terms of size, with options available for both small and large spaces.

Ease of Use: Media walls are easy to set up and take down, making them convenient for event organizers and exhibitors.

Customization: They can be customized with different designs, colors, and logos to suit specific branding and messaging needs.

Applications of Media Walls

Media walls are used in various settings and industries:

Events and Conferences: They provide a professional backdrop for keynote speeches, panel discussions, and interviews. They also enhance the ambiance of networking areas and registration desks.

Trade Shows and Exhibitions: Media walls are commonly used in trade show booths to showcase products and services. They attract attention and draw attendees into the booth space.

Red Carpet Events: Media walls are a staple at red carpet events, providing a backdrop for celebrity photographs and media coverage.

Corporate Events: They are used in corporate events such as company meetings, product launches, and annual celebrations.

Sporting Events: Media walls are used in sporting events for press conferences, sponsor recognition, and photo opportunities.

Design Considerations

When designing media walls, several factors should be taken into account:

Branding: The design should align with the overall branding strategy of the organization or event. This includes using brand colors, fonts, and logos effectively.

Message: The message should be clear and concise, ensuring that it communicates key information to the audience.

Visual Impact: The design should be visually appealing and impactful, catching the attention of attendees and the media.

Quality: The graphic should be printed in high resolution to ensure sharpness and clarity.

Durability: The fabric should be durable and resistant to wrinkles and creases to maintain a professional appearance.

Sustainability

Many media wall printing companies are increasingly focusing on sustainability. They use eco-friendly printing processes and materials to reduce their environmental footprint. This includes using water-based inks, recyclable fabrics, and energy-efficient production methods.

Conclusion

Media wall printing is a crucial component of event planning and brand promotion. These customizable backdrops enhance the professionalism and visual appeal of events, providing a versatile solution for branding and messaging. By choosing high-quality printing and durable materials, organizations can create impactful media walls that leave a lasting impression on attendees, media, and stakeholders alike.

For More:Contact: 02 6555 5030Email: info@eventdisplay.com.auTimings: Mon-Fri: 8 am - 5.30pm

[zionexhibitionofficial]

Unveiling the Process of Exhibition Planning in Delhi

Organizing an exhibition is a meticulous and multifaceted process, especially in a bustling city like Delhi. Whether you're planning the best exhibitions in Delhi or looking to attend the upcoming furniture exhibition in Bangalore in 2024, understanding the intricacies of exhibition planning can be invaluable. Let's dive into the process and explore how exhibition companies in Delhi bring these grand events to life.

 Step 1: Conceptualization and Planning

The first step in organizing an exhibition is conceptualization. This involves defining the theme, objectives, and target audience. For instance, if you're planning for the upcoming furniture exhibition in Bangalore in 2024, your focus might be on showcasing innovative furniture designs and attracting interior designers, architects, and homeowners.

Once the concept is clear, the planning phase begins. This includes setting a budget, creating a timeline, and selecting a venue. Delhi, with its myriad of event spaces, offers plenty of choices from sprawling convention centers to intimate galleries. The choice of venue should align with the theme and size of the exhibition.

 Step 2: Securing the Venue and Dates

Securing the right venue is crucial. Exhibition companies in Delhi often scout multiple locations to find the perfect fit. They consider factors such as accessibility, capacity, and amenities. For popular events like the best exhibitions in Delhi, early booking is essential to ensure availability.

Simultaneously, selecting the right dates is vital. Planners must avoid clashes with other major events to maximize attendance. This is especially important when organizing something as niche as the Bangalore Architecture Exhibitions 2024, where the target audience might have specific interests and schedules.

 Step 3: Designing the Layout

The layout design is a critical aspect of exhibition planning. It involves creating a floor plan that optimizes space and enhances visitor flow. The design should facilitate easy navigation, ensuring that all exhibitors get adequate visibility.

For example, at the upcoming furniture exhibition in Bangalore 2024, a well-thought-out layout will help attendees seamlessly move from one display to another, allowing them to explore various furniture styles without feeling overwhelmed.

 Step 4: Engaging Exhibitors and Sponsors

Engaging exhibitors and sponsors is a key part of the process. Exhibition companies in Delhi leverage their networks to attract renowned exhibitors and secure sponsorships. They present compelling proposals highlighting the benefits of participating, such as exposure to a large audience and opportunities for networking.

Sponsors play a crucial role in funding the event. Their contributions can cover costs related to venue rental, marketing, and logistics. In return, sponsors gain visibility and brand recognition, which is particularly valuable in high-profile events like the best exhibitions in Delhi.

 Step 5: Marketing and Promotion

Marketing and promotion are essential to attract attendees. Exhibition planners employ a mix of traditional and digital marketing strategies to reach their target audience. This includes advertising through social media, email campaigns, press releases, and partnerships with industry influencers.

For the Bangalore Architecture Exhibitions 2024, digital marketing can be particularly effective. Planners might use social media platforms to share sneak peeks of the exhibits, interviews with keynote speakers, and behind-the-scenes footage to build excitement and anticipation.

 Step 6: Logistics and Coordination

Efficient logistics and coordination ensure the smooth execution of the exhibition. This includes arranging transportation for exhibits, setting up booths, managing registrations, and coordinating with vendors. Exhibition companies in Delhi excel in handling these logistics, ensuring that every aspect is meticulously planned and executed.

For instance, transporting delicate and bulky furniture for the upcoming furniture exhibition in Bangalore 2024 requires careful planning to avoid damage and ensure timely delivery.

 Step 7: Execution and Management

On the day of the exhibition, seamless execution is paramount. The planning team must manage everything from attendee registration to on-site support. They oversee the setup, address any issues that arise, and ensure that the event runs according to schedule.

During high-profile events like the best exhibitions in Delhi, having a well-trained team on the ground is crucial. They handle crowd control, assist exhibitors, and ensure a pleasant experience for attendees.

 Step 8: Post-Exhibition Activities

The work doesn't end when the exhibition closes. Post-exhibition activities include dismantling exhibits, gathering feedback, and evaluating the event's success. Feedback from exhibitors and attendees provides valuable insights for future events.

Moreover, follow-up with leads generated during the exhibition is essential for both exhibitors and organizers. This helps in building long-term relationships and improving future events.

 Conclusion

Planning an exhibition in Delhi like Zion Exhibitions is a complex but rewarding endeavor. From conceptualization to post-event analysis, each step requires meticulous attention to detail. Whether you're organizing the upcoming furniture exhibitions or architecture exhibitions in 2024, understanding the process can help ensure a successful event. With the expertise of exhibition companies in Delhi, even the most ambitious exhibitions can be brought to life seamlessly, creating memorable experiences for all involved.

Also, read:

Emerging Trends in Building Materials Showcased in India

Originally published at: https://zionexhibition2022.blogspot.com/2024/05/unveiling-process-of-exhibition.html

[eslem28sila42]

THE EXHIBITION

This was just like any other day for David, he applied for another job that he didn’t even truly want or enjoy, he was just applying to all the jobs possible nearby so he would finally knuckle down and catch up on his life. He wanted to feel like he was no longer useless. He again couldn’t wake up at time and was about to miss the job interview, he got ready and took his way. He knew he was late but he didn’t find the strength in himself to care about it as his life was a hell already.

​Just like he predicted he missed the interview, he was about to leave the big building when a banner with tons of color caught his eyes. He read the banner and realized there was an art exhibition and it was about to end. He hesitated for a second before entering the exhibition, it was in a big hall and there were really few people inside looking to the paintings on the walls. He started to wander around in the hall and looked at the paintings. The paintings were well made but they were too colorful for him, he was already unsettled ad bothered by his life, all the job interviews, all the nights he couldn’t sleep and all the people that didn’t like him because of his “dark aura” as they liked to call it.

​One painting caught his eye and he stood in front of it for nearly five minutes trying to understand the meaning of it. He was so immersed in the painting that he didn’t even notice that there was someone beside him looking at the same painting. He was about to forget the painting and walk away when he heard a high pitched voice say something towards him. “So what do you think?” he stopped and turned back there was a beautiful woman standing, looking at the painting. “Not bad” he said in a nonchalant tone, the woman looked surprised as he didn’t expected to hear that “Just that? You looked like you found it interesting.” “It is an interesting painting, the painting felt like it was trying to make me feel at ease and happy when the last thing I could feel right now are those two.” The woman laughed at that and turned to David finally. “Well maybe that’s the purpose of the painting, you know? To make people happy?” she said with a big smile at her face. David started to get annoyed by her positivity as he replied “I think art should be realistic, and lets be real not everybody’s life is all happy, all flowers and hearts.”. She had a sad smile on her face when she replied with “You got me all wrong, I didn’t implied all that. I just think we should let art and nature make us happy. Life is as hard as it is, maybe you should try to find some little things in your life that makes you happy.” He watched silently and as he was about to reply to her, someone behind them yelled “Debra we need to go now. Come on!”. She waved to David before leaving the hall. David decided to leave the exhibition after taking a last look at the painting, he got out of the hall, as he was going to the elevator he glanced at the banner and saw the exhibitors name in big bold letters. “DEBRA GUMP”.