Influencers Attend The Leading Culture Destination Awards

On Friday 10th October, Museum Directors, Artists, Art Patrons and Creative Industry Leaders graced the red carpet at the luxurious Jumeirah Carlton Tower to celebrate the World’s Best Visual Art Institutions. The Leading Culture Destinations Awards is the first and only international awards to celebrate the best non-for-profit visual arts institutions around the world.

The Leading Culture Destination Awards at Jumeirah Carlton Tower The Leading Culture Destination Awards at Jumeirah The Leading Culture Destination Awards maureen

The eclectic guest list included Radio & TV presenter George Lamb, Countess Nathalie v Bismarck, Suede band member and Arts Editor Mat Osman, make-up artist Daniel Sandler, model Oooota Adepo, artist Antony Micallef, actor Neil Stuke and fashion designer twins Felder Felder. Cultural institutions in cities as far and wide as Paris, New York, Miami, Shanghai, Oslo and Berlin, were among those competing to win awards at the event with London scooping the prize for “Best Culture Destination.”

 

 

Brian Yuzna Interview | Film

Brian Yuzna , interview, horror, filmBrian Yuzna (pictured left) is one of the world’s most prolific and respected genre film-makers and on the eve of RETURN OF THE LIVING DEAD 3 receiving its network TV premiere on the Horror Channel, Yuzna gives us some insight into the making of the film, news on the SOCIETY sequel and why he thinks Horror has gone too mainstream.

RETURN OF THE LIVING DEAD 3 is broadcast on Saturday Nov 2, 10.40pm.

 

Q: Did you know from a young age that you wanted to work in the movie industry?

 

BY: No, I didn’t.  Like most kids, I loved movies; and I saw some scary ones at a young age that really disturbed me.  That gave me an interest in horror for the rest of my life.  But I never imagined that you could actually make a living making movies.  Back then there were no dvd extras and tv shows demonstrating how movies were made. While in high school I had fooled around with a friend’s 8 mm camera and we mostly shot special effects but it wasn’t until I saw Truffaut’s Day For Night that I had an idea of how a movie crew worked.  Many years later I was vacationing with my girl friend and we rode past a big encampment outside of Cartagena, Columbia and I recognized that it was a film shoot.   That evening we left our modest quarters and were eating at a restaurant on the beach when a couple of jeeps drove up with the rowdy actors etc from the shoot.  As they drank and ate and partied I realized that I was on vacation and they were on a job – but they were having more fun than I was.  That’s when I thought maybe making movies was a desirable job!  Cut to a few years later when I was working as an artist and had an art supply store.  I acquired a 16mm Bolex wind up camera and started making a short film – a short film full of fx that turned into a feature.  Although I never took a film class, I learned how to make a movie just by doing it with people who did know how.  The process fascinated me – it was exciting and satisfying.  The movie I made was pretty bad, but I was hooked.  I moved to Los Angeles to make movies.

 

Q: How did the Return Of The Living Dead III project come together?

 

BY: Joel Castelberg and Danica Minor contacted me about directing Return 3 – they said they had the rights and thought that I would be a good collaborator.  I was thrilled because I loved both Return of the Living Dead as well as Night of the Living Dead.  In order to set it apart from the plethora of zombie movies that had been made (even back then!) I decided that a zombie should be the main character.  They found a company to finance it and we began listening to pitches from potential screenwriters.  However, when the time came to formalize a deal it turns out that Joel and Danica’s agent was wrong about the rights being in their control – so it all fell apart.  Soon after I mentioned this to Mark Amin, the ceo of Trimark Pictures, and somehow he acquired the rights and offered me the job of directing and producing.  Again, the process of interviewing writers began, but this time it was Trimark who lined them up.  When I met John Penney and heard his pitch, I was immediately sold.  He was the guy.

 

Q: What did you think of the script the first time you read it?

 

BY: There never was a first time that I read the script.  John had a ‘pitch’, which was a basic ‘take’ on the movie.  His idea had to do with kids on the run, kind of a Romeo and Juliet, in a world in which the military is experimenting with the living dead as weapons.  I don’t remember exactly the details, but my obsession with having the main character be a zombie fit right into that.  The next step was for John to write a ‘treatment’ to base the screenplay on.  John and I brainstormed the ideas and John organized them into characters and a story.  Then the Trimark development folks would review it.  By the time we got to the screenplay John and I were collaborating very effectively.  John was seamlessly able to satisfy his storytelling ideas as well as mine – and Trimark’s as well.  In fact, for the only time in my moviemaking experience, I had the screenwriter (and co-producer) on the set with me throughout the shoot.  During pre-production John Penney was there to rewrite the script according to the cast, the locations that we found and the ideas that came up with the storyboard artists and fx artists.  So during the filming we were literally shooting the script.

 

Q: Was it a difficult movie to cast?

 

BY: It wasn’t a difficult movie to cast because of the support of Trimark.  I feel like they were able to access excellent options for each of the roles.  They were very involved with the casting and fortunately we seemed to be very much on the same page as them regarding the casting ideas.  Trimark had strong ideas about the casting, but never did I feel like I was obliged to accept an actor that wasn’t my choice.  They really were good to work with.  The biggest role of course was Julie – and we were all pretty blown away by Mindy Clarke.  But Trimark was most helpful, I think, with the secondary roles for which they brought in really quality talent.  It is really great that the cast, in my opinion, is uniformly good.

 

Q: How much of the budget went on special effects?

 

BY: Not that much – but working with my producing partner Gary Schmoeller (to whom is due a great deal of the credit for the success of the movie) we used an approach for producing the effects that had worked well for us in the past.  Typically fx horror films of that era would hire one fx company to produce all of the fx – the theory being that by giving them all of the fx budget they would be able to dedicate more of there time to your production.  Our approach was the opposite – with limited funds it is better to break the fx down into categories and hire various companies with different strengths.  This meant hiring an fx supervisor (Tom Rainone in this case) to find the appropriate fx artists, make the deals and supervise the work.  Paying a top fx artist for a key fx makes sense – paying the same artist to create background zombies may not be cost effective – a newer fx company might put extra effort into the effect in order to show there stuff.  Some fx artists are experts in prosthetics and others in mechanical devices.  We tried to get the most bang out of our fx budget.

 

Q: Was it a difficult shoot?

 

BY: It was a difficult shoot in that we were trying to make a bigger and better movie than we were budgeted for (we always aim higher than our budget).  But the shoot was so well organized (kudos again to Gary Schmoeller), and Trimark were so supportive, and our Director of Photography (Gerry Lively) was so tirelessly resourceful that everything went more or less according to plan.  It was very hard, exhausting work – but the whole crew seemed to be pulling in the same direction, so I really would not categorize it as a ‘difficult’ shoot.

 

Q: Why do you think the film has built up such a loyal following?

 

BY: Because it is a really good zombie movie.  I say that as someone who has made a lot of horror movies that I wouldn’t characterize as ‘really good’.  Return 3 has a good clear story and satisfying horror.  Mainly what sets it apart in my book is the love story at the center of it all.  I think it is very romantic, you really feel for Julie and sympathize with Curt’s determination to not let go of her.  I feel like it is a goth romance, a heavy metal tragedy, a young love in a corrupt world.  As a life long horror fan I think that Return 3 holds up as an example of good ‘90s horror.

 

Q: Horror Channel has also shown films from The Dentist and Re-Animator series of movies, do you think its times these characters came back?

 

BY: Yes, I do.  Corbin Bernson has tried to get the rights to do a third Dentist – he loves playing that character.  And it would be good see Jeffrey Combs get out the re-animating syringe one more time.  And I have been asked many times about a Re-Animator re-boot.  Problem is, as always, financing.  The business has changed considerably due to the digital revolution.  There just aren’t many Trimarks out there any more. 

 

Q: Have you ever been tempted to make a follow up to your astonishingly original shocker, Society?

 

BY: I am actively working on it.  Once again it is all about the financing.  My idea for a sequel is to have it take place in these super exclusive late night clubs that they have in Hollywood.  Once you get in there is always a VIP room or a VVIP room that is off limits…

 

Q: What state do you think the horror movie industry is in at the moment? A victim of its own success, perhaps? 

 

BY: Horror has become so mainstream that it seems to have mostly lost that transgressive creativity that used to make it so exhilarating. Now that Zombie movies have hit the mainstream (the modern equivalent of the ‘Western’?) they have mostly lost the element of the macabre, the disturbing sense of dead things coming wrongly to life, and are now mainly action films about disease and overpopulation.  Vampires are more romantic than horrific.  And extreme violence is the norm almost as an end in itself.  I think that we are at the end of a cycle and that a new kind of horror will grow out of the new production and distribution digital technologies.  We seem to have reached the limit of what the screenplay structure formulas (popularized especially by Syd Field) of the last decades can give us.  Whereas these ideas began as a way to identify the structure of successful movies and learn from them, they have inevitably led to a be treated as a set of rules to follow, rules that can lead to a sameness in screenplay structure that makes you feel like you know what is coming in a film from the early scenes.  The horror genre has a relatively rigorous structure and it may be time for new filmmakers to develop it into more effective directions.  One of the most interesting horror films for me recently was Cabin in the Woods.  It wasn’t very scary, but the way it deconstructed the horror tropes made me think that after that you just cannot make a teenagers in the woods movie again.  The times dictate our fears, and these times are definitely very different from the last few decades.  I am waiting for the new classics to emerge – horror with the effectiveness and artistry of Rosemary’s Baby, The Omen, The Exorcist, The Shining – and the devastating impact of Night of the Living Dead and Texas Chainsaw Massacre.

 

Q: You’re a multi talented person but are you happiest directing, producing or writing?

 

BY: I am happiest when I am giving form to something I have imagined.  It is the most exhilarating to direct – but if the director is doing stuff that surprises and delights you it is fantastic to produce.  Writing is the fun of brainstorming the original ideas.  When you produce you can stay with the movie for a long time after everyone else is gone. And with producing you can get so many more movies made.  I love collaborating and am happy to take whatever role is available as long as I feel like I am a real member of the creative and organizational team.

 

Q: So what projects are you working on at the moment?

 

I am working on the sequels we mentioned above – but also have very interesting multi platform project with John Penney called The Pope.

 

Brian Yuzna, thank you very much.

 

 

TV: Sky 319 / Virgin 149 / Freesat 138

 www.horrorchannel.co.uk | twitter.com/horror_channel

QIPCO British Champions Day | Social Diary

Ant and Dec, Made in Chelsea stars, Binky Felstead, Ollie Locke and Spencer Matthews, Top Gear presenter Richard Hammond and Channel 4 star Katie Piper were all at Ascot today for QIPCO British Champions Day.

They joined Her Majesty the Queen, Princess Beatrice and Zara Philips together with socialites Bryan Ferry and his son Otis to watch wonderhorse Frankel maintain his unbeaten record by winning the QIPCO Champions Stakes, thereby securing his 14th straight victory.

Ant and Dec at QIPCO British Champions Day 20.10.12 (Patch Dolan)

Binky Felstead, Ollie Locke, Spencer Matthews at QIPCO British Champions Day (20.10.12)

Brian Ferry at QIPCO British Champions Day 20.10.12 (Racingfotos.com)

HRH Her Majesty the Queen and Zara Phillips at QIPCO British Champions Day 20.10.12 (Patch Dolan)

HRH Princess Beatrice at QIPCO British Champions Day 20.10.12 (Patch Dolan)

Katie Piper at QIPCO British Champions Day 20.10.12 (Racingfotos.com)

Otis Ferry at QIPCO British Champions Day 20.10.12 (Patch Dolan)

Richard Hammond at QIPCO British Champions Day 20.10.12 (Patch Dolan)

Ant and Dec (Photographer Patch Dolan)

Her Majesty the Queen and Zara Philips (Patch Dolan)

HRH Princess Beatrice (Patch Dolan)

Otis Ferry (Patch Dolan)

Bryan Ferry (Racingfotos.com)

Richard Hammond (Patch Dolan)

Katie Piper (Racingfotos.com)

Binkie Felstead, Ollie Locke, Spencer Matthews (uncredited)

Below photos from Stuart Wilson, Getty Images for Ascot

The Queen, Beatrice

The Royal Family

Cheers, Chin Chin, Lechaim, Ganbei, Kai Wei, Sante: A Guide to Making a Toast

Cheers, Chin Chin, Lechaim, Ganbei, Kai Wei, Sante

Chivas Regal present the Gentleman’s Guide to Making a Toast

Toasting is an age old ritual which is practiced round the world to celebrate new friends and old friends, guests of honour, business colleagues as well as special moments. Depending on who you are with and where you are, how you raise your glass in tribute can vary considerably.

With this in mind the world’s most iconic luxury Scotch whisky, Chivas Regal, has created the ultimate Gentleman’s Guide to Making a Toast.

With endless overlapping cross cultures it has never been more important for the true gent to be well versed in how to conduct themselves with chivalry in foreign lands – you never know who you might end up insulting!

The Gentleman’s Guide to Making a Toast is part of the Chivas Regal ‘Real Friends, Make Time’ campaign which highlights the importance of making time to spend with your friends.

Chivas lovers around the world can now raise a glass in confidence no matter what the situation – we hope you enjoy the guide.

The Chivas Regal Gentleman’s Guide to Making a Toast

Toasting is a ritual respected around the world. Harking back to days of old it is how
we celebrate new friends and old friends, guests of honour, the bride and groom,
business colleagues as well as special moments.

You can muddle through on a raised glass and a cry of ‘cheers’, ‘chin chin’ or ‘good
health’ on many a shore but the true well-travelled modern gent will be prepared to
say ‘lechaim’, ‘salud’ and ‘sante’ where appropriate.

With this in mind, Chivas Regal brings you the Gentleman’s Guide to Making a
Toast. With a history spanning over 200 years, Chivas Regal has been toasted with in
more than 150 countries. Along the way we’ve picked up some useful information
that will help get you into the spirit and get you toasting like a local no matter where
in the world you might find yourself.

China

Coming together over a drink has always been at the heart of Chinese culture, but the
blast of economic growth is accelerating this to new levels. At clubs and bars in the
big cities you’ll see a bottle of whisky or vodka in the middle of the table for guests to
share. At a big meal you might find three glasses on your table – a glass for your drink
of choice, a wine glass, and a shot glass. A few notes of caution when in China: not
finishing your glass may be seen as disrespectful and the local spirit ‘er gua toe’ can
bring down a dragon – we would suggest sticking with Chivas.

The Chinese toasting ritual may be casual but whether in a social or business setting,
it is deeply associated with friendship, trust and respect and a simple ‘cheers’ is
seriously frowned upon. The host will make the first toast – probably ‘ganbei’
[‘bottoms up!’] or ‘kai wei’ [‘starting the appetite!’]. Touching the other person’s glass
below the rim is a sign of respect. If you are drinking shots, turn your glass over to
show it’s empty.

Russia

Many travelers believe the Russian toast is ‘Na Zdorov’ye’ but they would be wrong
unless they are having dinner. In fact Russians as a rule enjoy making up long and
complex toasts such as ‘Za druzhbu myezhdu narodami!’ (To friendship between
nations!). However, if you aren’t well versed in Russian and want to be on the safe
side, go with a simple ‘Za Vas!’ (To you!).

In Russia toasts are made with spirits and empty glasses are always refilled. Expect
frequent toasting throughout the meal. If the toaster stands, everybody must stand.
Be sure to make eye contact with each person you clink glasses with, finish in one
swallow and place your glass down on the table. The host or the senior guest usually
kicks off the proceedings and if someone toasts you, you must toast them back; it is
the height of rudeness not to do so.

France, Germany, Italy

Across France, Germany and Italy there are many quirky local twists – and words –
but the acceptable way to toast is to make eye contact as you touch everyone’s glass at
the table. Not looking into the eyes is not only ‘bad luck’ but – to a greater or lesser
degree – in France and Germany it threatens disaster for amorous pursuits! In Italy,
this is taken to extremes – you’ll genuinely have to meet everyone’s eyes.

While you are holding that ever important eye contact prepare to toast ‘a votre sante’,
‘sante’ or ‘tchin’ in France, ‘ZumWohl!’ or ‘Prost!’ (‘good health’) in Germany and
‘Salute’ (health) in Italy – although ‘Cin Cin!’ (onomatopoeia of the sound of clinking
of glasses) will also work.

Spain, South America and Mexico

Young Spanish speaking South Americans have a curious toast that’s most often
heard if you’re enjoying a night out in a large group. You’ll hear “arriba, abajo, al
centro, al dentro!!” and see some matching movements with the glass: ‘up (raising
glass), down (lowering glass), in the center (putting glasses together), inside
(drinking!). There’s also the more generally used ‘salud’ – appropriate if you’re a
guest, to make a toast of thanks to your host. The modern gentleman is always polite,
if your host has made you feel like you’re one of the family, there is no greater
compliment possible. ‘Salud’ is also often used as part of a more personalised toast
such as; ‘un salud por la familia’ (cheers to family) or ‘un salud por la amistad’
(cheers to friendship).

Scandinavia

The Scandinavians have a rather bloodthirsty cheer – ‘Skol!’. According to folklore it
is derived from a legend that Vikings drank from the skulls of their enemies. So when
in Scandinavia drink, then nod and be thankful they’re no longer Vikings.
What do to if you forget the local toast

The modern gentleman is well versed in international etiquette, so that no matter
where they are in the world they can present themselves with the same confidence as
they would at home. But if your toasting know-how fails you at the crucial moment,
here are some tips from Max Warner, Chivas Regal Global Ambassador and toasting
expert:

“On my journeys with Chivas, I’ve observed many different ways of raising a glass
and though it is important where possible to respect local traditions there are a few
good rules of thumb which I’ve picked up that can get you by if you’re not versed on
how the locals do it.

-Try and judge the situation and formality of the occasion as toasts not only differ
around the world but from venue and situation as well
-Where appropriate stand to make a toast
-Always raise your glass, face the host first and make eye contact with your
audience
-Where possible clink the glass of each guest before taking a sip. For those not
drinking, raise a glass to the group as a sign of respect.
-Keep your toast short and non-specific but acknowledge the host and bring in a
personal touch by highlighting your relation to the person or group.”

A little bit of history

Why is toasting recognised wherever alcohol is drunk? It depends. In Chinese
traditions, toasting began with libations to the gods. In Europe, on the other hand, it
was a good way to stop your host poisoning you. Ancient Greeks and Romans – then
the British in the Middle Ages – shared their drink from a flask or a cup as a matter
of trust. If the host raised his cup and drank first, his guests knew they were safe.
Why is it called a toast? Because wine used to be so acidic a piece of burnt bread was
added – the charcoal neutralised the acid. The final sip went to the host, who ate the
bread. In medieval courts, the ‘loving cup’ would be passed around, in memory of the
first recorded formal toast in Western history – when Rowena, daughter of the Saxon
leader Hengist, cried ‘waes hael’ (be of health) to King Vortigen and they shared a
cup – leading to them sharing a kingdom as man and wife.

Zac Goldsmith, John Bird and Sir Trevor McDonald do a “Dragon’s Den”.

Zac Goldsmith with Frost Magazine editor Catherine Balavage

Zac Goldsmith MP joins Big Issue John Bird and newsreader Sir Trevor McDonald to judge a Dragon’s Den style contest to boost social enterprise in South-West London.

The winner of the competition will be awarded £10,000 by the panel for their business. Almost 100 people have already joined “Richmond’s Den”, which has been set up to find start-up firms that can contribute to society.

Vintage Seekers First Birthday Party {Social Diary}

Frost joined Vintage Seekers at the RIBA institute on London’s Portland Place to celebrate their first birthday party, alongside shoe designer and vintage muse Charlotte Dellal, Bip Ling, Gemma Cairney, Cara Delivgne, Savile Row tailor Patrick Grant, and Henry Conway.

 



Vintage Seekers
sources premium vintage goods from wine to watches and everything in between. The beautiful and historic artifacts on show – and for sale- included beautiful Dior dresses, a picture of Apollo 11 signed by all of the astronauts, a flag signed by Che Guevara and Fidel Castro, classic cars- I loved a beautiful Citroen parked outside- and an Andy Warhol ‘Mao’ screen print.

They do these on their amazing website, and they also have a magazine. I also loved seeing Steve McQueen’s sunglasses. The crowd of collectors, press and celebrities were joined by Vintage Seeker’s two valued investors, luxury retail expert Jurek Piasecki (his experience include being CEO of Mappin & Webb and Goldsmith jewellers) and e-commerce guru Guy Hipwell, the former managing director of Liberty online. Co-founder and director Rob Keylock gave a brilliant speech and seemed happily overwhelmed at how well the night was going.

We drank Champagne and enjoyed Hendricks Gin. The evening finished off with Port and Whitfield cheese. It just may have been the party of the year.

 

Self service checkouts mean the end of the world {Carl Packman}

You may have met a manager like this before:

They don’t wear ties because they had a boss once who wore a tie, and he ran himself to the ground, things are easier now, so much so that his (or her) top three shirt buttons are undone, and (s)he’s leaning on the radiator while addressing your team – where you’re all key players.

They are realistic about the working day, having read somewhere, in a Zen capitalist rag, that if a team member (not worker, not staffer, not peasant) relaxes, listens to their personal music player perhaps, then more will get done in the long term, way more than a frazzled brain taking 9-5 too literally.

Want to wear shorts on a hot day? You got it! Want to drink coca cola between tasks, laughing and talking about big brother while the managing director is behind you doing the same? They’ll join you! Want to go for a beer after work, no can do, they’re off to Nobu with their buddies.

This isn’t capitalism, baby. This is capital 2.0 – but it’s virtually the same thing, and it amounts to smoke and mirrors.

Changes the working day doesn’t it! Well, it’s all for nothing!!!

Consider what Roy Mayall, the pseudonym for the postal worker/blogger and occasional comment is free writer, has said about his line of work, on the subject of new Royal Mail investment in multimillion-pound walk-sequencing machines “as part of their new modernisation and investment programme”:

What the new machines have done is to take away the last element of skill from our job. There’s no memory involved any more. We pull out a letter, and we stick it in a slot. We pull out the next letter and stick it into the same slot, depending on the address. Once all the letters from the first address are finished, we move on to the next address. We carry on and on like this until all the letters are sorted.

This does not necessarily speed up the process of throwing off the frame, as most postal workers know their frame so well they can sort it almost as fast without the walk-sequencing technology. Estimates are that it will save about six minutes a frame. Previously, it took about an hour and a half to throw off an entire frame, so six minutes doesn’t really make all that much difference. But what it does mean is that the Royal Mail can now use unskilled labour to do what was once a moderately skilled job.

The optimist may believe that Royal Mail is just buying into more efficient tools to save time in an ever-competitive world, particularly in their industry. But anyone can see, by what Roy Mayall describes, that this new programme has given licence to invest a lump sum into machinery that will undercut skilled work in that industry, saving money in the long term on wages and paying for unskilled workers where skilled ones were needed previously, reducing the need for employment overall.

People tend not to think of this in economic debates, but the supermarket self-service checkout; this machine allows sometimes up to 12 machines to be manned by one person. That is 11 jobs undercut in one shop alone. If a shift is on average eight hours, and the shop is open 24 hours a day, that is 33 less people needed to be employed on minimum wage for the single purchase of 12 machines.

Consider this by regional and then national figures – that’s many jobs, and a lot of money saved.

I could make examples ad nauseum, but I have designated these to show that for all the supposed change in managerial and organisational ethos, across all sectors, the main problem still remains – and always was – in the logic of capital itself, which at its heart sacrifices staff for illusory appeals to efficiency.

by Carl Packman

You can read more of Carl’s thoughts and articles on his blog Raincoat Optimism.