EURO BUS EXPO’s Post

This week The NEC, Birmingham has hosted EURO BUS EXPO 2024 - The leading event for all things #bus, #coach and #transport innovation 💡 This sector-leading trade show provides a useful platform to showcase the latest sustainable vehicles, cutting-edge equipment and passenger experience enhancements. As an #AssetFinance specialist, we’re attending the show today and will be on hand if you’d like to learn more about funding solutions for fleet upgrades, tech investments and growth opportunities. If you happen to spot the KeySME Business Finance team, don't be shy, pop over and say hello! 👋 #BusinessFinance #AssetFinance #InvoiceFinance #TradeFinance #SME #EuroBusExpo #FleetFinance #UnlockYourPotential

So, this is engagement number 2 next week. I shall be talking about the challenges and success of working, or attempting to work to the Theatre Green book targets. 🌞This will be a mix of short talks and a Q&A session with myself and fellow pms, designers and backstage folk. #theatre #sustainability #collaboration

📢 NEXT SESSION: Leigh Foster, Retexturing Specification Manager, WJ, will be speaking at 14:50 about highway retexturing, the low carbon option at the #RoadExpo Theatre. #Decarbonisation

Danny Boyle's upcoming film, 28 Years Later, employs innovative filmmaking techniques, features notable cast members, and has generated significant buzz regarding its production choices and narrative elements. Here's a comprehensive overview: Filming Equipment and Techniques In a groundbreaking move, 28 Years Later was primarily shot using the iPhone 15 Pro Max. This decision aligns with Boyle's history of embracing unconventional methods to achieve a distinct visual style. The production utilized advanced camera rigs that integrated the iPhone 15 Pro Max with professional-grade Panavision cinema lenses, enhancing the smartphone's filming capabilities. This approach mirrors the innovative techniques employed in the original 28 Days Later, which was shot using Canon XL-1 digital cameras to create a gritty, realistic aesthetic. Budget and Return on Investment The production budget for 28 Years Later is reported to be $75 million. While it's premature to determine the film's return on investment (ROI) prior to its release, Boyle's previous works have demonstrated significant financial success. Notably, Slumdog Millionaire (2008), produced on a modest budget of $15 million, grossed over $378 million worldwide, yielding a substantial ROI and earning multiple Academy Awards. Cillian Murphy's Involvement and Rumors Speculation has arisen regarding Cillian Murphy's role in 28 Years Later, particularly concerning his character, Jim, from the original film. The official trailer has led fans to believe they spotted Murphy portraying an emaciated zombie, though his involvement hasn't been explicitly confirmed in promotional materials. Sony Motion Pictures Group chairman Tom Rothman hinted at Murphy's participation in a "surprising way," fueling discussions about his potential return in an unexpected capacity. Comparison to Other Cinematic Achievements The decision to film 28 Years Later using iPhones represents a significant advancement in digital filmmaking, comparable to previous milestones: The Blair Witch Project (1999): Produced on a $60,000 budget, it grossed nearly $250 million worldwide, showcasing the potential of low-budget films to achieve massive success. Paranormal Activity (2007): With a production budget of $15,000, it earned over $193 million globally, further exemplifying the profitability of found-footage horror films. El Mariachi (1992): Directed by Robert Rodriguez on a $7,000 budget, it grossed over $2 million and demonstrated the viability of low-budget independent filmmaking. 28 Years Later's use of smartphone technology in a high-budget production could be seen as a pioneering effort, potentially influencing future filmmaking practices by demonstrating that mainstream films can be produced with accessible technology without compromising quality.

🌍🎭 "Europe as a Beautiful Mess" – An Interview with Heidi Wiley 🎭🌍 For 15 years, Heidi Wiley has led the European Theatre Convention, the largest network of publicly funded theatres in Europe. In this thorough conversation, she discusses the role of theatre in today’s polycrisis world, the fight for artistic freedom, and why collaboration across borders is more important than ever. 📰 Read more about the challenges and future of European theatre here: https://lnkd.in/df6-9e7y

Learn more about Serendipity Out and About which takes contemporary theatre away from the formal stage into intimate heritage spaces: https://lnkd.in/dxRx7raG

Lets have a productive discussion

Here’s the link to sign up for our #ActGreen 3 webinar. The biggest and most comprehensive view yet of audience views on sustainability in cultural organisations.

National Arts Theatre, the DEN of creative performances in the heart of Lagos. I went there with family as a child. I have seen Olu Jacobs, Joke Silva, RMD, Oga Bello, Aluwe, Baba Sala and many actors on stage. There were musical and cultural performances as well, King Sunny Ade, Lijadu sisters and others representing different genre of music and tribes in Nigeria 🇳🇬. Performer's Rights are hardly discussed in Nigeria 🇳🇬. Most discussion focus on Copyright with little or nothing on related or neighbouring rights. Expressions of Folklore and Performances are regarded as related or neighbouring rights. World Intellectual Property Organisation (WIPO) defines: 'Related rights, also referred to as neighboring rights, protect the legal interests of certain persons and legal entities that contribute to making works available to the public or that produce subject matter which, while not qualifying as works under the copyright systems of all countries, contains sufficient creativity or technical and organizational skill to justify recognition of a copyright-like property right. The law of related rights deems that the productions that result from the activities of such persons and entities merit legal protection as they are related to the protection of works of authorship under copyright. Some laws make clear, however, that the exercise of related rights should leave intact, and in no way affect, the protection of copyright.' So related rights is an extention of copyright but not copyright. It is a place for performers to seek protection. The Copyright Act of Nigeria 🇳🇬 2022 has provisions on performance. LIVE PERFORMANCE. The next assignment will be on performance and it is dedicated to a friend that recently passed on. A huge loss to academia.

I could talk underwater about the importance of the youth arts sector; its vibrant legacy made up of highly-skilled arts workers dedicated to collaborating alongside young people. Youth arts companies are the foundation of our arts community, holding the wellbeing of young people at its core, and committed to developing emerging artists as our future creative leaders. Everyday I see first hand the positive effects an engagement with theatre has on young people, the contributions we make to our arts sector, and the social impact on our wider community. Despite the significant benefits youth arts creates, there is entrenched disparity in arts funding and support, causing youth companies like ours to be deprioritised, and the artistic quality of our work overlooked. The fact we survive is a testament to our collective passion, resilience and resourcefulness. But things need to change if we are to be sustainable, and thrive.