May 7, 2018

How to Connect Better with Your Customers?

Source: Visual Storytelling

May 7, 2018

José Andrés & Andrew Zimmern: Changing the World Through Food Featured Session at SXSW 2018 [Video]

At SXSW 2018, award-winning chefs and TV personalities José Andrés and Andrew Zimmern sat down for a conversation with Food & Wine Editor-in-Chief Dana Cowin. In their Featured Session, Changing the World Through Food, Andrés and Zimmern discuss the power of action, the crossover between politics and the kitchen, and the importance of cultural sensitivity.

On-stage, the two outspoken chefs trade stories, tell jokes, and deliver valuable insights about food, community, and helping others.

“I’ve never seen a better way to communicate with other people than to serve them a bowl of food or have them serve you a bowl of food and receive it. As I travel around the world, I reverse what my whole life had been out about. As the receiver, you allow somebody the privilege of giving – and if it’s somebody who doesn’t have much, by receiving it you are giving them dignity and respect.” -Zimmern

Named one of Time’s “100 Most Influential People” and “Outstanding Chef” by the James Beard Foundation, José Andrés is an internationally-recognized culinary innovator, author, educator, television personality, humanitarian and chef/owner of ThinkFoodGroup.

A close friend of Andrés, Andrew Zimmern brings an entirely different perspective to the table. During their session, Zimmern describes his struggle with addiction and experience being homeless. He shares stories about his journey and the path that led him to the kitchen and on-screen as the host of the Travel Channel series Bizarre Foods with Andrew Zimmern.

While they come from different backgrounds, the two chefs are united by a common goal of creating positive change in the world through their food.

Andrés emerged as a leader in disaster relief efforts on the frontlines of the destruction after Hurricane Maria. He organized a grass-roots movement of chefs and volunteers and went from serving 1,000 meals to 3.4 million meals and from 20 volunteers to 20,000.

“Don’t think and start cooking. One plate at a time, we fed the many.” – Andrés

Both Andrés and Zimmern are firm believers in the power of action and use their platforms for advocacy.

“I don’t believe in political solutions. I believe in civic solutions. In America of the 21st century… it’s no longer an embarrassment that children are hungry, it is criminal.” – Zimmern

Watch the video above for the full Featured Session at the 2018 SXSW Conference. Browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage and 2019 updates.

Watch Now

Photo by Luis Bustos

The post José Andrés & Andrew Zimmern: Changing the World Through Food Featured Session at SXSW 2018 [Video] appeared first on SXSW.

Source: SxSW Film

May 7, 2018

Lena Dunham and Samantha Barry on Authenticity and Media at SXSW 2018 [Video]

What does it mean to be “authentic” media in 2018? When it comes to a female audience, what do they value and connect to? These are some of the questions that Editor-in-Chief of Glamour Magazine Samantha Barry and actor, writer, and filmmaker Lena Dunham explore during their Featured Session, Authenticity and Media in 2018, at the 2018 SXSW Conference.

“I’ve always wanted to operate from a place of erasing shame. I haven’t always done it successfully and I haven’t always pulled it off perfectly.” – Dunham

The pair spoke about a number of different topics from Dunham’s decision to get a hysterectomy and her award-winning series Girls to social media and what she is currently working on. When discussing advertising and finding an audience, the subject of Dunham’s feminist publication Lenny Letter, which she co-created with her producing partner Jenni Konner in 2015, naturally came up. “It is really, really, really important that women get paid to tell their stories and to do their work,” said Dunham. “It is something that is becoming increasingly rare on the internet.”

In addition to her session, Dunham made an appearance in the SXSW Film Festival selection, Half the Picture. The documentary consists of interviews with high profile women directors including SXSW alums Ava DuVernay, Jill Soloway, and many more. These powerhouse female filmmakers discuss how they made their first features, how they transitioned to studio films or television, how they balance a demanding directing career with family, and challenges and joys along the way.

Watch the video above for the full Authenticity and Media in 2018 Featured Session with Lena Dunham and Samantha Barry. Browse more 2018 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage and 2019 updates.

Watch Now

Photo by Amy E. Price/Getty Images

The post Lena Dunham and Samantha Barry on Authenticity and Media at SXSW 2018 [Video] appeared first on SXSW.

Source: SxSW Film

May 6, 2018

‘Avengers: Infinity War’ Rules #1, While ‘Overboard’ Stays Afloat and ‘Tully’ Drowns

“Avengers: Infinity War” dropped 56 percent in its second weekend to gross an estimated $112.5 million. Despite three new wide openings led by “Overboard,” the Marvel film comprised more than two thirds of all ticket sales. It looks like we’re back to the feast-or-famine trend, especially with “Deadpool 2” in two weeks and “Solo: A Star Wars Story” right after.

If the feasts like “Black Panther” and “Infinity War” keep performing, exhibitors will be happy for the short term. Those two Marvel titles took #1 for seven weeks so far in 2018, and have a domestic take to date over $1.1 billion. “A Quiet Place” is a very distant if impressive third, but in the top titles of 2018 it takes nos. 3-15 to equal those two Marvel movies.

“Avengers: Infinity War” has now made $450 million domestic in 10 days. Internationally it’s $713 million, with China still to come, for a combined total of $1.164 billion. By the end of next week, it should surpass all other films worldwide since “Star Wars: The Force Awakens.” And depending on China, it could be the first since that smash to reach $2 billion.

Domestically, it’s now $47 million ahead of “Panther” at 10 days (that film dropped 45 percent in its second weekend. “The Avengers” reached $420 million (adjusted) and dropped 50 percent. At this point, it looks like “Infinity War” should have a domestic total between $625 million-$700 million, most likely over $650 million.

All that said, overall grosses dropped about 15 percent ($30 million) from the same weekend last year. (Last year had “Guardians of the Galaxy, Vol. 2.”) Three new, somewhat offbeat titles tried their luck, with one initial success in “Overboard,” and two failures in “Tully” and “Bad Samaritan.”

Diyah Pera

“Overboard,” from Lionsgate’s Pantelion (along with MGM) is the newest English-language film starring comic Eugenio Derbez. Costarring Anna Faris, it is a remake of the 1987 Garry Marshall comedy with Goldie Hawn and Kurt Russell. It retains the story of the original with a gender switch: Derbez plays a wealthy yacht owner who falls and loses his memory, with a cleaning woman taking advantage of the situation to pose as his wife.

It’s the best opening so far for a Derbez-lead film. The mostly Spanish “Instructions Not Included” opened to over $8 million in 2013, while the bilingual “How to Be a Latin Lover” last year started at over $12 million. This had an impressive 23 percent Saturday increase from its opening number, validating its positive A- Cinemascore.

screencap

Despite positive reviews for “Tully” and the pedigree of Jason Reitman as director and Charlize Theron as a flailing mother, the comedy failed to gain traction at 1,353 theaters and grossed only $3.1 million. Reitman has struggled in recent years: “Juno” made $184 million in 2007 and in 2009, “Up in the Air” made $100 million. Since then, he’s been mired below $20 million.

Quirky (which this is) can be tricky, as initially unsympathetic characters (Reitman’s increasing focus). It’s his third time with “Juno” writer Diablo Cody, but failed to generate similar interest. Focus chose a wide release over platform. The right move? It is increasingly the new normal; staggered releases seem reserved for guaranteed name directors who can generate sustained interest outside awards season. Here, Focus bet on reviews and counterprogramming for adults. The reality is that a film like this, whatever its release pattern, is increasingly tricky to release in theaters.

The other new wide release, horror thriller “Bad Samaritan” from “Geostorm” director and longtime Roland Emmerich producer Dean Devlin, was released via his production company. With the date, it managed to get over 2,000 theaters and a possible top 10 placement (final figures tomorrow needed to confirm). It also managed an average of under 100 ticket buyers per theater. Foreign presales and other non-domestic theatrical revenues will determine its fate.

The generally weak new film scene led to strong holds for the usual suspects. Leading the way was “A Quiet Place” (down 30 percent, now at $160 million), “Black Panther” (down 34 percent, just under $700 million), and “Rampage” (off 35 percent, $84 million domestic, on track for over $400 million worldwide).

The Top Ten

1. Avengers: Infinity War (Disney) Week 2; Last weekend #1

$112,474,000 (-56%) in 4,474 theaters (no change); PTA (per theater average): $450,807,000

2. Overboard (Lionsgate) NEW – Cinemascore: A-; Metacritic: 45; Est. budget: $12 million

$14,750,000 in 1,623 theaters; PTA: $9,088; Cumulative: $14,750,000

3. A Quiet Place (Paramount) Week 5; Last weekend #2

$7,600,000 (-31%) in 3,413 theaters (-152); PTA: $2,227; Cumulative: $159,894,000

4. I Feel Pretty (STX) Week 3; Last weekend #3

$4,900,000 (-40%) in 3,232 theaters (-208); PTA: $1,516; Cumulative: $37,798,000

5. Rampage (Warner Bros.) Week 4; Last weekend #4

$4,620,000 (-36%) in 3,151 theaters (-357); PTA: $1,466; Cumulative: $84,793,000

6. Tully (Focus) NEW – Cinemascore:; Metacritic: 76; Est. budget: $(unknown)

$3,186,000 in 1,353 theaters; PTA: $2,355; Cumulative: $3,186,000

7. Black Panther (Disney) Week 12; Last weekend #5

$3,146,000 (-34%) in 1,641 theaters (-9); PTA: $1,917; Cumulative: $693,000,000

8. Truth or Dare (Universal) Week 4; Last weekend #7

$1,885,000 (-42%) in 1,904 theaters (-516); PTA: $990; Cumulative: $38,236,000

9. Super Troopers 2 (Fox Searchlight) Week 2; Last weekend #6

$1,815,000 (-51%) in 2,118 theaters (-7); PTA: $857; Cumulative: $25,446,000

10. Bad Samaritan (Electric) NEW – Cinemascore:; Metacritic: 45

$1,758,000 in 2,003 theaters; PTA: $876; Cumulative: $1,758,000

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Source: IndieWire film

May 6, 2018

‘RBG’ Reigns Supreme at Subdued Specialty Box Office

While Cannes may supply some oxygen to its most export-worthy titles before they reach cinephiles stateside, the current scene is in dire need of new titles. Magnolia’s “RBG,” a documentary about Ruth Bader Ginsberg, stands out as a major new specialty opening, with a robust per-theater-average for a multi-city release.

Last week’s top opener “Disobedience” (Bleecker Street) expanded to continued good response in new cities; its crossover potential is enhanced by name stars in a sexy story as well as little competition.

Opening

RBG (Magnolia) – Metacritic: 77; Festivals include: Sundance, Miami, San Francisco 2018

$560,000 in 34 theaters; PTA (per theater average): $16,471

Magnolia could replicate its “I am Not a Negro” triumph early last year. That documentary about the iconic James Baldwin grossed over $7 million after it also launched with a strong multi-big city debut. This Sundance-debuted film about the life and career of the Supreme Court Justice notched an even better PTA in somewhat fewer theaters (“I am Not Your Negro” scored $15,962 in 43).

Magnolia (along with partner Participant Media) pursued grassroots, outside group marketing efforts to boost opening day sales; whether it sustains the level of interest of “I Am Not Your Negro” remains to be seen. Friday’s figures topped Saturday, so whether it can come close to the awards-boosted Baldwin film remains in question.

What comes next: 150 theaters will play next week (tied in with Mother’s Day), and doubling to 300 the following.

“The Guardians”

The Guardians (Music Box) – Metacritic: 72; Festivals include: Toronto 2017

$7,199 in 1 theater; PTA: $7,199

French director Xavier Beauvois broke out domestically with “Of Gods and Men,” which grossed nearly $4 million in 2011. He focuses again on another historical story at war time, with the focus on women maintaining the home front during World War I. The single theater opening came with favorable reviews and a modest initial result.

What comes next: Los Angeles and a New York area expansion begin the roll out this Friday.

Racer and the Jailbird (Super) – Metacritic: 54; Festivals include: Toronto, Venice 2017

$2,222 in 2 theaters; PTA: $1,111

Two leading younger European actors (Adele Exarchopoulos and Matthias Schoenaerts) are the main draw of this sexy, dark Belgian romance between a top female race car driver and a criminal hiding his underworld milieu. That draw was limited, with less than favorable reviews dooming its initial New York/Los Angeles tallies.

What comes next: Limited at most upcoming dates seem the best hope.

 

Bleecker Street

Week Two

Disobedience (Bleecker Street)

$310,072 in 31 theaters (+26); PTA: $10,009; Cumulative: $638,645

The lesbian romance starring Rachels Weitz and McAdams as London friends and lovers in a close-knit Jewish community expands to top cities with top results beat only by second weekend results for “Isle of Dogs” and “The Death of Stalin.” But “Disobedience” is showing enough strength to go broader, propelled by niche audiences and the two star draws.

Let the Sunshine In (IFC); also available on Video on Demand

$66,574 in 8 theaters (+6); PTA: $9,536; Cumulative: $123,770

Claire Denis’ latest, with Juliette Binoche as a mature woman juggling romantic relationships (with an all-star French cast) expanded to a handful of new cities to a decent result these days for a subtitled film, especially given its parallel home viewing alternatives.

Ongoing/expanding (Grosses over $50,000)

Isle of Dogs (Fox Searchlight) Week 7

$790,000 in 702 theaters (-299); Cumulative: $28,453,000

Wes Anderson’s animated success continues its march to over $30 million and the bench mark among specialized releases for 2018 so far.

The Death of Stalin (IFC) Week 9

$181,623 in 205 theaters (+55); Cumulative: $7,491,000

IFC maximized theatrical interest in this unlikely mixture of satire and Stalin intrigue. Now in its final weeks, the political satire remains the second biggest specialized initial platform release of 2018.

You Were Never Really Here (Amazon) Week 5

$168,905 in 185 theaters (-48); Cumulative: $2,154,000

Lynne Ramsay’s acclaimed tough drama with Joaquin Phoenix struggling to do good has not achieved interest equal to its strong reviews. It looks, despite a major push from Amazon, to finish up around $2.5 million.

The Rider (Sony Pictures Classics) Week 4

$141,192 in 47 theaters (+10); Cumulative: $567,272

The grosses remain modest, but this portrayal of a young rodeo competitor coping with injury and a questionable future in the modern American west is ahead of most recent expanding films. SPC continues its slow release, boosted by near the best reviews of the year.

Lean On Pete (A24) Week 5

$121,110 in 187 theaters (+20); Cumulative: $906,050

A troubled teen finds his way with the help of a kindred soul horse. Though Andrew Haigh’s latest film continues his run of upbeat reviews, his first American film has lagged behind his earlier results.

Beirut (Bleecker Street) Week 4

$104,875 in 140 theaters (-97); Cumulative: $4,749,000

This Jon Hamm hostage negotiation drama didn’t make a deep impact; most of the runs for this mainstream-arthouse hybrid are already done.

The Leisure Seeker (Sony Pictures Classics) Week 9

$50,250 in 76 theaters (-41); Cumulative: $3,012,000

In the fifth month of the year, this senior road trip movie with Helen Mirren and Donald Sutherland has the fourth highest gross among platform specialized features.

Also noted:

Finding Your Feet (Roadside Attractions) – $47,400 in  60 theaters; Cumulative: $1,266,000

Itzhak (Greenwich) – $30,730 in theaters; Cumulative: $433,915

Grace Jones: Bloodlight and Bami (Kino Lorber) – $26,432 in theaters; Cumulative: $243,757

1945 (Menemsha) – $21,753 in 18 theaters; Cumulative: $640,341

After Auschwitz (Passion River) – $12,079 in 13 theaters; Cumulative: $47,677

Godard Mon Amour (Cohen) – $11,293 in 20 theaters; Cumulative: $51,222

Borg vs McEnroe (Neon) – $10,885 in 13 theaters; Cumulative: $218,757

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Source: IndieWire film