News & Updates
May 16, 2017
This article originally appeared on Column Five.
What’s the biggest mistake I see content marketers make? They spend too much time talking about themselves instead of learning about what their potential customer needs. They forget that you can’t sell a solution until you know the problem. And even then, as a marketer, you shouldn’t be selling anything.
To put it bluntly: Too many marketers are making a case for their company prematurely in the buyer’s journey.
To avoid this, make sure you know the difference between marketing and sales.
SALES ACTIVITIES VS. MARKETING ACTIVITIES
Marketing is when you address your clients’ problems, then make a case for solutions.
Sales is when you talk about yourself as the best solution.
Marketing’s job is to ease people into the sales stage of the relationship, creating the best possible experience along the way so that people are excited to buy.
For this reason, marketers should focus on talking about their clients’ problems and offering solutions. Not only does this lead to more excited and engaged customers, it helps your sales process and team as well.
So how do you create content to engage your audience at different stages? When should you talk about your company and what it has to offer? When do you pass it off to your sales team?
Welcome to the buyer’s journey.
MAPPING YOUR CONTENT TO THE BUYER’S JOURNEY
The buyer’s journey has five distinct stages:
- Stage 1: Awareness
- Stage 2: Consideration
- Stage 3: Analysis
- Stage 4: Purchase
- Stage 5: Loyalty
The best thing about this approach is that these stages integrate both marketing and sales:
- Stages 1, 2, and 3 = Marketing
- Stages 4 and 5 = Sales
Even better, it allows you to create different types of content to match each specific stage of the Buyer’s Journey.
This is the basic framework we use at Column Five to strategize content for ourselves and our clients.
The goal: Introduce yourself to your customers and acknowledge your target customers’ pain points or issues they’re struggling with.
The buyer’s mindset: They want, need, or have an undefined yearning for something. This is your opportunity to articulate what that might be, to produce content that resonates with them so they begin to think about exactly what it is they want or need.
Content messaging: Focus on content that helps as many people as possible get to know you. Sometimes this requires piggybacking on other people’s audiences.
The goal: Demonstrate your value and the value of working with a partner to solve your customers’ problems.
The buyer’s mindset: They now have a clearer understanding of what they want or need and are looking for people to help satisfy this desire, whether it’s a product, service, etc. They are in the early stages of research, looking to get the lay of the land. They want to see who the players are and who they could (and should) be giving their business to.
Content messaging: Showcase your familiarity with the problems your clients are trying to solve. Publish thought-leadership that showcases your perspective and experience in addressing these problems.
The goal: Give people the info they need to make an informed decision about working with a company in your space.
The buyer’s mindset: This is the stage where most buyers have whittled their options down to a handful of choices. Now they start comparing unique value propositions.
Content messaging: Produce thought-leadership that showcases that you are the definitive leader in the space by demonstrating your successes or legitimacy.
- Case studies (when applicable)
- Client testimonials
- High-profile or industry-leading endorsements
The goal: Turn prospects into customers.
The buyer’s mindset: This is the point at which pricing, purchase details, and post-buying experiences are scrutinized. Would-be buyers start asking themselves questions about the transaction: What will it mean to become a customer (read: “a supporter”) of this business? Am I sure I want to go through with this?
Content messaging: Provide information that will support their purchase decision.
- Sales collateral
The goal: Nurture and maintain the relationship.
The buyer’s mindset: They want to be reminded of why they are working with you or supporting your business. They want to feel and believe their relationship is not just transactional and that you care about them beyond their conversion into customers.
Content messaging: Deliver content that reminds them why they might want to work with you again—or why they started working with you in the first place.
- “Thank you” content
- Offers for deals
- Exclusive content
- Partnership opportunities
- Co-marketing opportunities
- Exclusive access (depending on your business)
- Additional and ongoing education in the form of webinars and newsletters
FOCUS ON THE RIGHT MESSAGE AT THE RIGHT TIME
If you come on too strong from the start, your customers may perceive it as a red flag. Instead, work around a sustainable strategy. Marketing is an art, not a one-size-fits all prescription. Take the time to understand your audience, form a relationship, and convert them over time.
Remember that they’re humans. Be sympathetic and tactful, and you’ll build an authentic base of supporters.
For more tips on marketing, learn about the strategy we used to increase our leads 78% in 6 months, find out what 7 traits will make you a better marketer, and learn how to create content that provides true value to your audience.
Source: Visual News
May 15, 2017
This article originally appeared on Priceonomics.
Your college years may be the best ones of your life, but they can also be the most expensive.
Many of today’s students are financing their education with loans, and are graduating with more debt than ever. In fact, the student debt in the US is estimated at $1.4 trillion, more than what Americans owe on credit cards or cars. Saddled with loans, college graduates are having trouble saving for retirement, starting businesses, and even keeping up with daily expenses.
We wanted to know just how much hindrance student debt is causing today’s graduates, and which groups are affected the most. And does student debt have a differential impact by gender or race?
To answer these questions, we analyzed data from Priceonomics customer LendEDU, who surveyed over 1,400 college graduates between the ages of 25 and 54 to learn more, we found that on average, people graduate college with nearly $40,000 in debt and that men have more debt than women. We also discovered that white and asian college graduates have more debt than their black and hispanic/latino peers.
When it comes to financing their education, men tend to get more help from the parents in paying for college than women do. And, among all the demographic groups we survey, Asian students get the most financial help from their parents in paying for college by far. However, Asians are more likely to feel the pressure of student debt preventing them from starting businesses compared to their peers.
We first wanted to see how much debt on average afflicted a college graduate. We started off by examining the average student loan debt upon graduation as well as the survey respondents’ average current loan balance.
On average, survey respondents graduated with nearly $40,000 in debt and still have about $30,000 left to pay off of the loan. This means that even years later (since all of our respondents were at least 3 years out of school) college graduates still have an average of 75% of their loans left to pay.
We then wondered if the average student loan debt varied by race or gender. We divided the population by gender as well as into 4 racial categories (white, black, hispanic/latino, and asian) based on how the survey participants self identified.
There is a wide range of average debt upon graduation between the genders and races. White college students have the biggest discrepancy between male and female graduates. On average, white male students graduate with about 33% more debt than their white female peers. Interestingly, white males graduate with the most debt of any of our subgroups, and white females graduate with the second least amount of debt. As a whole, females tended to graduate with less debt than their male counterparts, except for black females who had $272 more in debt than black males. Asian males graduated with the second most debt, just $253 on average less than white males. On the other side, hispanic/latino women graduated with the least amount of debt; they have $564 less to pay off than white women.
In today’s era with skyrocketing college costs, many people receive financial help from their parents. We wanted to know how much assistance our survey respondents received.
Nearly half of the college graduates we surveyed paid for college without any assistance. Only about 10% received about half their tuition from their family. Fewer than one in ten people had the majority of their college finances supported by their parents.
We next wondered how much this financial assistance varied by gender. Since the average amount of debt was smaller for women, was this because they were getting more financial help?
Overall, females receive less help paying for college than their male peers.
Only 6% of women responded indicating that their parents paid for the majority of the tuition, and 50% received no help at all. On the other hand, only 43% of male respondents said their parents did not contribute financially to their schooling. Additionally, one in ten male respondents said their parents paid the majority of their college tuition, nearly double the number of women who answered the same way. This is particularly noteworthy after we saw above on a whole women graduate with less debt than men. So even though they get less financial help from their families, women still have fewer loans to repay after college.
We were then curious to see if familial financial assistance for college varied by race. Again we broke the survey respondents into the same four racial categories based on how they self identified.
Just as we saw when we examined the question by gender, there is a large difference in family tuition assistance when we break the responses down by race. About half as many asians as whites, blacks, or hispanics/latinos said they received no money from their parents towards college.
The most clear finding, however, is that Asians get the most financial help from their parents paying for school. Nearly double the number of asian respondents reported getting the majority of their college tuition paid for by their parents compared to the other races.
Finally, we wanted to explore how student debt affected people in the years after graduation. Did our respondents feel hindered in any way by their outstanding loans and did this sentiment vary by gender?
On the whole, more than half of the respondents of both genders felt that their debt negatively impacted their current lives. Nearly two thirds of respondents said their current loans have made it harder to save for retirement, and over 50% said that the debt has made starting a small business more difficult.
The place where we see the biggest difference in these feelings by gender is in the respondent’s’ feelings about keeping up with daily expenses. Only about half the men said that their debt has made day-to-day finances more burdensome, but 10% more females felt the same way.
Again, we wanted to examine this angle from a racial demographic standpoint. We know that each race graduates with differing levels of debt, but do they also feel unequally burdened by it?
White respondents, more than the other races, felt the most strongly that their student debt hindered their ability to save for retirement and keep up with daily expenses. For example, 13% more white college graduates than asian graduates think their loans have negatively impacted their retirement savings. However, asian respondents feel the most burdened by their debt when it comes to their ability to create their own company. Almost 10% more asian graduates than any other race felt their loans hindered their ability to start a small business.
With an average student graduating with $39,165 in debt, all students across the US are feeling the pain of financing their education. But not all groups are burdened equally. We saw that women tend to have less debt than men, despite getting less financial help from their parents. Additionally, white men and asian men graduate with the largest loans, whereas white women and hispanic/latino women have the least. Finally, women disproportionately feel that their debt makes it difficult to keep up with daily expenses, and asians have the most trouble starting small businesses in the face of their loans.
Source: Visual News
May 15, 2017
In February 2016, we completed our trip to the Madison Public Library, the final trip in a series of adventures that took us from Santa Ana, California to Exeter, Rhode Island, and many places in between as we preserved the stories of the ten institutions awarded the Institute of Museum and Library Service’s 2016 National Medal. We are honored to share some of these recordings below.
We’ve been preserving the stories of all National Medal for Museum and Library Service winners for the past eight years and are thrilled to announce we’ll soon be on the road recording 2017’s honorees.
Mid-America Science Museum (Hot Springs, Arkansas)
At the Mid-America Science Museum, participants ranged from patrons to mentors, congressmen, and volunteers, and reflected the can-do spirit of the community as well as its diversity. In this story, Niles Ellis, who is a designer for the museum, talks with his colleague Lori Arnold about how he impressed the senior leadership of the museum with his ingenuity and ability to make things work on a shoestring budget.
“I could turn an area of the museum into a primordial existence…”
Brooklyn Public Library (Brooklyn, NY)
Brooklyn Public Library serves an extremely broad community — over 2.5 million people benefit from the system. Among the many diverse stories recorded with the library this past fall, Richelet Jean brought his young daughter Abigail to record and reflect on the impact that librarian Hasina Islam has had on their family.
“You see that spark that you’ve put in this child?”
Tomaquag Museum (Exeter, RI)
Tomaquag Museum is Rhode Island’s only museum dedicated entirely to telling the story of the state’s Indigenous Peoples. The museum invited Narragansett youth, adults, and tribal elders to tell the stories of their families and lives, and of their culture and traditions. In this story, brothers Lonnie (left) and Robert Shumate talk about their memories of some of the old characters in their family. The two remember attending powwows, cooking johnnycakes, and sharing food together. We hear first from Robert.
“We had somewhat of a battle as to who made the better johnnycakes…”
Otis Library (Norwich, CT)
Otis Library worked with a local community member to help them identify storytellers that would create a representative picture of the Norwich area. Among the people suggested were David Burnett (left) and his friend Joe. David is the Executive Director, and a former therapist, at Reliance Health, a facility that has helped people diagnosed with mental illness in Norwich, CT for more than 40 years. In Joe and David’s interview, they discuss why David was tentative to begin their client-therapist relationship 30 years ago. They also talk about how much they have helped each other throughout their friendship.
“They look at it as a sad thing but they don’t know what can become of us…”
Lynn Meadows Discovery Center (Gulfport, MS)
Throughout our trip to Lynn Meadows, we heard a wide range of stories, touching on everything from the lasting impact that Hurricane Katrina had on the museum to the creation of the WINGS Performing Arts and Education Center. In this story, LaWanda Jones speaks about why she brought her son, Joseph, to the WINGS program. They share members of Joseph’s first audition on stage and speak about how his love of singing evolved.
“I realized I had a voice.”
Santa Ana Public Library (Santa Ana, CA)
Santa Ana is roughly 80% Latino, and the library’s services and programs provide an anchor for the community and respond to the community’s needs. In this story, Elizabeth Campos (left) speaks with Zulma Zepeda about Elizabeth’s experiences as a young woman living across the street from the library, her progress as a volunteer, and her reflections on how the library touches young people in particular.
“You could be the rocks or you could be the sand…”
The Chicago History Museum (Chicago, IL)
StoryCorps’ Chicago facilitators traveled up the road to the Chicago History Museum to record stories with a range of community members and contributors. Many participants shared stories of where they came from, including Bernie Wong, who contributed a coat to the Museum’s “My Chinatown” exhibition. As she explained, she was only allowed to bring one suitcase on her flight from Hong Kong to the United States, so her mother, a skilled tailor, made her a coat with seven coats inside, “that was so heavy it stood up by itself.”
In another story about personal history, Jean Mishima (left) reflected on her experience in a Japanese interment camp during World War II and the impact it had on her and her family. Jean also reflected on how her life changed after they moved to Chicago.
“That feeling of total isolation is still very vivid in my mind.”
North Carolina State University Libraries (Raleigh, NC)
NCSU Libraries’ conversations that touched on the things that make the NCSU Libraries really unique — their emerging technology collaborations, their visualization services, and their fearless director Susan Nutter.
In Saul Flores’s conversation with Marian Fragola, he explained how he came to be a photographer of work that represented his history as an immigrant. Before the library exhibited Saul’s photography, he was a student at North Carolina State University.
“It’s through my relationship with the library where I learned to speak…”
Columbia Museum of Art (Columbia, SC)
Members of the greater Columbia arts community told their stories during our three-day visit to the Columbia Museum of Art. Participants included a pair who helped procure a Dale Chihuly chandelier for the museum and Columbia’s poet laureate. Childhood and lifelong friends Brandolyn Pinkston (left) and Burnett Gallman spoke about memories of their church congregation and of segregation. They also shared memories of how their friendship evolved overtime through their mutual love of South Carolina’s music scene.
“I don’t think we could be closer if we were actually siblings.”
Madison Public Library (Madison, WI)
Madison Public Library featured interviews with community members, volunteers, and stafff, ranging from a hip-hop artist and producer to the mayor of Madison. One of the many stories we heard was from Char Braxton, who spoke about how her early experiences with libraries provided a road of experience and a road to college. Char spoke about taking a writing course and how that led her to explore her creativity and trauma she experienced as a young child.
“I felt like a butterfly in that I was free.”
Source: SNPR Story Corps
May 14, 2017
22 years after attaining instant-classic status, “Heat” has been restored and rereleased on Blu-ray. Michael Mann has been making the rounds discussing his action masterpiece to mark the occasion, discussing everything from the performances of Al Pacino and Robert De Niro to more recent films like “Blackhat.” Here are some of his most interesting comments:
On why he shot it in Los Angeles rather than Chicago, where the events that inspired it took place:
“L.A. is more balkanized than Chicago. There’s a unity to Chicago. It’s got north and south streets. It’s all in a grid. It has a downtown area. Then you have residential neighborhoods. Then it goes on to suburbs. L.A. is all these little cities put together. If you think of L.A. as the County of Los Angeles, it’s bigger than most countries.” (Entertainment Weekly)
On Pacino and De Niro’s approaches to acting:
“To say that an actor has one method of acting versus another method of acting is false with the guys I’ve worked with — who are the best. Pacino’s method of acting is the Pacino method, that’s it. For Al, it’s very much about internalizing the way somebody feels. He memorizes scenes two weeks before he’s gonna shoot them. He wants them to roll around in his consciousness. He’ll dream about them.
“And Bobby is terribly smart — brilliantly analytical. “Why does this guy do that?” and the specifics are all very important. You know, what he’s wearing — all that detail is very expressive of character and feeds something to him. Pacino’s less concerned about what he’s wearing.” (LA Weekly)
On offering the script to Walter Hill:
“Walter Hill and I have been friends since 1972. This is a small community and we talked to each other yesterday. Our families are close. And, he would have been a terrific choice if he wanted to direct it. It wasn’t a matter of approaching a stranger. I know the way Walter thinks and I know his work very, very intimately. And, that’s what that decision of approaching him was based on.” (Vulture)
On what the film would look like if he shot it now:
“Let me put this rather precisely. When you see an emotion on a human’s face, how much of the face do you see? What constitutes fear? What constitutes apprehension? What constitutes suspicion?
“Yes, I evolved, but also, audience perception evolves, and media evolves, year to year. If I shot this film two or three years ago, this particular film would be less chromatic. And the sense of tension would become more pronounced with greater contrast and kind of a more blue-black palette, than the film as I wanted it to be when I shot it in ’94-’95.” (Entertainment Weekly)
Source: IndieWire film
May 14, 2017
“King Arthur: Legend of the Sword” surpassed Warner Bros.’ modest expectations by revealing itself as a full-on belly flop, grossing $14.7 million. While nothing else approaches its level of disaster, it’s a beacon for the weaknesses that have begun to plague summer 2017.
Next week, expect Fox’s “Alien: Covenant” to lead three new summer entries. Ridley Scott’s return to his 1979 classic opened to $42 million in a majority of the world (but not China, among other territories); it will need to soar next weekend at home in order to restore some confidence to the industry.
The Top Ten
1. Guardians of the Galaxy, Vol. 3 (Disney) Week 2- Last weekend #1
$63,007,000 (-57%) in 4,347 theaters (no change); PTA (per theater average): $14,494; Cumulative: $246,164,000
2. Snatched (20th Century Fox) NEW – Cinemascore: B; Metacritic: 46; $; est. budget: $42 million
$17,500,000 in 3,501 theaters; PTA: $4,999; Cumulative: $17,500,000
3. King Arthur: Legend of the Sword (Warner Bros.) NEW – Cinemascore: B+; Metacritic: 41; $; est. budget: $175 million
$14,700,000 in 3,702 theaters; PTA: $3,971; Cumulative: $14,700,000
4. The Fate of the Furious (Universal) Week 5 – Last weekend #2
$5,301,000 (-38%) in 3,067 theaters (-528); PTA: $1,728; Cumulative: $215,035,000
5. The Boss Baby (20th Century Fox) Week 7 – Last weekend #3
$4,600,000 (-23%) in 2,911 theaters (-373); PTA: $1,580; Cumulative: $162,379,000
6. Beauty and the Beast (Disney) Week 9 – Last weekend #5
$3,860,000 (-24%) in 2,172 theaters (-508); PTA: $1,777; Cumulative: $493,191,000
7. How to Be a Latin Lover (Lionsgate) Week 3 – Last weekend #4
$3,750,000 (-27%) in 1,123 theaters (-80); PTA: $3,339; Cumulative: $26,143,000
8. Lowriders (BH Tilt) NEW – Cinemascore: XXX; Metacritic: 58; Est. budget: $XXX
$2,413,000 in 295 theaters; PTA: $8,180; Cumulative: $2,413,000
9. The Circle (STX) Week 3 – Last weekend #6
$1,740,000 (-56%) in 2,132 theaters (-1,081); PTA: $816; Cumulative: $18,903,000
10. Baahubali 2: The Conclusion (Great India) Week 3 – Last weekend #7
$1,550,000 (-54%) in 359 theaters (-60); PTA: $4,133; Cumulative: $18,934,000
The Bad News
While we’re only in week two of the summer season, this weekend’s numbers hold more negative signs than positive. Theaters might still benefit from high product volume, but the studios have spent a record-setting amount for their releases at a time when domestic grosses are at best steady and worldwide growth has stalled. (Of note: While Warners places its budget for “King Arthur” at $175 million, others have estimated its production and marketing costs at $300 million worldwide.)
Mother’s Day Weekend Fell Below Last Year
This weekend’s estimates come in at $119 million for the top 10, down from $123 million a year ago. However, last year saw two modest releases, with a combined cost of $30 million (“Money Monster” and “The Darkness”), gross just under $20 million. “Snatched” and “King Arthur: Legend of the Sword” cost far above $200 million and they grossed $32 million.
At worst, “Snatched,” will be a modest money loser and a soon-forgotten footnote in Amy Schumer and Goldie Hawn’s careers. But the death of “King Arthur” is historic.
Beyond the red ink, both represent what passes as original product from studios. This summer is top heavy with the tried and true (sequels, remakes, and a handful of hoped-for franchise starters). But a balanced industry needs a mixture, and studios are already wary of taking risks on the unproven. This weekend proves their point.
The Death of “King Arthur”
Grossing less than 10 percent of its reported $175 million budget is bottom of the barrel. For a new release, its four percent Saturday uptick is discouraging, especially for the would-be elevated pre-Mother’s Day. (Even the already-forgotten “Unforgettable” went up 16 percent its second day; similar to “The Circle,” “Snatched” jumped 29 percent). It’s possible the total domestic haul may not hit $40 million.
The studio wildly miscalculated that it could overcome a hoary story by pouring on the action and fantasy. By contrast, last summer’s “The Legend of Tarzan” might have fallen short of profit, but still managed to attract much more interest.
“Tarzan” was a more familiar story that included some romance and and female appeal (with the promise of a sexy leading man in a loincloth). It also had a director (David Yates, with four “Harry Potter” films under his belt) who likely was trusted more to provide a vision than the uneven Guy Ritchie, who came into this project well into its development and following the failure of “The Man from U.N.C.L.E.” (also Warner Bros.)
“King Arthur” managed $29 million in 29 territories and was #1 only in Russia, where “Alien: Covenant” hasn’t opened yet. China only managed $5 million. The U.K., France, and Japan are among those to come, but it’s tough to project a worldwide total reaching even $200 million.
“Snatched” and Its Mixed Result
By the standards of Mother’s Day female-oriented releases, “Snatched” fared above average. It certainly gets credit for topping the far more expensive “King Arthur.” However, by at least two barometers — the success of Schumer’s “Trainwreck,” as well as its production costs — it fell short.
“Trainwreck,” a July 2015 release with Judd Apatow directing and a script by Schumer, opened to $30 million. It rode word of mouth to $110 million domestic and cost a thrifty $35 million. The results made the slightly higher $42 million budget a reasonable risk.
However, “Trainwreck” had the benefit of decent reviews (a 75 Metacritic score, the same as “Bridesmaids”). Here, “Snatched” saw the return of Goldie Hawn in this tale of a mother/daughter exotic vacation gone bad, which should have enhanced interest from older audiences.
“Lowriders” Keeps the Blumhouse Momentum Going
Jason Blum’s operation increasingly is acquiring independent films, and not just in the horror genre. “Lowriders,” which was filmed two years ago and premiered at last June’s Los Angeles Film Festival, is the latest example of their niche BH Tilt distribution arm teaming with up and coming filmmakers and adding some bonus revenue to select theaters.
“Lowriders” is set in the East L.A. Latino car culture, and its release came after it benefitted from trailer exposure via”The Fate of the Furious,” released by Blumhouse partner Universal. It also comes two weeks after the latest Lionsgate/Pantelion Spanish-language market release, “How To Be a Latin Lover.”
The results — $2.4 million in 295 theaters, where it was often the top grosser among new releases — is the latest in the recent trend of films aimed at a specific ethnic subset making the top 10 in targeted theaters.
It did fall 13 percent day two and looks to top out at not much more than $5 million — though without high-end marketing costs. It’s more significant as an example of how niche films outside the normal specialized arena are filling the gaps from more mainstream films.
Holdovers Thrive, But “Furious” and “Guardians” Are Part of the Problem
Three of the seven holdovers in the top 10 fell less than 30 percent (“The Boss Baby,” “Beauty and the Beast,” and “How to Be a Latin Lover”). But the key question is how the two recent worldwide smashes (and strong domestic performers) “Guardians of the Galaxy Vol. 2” and “The Fate of the Furious” are doing compared to similar seasonal entries.
“Guardians” dropped 58 percent, a strong hold for a film that opened at its level, and it’s within range of early May Marvel openers. It is the seventh consecutive Disney first week of May Marvel release to repeat as #1 its second week. And it tripled the grosses of the two leading openers.
However, after 10 days it is $50 million short of “Captain America: Civil War” at the same point a year ago. It does stand at 70 percent ahead of the first “Guardians,” an August release that startled the world by increasing eight percent its second weekend.
“Fate” fell only 38 percent, to reach $215 million. While its worldwide run is extraordinary, its domestic take pales beside “Furious 7.” After five weekends, that smash was at $331 million. By comparison, “Fate” will fall short by some $120 million — a worrisome result with so many sequels ahead.
Source: IndieWire film
May 14, 2017
‘The Day After’ Trailer and Photos: Hong Sang-soo Remains as Prolific as Ever With Latest Cannes Drama
Ever prolific, Hong Sang-soo is back at Cannes with two different films this year. “The Day After” is premiering in Competition, while “Claire’s Camera” is set to make its bow Out of Competition. As you wait for similar materials from the latter to surface, avail yourself of the trailer, poster and photos from the former below.
Here’s the synopsis: “It is Areum’s first day of work at a small publisher. Her boss Bongwan loved and recently broke up with the woman who previously worked there. Today too, the married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him. That day Bongwan’s wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.”
Not to be confused with Hong’s “Night and Day” or “The Day He Arrives,” “The Day After” marks the writer/director’s fourth collaboration with “The Handmaiden” star Kim Min-hee; she also appears in “Right Now, Wrong Then,” “On the Beach at Night Alone” and “Claire’s Camera.”
Source: IndieWire film
May 14, 2017
Mathieu Amalric is returning to Cannes this month, and not just as an actor. In addition to appearing in frequent collaborator Arnaud Desplechin’s “Ismael’s Ghosts,” Amalric will also be in the Un Certain Regard category with his latest directorial effort. Avail yourself of the trailer and new photos for “Barbara” below (via the Playlist).
Here’s the synopsis: “An actress, Brigitte, is playing Barbara in a film that soon begins shooting. Brigitte works on her character, her voice, the songs and scores, the imitation of her gestures, her knitting, the lines to learn. Things move along. The character grows inside her. Invades her, even … Yves, the director, is also working — via encounters, archival footage, the music. He seems inhabited and inspired by her … But by whom? The actress or Barbara?”
Jeanne Balibar plays the title character in the film, with Amalric co-starring. He most recently wrote and directed “The Blue Room,” which likewise premiered in Un Certain Regard three years ago.
Source: IndieWire film
May 14, 2017
Not to be outdone by Keith Richards, Paul McCartney has confirmed his role in the upcoming “Pirates of the Caribbean: Dead Men Tell No Tales” by unveiling a poster featuring his character on Twitter. Perhaps this will finally settle the age-old debate: Beatles or Stones?
Sporting a braided beard, fingers full of rings and a handful of playing cards, McCartney’s character looks as though he could be an older relative of one Captain Jack Sparrow. Richards had a cameo in the franchise’s third installment, 2003’s “At World’s End,” and it’s likely that McCartney’s role will be similarly limited; Deadline described his sequence as “an extra big set-piece scene” a few months back.
The fifth chapter in the “Pirates” mythos, “Dead Men Tell No Tales” features the return of Johnny Depp and Geoffrey Rush while also adding some new faces, namely Javier Bardem, Brenton Thwaites and Kaya Scodelario. “Kon Tiki” co-directors Joachim Rønning and Espen Sandberg helmed this new film, which Disney will release in theaters on May 26.
— Paul McCartney (@PaulMcCartney) May 13, 2017
Source: IndieWire film
May 12, 2017
If you missed the SXSW World Premiere of Win It All at the Paramount Theatre on Saturday, March 11, you can now watch the film on Netflix. Be sure to check out our Q&A with director Joe Swanberg and cast members, Jake Johnson, Aislinn Derbez and Joe Lo Truglio.
Johnson stars as small time gambler Eddie Garrett, who agrees to watch a duffel bag for an acquaintance who is heading to prison. When he discovers cash in the bag, he’s unable to resist the temptation and winds up deeply in debt. When the prison release is shortened, Eddie suddenly has a small window of time to win all the money back.
Swanberg has directed several feature films, including Drinking Buddies (SXSW 2013), Happy Christmas, and Digging for Fire He is the creator of the Netflix original series Easy. Win It All marks his third collaboration with Johnson.
Explore More Content From SXSW 2017
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Source: SxSW Film
May 12, 2017
Lately, there has been a lot of talk about immigrants in the U.S. following the election of Donald Trump. While the president and his administration have been attempting to push policies that would limit immigration into the U.S., many opposed to his rhetoric have stressed the fact that the U.S. was built by immigrants, for immigrants. But just how many immigrants are there in America?
Mapping Immigrant America, a project by Kyle Walker, was created for his upcoming talk in September at Dallas’s Old Red Museum, “Visualizing the Changing Landscape of US Immigration.” The map, a dot-density model of the immigrant population in the U.S., is painted in colored dots representing immigrants’ place of origin. The regions consist of Mexico (red); Latin America and the Caribbean, other than Mexico (Blue); East and Southeast Asia (green); South and Central Asia (aqua); Sub-Saharan Africa (purple); North Africa and Southwest Asia (pink); Europe (orange); Oceania (yellow); and Canada (brown).
Walker pulled demographic data from the American Community Survey (2009-2013) and geographic and demographic data from the National Historical Geographic Information System. Each of the dots featured on the map equals roughly 20 million immigrants from a given region and are placed randomly within the Census tract the data was pulled from. Because the American Community Survey pulls from a sample of 3 million households yearly and averaged over 5 years to attain estimates for each Census tract, Walker emphasizes that the map only represents estimates of immigrant population in the U.S. and is, therefore, subject to a margin of error. This and the fact that a large number of colors (nine) are represented on the map led to Walker’s decision to have each dot illustrate 20 million immigrants instead of one dot per immigrant.
You can check out Walker’s full map here and discover more about the immigrant population across America.
Source: Visual News