News & Updates
February 18, 2018
In a series of tweets that have since been deleted, actress Charlyne Yi accuses Marilyn Manson of sexual harassment on the set of “House” during its final season. “Yes this happened a long time ago — on the last season of House he came on set to visit because he was a huge fan of the show & he harassed just about every woman asking us if we were going to scissor, rhino & called me a China man, she wrote”
“It’s so triggering to see people come up on the internet who have harassed you,” Yi continued. “And then when you talk about the incidents you become known as the person tied to the harasser. And that’s just your name from now on. It almost overrides who you are.” “I genuinely hope he gets help,” she wrote in a follow-up tweet, seemingly in regards to reports that Manson had a “breakdown” onstage and abruptly ended a concert early on Thursday night.
In addition to her role on “House,” Yi is best known for her appearances in “Knocked Up,” “Cloverfield,” and “Paper Heart,” for which she won a screenwriting award at the 2009 Sundance Film Festival.
Source: IndieWire film
February 18, 2018
‘The Last Thing He Wanted’: Anne Hathaway May Team With ‘Mudbound’ Director Dee Rees for Joan Didion Adaptation
Now that she’s received an Oscar nomination for bringing “Mudbound” to the screen, Dee Rees will soon be on to her next project: “The Last Thing He Wanted,” an adaptation of Joan Didion’s novel of the same name. The film will re-team Rees with producer Cassian Elwes and, if early word is to be believed, Anne Hathaway as well.
The Oscar winner would be playing Elena McMahon, a Washington Post reporter covering the 1984 presidential primaries who gets embroiled in arms-dealing conspiracy.
Didion is among the most acclaimed authors of her generation, but only one of her books has been adapted for film before: the devastating “Play It as It Lays.” Though best known for her nonfiction, like the essay collections “Slouching Towards Bethlehem” and “The White Album,” Didion has written several other novels: “Democracy,” “A Book of Common Prayer,” “Run River.” She also wrote several screenplays with her husband John Gregory Dunne, including “The Panic in Needle Park” and “A Star Is Born.”
Rees is up for Best Adapted Screenplay at the Academy Awards, and Hathaway will next be seen in “Ocean’s 8.”
Source: IndieWire film
February 18, 2018
‘Eva’ Review: Not Even Isabelle Huppert Playing an Irritated Prostitute Can Save this Limp Melodrama — Berlinale 2018
There was a minor kerfuffle during the Berlinale press conference for Benoît Jacquot’s “Eva” when a journalist asked star Isabelle Huppert how she achieved such a degree of eroticism in the film without getting nude. “You have a very bizarre idea of eroticism,” came the actress’ withering second-degree burn of a reply.
And, to Huppert’s credit, it was a ridiculous question. Ridiculous because French cinema has spent more than a century illustrating that T&A has precious little to do with screen sensuality, ridiculous because Huppert could make a Haneke movie feel erotic, and ridiculous because Jacquot’s overblown melodrama is a film about people who disguise themselves by how they dress.
A limp, sudsy adaptation of James Hadley Chase’s 1945 novel “Eve” (a potboiler that Joseph Losey once spun into a Jeanne Moreau vehicle of the same name), “Eva” begins with an engaging sequence that instantly sets the tone by subverting its own beauty. Sneering gigolo Bertrand Valade (Gaspard Ulliel, the overbearingly chiseled star of Bertrand Bonello’s “Saint Laurent”) arrives at the Paris apartment of an old gay writer, for whom he works as both an aide and an aspirational piece of ass.
The client is far too frail to take full advantage of his plaything — his body no longer seems capable of pleasure — but perhaps having such a beautiful young stud at his beck and call allows him to enjoy the faint aftertaste of desire. Alas, he asks for more than his heart can handle, and the mere sight of Bertrand removing his shirt causes the Booker Prize–winning playwright to have a fatal coronary in the tub. The brief moment when Bertrand hesitates to call for help finds Jacquot at his best, his screenplay marvelously shading in all the small ways in which its protagonist is a soulless ghoul.
The biggest of all Bertrand’s flaws, of course, is that he’s a thieving piece of shit. He doesn’t think twice before stealing his late client’s newly finished script right off his desk, chucking the writer’s laptop into the Seine in order to hide the evidence. Cut to: the closing night of “Bertrand’s” hit new play (which, from our brief glimpse of its final scene, appears to be hilariously bad). Our plagiarist has transformed himself from a sex worker into a socialite, suddenly dressing like Darren Aronofsky and looking every inch the trendy artiste that he secretly isn’t. He has a legion of fans, a stunning blonde fiancée (Julia Roy), and an overeager agent (Richard Berry), but all of them keep asking him the same question: What’s he going to write next?
With guilt and anxiety compounding his natural unpleasantness, Bertrand heads for the snowy hills of Annecy, where he has an unexpected encounter with a tetchy older prostitute (Huppert, acting like she has nothing to hide and resents those who do for wasting her time). It isn’t long before Bertrand is visiting Eva on the regular, slavishly writing down everything she says as material for his next play, no matter how banal their conversations might be.
He’s as incurious as you might expect, and the scenes between these two characters are awkwardly pitched between the excitement of an imbecile exploring the taboo, and a working girl doing her best to tolerate another customer. Eva is no-nonsense, Bertrand is all nonsense — she is creating a fantasy in order to protect her truth, while he is exposing his truth in order to protect his fantasy — but there’s strangely little sense that Bertrand was once an escort himself. We’re never privy to any of the sex they have (we hardly see them touch), and the more that Eva treats Bertrand like a pesky reporter, the clearer it becomes that Bertrand’s only hope for telling a good story is to live it himself.
Alas, Jacquot eliminates any hope of that, as Bertrand soon becomes as tiresome for us as he’s always been for Eva. While Ulliel successfully conjures something of a “Talented Mr. Ripley” mystique, Huppert sees right through it; once we look at him through her eyes, there isn’t much left to see. Bertrand’s disguise is as flimsy and disposable as the wig that Eva wears on the job, but for him there’s nothing underneath. It’s such a chore to watch him confront the obvious fact of his lie that Jacquot eventually just ignores it altogether.
By the time we arrive at the thuddingly banal third act, the suspense of whether or not Bertrand will be able to write anything has vanished completely. From there, the film devolves into empty piques of delusional rage, each of the other characters discovering they’ve been swindled by a handsome man in a nice peacoat. Only Huppert remains on her feet, indomitable as ever. Her idea of eroticism is the only one the film has.
Moreover, “Eva” boasts little style beyond what its biggest star is able to bring to the table. Viewers hoping for more of the milquetoast elegance that Jacquot previously brought to the likes of “Farewell, My Queen” and “Diary of a Chambermaid” will be disappointed. Viewers hoping for something a little seedier — who are fooled by the Cinemax undertones of the film’s expectant first act — are in for a similarly rude awakening, as the movie hedges its bets between the gutter and the stars. For a film with so few secrets of its own to hide, “Eva” also offers little to see on the surface.
“Eva” premiered in Competition at the 2018 Berlin International Film Festival. it is currently seeking U.S. distribution.
Source: IndieWire film
February 18, 2018
‘Unbanned: The Legend of AJ1’ Trailer: It’s Gotta Be the Shoes in This Documentary About Michael Jordan’s Sneakers — Watch
If you’ve watched basketball at any point in the last 30 years, you know that sneakers are serious business. We largely have Michael Jordan and the Air Jordans to thank for that, though the development hasn’t always been a positive one. The new film “Unbanned: The Legend of AJ1” looks set to explore that dynamic, and its first trailer dropped last night during All-Star Weekend. Watch below.
The film explores “the dynamic journey of the Air Jordan 1 shoe and its role in disrupting the NBA, changing the game of basketball, birthing sneaker culture and influencing a social and cultural revolution in sports, music, fashion, art, social behavior and, of course, sneakers.”
“The AJ1 is more than a shoe. It’s a symbol of a much greater meaning across genders, race, geography and time,” said writer/director Dexton Deboree in a statement. “Now more than ever, what this shoe represents, its impact on society and its role in really creating, defining and redefining a lot of our modern culture makes it a story that has to be told.”
Michael B Jordan, Spike Lee, DJ Khaled, Lena Waithe, and Anthony Anderson are among the interviewees. “Unbanned: The Legend of AJ1” will be released on July
Source: IndieWire film
February 18, 2018
‘Black Panther’ Squashes Specialty Box Office, Sally Potter’s ‘The Party’ Is Best of Limited Openers
As the specialized world begins to move past a rich diet of awards contenders — still providing the bulk of the gross — films from established directors opened in New York and Los Angeles this weekend, led by British auteur Sally Potter’s “The Party” (Roadside Attractions). Mark Pellington’s “Nostalgia” (Bleecker Street), with a similar strong ensemble cast, succumbed to weak reviews.
Russian foreign-language Oscar nominee “The Loveless” (Sony Pictures Classics) opened well for a subtitled release in two cities. While Francois Ozon’s sexy “Double Love” (Cohen Media) got off to a big-city national start during the week, the result is at the low end of the French director’s films.
With all the hype on the stronger-than-average results among this year’s Oscar nominees, comic book movie “Black Panther” in its first three days totaled more than the grosses for the entire runs of even top Best Picture nominees “Dunkirk” and “Get Out.” That’s where the money is, even with decent returns for most of the contenders. Unfortunately, outstanding reviews for the Marvel entry squashed the weekend results for more limited films.
The Party (Roadside Attractions) – Metacritic: 73; Festivals include: Berlin, Mill Valley 2017
$36,344 in 3 theaters; PTA (per theater average): $12,111
English pioneer Sally Potter directed her first feature nearly 35 years ago; she has yet to exceed the heights of her 1993 Sundance breakout “Orlando” starring Tilda Swinton, which yielded the equivalent of almost $12 million. This black-and-white 71 minute drawing room ensemble assembles a group of friends to celebrate the major political appointment of a woman (Kristin Scott Thomas) in the British government. But disconcerting news about her husband (Timothy Spall) changes the tone of the soiree. Her strong cast, including Patricia Clarkson and Emily Mortimer, likely elevated results.
The gross falls below 2013’s “Ginger and Rosa,” starring Elle Fanning, Christina Hendricks and Alessandro Nivola, which A24 opened to $43,000, also in three theaters.
What comes next: Additional major cities open this Friday.
Loveless (Sony Pictures Classics) – Metacritic: 88; Festivals include: Cannes, Telluride, Toronto 2017
$30,950 in 3 theaters; PTA: $10,317
The last of the Oscar foreign language releases to open for a regular run, Russian Alexey Zvyagintsev’s latest launched a bit above competitor “The Insult” ($8,000 PTA in three theaters) but below “A Fantastic Woman” and “The Square” in similar initial New York/Los Angeles dates. (Nominee “On Body and Soul” opened on Netflix). The total in three theaters is the same as the director’s earlier nominee “Leviathan” had in one less initial venue.
What comes next: three other major markets by Oscar weekend
Double Lover (Cohen) – Metacritic: 70; Festivals include: Cannes 2017, Santa Barbara 2018
$69,176 in 48 theaters; PTA: $; Cumulative: $88,210
Unusually for a French director these days, Francois Ozon has released at least 15 consecutive films in the U.S. since 2000. That puts him in a category with such non-English language directors as Pedro Almodovar. This romantic drama, like many of his films, has a sexual edge (a woman involved with twin therapist brothers). Cohen launched the film in multiple cities on Wednesday (Valentine’s Day) to minor response.
What comes next: This should open in other cities, but looks like it will be one of the director’s lesser performers.
Nostalgia (Bleecker Street) – Metacritic: 45; Festivals include: Palm Springs 2018
$20,667 in 3 theaters; PTA: $6,889
Another strong ensemble cast (Jon Hamm, Ellen Burstyn, Catherine Kenner, and Bruce Dern included) could not help this drama about the role of mementos and long-held belongings overcome mostly negative reviews in its New York/Los Angeles top theater initial dates.
What comes next: With its cast and Bleecker Street’s access to top theaters, this will see big city national dates ahead.
Western (Cinema Guild) – Metacritic: 77; Festivals include: Cannes, New York 2017
$(est.) 6,500 in 1 theater; PTA: $(est.) 6,500
German workers at a Bulgarian construction site face culture clash issues in this well-reviewed drama that opened to decent results at a small screen at New York’s Film Society of Lincoln Center.
What comes next: This looks like a mostly niche theater entry for upcoming limited screenings.
The Boy Downstairs (Film Rise) – Metacritic: 58
$6,000 in 1 theater; PTA: $6,000
This remeet cute romantic comedy (exes find themselves renting in the same Brooklyn apartment building) managed to get a sampling near home turf in its exclusive run at a lower Manhattan theater.
What comes next: Los Angeles opens this Friday.
Monster Hunt 2 (Lionsgate)
$335,000 in 69 theaters; PTA: $(est.) 5,650
Detective Chinatown 2 (Warner Bros.)
$677,000 in 115 theaters; PTA: $5,889
Monkey King 3 (Well Go)
$(est.) 90,000 in 34 theaters; PTA: $(est.) 2,647
The placing of three Chinese-made general audience releases the same week is a rarity related to the global New Year celebration that is underway. The first two were just released in China, with “Monkey King 3” only a week ago. (This time of the year in China is reserved exclusively for home-made titles, which explains why there’s no “Black Panther” yet in the world’s second-largest market.)
All three are sequels, as China is learning from U.S. studios. Two of the three are being released by U.S. majors as part of their interest in developing relations with the powerhouse country.
Wanda Pictures’ “Monster Hunt 2,” from the company which owns the largest North American exhibitor AMC, this weekend on opening day in China took in $97 million– $20-million more than “Black Panther”‘s opening day ($76 million) in North America this weekend.
Opening wider in the U.S., “Detective Chinatown 2” had a stronger result in U.S./Canada (both in total but also per theater average), likely because of its New York Chinatown setting.
The approximately $1.2 million total for around 200 dates, at the same time, is an impressive result for these films. They haven’t remotely broken out to wider audiences, but continue to provide additional income for select theaters in the right areas.
The 2018 Oscar Nominated Shorts (Magnolia) 198-1067
$(est.) 520,000 in 198 theaters (no change); PTA: $(est.) 2,626; Cumulative: $(est.) 1,287,000
With two more weekends left until Oscar night, this three-program collection of short film nominees looks on track to gross the usual $2.5 million or so seen in previous years.
Ongoing/expanding (grosses over $50,000)
The Post (20th Century Fox) Week 9
$1,965,000 in 1,050 theaters (-815); Cumulative: $76,574,000
Steven Spielberg’s latest is now the top-grossing among his three films since “Lincoln,” leading among nominees in current weekend’s gross and headed for an $80 million-plus total.
The Shape of Water (Fox Searchlight) Week 12
$1,665,000 in 957 theaters (-853); Cumulative: $53,244,000
Falling like most of its awards rivals (as it sheds theaters now that the nomination surge has subsided), Guillermo del Toro’s science-fiction romance still looks headed for a $60 million or better total.
Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Week 15 (also streaming)
$1,500,000 in 780 theaters (-493); Cumulative: $47,970,000
The per theater average here actually looks to have gone up slightly in remaining theaters despite adding streaming this week. Fox Searchlight looks likely to end up with two $50 million-plus grossing domestic titles in a single year for the first time in its history.
Darkest Hour (Focus) Week 13 (also streaming)
$895,000 in 602 theaters (-443); Cumulative: $53,342,000
Holding on to its very impressive position as top grossing initially limited 2017 release (“The Shape of Water” will overtake it imminently), the gross here actually is similarly impressive now that it has alternate home viewing possible.
I, Tonya (Neon) Week 11
$877,347 in 502 theaters (-586); Cumulative: $26,981,000
The remaining theaters for this Winter Olympics-centered biopic stay steady with the two acting category nominee looking likely to pass the $30 million mark.
Phantom Thread (Focus) Week 8
$680,000 in 335 theaters (-203); Cumulative: $17,822,000
Paul Thomas Anderson’s 1950s London fashion designer story remains a more niche item than most other top contenders this year, with its ultimate total looking to reach a little over $20 million.
Lady Bird (A24) Week 16 (also streaming)
$605,728 in 407 theaters (-244); Cumulative: $46,394,000
Still in theaters late in its fourth month, and still adding gross despite now available at home.
Call Me By My Name (Sony Pictures Classics) Week 13
$519,028 in 332 theaters (-123); Cumulative: $14,888,000
The countdown to the Oscars is keeping this high-end nominee steady (its modest per theater average remains about the same). This looks on target to end up close to $18 million, lowest among the Best Picture nominees.
Film Stars Don’t Die in Liverpool (Sony Pictures Classics) Week 8
$124,520 in 107 theaters (+68); Cumulative: $547,974
Annette Bening’s strong term as actress Gloria Graham continues to struggle to get much attention despite the lack of much other new specialized competition.
A Fantastic Woman (Sony Pictures Classics) Week 3
$86,419 in 29 theaters (+9); Cumulative: $360,620
SPC’s other Foreign Language Oscar entry is grossing about the same as its competitor “The Insult” when the latter was at the same number of theaters.
The Insult (Cohen) Week 5
$82,449 in 43 (-6) theaters; Cumulative: $584,339
Lebanon’s entry in the Oscar race is getting some national play, with the nomination raising it to a higher level than most subtitled releases.
1945 (Menemsha) – $33,512 in theaters; Cumulative: $312,944
Faces Places (Cohen) – $10,081 in 9 theaters; Cumulative: $842,137
Source: IndieWire film
February 16, 2018
Mercedes-Benz is looking forward to their involvement at SXSW 2018. Jens Thiemer, Vice President Marketing Mercedes-Benz Cars, provides insight to the value of collaborating with SXSW.
With the me Convention, SXSW and Mercedes-Benz developed a new convention format last year. How did this idea come about?
The idea took concrete shape last year when our CEO Dieter Zetsche visited SXSW in Austin. Together with SXSW, we launched the very first me Convention under the motto #createthenew during the IAA (International Motor Show) in Frankfurt in September 2017. For us, the me Convention has emerged as the platform for discourse on topics of the future, with focus on dialogue, interaction, networking and entertainment. The event combines elements of a conference with elements of a festival, with parallels to the future strategy of our company:connected, autonomous, shared and services, and electric (CASE). To sum it up, the me Convention has been a platform far beyond the automotive horizon that people expected.
The first me Convention took place in September 2017 during the International Motor Show (IAA) in Frankfurt. What are the features of the new convention format, and what sets them apart from the SXSW?
The me Convention has been SXSW’s first collaboration outside North America, and we feel very honored to be part of unique experience. Together we succeeded in organizing an inspiring mix of workshops, speeches, panels, concerts, and parties across three event days. smart invited 12 national and international startups to compete against each other in the smart urban pioneers idea contest. The carefully curated program on future topics led to an inspiring dialogue platform for all participants, while the intimate atmosphere provided an excellent environment for intensive networking between speakers and guests. Every single attendee enriched the convention with exciting conversations, creative ideas, networking, and a lot of fun. Our plan to transform the traditional car exhibition platform into an inspiring community venue worked perfectly, with the help of our new friends at SXSW.
Were you satisfied with the event? Why did the convention take place during the IAA motor show?
For Mercedes-Benz, the me Convention serves as a best-practice example for our approach to provide unique brand experiences. Our goal was to completely rethink our traditional trade fair appearance in Frankfurt, so we decided to open up new dimensions in brand perception with a completely new format. We brought 150 experts and thought leaders from 28 countries to Frankfurt to speak to 2,700 additional participants from around the world on five main topics: New Creation, New Urbanism, New Leadership, New Realities and New Velocity. These future topics were explored in 16 workshops and 52 talks, interviews, panels, and keynotes. We attracted a lot of people who would normally avoid attending car shows at all. In addition, 220 media outlets from 18 countries joined us to cover the event. On social media alone we had more than one million interactions, two million views, and around 850 posts. These figures prove that we have captured the zeitgeist with our new format.
The me Convention will take part in SXSW for the first time this March. Will a convention be needed during the convention? What exactly are you planning?
The automotive industry is in the midst of profound disruption. Likewise, our company is currently undergoing a process of transformation from an automaker to a holistic mobility services provider for the society of tomorrow. In order to understand future customer needs, we have to discuss future relevant topics with them. With the me Convention’s participation at SXSW in March, we want to establish a new talk format to enable even deeper conversations about the future — in this spirit, the Mystery Talks by me Convention will bring together the day’s most exciting speakers for a discussion on a surprise topic, announced only at the last minute.
Furthermore, the me Convention will co-host the SXSW-programmed Intelligent Future Track, March 9-15 at the Fairmont Hotel. Our main hub, however, will be at the iconic Palm Park. Excellent hospitality in a stylish environment will provide the ideal setting for networking, meetings, and an atmosphere for open discussions. Whether you want to dive in or just lean back and relax, you can experience the spirit of the me Convention right here in Austin with live streams, speakers, food courts, and yoga sessions and seminars in a festival setting. Additionally, smart, our smallest car brand, will be providing SXSW visitors with a spot for urban innovation and relaxation with focus on electric mobility and a startup program aiming to make city life easier.
Content and photo provided by Mercedes-Benz
Source: SxSW Film
February 16, 2018
Sound can make or break your project, so be sure to work through this checklist before recording audio on your next shoot.
Source: CW’s Flipboard Feed
February 15, 2018
To commemorate the 25th edition of the SXSW Film Festival, we continue our weekly alumni spotlight on careers launched, artists discovered, powerful performances, and more with producers David Kaplan, Joshua Astrachan, and filmmaker Daniel Junge.
Kaplan is one of the co-founders of New York City-based production company Animal Kingdom. He served as an executive producer of SXSW Narrative Grand Jury Award and Audience Award Winner Short Term 12 in 2013, Joe Swanberg‘s Drinking Buddies, and Obvious Child in 2014. At SXSW 2016, he participated in a panel titled “Enter the Void” with fellow producers Dan Janvey (Beasts of the Southern Wild) and Alicia Van Couvering (Tiny Furniture) for a spirited exchange of ideas on the state of the independent film industry. Kaplan will also serve as a 2018 Film Round Table participant.
“I love SXSW because the film programming has remained unshakably true to its roots – ambitious, uncompromising and above all else, decidedly weird.”
Astrachan is also a co-founder of Animal Kingdom and served as one of the producers of A Prairie Home Companion (2006, North American Premiere) and the 2013 award-winning feature Short Term 12. Astrachan has produced many acclaimed films like It Follows and Patterson.
“I love SXSW because the festival welcomed Short Term 12 in 2013 in what has to be one of the sweetest instances of film-meeting-world imaginable — indescribably great — all made possible because of the specific gravity of your sublime and singular festival!
The gang of absurdly talented people that created our film (beginning with Destin Daniel Cretton and Brie Larson, but going up and down through that gorgeous cast and crew, an amazing number of whom came to Austin for the film’s premiere) were welcomed by the festival — and the festival’s wonderful audience — with an openness and depth of feeling that is at once unique — and entirely native — to SXSW.
I can’t imagine a better way for this film to have found its first audience. That this was Animal Kingdom’s first film only made our experience at SXSW all the richer — even if it created a very, very hard act to follow.”
Junge made his SXSW Film Festival debut in 2008 with the feature They Killed Sister Dorothy which won the Grand Jury Award and Audience Award for Documentary Feature. At SXSW 2015, he presented the Festival Favorite selection, Being Evel, in addition to producing Rolling Papers from Mitch Dickman. Junge has been nominated for two Academy Awards for his documentaries, he won in 2012 for the short Saving Face, co-directed by Sharmeen Obaid-Chinoy.
“I’ll never forget when our film They Killed Sister Dorothy won the Jury and Audience Awards at SXSW in 2008. It went on to get Emmy nominated and short-listed for an Oscar but NONE of that would have been possible if SXSW hadn’t launched the film — thank you!”
See you March!
Take a look at our 2018 SXSW Film Festival Lineup. During the nine days of SXSW, 132 Features will be shown. The full lineup will include 44 films from first-time filmmakers, 86 World Premieres, 11 North American Premieres, and 5 U.S. Premieres.
See you in March!
Short Term 12 Cast and Crew – Photo by Michael Buckner/Getty Images for SXSW
They Killed Sister Dorothy – Photo by Rich Merritt
The post 25 Years of SXSW Film Festival – David Kaplan, Joshua Astrachan, and Daniel Junge appeared first on SXSW.
Source: SxSW Film
February 15, 2018
Join us this March at SXSW for the Startup & Tech Sectors Track and learn from entrepreneurs, founders, and funders, as well as established businesses, from all over the world.
Hear from speakers in industries ranging from blockchain and venture capital to mobility and security. During the Startup & Tech Sectors Track don’t miss Director of Digital Currencies at MIT Neha Narula, speak on the possibility of a new financial system and the cutting edge research being done at MIT to build the future of money in the session Cryptocurrencies: A New Future for Money. Learn about the shared economy from Airbnb’s Global Head of Trust & Risk Management Nick Shapiro, and get inspired by the life-changing work Apple’s Director of Global Accessibility Policy & Initiatives Sarah Herrlinger is doing to improve accessibility in tech for the disabled.
According to SXSW Programmer Dhinuka Perera, “This year’s programming within the Startup & Tech Sectors Track really showcases how a number of industries are continuing to change rapidly and we need to all pay attention to the ramifications. From impact investing to game-changing services that breakdown traditional models, these sessions and speakers are looking towards the future with a human-centered lens.”
Dive deeper into the Startup & Tech Sectors Track at the Hilton from March 9-15 during SXSW Convergence programming. SXSW Convergence programming features a range of topics that straddle the cultural and technological intersection at the heart of SXSW with primary access granted to all SXSW Badges.
Startup & Tech Sectors Session Highlights
ICO Alternative Financing for Startups
Speakers: Emmie Chang (Superbloom)
Initial coin offerings, also known as token sales, are crowd sales that are raising hundreds of millions of dollars for new technology startups. How does this mechanism serve as a new and alternative form of financing to startups to angel investing and venture and what are the ramifications? In this session, we will review some basic mechanisms of token sales companies, best practices to consider this type of financing, and answer questions for anyone interested in investing or launching an ICO.
How to Build a Company Where the Best Ideas Win Out
Speakers: Ray Dalio (Bridgewater Associates)
Ray Dalio, the bestselling author of Principles and one of the most successful investors and entrepreneurs of our time, discusses the unique principles that helped him build his company (Bridgewater Associates) from his two bedroom apartment to the fifth most important private company in the U.S. and made him one of the 100 richest people in the world. Hear him describe “a believability-weighted idea meritocracy” in which people strive for “meaningful work and meaningful relationships through radical truth and radical transparency.” He’ll also explain the innovative technologies his firm uses to make sure that the best ideas win out.
Swim with a Shark: Rise & Grind to Maximize Your Day
Speakers: Daymond John (The Shark Group)
Daymond John is excited to return to the SXSW stage to share the habits, routines, and winning secrets of some of today’s most successful individuals. In what began as a personal journey for self-improvement, Daymond realized that we all get the same 1440 minutes in every day. What matters is how we use them.
Daymond will reveal how people like music rock legend Carlos Santana, Oscar and Tony Award Winning actresses Catherine Zeta-Jones, mixed martial arts champion Kyle Maynard, and a dozen others get the most out of their 24-7. And he’ll talk about how his own rise and grind mindset helped him overcome the obstacles he has faced in life – and ultimately fueled his success.
No Legacy Software Here: The Cannabis Tech Stack
Speakers: Nicholas Cooper (Triglow Systems Inc), Joel Milton (Baker Technologies), Morgan Paxhia (Poseidon Asset Management), and Cy Scott (Headset)
Prohibition has hindered technological innovation in the cannabis industry over the last century. Now that prohibition is ending on an international scale, startups are fueling rapid growth and innovation. Most industries are hampered down by legacy technology and outdated ideas, but the cannabis industry is starting with a clean slate. In this discussion, we will cover how tech startups are at the forefront of this rapidly changing industry.
Crossover Track Recommendations
Explore topics outside of your focus area and learn from SXSW sessions across all 24 Tracks of Conference programming. These recommended sessions are outside of the Startup & Tech Sectors Track but will interest any SXSW attendee.
Meet the Kitchen of the Future: Trends in Food Tech
– Cat Cora, Jared Costa (Miele), Jane Francisco (Good Housekeeping), and Carley Knobloch (HGTV)
#Resist Tech & What Influences Congress
– Teresa Acuña (Harvard – Ash Center for Democratic Governance and Innovation), Yuri Beckelman (Office of Congressman Mark Takano), and Travis Moore (TechCongress)
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Purchase your SXSW Badge and reserve your hotel today to experience these sessions along with 10 days of screenings, showcases, exhibitions, networking, and more this March 9-18 in Austin, TX. Take the Tracks Quiz to discover which badge will suit your needs.
Teaser Photo by Akash Kataria
The post Blockchain, Cannabis Tech, and Globalization: Startup & Tech Sectors Track Sessions for SXSW 2018 appeared first on SXSW.
Source: SxSW Film
February 15, 2018
Welcome to The Creative Fix with SXSW, a new interview series focusing on creators and their unique work.
Every March, creative minds from around the globe converge in Austin at SXSW to share their work and ideas, and we’re excited to bring that energy straight to your News Feed. Each episode of The Creative Fix will delve into the methods, processes, and inspiration driving some of the most creative minds in the worlds of music, film, tech, and beyond.
On the premiere episode of The Creative Fix, SXSW Conference Programmer Dhinuka Perera sat down for a chat with 2018 SXSW Speaker and entrepreneur Julia Cheek.
As the founder of EverlyWell, Cheek came up with a creative fix for one of the most common inconveniences facing patients in the healthcare industry: lab tests. After experiencing the complicated nature of conventional lab testing, Cheek took it upon herself to examine the business behind labs and solve the problems the industry either couldn’t or wouldn’t. By focusing her startup on offering lab testing directly to consumers, no doctor or hospital visit required, she has disrupted the healthcare space.
Her unique approach hasn’t gone unnoticed either. Her startup EverlyWell was recently featured on ABC’s Shark Tank, where Shark Lori Griner took a chance on Cheek by offering her the largest investment for a solo female entrepreneur in the entire show’s history.
Join Julia Cheek and Dhinuka Perera for a conversation about her primetime experience and preview of her upcoming session at SXSW 2018 where she and other founders will discuss how our generation of digital natives are hungry for more disruptive technologies from startups just like EverlyWell.
Join Us March 9-18
SXSW Conference & Festivals celebrate the convergence of the interactive, film, and music industries during 10 days of sessions, screenings, showcases, exhibitions, parties, art installations, and networking. Get ready for another memorable SXSW this March 9-18 in Austin, Texas – register today!
Source: SxSW Film