#extravalue

[rebeccavoszphlebotomycareers]

An estimated one-third of all American adults eats something from at a fast-food restaurant every day. Millions start their mornings with paper-wrapped English muffin breakfast sandwiches, order burritos hastily secured in foil for lunch, and end their evenings with extravalue dinners consumed in cars. But while people of all ages and backgrounds enjoy and depend

[shopping490490]

https://www.ebay.com/itm/165170452481 #mcdonalds #sign #bigmac #poster #extravalue #meal #forsale #collectibles https://linktr.ee/shopping490490 #ebay #mercari #shopify #etsy #poshmark #bonanzamarket #twitter #tumblr #facebook #instagram https://www.instagram.com/shopping490490/p/CX1ycEzLoVv/?utm_medium=tumblr

[georgiizlobin-blog]

Comfort Zone vs Extra Value

I've noticed an interesting tendency which I wanted to share.

While doing market research on the catering industry niche I've noticed that many firms were too scared to participate, "we don't need your service", "thanks, we are all set", thinking I'll try to sell them something. Sure, I understand that we're not used trusting people outside our circles,  it's just not comfortable. Nobody likes to be sold. I get it.

Now, for those who took a risk and finally decided to try - they got exactly what it was about: some questions on the situation on their business, sometimes deep questions, that helped them look at this from a different perspective. Which added extra value. Apart from free expert advice from my side. New connections were built.

Meanwhile, I've been prospecting new clients, finding out good fits, researching where I can add maximum value. Sometimes it was too clear: company A posting daily on a social media, short post, nice picture, "we can help you with catering" and a link to the website. I go and click.  And then the website just doesn't display correctly. Or there is no call-to-action / hard to find a phone number / not the best pictures of food / 80% of the page is about The Company etc.

Well, I should admire, there are plenty of good examples, where the whole online presence was top-notch. This case I've also clicked on every social media, the website they have and save, save, save. Because I want to have a good inspirational timeline I can learn from Pro-advice: check the digital marketer /web designer website who did the job.

Getting back to my potential clients: often they are too scared to even get on a quick conversation about their business. I'm not talking about sales now, I don't even mention my services for the moment. I just wanted to share what I've noticed, potential issue, where and why they might be losing new client/sales. This is what can start building a relationship and then maybe will bring to a potential engagement in the future. The key thing here is to be generous, don't expect too much from these interactions. We just building connections on this stage.

Now, this summer I was working hard, not only in terms of work but also in terms of facing and overcoming some deep challenges, going outside of comfort zone. Quitting bad habits and changing it for new ones. Starting a YouTube channel on my hobby, going out and do stuff I've never done before, running miles, trusting people who seem to be willing to help, and you know what? It went great, it doesn't feel safe from the beginning but in the end, you get that extra value. Tons of it. Why stress? Go out and try.

Take action. Gee.

[hotyogauppsala-blog]

Hej i sommarvärmen! Glöm nu inte att boka in er på Magnus workshop som är 26:e maj. En exklusiv dag för alla medlemmar. Det går inte köpa denna workshop separat och gäller ej för introduktionskort eller klippkort. #yogauppsala #medlemsdag #gemenskap #yogatribe #yogacommunity #karma #giveback #overdeliver #extravalue #yogastudio #uppsala #hotyogauppsala #hotyogauppsalatribe (at Hot Yoga Uppsala)

[marieowyn]

Someone is surprised but happy that fetch now delivers pet food in paper bags! Safe to hide in too 🐈 @ocado #extravalue #fetchocado https://ift.tt/34RXWA4

[deutscheshausnyu]

Interview with current filmmaker-in-residence, Sara Fattahi

Sara Fattahi was born in Damascus in 1983.  She studied law at the University of Damascus and graduated from the Fine Art Institute Damascus. She worked as a storyboard artist, animator for numerous TV stations, and as an art director for various soap operas thereafter. Since 2010, she has been working as an independent filmmaker and producer. Since 2014, she collaborated in research and in writing screenplays in the field of short films. Today she lives and works in Vienna. She is one of the two recipients of the 2018 Erste Bank’s ExtraVALUE Film Award, which she received for her film “Chaos” at the 2018 Viennale.

On the occasion of her residency at Deutsches Haus at NYU, Deutsches Haus co-presents together with Anthology Film Archives and Erste Bank a screening of “Coma” (2015) on August 15, 2019, at 7:30pm, and "Chaos" (2018), on August 16, 2019, at 7:30pm. Sara Fattahi will be present at the screenings.

© Michela Di Savino

After studying law, and graduating from the Fine Art Institute in Damascus, you worked in various roles in the TV industry. What made you shift your focus from these pursuits and focus on film-making instead?

Every format has different conditions. In Syria we don’t have something like Film School, so the only way to learn about the medium is to self-educate or to go abroad. In my case it was a learning process, a so called evolution. I always wanted to make films, but the only way to do so, was to go through these steps from Animation to TV and then to Cinema. It was somehow a way to explore and experience different mediums.

Both “Coma” (2015) and “Chaos” (2018) have characteristics traditionally attributed to the documentary genre. Could you describe how this particular genre helped you find your voice as a filmmaker and what advantages and disadvantages it brought?

Every film is an experience in itself, so it’s difficult to answer this question for both films together. I wouldn’t say that this genre helped me to find my own voice in particular because I never question what I do while working on a film. I leave myself adrift in the process. This is also based on the fact that I didn’t study Cinema. While others might really stick to the rules, I don’t even know the rules or what genre truly means. I give myself to the experience and discover new aspects every time. Therefore, I can’t say if this choice of genre had advantages or disadvantages. I am experimenting a lot with genre itself.

In your documentary “Coma,” you were both behind and in front of the camera. In Chaos the actress Jaschka Lämmert functions as a sort of obfuscated stand-in for you, wandering the streets, museums, and the subway system of Vienna. How were these two experiences for you, and did appearing in front of the camera in “Coma” influence how you approached “Chaos?”

I always consider the camera as a part or extension of my body: my brain, my eyes, or my hands, as opposed to a mere object or tool. In “Coma,” you could hear me, or see a glimpse of me, but you never really saw me entirely because I didn’t really see that until making “Chaos.” In “Chaos,” there is an extreme close-up of my face, just like I frame the other women. In a way, I was trying to put together what the violence in Syria has divided.

Jaschka was more or less a Doppelgänger of the first or the second character, of the spirit of Bachmann or even of myself; she has an unlimited function in the film. I also didn’t want to limit myself in terms of how to use the camera. “Coma” and “Chaos” have nothing to do with each other, yet they have everything to do with each other. Both films have their own approach in terms of camera use and also in terms of the story. Concerning “Chaos,” I knew that I wanted to hold the camera. Also, the film had three different locations, so it was a natural condition of making it. In “Coma,” the whole film is happening in one space, so I put the camera in fixed spots to respect the space.

The Austrian writer Ingeborg Bachmann, features prominently in “Chaos,” where you include snippets from a 1971 radio interview with her. Why were Bachmann’s reflections important for this film? What parallels did you draw between Ingeborg Bachmann’s thoughts and your own?

Bachmann is an element of the film, but she is not the center of it. She is a very important element because she functions as a bridge between the characters. I started to read her works in Arabic, then in English, and eventually, when I moved to Vienna, I read them in German. She wrote a lot about her experience of the war and its effects and consequences, especially in regards to the female perspective on war and trauma. She experienced it herself during and after World War 2. She moved between cities, and she died in a fire in Rome. In the interview from 1971 she was speaking about “Malina,” a novel that she wrote in Vienna after the war in which she brought up the Doppelgänger concept. I was fascinated by how everything was connected to my film. She also connected me to Vienna because I only knew the city through her writings. Therefore, I like to see her as the bridge between the characters, the cities, and also between the tournaments of the war.

When people watch your work, you give them the chance to see a different life-experience through a specific lens. What do you hope audience members (particularly those unfamiliar with Syria) will take away from your films?

I have to admit that I think of myself first when I make a film. I want and need to express something without questioning the outcomes. I ask myself: how can I do this? How can I express my feelings? How can I transmit this idea? I would describe it as a kind of selfish approach, but once the project is in the editing room, I start to think more about how people will perceive my work. My only wish is to make people feel what I filmed.

In your director's statement about “Chaos” you posed the question, “How can people protect themselves from hatred when there is so much loss and pain surrounding them?” In which ways did this question manifest or guide the project? Would you say that after having finished these two films, you are nearing an answer?

Unfortunately, I do not have the answer. There are definitely questions coming up with “Chaos,” but I don’t have the particular answers for them. You might even end up watching the film and leave with no answers at all. Every film questions you, and there are no specific answers. It is more of a feeling than a conclusion.

“Coma” and “Chaos” are the first two parts of a trilogy. Could you talk a bit about the third part and how you are approaching the work on the final film?

As I said before, I don’t think too much about the genre for example, but I am writing the script for this film now. I know that the film is a connection between reality and fiction. After “Coma” and “Chaos“ it will be called “Calm.”

Now that you are the filmmaker-in-residence at Deutsches Haus at NYU, how do you plan on spending your time here in New York? Are there any particular things you plan to do or places you would like to see? How do you perceive this city?

For me it’s really interesting to be in the city that never sleeps. It reminds me of Beirut, where I lived for some time, and which is also kind of a nocturnal city. It feels as if I am in a journey through time and into the future. Where I live in Vienna, on the contrary, it feels more like traveling back to the past. These differences between time, space and diversity are an interesting experience for me and my work. It offers a lot of nice distractions, but I try to make the most of the time I have here without detaching myself from my project. Just as I leave myself to the process of filming, I like to let myself drift as a tourist. I don’t like to have a plan because I think it helps to discover new corners every day. I have one month in New York, so I’ll make sure to enjoy it without too much stress. I plan to meet acquaintances and friends that I’ve made throughout my career.

[goldenfoodexpo-blog]

11.Displaying geographical indications and push product promotion

Geographical indications are landmark products closely related to human and environmental factors. They make full use of the popularity and reputation of geographical indication products to develop regional characteristic economy, enhance product competitiveness and extravalue, expand market share, which provide a platform for building geographical indications,cultural propaganda, product promotion and display of featured agricultural development achievements. It is a professional stage for the promotion of geographical indication products, the display of characteristic agricultural development achievements, and the promotion of local cultural tourism resources for local governments and GIs at the local level. In recent years, overseas winery tourism has flourished, and the geographical indication product display area has brought great opportunities to  agricultural products and wine producing areas to display their intact natural and cultural landscapes. Through the all-round docking of policy resources, media resources, channel resources, investment resources, service resources and information, we can realize the purpose of showing local tourism resources, local customs, promoting characteristic agricultural achievements, selling geographical indication products, and attracting investment from Chinese and foreign businessmen.

[creaturenyc-blog]

@mbsldg so we still didn't find the #bigmac #mcdonalds #numberone #disappeared #extravalue (at Midtown Comics Times Square)

[shopping490490]

https://www.ebay.com/itm/165170603228 #mcdonalds #sign #forsale #poster #collectibles #baconcheddar #extravalue #meal https://linktr.ee/shopping490490 #ebay #mercari #shopify #etsy #poshmark #bonanzamarket #twitter #tumblr #facebook #instagram https://www.instagram.com/p/CX1u_dtPbY1/?utm_medium=tumblr

[marieowyn]

Someone is surprised but happy that fetch now delivers pet food in paper bags! Safe to hide in too 🐈 @ocado #extravalue #fetchocado from Instagram:

[deutscheshausnyu]

Interview with current Filmmaker-In-Residence, Wolfgang Fischer

Wolfgang Fischer was born in Austria. He studied psychology and painting at the University of Vienna and film and video at the Düsseldorf Art Academy with Nan Hoover. In 2005, he received a scholarship to visit the “Drehbuchwerkstatt” in Munich, where he developed the screenplay for his debut film “Was Du nicht siehst.” Since 1999, he has been a director at Westdeutscher Rundfunk. He is one of the two recipients of the 2018 Erste Bank's ExtraVALUE Film Award, which he received for his film "Styx" at the 2018 Viennale.

On the occasion of his residency at Deutsches Haus at NYU, Deutsches Haus co-presents together with Anthology Film Archives and Erste Bank a screening of "Styx" (2018), on July 25, 2019, at 7:30pm, and a Q&A following the screening with the filmmaker and the co-screenwriter Ika Künzel.

© Marc Comes

“Styx,” revolves around Rike, a 40-year-old emergency doctor from Europe, who fulfills a life-long dream to sail on her own to Ascension Island in the Atlantic Ocean. However, this dream trip takes a turn for the worse, when, after a storm, she is confronted with an overcrowded refugee ship in distress. How did you come up with this story and how did you develop the characters?

9 years ago, we read an article in the Süddeutsche Zeitung where a German skipper was thrown in the same situation as our main character, Rike. He found himself on high seas next to a refugee boat, and he was alone.

"Styx” is based on the real experiences of sailors in similar situations - we talked to them, as well as to NGOs, survivors (of journeys to Europe by boat), members of the coast guard, psychiatrists who treat traumatized people after their horrible journeys, and to government officials. Over almost seven years, we researched the strategies of the European Union’s border protection on the Atlantic Coast of West Africa, the Mediterranean and the Adriatic Sea.

"Styx” depicts a western perspective. It is clearly a film about ourselves - the members of the small white, western, self proclaimed “first“ world - and our role in a worldwide human tragedy. 

Rike, the protagonist of "Styx”, is our one-to-one representative of this privileged, shielded community. She demonstrates the code of practice of her world as it is executed day by day right now. She is capable and privileged among many things; she knows the systems and codes, and it is crucial to make her the witness of this horror. 

She is no heroine and no savior.

Award-winning actress Susanne Wolff, herself a blue-water sailor with an International Certificate of Competence, encapsulates the main character’s central qualities.

Her counterpart is Kingsley, a boy who is forced much too early to leave his childhood behind, and has to flee his home and challenge his luck on a dangerous journey into the unknown, like so many kids do.

Leading man, Gedion Odour Wekesa, is a schoolboy from Kibera/Nairobi. He takes acting classes as part of the ONE FINE DAY organization’s funding program, and beat 40 other boys to win the role.

What brought about the idea to tackle such difficult subject matter as migration and the European refugee crisis in a feature film? What was the process of writing the script, and was it difficult to obtain funding for this project?

Migration is a main challenge of our time.

There are more people fleeing today than there were in the 20th century as a consequence of the 2nd World War. The reasons are various and complex. It is not up to us to judge them. Sadly the current dialogue is poisoned by hysteria, xenophobia, and exploitation.

We wanted to create a communication tool to unlock empathy and solidarity. Film has the ability to do that.  Therefore, we chose to make this movie.

The writing process was intense because history was always one step ahead. So many things happened during the development: the Arab Spring; the fall of Gaddafi; the wars in Syria, Iraq, and Afghanistan; ISIS becoming a global threat. Through it all, famine, plague, and violence continued to force people to leave their homes and seek shelter.

It’s a tough theme and it took us a long time to convince people to invest.

In this film you worked with refugees who had themselves made the dangerous journey across the Mediterranean. How did you go about casting them and what was your experience working together?

It goes without saying, that in order to do justice to the people who experienced the tragedy, it is vital to include them in the creative process.

In Malta, we sought out people who succeeded in the dangerous crossing.

We got in contact and interviewed them.  We were astounded when they said they would like to play a part in order to tell their own stories.

It was our attempt to use a semi-documentary style.

Every character in "Styx” embodies her/his/their actual profession: The firefighters in the beginning of the movie for example are real firefighters. The soldiers on the coastguard ship are real soldiers. We wanted to tell "Styx” in an authentic way, since this is the reality of these people.

Your film not only deals with the current issue of the refugee crisis, but also with general philosophical questions (as you once put it in an interview) such as “who are we?,” “who do we want to be?,” and “who do we have to be?” How do you (attempt to) answer these questions in your own life and in your work?

Kant’s categorical imperative  is a guideline for the basics of  living together that “you” and “me” can become “us”. Ideally this “us” does not stop at color, race, provenance, status, religion, or sex.

About 90% of the film was shot on open water. What did this mean for you and your crew and how did you prepare for and realize this difficult feat?

We could not rely on any experiences of other directors. Nobody has shot an entire feature film on open water before. For that reason, we had to become pro’s on all levels: professional skippers defining the methods of how to shoot while sailing. The  project was a real challenge for the whole crew in many aspects, psychologically and physically . Sitting 40 days on a 40 foot yacht with the core crew (10 persons maximum), there is no corner for privacy. You have no other option but to get to know each other very well.

Since its release, “Styx” has received many accolades at some of the world’s leading film festivals. Were you surprised by this overwhelmingly positive response? Has this impacted your career trajectory and perhaps also how you will approach your next project?

We were very impressed that so many people could connect with “Styx” and share their empathy! There was a big demand for discussions after the screenings. The Q&A’s often lasted up to two hours. It was not surprising. Actually, it was just additional proof that there is a need for political movies.

This was a very encouraging experience to stick to the themes of our times.

Now that you are the filmmaker-in-residence at Deutsches Haus at NYU, how do you plan on spending your time here in New York? Are there any particular things you plan to do or places you would like to see? Will you be working on a new project while you are here?

Living here is an incredible, intense experience. This feeds us.

Let’s see where it leads us.