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In May of last year Economist magazine proclaimed that oil was no longer the world’s most valuable resource. The black gold so instrumental to the advances of the 20th Century had given way to data, a digital commodity they predicted would help fuel future economic growth. If the recent kerfuffle over Cambridge Analytica exploiting Facebook data for political campaigns is any indication, the Economist was absolutely correct.
Despite it’s growing importance, the film industry has always been slightly behind the curve when it comes to exploiting or even collecting consumer data. Sure, Hollywood studios and large distributors have been slicing and dicing the demographics of those attending their films for some time now, but only the largest exhibition chains had the resources to exploit or collect customer data.
Over the past five years however even small circuits have launched loyalty programs from which they can track customer habits or at the very least work with web ticketing companies who give them minimal sets of data. That point of sale systems have advanced to a degree where they can capture granular details about moviegoers has also raised the awareness and importance of customer data. Even mobile apps are able to collect user data that can be helpful to cinema operators looking to find new ways to reach their customers.
All of this has led to countless panel discussions and keynote addresses at trade shows and industry conferences in recent years imploring exhibitors to get into the data game. More often than not, headlining such events is Sarah Lewthwaite. As the Managing Director & Senior Vice President, EMEA of Movio there are few more qualified to talk about how data can be used to impact the motion picture business. For the past four years Lewthwaite has been helping studios get a hand one who exactly is watching their movies and working with cinema operators to implement data driven marketing strategies.
Lewthwaite will be quick to tell you that last point is incredibly important. While many exhibitors have been collecting as much data as possible over the past several years, they have been doing so without any real plan or idea how it can properly be used to increase revenue at their theatres.
A month before this year’s CinemaCon, we spoke with Lewthwaite to get her take on how data was reshaping the industry and what we cold expect to hear about it at this year’s show. The New York Times had just broken the Cambridge Analytica story and it was three weeks before Facebook CEO would testify before the United States Congress. Since then much of what she said during our conversation about the value and usage of data has become part of a wider public discourse on the topic.
As Europe gets ready to rollout the General Data Protection Regulation (GDPR) in May, we think you’ll find our discussion with Lewthwaite informative. The following interview has been edited solely for length.
Where does one even begin the discussion about data in the movie industry? I guess we could start with how have things changed since you’ve been at Movio?
I think, as an industry, we had been a bit behind others in terms of factoring data into any of our strategies. But I think we’ve certainly, in the last five years, caught up quite a bit and the talk is no longer about why do I need a strategy or what do I do, to more about how do I use the data I’ve got effectively and how do I use this as a competitive advantage, and how do I use it to improve that customer relationship and foster strong loyalty. Certainly the conversation has changed which is fantastic to see. Interestingly enough, in the last few months there has been this surge of interest in where data is going which I think has largely been fueled on a few of the things coming out of the U.S. around MoviePass and that monetization around customer data, those types of things we are seeing across the pond have certainly woken a lot of cinemas up to realizing they are sitting on a very valuable asset and they have to look at really finding some smart ways of using it and not just focus on amassing data, but looking at the quality of the data they have and honing in on how they can leverage it to improve their business. That’s definitely where the conversation has shifted to which for me is quite exciting because I feel it makes the jobs for companies like Movio a lot easier. We’re no longer trying to convince people why it’s important. It’s more about how do you develop the right strategy and find the right partners to make yourself successful?
Was there a tipping point? Something that actually helped propel exhibitors thinking about data? Maybe something on a technological level?
I would say that loyalty programs have been around for quite some time, and online ticketing has been continuing to grow as well. By embracing those kind of retail strategies we’ve realized we’ve got this data. Now some very forward thinking cinema chains very early on saw that as a data play, but I think a lot of people were kind of backed into realizing “Wow, this is actually a data play,” when at the time they were looking at how to improve the customer experience or how they would gain market share through something like a subscription scheme. I don’t think many of them were going out and saying this is all about data.
I would say a big catalyst of the conversations around data these last few years has been competitors like Netflix and people asking “Why is Netflix so successful?” and everyone talking about this algorithm, this mysterious algorithm which is suddenly predicting what people are interested in watching and how that’s so cool. This idea that Netflix is creating content and programming based on data combined with the fact that we’re sitting on all this data, have started to wake people up to the fact that we have what we need to maybe transform how we’re doing things as an industry, now we just have to figure out how to use it. The recent events, when you have someone like a MoviePass or an Atom Tickets coming in and disrupting a traditional way of thinking and saying not only are we coming out with a new value proposition for consumers, but we’re after the data, we’re clearly shouting about the value the data is going to have for us, I think that has been another market force that has pushed our industry to suddenly amplify, or surge ahead with our efforts of actually trying to figure out how to make the most of what we have ourselves.
I think the data the cinema chains are sitting on is quite valuable. It is an asset. It’s just like bricks and mortar are an asset to them. Their data is probably the biggest asset they have right now. They should value it. They should prize it and they should figure out how to leverage it. It’s that combination of there is technology that has advanced certainly with the digital connection that cinemas are forming with consumers and then there’s competitors and market forces that have emerged that have caused people to realize they now need to do something with it.
How could data be more valuable than hard assets? Can you talk about how you go about equating a hard asset with data, which is an intangible asset?
I don’t think it’s black and white. I’m not implying that the only value in data as an asset is the fact that you can monetize it or sell it. I think data as an asset can help these other strategies, can help what you just described as an investment in reclining seats. An example would be how do you use the data you have to better understand your consumers so you can tailer and improve the physical experience for them. Maybe when you’re designing your new cinemas you’re actually using the insight you have on your consumers to design them differently. From the amenities you put in the cinemas themselves to where you put your cinemas. How are you using data early on in your business strategy all the way through to… you’ve overhauled your auditorium with new amenities and new seats, how are you using that knowledge of your customers to fill those seats, to make sure they know about your new experience, to make sure you’re bringing out people more frequently, or who maybe have lost touch with you as a cinema and haven’t been in a while and reintroduce them to the experiences you’re offering? For me data has to interweave with everything you’re doing as an operation. It has to be embraced with every facet of the cinema organization. I think part of the challenge has been breaking out of the marketing silo to use data across the enterprise. The most leading edge cinemas are doing that. And that’s where you’re going to see the difference and the impact that a great data strategy could make in my opinion. So I think that’s how you have to look at it as an asset. It’s not just, you know, the CEO of MoviePass saying there is a dollar value to your data, certainly there is, but there is a value far beyond that which cinemas should be leveraging.
So much of what me and my team have been talking about lately is how do companies like ours and even the customer data our clients have start to help those future generations discover the magic of cinema and make sure it’s not lost. A key part in ensuring that happens is going to be that customer relationship you’re fostering through the data you have on your customers. That’s where I see it as a very valuable asset.
Not to get too political, but I would imagine over the last week or so people realized, at least in the United States, there really is something to this whole data thing. Just ask Facebook. This naturally begs the question of GDPR. Is this something exhibitors are concerned about? Are you concerned about this new regulation?
It’s so naturally connected to the point we were talking about data as an asset. So many times lately I have heard and read, who owns the customer relationship? Is it the cinema? Is it the credit card company? Is it MoviePass? Who owns it? There’s this big debate. When really the customer realizes they own their own data. They’re in control and they’re becoming increasingly savvy of that, particularly in Europe. So you have GDPR coming on May 25th and I think consumer awareness of the fact that they have a bit more control and rights related to their data is coming to the forefront with GDPR, combined with the Cambridge Analytica / Facebook situation. Consumer awareness is certainly high. However I see this personally as a great opportunity for cinemas to strengthen their relationship with consumers and to build trust. Because we’re talking about moviegoer data. We’re not talking about political data. We’re not talking about healthcare date.
If cinemas can see this as an opportunity to be very transparent and honest about how they want to continue to have a relationship with their customers, if they use this as an opportunity to get more granular and understanding the preferences of their customers – because one of the key pillars of GDPR is that you need to have very clear consent from consumers about what they are agreeing to be communicated about – so if you can use that as an opportunity to get more insight, get more ideas of what they want to hear from you on, their preferences, I think that’s a great opportunity for marketers to build a stronger loyalty because you’re going to have people who are really engaged with you because they have to explicitly consent to have a relationship with you, to hear from you and you’re going to have a quality data set. It will no longer be about quantity of data. You’re going to have a quality dataset of customers who want to build a relationship with you. I don’t necessarily see it as a negative, I see it as an opportunity for cinemas to relook at their data strategy overall and make sure they’re building it on the right foundation of transparency and trust.
How is Movio helping exhibitors and distributors deal with rolling out GDPR?
Certainly data is our forte. For us how do we help our clients in Europe understand the implications of GDPR to their business and also give them confidence that we are the right supplier to help them be compliant. Our role is as a data processor. Under GDPR cinemas are the data controller, they’re the ones that are responsible for that direct relationship with the customers and for the transparency around how they are going to use data on their customers. For suppliers such as Movio, our role is making sure we are processing that data in a secured fashion that’s compliant with what our clients, the cinema chains, have instructed us to do. We need to give them the confidence and the trust in Movio’s systems and that’s indeed happening. We have also brought on a new security engineer to our team in London who is focused on security. So we’ve definitely got everything in place. I’m really proud of what we’ve got in place considering we’re still a few months away. Now it’s just a matter of making sure our cinemas are along for the journey and helping guide them. Certainly we can’t give them any legal advice, but we can give them the confidence and the insight that we have on our own systems to make them feel reassured they are able to conduct business as usual after GDPR.
It just goes to show you how fast everything is changing around data. We’ve somewhat address the collection of the data from cinema patrons, but has the usage of the data changed since you’ve been with Movio?
I would say it’s now not just about exhibition, but distribution as well. I think people are looking beyond traditional demographic targeting, whch when I came into this role was still the tride and true method, was looking at the customer’s demographic and trying recommend a film for them that way. We see it in how film studios even do a lot of the marketing around four quadrants; male, female over/under 25. I would say what’s happened now is the targeting our cinemas are looking to do is a lot more sophisticated and they’re seeing that there’s weak links between demographics and movie consumption in place of someone’s past behavior and movie consumption. They’re looking at how to do behavioral targeting a lot more.
The most forward looking exhibitors are taking it one step further and looking at propensity and looking at, regardless of what films are playing that week, how they can use the likelihood of someone seeing that film to tailor their marketing accordingly. Our belief is there is a right movie for every moviegoer at any time. If we can start using data and using propensity modeling and some of the machine learning that is now available to help find that right movie for the right moviegoer at any given time, we can start hopefully filling more seats because we’re promoting more diverse content and not just promoting the top key release every Friday. We can start optimizing programming a lot further. So I think we’ve gone from demographics to behavioral targeting and now we’re moving really far forward into looking at algorithms and fueling propensity models and really sophisticated targeting based on someone’s likelihood to see a movie.
Machine learning has become such a buzz word. It’s essentially artificial intelligence. How does AI or machine learning help an exhibitor? Is it with ticket pricing?
We haven’t seen applications on ticket pricing yet on our side. Certainly I think the more we can understand about someone’s likelihood to see a film and perhaps when they will see a film in its lifecycle, that could potentially inform strategies like pricing or screen optimization. The industry is still very focused on an opening weekend’s results, but with machine learning and propensity algorithms you can help predict a film’s performance over time and the likelihood of someone seeing the film in its opening weekend versus maybe week two. What we’re seeing in the data is the audience evolves. The profile of the audience for Black Panther on opening weekend looks different in week two and week three. If you could start tailoring your marketing for a moviegoer based on their likelihood to see a film and when they’re likely to see that film we can hopefully change the way a whole industry is looking at marketing strategies and release strategies and begin filling more seats. We have our own proprietary propensity algorithm that was recently launched. It does allow film marketers to determine the likelihood of a moviegoer to see a particular film and on average we’re predicting the 10 to 15% of that audience that is most likely going to attend. The predications we’re doing are quite strong and we’re seeing huge box office uplift from that. It all goes back to how can we match that perfect film with the perfect moviegoer?
Can these algorithms, which can help market a film, as you’ve mentioned, also help determine which films actually get made?
I absolutely think so. I think the data on moviegoers themselves has the potential to transform all stages of film’s lifecycle and, to your point, at the very earliest stages when people are looking at scripts. The challenge has always been how do we bridge the gap between this data that exhibitors are in control of and what the studios then see. Because traditionally the studios don’t see a lot of what happens at the box office. They see numbers. They don’t see what the audience is. How do we bring that audience insight to the studios that’s going to benefit both sides of the industry. I do see that as a huge opportunity. Products like Movio Media, which has been running in the U.S. for three years, and was launched in the UK in February, how can we use products like that to bring the audience insight that distribution and film studios need in a positive way to help both sides of the industry? That is something that we’re focused on as a compan and we see ourselves playing a big role in that.
Are you getting any pushback from studios who think that the audience insight data actually belongs to them and they shouldn’t need to go through a third-party to get it?
I think that’s where companies like Movie can help. I think that the challenge has been that exhibitors, rightfully so, don’t want to hand over their data to the studios. We talked about data security and GDPR, so they can’t just hand over their data to the studios. So the question becomes what data do the studios really need and how can we remove the risk involved with sharing data. Where Movio sits in the middle, we basically take aggregated data for a territory, we anonymize it, we remove all personal data, aside from key demographics and someone’s movie watching behavior. So when a studio is able to look at the data they have no idea what cinema chain it’s attached to, because it’s aggregated by a territory, and they have no way of actually contacting a customer directly, they have no idea of a person’s name or email address. But if they want to know the audience profile for “Black Panther” in real time during the course of the release, they have that snapshot. The idea is we’re no longer reliant on someone sitting around a board room saying I think my film is going to perform like this because it’s like this other film that came out a few years ago. We now are actually using behavioral data and facts to inform a film studio’s strategy and because we’ve removed the risk of someone’s personal data and an exhibitor’s specific data being distributed, I think both sides of the industry can win. There is such good momentum around Movio Media in the U.S. that, as it’s rolling out, in other markets such the U.K. I only see similar success on the horizon.
Now that exhibitors have figured out data is important, they’ve hired staff to handle the data. There are now positions like data scientist at certain circuits. When such personnel gets hired on to an exhibitor you’re working with are you getting pushback from them? Are they upset that their company has signed a contract with Movio? How is it affecting your working relationship?
I dont’ see it as a problem. In fact I’m really happy when our cinema clients are building out their expertise on data. To me that’s a win/win. Because any time we see someone who really gets it come into an organization who understands the importance of data or has insight on a data strategy, it actually, in our case, strengthens the relationship we have with that cinema chain. Despite whatever expertise you have, the likelihood of you going and trying to build a system that’s bespoke to you is slim. You’d want to work with the best in class suppliers. I think very quickly when a new employee comes in to an organization, especially if they understand what they’re looking for in their strategy, they quickly see that Movio ticks all those boxes. We believe in what cinemas are doing and a lot of us are cinema professionals, coming from that sector. Our president Matthew Liebman comes out of cinema, myself, many members of our team come from the cinema space. I think that is what makes us distinct. So I’m not concerned when someone does come into the organization of that nature. In fact, I think it’s amazing and I think more cinemas should be considering roles like that in house.
What are some of the challenges you’re facing when approaching exhibitors? As well, what are the challenges you’re facing with those exhibitors you’re already working with?
It’s kind of one and the same. The challenge we have is cinemas who haven’t really thought through a strategy. They don’t really know what they should be doing with their data or they hear these buzz words in the media or they happen to subscribe to somethning from another retailer and feel they should be doing the same. So they latch onto these trends. A few years ago it was social media. All this talk around social media being the new future of direct marketing have not proven itself to be true. In fact the conversion rates to purchase tickets on social media are quite low. There’s always something out there that people are chasing as the shiny new thing. I think that is a risk, because if you don’t have a solid strategy to begin with and you just start chasing trends or buzz words, you’re not going to get the incremental gains you need by using your data effectively. That for me is often a challenge, that people get so hung up on the newest thing they often lose sight of what really does work.
With that in mind, what do you think people will be discussing at CinemaCon in regards to data? And… what should the conversation around data be focused on? Because what it should be focused on and what everyone is actually discussing might be two entirely different things.
I think it’s going to go back to one of my earliest comments about who owns the customer relationship. It’s going to be a debate over what a company like a MoviePass or a Netflix has versus cinemas versus who has the best database. It’s like an ego game. Who has the biggest database? Who has the best database? I think that’s going to be the conversation; my database is bigger than you’re database. I just have a feeling that’s kind of where it’s headed, which is the wrong conversation to have. I think the conversation has to be about what’s the quality of my data and how am I using it to improve the customer experience? That should be the conversation. I certainly hope it is.

lowercased:
in may of last year economist magazine proclaimed that oil was no longer the world’s most valuable resource. the black gold so instrumental to the advances of the 20th century had given way to data, a digital commodity they predicted would help fuel future economic growth. if the recent kerfuffle over cambridge analytica exploiting facebook data for political campaigns is any indication, the economist was absolutely correct.
despite it’s growing importance, the film industry has always been slightly behind the curve when it comes to exploiting or even collecting consumer data. sure, hollywood studios and large distributors have been slicing and dicing the demographics of those attending their films for some time now, but only the largest exhibition chains had the resources to exploit or collect customer data.
over the past five years however even small circuits have launched loyalty programs from which they can track customer habits or at the very least work with web ticketing companies who give them minimal sets of data. that point of sale systems have advanced to a degree where they can capture granular details about moviegoers has also raised the awareness and importance of customer data. even mobile apps are able to collect user data that can be helpful to cinema operators looking to find new ways to reach their customers.
all of this has led to countless panel discussions and keynote addresses at trade shows and industry conferences in recent years imploring exhibitors to get into the data game. more often than not, headlining such events is sarah lewthwaite. as the managing director & senior vice president, emea of movio there are few more qualified to talk about how data can be used to impact the motion picture business. for the past four years lewthwaite has been helping studios get a hand one who exactly is watching their movies and working with cinema operators to implement data driven marketing strategies.
lewthwaite will be quick to tell you that last point is incredibly important. while many exhibitors have been collecting as much data as possible over the past several years, they have been doing so without any real plan or idea how it can properly be used to increase revenue at their theatres.
a month before this year’s cinemacon, we spoke with lewthwaite to get her take on how data was reshaping the industry and what we cold expect to hear about it at this year’s show. the new york times had just broken the cambridge analytica story and it was three weeks before facebook ceo would testify before the united states congress. since then much of what she said during our conversation about the value and usage of data has become part of a wider public discourse on the topic.
as europe gets ready to rollout the general data protection regulation (gdpr) in may, we think you’ll find our discussion with lewthwaite informative. the following interview has been edited solely for length.
where does one even begin the discussion about data in the movie industry? i guess we could start with how have things changed since you’ve been at movio?
i think, as an industry, we had been a bit behind others in terms of factoring data into any of our strategies. but i think we’ve certainly, in the last five years, caught up quite a bit and the talk is no longer about why do i need a strategy or what do i do, to more about how do i use the data i’ve got effectively and how do i use this as a competitive advantage, and how do i use it to improve that customer relationship and foster strong loyalty. certainly the conversation has changed which is fantastic to see. interestingly enough, in the last few months there has been this surge of interest in where data is going which i think has largely been fueled on a few of the things coming out of the u.s. around moviepass and that monetization around customer data, those types of things we are seeing across the pond have certainly woken a lot of cinemas up to realizing they are sitting on a very valuable asset and they have to look at really finding some smart ways of using it and not just focus on amassing data, but looking at the quality of the data they have and honing in on how they can leverage it to improve their business. that’s definitely where the conversation has shifted to which for me is quite exciting because i feel it makes the jobs for companies like movio a lot easier. we’re no longer trying to convince people why it’s important. it’s more about how do you develop the right strategy and find the right partners to make yourself successful?
was there a tipping point? something that actually helped propel exhibitors thinking about data? maybe something on a technological level?
i would say that loyalty programs have been around for quite some time, and online ticketing has been continuing to grow as well. by embracing those kind of retail strategies we’ve realized we’ve got this data. now some very forward thinking cinema chains very early on saw that as a data play, but i think a lot of people were kind of backed into realizing “wow, this is actually a data play,” when at the time they were looking at how to improve the customer experience or how they would gain market share through something like a subscription scheme. i don’t think many of them were going out and saying this is all about data.
i would say a big catalyst of the conversations around data these last few years has been competitors like netflix and people asking “why is netflix so successful?” and everyone talking about this algorithm, this mysterious algorithm which is suddenly predicting what people are interested in watching and how that’s so cool. this idea that netflix is creating content and programming based on data combined with the fact that we’re sitting on all this data, have started to wake people up to the fact that we have what we need to maybe transform how we’re doing things as an industry, now we just have to figure out how to use it. the recent events, when you have someone like a moviepass or an atom tickets coming in and disrupting a traditional way of thinking and saying not only are we coming out with a new value proposition for consumers, but we’re after the data, we’re clearly shouting about the value the data is going to have for us, i think that has been another market force that has pushed our industry to suddenly amplify, or surge ahead with our efforts of actually trying to figure out how to make the most of what we have ourselves.
i think the data the cinema chains are sitting on is quite valuable. it is an asset. it’s just like bricks and mortar are an asset to them. their data is probably the biggest asset they have right now. they should value it. they should prize it and they should figure out how to leverage it. it’s that combination of there is technology that has advanced certainly with the digital connection that cinemas are forming with consumers and then there’s competitors and market forces that have emerged that have caused people to realize they now need to do something with it.
how could data be more valuable than hard assets? can you talk about how you go about equating a hard asset with data, which is an intangible asset?
i don’t think it’s black and white. i’m not implying that the only value in data as an asset is the fact that you can monetize it or sell it. i think data as an asset can help these other strategies, can help what you just described as an investment in reclining seats. an example would be how do you use the data you have to better understand your consumers so you can tailer and improve the physical experience for them. maybe when you’re designing your new cinemas you’re actually using the insight you have on your consumers to design them differently. from the amenities you put in the cinemas themselves to where you put your cinemas. how are you using data early on in your business strategy all the way through to… you’ve overhauled your auditorium with new amenities and new seats, how are you using that knowledge of your customers to fill those seats, to make sure they know about your new experience, to make sure you’re bringing out people more frequently, or who maybe have lost touch with you as a cinema and haven’t been in a while and reintroduce them to the experiences you’re offering? for me data has to interweave with everything you’re doing as an operation. it has to be embraced with every facet of the cinema organization. i think part of the challenge has been breaking out of the marketing silo to use data across the enterprise. the most leading edge cinemas are doing that. and that’s where you’re going to see the difference and the impact that a great data strategy could make in my opinion. so i think that’s how you have to look at it as an asset. it’s not just, you know, the ceo of moviepass saying there is a dollar value to your data, certainly there is, but there is a value far beyond that which cinemas should be leveraging.
so much of what me and my team have been talking about lately is how do companies like ours and even the customer data our clients have start to help those future generations discover the magic of cinema and make sure it’s not lost. a key part in ensuring that happens is going to be that customer relationship you’re fostering through the data you have on your customers. that’s where i see it as a very valuable asset.
not to get too political, but i would imagine over the last week or so people realized, at least in the united states, there really is something to this whole data thing. just ask facebook. this naturally begs the question of gdpr. is this something exhibitors are concerned about? are you concerned about this new regulation?
it’s so naturally connected to the point we were talking about data as an asset. so many times lately i have heard and read, who owns the customer relationship? is it the cinema? is it the credit card company? is it moviepass? who owns it? there’s this big debate. when really the customer realizes they own their own data. they’re in control and they’re becoming increasingly savvy of that, particularly in europe. so you have gdpr coming on may 25th and i think consumer awareness of the fact that they have a bit more control and rights related to their data is coming to the forefront with gdpr, combined with the cambridge analytica / facebook situation. consumer awareness is certainly high. however i see this personally as a great opportunity for cinemas to strengthen their relationship with consumers and to build trust. because we’re talking about moviegoer data. we’re not talking about political data. we’re not talking about healthcare date.
if cinemas can see this as an opportunity to be very transparent and honest about how they want to continue to have a relationship with their customers, if they use this as an opportunity to get more granular and understanding the preferences of their customers – because one of the key pillars of gdpr is that you need to have very clear consent from consumers about what they are agreeing to be communicated about – so if you can use that as an opportunity to get more insight, get more ideas of what they want to hear from you on, their preferences, i think that’s a great opportunity for marketers to build a stronger loyalty because you’re going to have people who are really engaged with you because they have to explicitly consent to have a relationship with you, to hear from you and you’re going to have a quality data set. it will no longer be about quantity of data. you’re going to have a quality dataset of customers who want to build a relationship with you. i don’t necessarily see it as a negative, i see it as an opportunity for cinemas to relook at their data strategy overall and make sure they’re building it on the right foundation of transparency and trust.
how is movio helping exhibitors and distributors deal with rolling out gdpr?
certainly data is our forte. for us how do we help our clients in europe understand the implications of gdpr to their business and also give them confidence that we are the right supplier to help them be compliant. our role is as a data processor. under gdpr cinemas are the data controller, they’re the ones that are responsible for that direct relationship with the customers and for the transparency around how they are going to use data on their customers. for suppliers such as movio, our role is making sure we are processing that data in a secured fashion that’s compliant with what our clients, the cinema chains, have instructed us to do. we need to give them the confidence and the trust in movio’s systems and that’s indeed happening. we have also brought on a new security engineer to our team in london who is focused on security. so we’ve definitely got everything in place. i’m really proud of what we’ve got in place considering we’re still a few months away. now it’s just a matter of making sure our cinemas are along for the journey and helping guide them. certainly we can’t give them any legal advice, but we can give them the confidence and the insight that we have on our own systems to make them feel reassured they are able to conduct business as usual after gdpr.
it just goes to show you how fast everything is changing around data. we’ve somewhat address the collection of the data from cinema patrons, but has the usage of the data changed since you’ve been with movio?
i would say it’s now not just about exhibition, but distribution as well. i think people are looking beyond traditional demographic targeting, whch when i came into this role was still the tride and true method, was looking at the customer’s demographic and trying recommend a film for them that way. we see it in how film studios even do a lot of the marketing around four quadrants; male, female over/under 25. i would say what’s happened now is the targeting our cinemas are looking to do is a lot more sophisticated and they’re seeing that there’s weak links between demographics and movie consumption in place of someone’s past behavior and movie consumption. they’re looking at how to do behavioral targeting a lot more.
the most forward looking exhibitors are taking it one step further and looking at propensity and looking at, regardless of what films are playing that week, how they can use the likelihood of someone seeing that film to tailor their marketing accordingly. our belief is there is a right movie for every moviegoer at any time. if we can start using data and using propensity modeling and some of the machine learning that is now available to help find that right movie for the right moviegoer at any given time, we can start hopefully filling more seats because we’re promoting more diverse content and not just promoting the top key release every friday. we can start optimizing programming a lot further. so i think we’ve gone from demographics to behavioral targeting and now we’re moving really far forward into looking at algorithms and fueling propensity models and really sophisticated targeting based on someone’s likelihood to see a movie.
machine learning has become such a buzz word. it’s essentially artificial intelligence. how does ai or machine learning help an exhibitor? is it with ticket pricing?
we haven’t seen applications on ticket pricing yet on our side. certainly i think the more we can understand about someone’s likelihood to see a film and perhaps when they will see a film in its lifecycle, that could potentially inform strategies like pricing or screen optimization. the industry is still very focused on an opening weekend’s results, but with machine learning and propensity algorithms you can help predict a film’s performance over time and the likelihood of someone seeing the film in its opening weekend versus maybe week two. what we’re seeing in the data is the audience evolves. the profile of the audience for black panther on opening weekend looks different in week two and week three. if you could start tailoring your marketing for a moviegoer based on their likelihood to see a film and when they’re likely to see that film we can hopefully change the way a whole industry is looking at marketing strategies and release strategies and begin filling more seats. we have our own proprietary propensity algorithm that was recently launched. it does allow film marketers to determine the likelihood of a moviegoer to see a particular film and on average we’re predicting the 10 to 15% of that audience that is most likely going to attend. the predications we’re doing are quite strong and we’re seeing huge box office uplift from that. it all goes back to how can we match that perfect film with the perfect moviegoer?
can these algorithms, which can help market a film, as you’ve mentioned, also help determine which films actually get made?
i absolutely think so. i think the data on moviegoers themselves has the potential to transform all stages of film’s lifecycle and, to your point, at the very earliest stages when people are looking at scripts. the challenge has always been how do we bridge the gap between this data that exhibitors are in control of and what the studios then see. because traditionally the studios don’t see a lot of what happens at the box office. they see numbers. they don’t see what the audience is. how do we bring that audience insight to the studios that’s going to benefit both sides of the industry. i do see that as a huge opportunity. products like movio media, which has been running in the u.s. for three years, and was launched in the uk in february, how can we use products like that to bring the audience insight that distribution and film studios need in a positive way to help both sides of the industry? that is something that we’re focused on as a compan and we see ourselves playing a big role in that.
are you getting any pushback from studios who think that the audience insight data actually belongs to them and they shouldn’t need to go through a third-party to get it?
i think that’s where companies like movie can help. i think that the challenge has been that exhibitors, rightfully so, don’t want to hand over their data to the studios. we talked about data security and gdpr, so they can’t just hand over their data to the studios. so the question becomes what data do the studios really need and how can we remove the risk involved with sharing data. where movio sits in the middle, we basically take aggregated data for a territory, we anonymize it, we remove all personal data, aside from key demographics and someone’s movie watching behavior. so when a studio is able to look at the data they have no idea what cinema chain it’s attached to, because it’s aggregated by a territory, and they have no way of actually contacting a customer directly, they have no idea of a person’s name or email address. but if they want to know the audience profile for “black panther” in real time during the course of the release, they have that snapshot. the idea is we’re no longer reliant on someone sitting around a board room saying i think my film is going to perform like this because it’s like this other film that came out a few years ago. we now are actually using behavioral data and facts to inform a film studio’s strategy and because we’ve removed the risk of someone’s personal data and an exhibitor’s specific data being distributed, i think both sides of the industry can win. there is such good momentum around movio media in the u.s. that, as it’s rolling out, in other markets such the u.k. i only see similar success on the horizon.
now that exhibitors have figured out data is important, they’ve hired staff to handle the data. there are now positions like data scientist at certain circuits. when such personnel gets hired on to an exhibitor you’re working with are you getting pushback from them? are they upset that their company has signed a contract with movio? how is it affecting your working relationship?
i dont’ see it as a problem. in fact i’m really happy when our cinema clients are building out their expertise on data. to me that’s a win/win. because any time we see someone who really gets it come into an organization who understands the importance of data or has insight on a data strategy, it actually, in our case, strengthens the relationship we have with that cinema chain. despite whatever expertise you have, the likelihood of you going and trying to build a system that’s bespoke to you is slim. you’d want to work with the best in class suppliers. i think very quickly when a new employee comes in to an organization, especially if they understand what they’re looking for in their strategy, they quickly see that movio ticks all those boxes. we believe in what cinemas are doing and a lot of us are cinema professionals, coming from that sector. our president matthew liebman comes out of cinema, myself, many members of our team come from the cinema space. i think that is what makes us distinct. so i’m not concerned when someone does come into the organization of that nature. in fact, i think it’s amazing and i think more cinemas should be considering roles like that in house.
what are some of the challenges you’re facing when approaching exhibitors? as well, what are the challenges you’re facing with those exhibitors you’re already working with?
it’s kind of one and the same. the challenge we have is cinemas who haven’t really thought through a strategy. they don’t really know what they should be doing with their data or they hear these buzz words in the media or they happen to subscribe to somethning from another retailer and feel they should be doing the same. so they latch onto these trends. a few years ago it was social media. all this talk around social media being the new future of direct marketing have not proven itself to be true. in fact the conversion rates to purchase tickets on social media are quite low. there’s always something out there that people are chasing as the shiny new thing. i think that is a risk, because if you don’t have a solid strategy to begin with and you just start chasing trends or buzz words, you’re not going to get the incremental gains you need by using your data effectively. that for me is often a challenge, that people get so hung up on the newest thing they often lose sight of what really does work.
with that in mind, what do you think people will be discussing at cinemacon in regards to data? and… what should the conversation around data be focused on? because what it should be focused on and what everyone is actually discussing might be two entirely different things.
i think it’s going to go back to one of my earliest comments about who owns the customer relationship. it’s going to be a debate over what a company like a moviepass or a netflix has versus cinemas versus who has the best database. it’s like an ego game. who has the biggest database? who has the best database? i think that’s going to be the conversation; my database is bigger than you’re database. i just have a feeling that’s kind of where it’s headed, which is the wrong conversation to have. i think the conversation has to be about what’s the quality of my data and how am i using it to improve the customer experience? that should be the conversation. i certainly hope it is.


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Relax, chill, and enjoy the night with my friends at Double Six Beach, Seminyak was such a good time for me. With a pretty night sky, walking on the beach at night was kinda relaxing as well. We decided to finish the night by relaxing by the beach with beers and French fries. You will see there are many bars or restaurants with bean bags overlooking the beach. Initially, we wanted to visit La Plancha, the most popular bar at Double Six Beach, but we end up visit Taris Bali, simply because every cafés were similar and Taris is closer to where we parked our car, so we don't have to walk that far. Well, that's okay since we will just order beers and chilling. At Taris, you can also enjoy their live music which was pretty good. So, if you have nothing to do and you are in Seminyak, spend your night at Double Six Beach would be a good idea. I rarely share photos of my friends here, but for this post, why not?
This makes me miss Bali so much! Great post!
Nights at the beach sounds amazing!!
It looks amazing night at the beach with friends. So much of fun.
Your time in Bali looks incredible!
Amazing! It looks so chilled!
I think beach is the best place to enjoy a night.

lowercased:
relax, chill, and enjoy the night with my friends at double six beach, seminyak was such a good time for me. with a pretty night sky, walking on the beach at night was kinda relaxing as well. we decided to finish the night by relaxing by the beach with beers and french fries. you will see there are many bars or restaurants with bean bags overlooking the beach. initially, we wanted to visit la plancha, the most popular bar at double six beach, but we end up visit taris bali, simply because every cafés were similar and taris is closer to where we parked our car, so we don't have to walk that far. well, that's okay since we will just order beers and chilling. at taris, you can also enjoy their live music which was pretty good. so, if you have nothing to do and you are in seminyak, spend your night at double six beach would be a good idea. i rarely share photos of my friends here, but for this post, why not?
this makes me miss bali so much! great post!
nights at the beach sounds amazing!!
it looks amazing night at the beach with friends. so much of fun.
your time in bali looks incredible!
amazing! it looks so chilled!
i think beach is the best place to enjoy a night.


text:
Do you want to give “Green light” to an amazing holiday in Piskopiano Crete?
The beautiful traditional village of Piskopiano is very close to the town of Hersonissos, next to the villages of Koutouloufari and Ano Hersonissos, at the foot of Mount Harakas. It is built amphitheatrically, with excellent views over the bay of Hersonissos.
In Piskopiano the tradition is rejuvenated from the first time that the visitor will see the beautiful stone well of the village, as well as the picturesque paved alleys with the traditional stone-built houses with their internal courtyards. Also, the Agricultural – Folklore Museum constitutes a lively monument of the local tradition, which is housed in the old olive press of the village and is rich in exhibits.
In the village there are traditional taverns, where you can enjoy Mediterranean Cretan cuisine, while you will find scenic coffee shops for your coffee or a tsikoudia, and bars for your drink. There are also tourist shops with folk art and souvenirs, mini markets, while small hotels and rooms to let, elegant and in harmony with the aesthetics and architecture of the place, are available to offer you a beautiful and comfortable stay.
With a rental car, it is worth having a trip towards Koumarodasos of Hersonissos, which is a unique landscape of natural beauty and forest vegetation, as well as towards the impressive Aposelemis dam with the homonymous canyon and the abandoned village of Sfondyli on its coastline, which during the winter months is covered by water accumulated in the dam.
The hospitality and warmth of the inhabitants of the village combined with the relaxation and tranquility offered by the place, fascinate the visitor – tourist. However, the location of the village, which is very close to large urban centers, gives more options for a unique holiday. So, by hiring a vehicle, you can explore the beautiful beaches of the area and the nearby villages, go to the mountainous Crete and the Lassithi Plateau, or visit the archaeological sites of Knossos and Malia.

lowercased:
do you want to give “green light” to an amazing holiday in piskopiano crete?
the beautiful traditional village of piskopiano is very close to the town of hersonissos, next to the villages of koutouloufari and ano hersonissos, at the foot of mount harakas. it is built amphitheatrically, with excellent views over the bay of hersonissos.
in piskopiano the tradition is rejuvenated from the first time that the visitor will see the beautiful stone well of the village, as well as the picturesque paved alleys with the traditional stone-built houses with their internal courtyards. also, the agricultural – folklore museum constitutes a lively monument of the local tradition, which is housed in the old olive press of the village and is rich in exhibits.
in the village there are traditional taverns, where you can enjoy mediterranean cretan cuisine, while you will find scenic coffee shops for your coffee or a tsikoudia, and bars for your drink. there are also tourist shops with folk art and souvenirs, mini markets, while small hotels and rooms to let, elegant and in harmony with the aesthetics and architecture of the place, are available to offer you a beautiful and comfortable stay.
with a rental car, it is worth having a trip towards koumarodasos of hersonissos, which is a unique landscape of natural beauty and forest vegetation, as well as towards the impressive aposelemis dam with the homonymous canyon and the abandoned village of sfondyli on its coastline, which during the winter months is covered by water accumulated in the dam.
the hospitality and warmth of the inhabitants of the village combined with the relaxation and tranquility offered by the place, fascinate the visitor – tourist. however, the location of the village, which is very close to large urban centers, gives more options for a unique holiday. so, by hiring a vehicle, you can explore the beautiful beaches of the area and the nearby villages, go to the mountainous crete and the lassithi plateau, or visit the archaeological sites of knossos and malia.


text: Who?s ready for a seaside adventure? With our cuddly plush Black Lab puppy and thiswhimsical Dancing Octopus Sassy Pet Sak handbag, you?ll be all set for a day of fun inthe sun! Fanciful octopuses with long tangly tentacles decorate the sides of the bag withschools of blue and gold fish swimming amongst them. A teal curlicue trim mimics thecrests of ocean waves while elegant satin twist cord fashions the handles. Inside thepurse, a handsome Labrador stuffed animal waits for sun and sand and the smell of thatsalty sea air. Take him out in this playful nautical themed purse and he?ll run up anddown the sandy beaches with you until the sun goes down!

lowercased: who?s ready for a seaside adventure? with our cuddly plush black lab puppy and thiswhimsical dancing octopus sassy pet sak handbag, you?ll be all set for a day of fun inthe sun! fanciful octopuses with long tangly tentacles decorate the sides of the bag withschools of blue and gold fish swimming amongst them. a teal curlicue trim mimics thecrests of ocean waves while elegant satin twist cord fashions the handles. inside thepurse, a handsome labrador stuffed animal waits for sun and sand and the smell of thatsalty sea air. take him out in this playful nautical themed purse and he?ll run up anddown the sandy beaches with you until the sun goes down!


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There was a time when the provision for music in school was all Bach and not much byte. When the main alphabetical sequences to trip off the tongue were less Jay Z, more EGBDF, when, if you were lucky, you were allowed to hum along to a little Bernstein. To play a musical instrument well was to belong to another tribe; the members were usually brainy, often sensitive, rarely sporty and wore specs. They were definitely not on-trend. Today almost the reverse is true. Music rocks. From music technology studies at Uppingham School to Youtubing at Hurtwood House, the message is that the music scene at independent schools has moved on. The fun, the funky, the rock and the soul are very much part of the daily school diet across the private schools’ sector.
Radley College in Oxfordshire is one of the many independent schools to recognise the importance of remaining on-trend music-wise, along with the intrinsic value of music itself. Yes, you can join the choir for a Bach cantata, or play the fiddle in a Mozart symphony. But you can also sign up for a masterclass with, say, Zayn Mohammed, one of the most brilliant jazz/classical/pop guitarists of the moment. Do not be surprised if your son comes home from school talking about making a podcast, referring to sequencing software and playing DJ sets on his iPhone. Sam Gladstone, head of music, is nothing but catholic in his musical beliefs. ‘All boys at Radley are exposed to music in some form as part of their regular week. The benefits are huge and proven: participation in music enables the boys to rise to high expectations and challenge. And at Radley, all types of music are valued.’ The recent appointment of a graduate Musician in Residence, Lizzie Lewis, whose role is to show the boys how the pop industry works, underlines how seriously the school takes rock provision. It’s not just brass, it’s Mac.
Of course, if you know that your child is serious about a career in the pop industry and you would rather calculate the risk, then why not consider a vocational school? Tring Park in Hertfordshire accepts pupils from the age of eight and is a Performing Arts School. Ella Henderson (who did not win the X-factor but arguably should have) is an old girl and most definitely a superstar.
Harmesh Gharu, head of music at Tring Park, is particularly excited about their new Commercial Music course. ‘The course embraces performance practice, song-writing and creative musicianship. And most of the course tutors are industry pros, gigging musicians.’ They provide enticing opportunities to work with the likes of Frank Turner and Laura Mvula. Like Bryanston and Cranleigh School, among others, Tring Park offers the Rockschool syllabus, a graded music exam scheme that covers all aspects of the rock industry including ukelele, music production and electric guitar.
In 2016, the UK music industry made an estimated contribution of £4.4billion to the UK economy. In 2017, many of the stars of the Glastonbury Festival line-up were privately educated, Alison Goldfrapp, Jamie Cullum, Laura Marling and Grace Chatto, to name a few. There are no two ways about it – rock rocks. And today you can start rocking at school.
This article was originally published in the Spring Summer 2018 issue of School House.

lowercased:
there was a time when the provision for music in school was all bach and not much byte. when the main alphabetical sequences to trip off the tongue were less jay z, more egbdf, when, if you were lucky, you were allowed to hum along to a little bernstein. to play a musical instrument well was to belong to another tribe; the members were usually brainy, often sensitive, rarely sporty and wore specs. they were definitely not on-trend. today almost the reverse is true. music rocks. from music technology studies at uppingham school to youtubing at hurtwood house, the message is that the music scene at independent schools has moved on. the fun, the funky, the rock and the soul are very much part of the daily school diet across the private schools’ sector.
radley college in oxfordshire is one of the many independent schools to recognise the importance of remaining on-trend music-wise, along with the intrinsic value of music itself. yes, you can join the choir for a bach cantata, or play the fiddle in a mozart symphony. but you can also sign up for a masterclass with, say, zayn mohammed, one of the most brilliant jazz/classical/pop guitarists of the moment. do not be surprised if your son comes home from school talking about making a podcast, referring to sequencing software and playing dj sets on his iphone. sam gladstone, head of music, is nothing but catholic in his musical beliefs. ‘all boys at radley are exposed to music in some form as part of their regular week. the benefits are huge and proven: participation in music enables the boys to rise to high expectations and challenge. and at radley, all types of music are valued.’ the recent appointment of a graduate musician in residence, lizzie lewis, whose role is to show the boys how the pop industry works, underlines how seriously the school takes rock provision. it’s not just brass, it’s mac.
of course, if you know that your child is serious about a career in the pop industry and you would rather calculate the risk, then why not consider a vocational school? tring park in hertfordshire accepts pupils from the age of eight and is a performing arts school. ella henderson (who did not win the x-factor but arguably should have) is an old girl and most definitely a superstar.
harmesh gharu, head of music at tring park, is particularly excited about their new commercial music course. ‘the course embraces performance practice, song-writing and creative musicianship. and most of the course tutors are industry pros, gigging musicians.’ they provide enticing opportunities to work with the likes of frank turner and laura mvula. like bryanston and cranleigh school, among others, tring park offers the rockschool syllabus, a graded music exam scheme that covers all aspects of the rock industry including ukelele, music production and electric guitar.
in 2016, the uk music industry made an estimated contribution of £4.4billion to the uk economy. in 2017, many of the stars of the glastonbury festival line-up were privately educated, alison goldfrapp, jamie cullum, laura marling and grace chatto, to name a few. there are no two ways about it – rock rocks. and today you can start rocking at school.
this article was originally published in the spring summer 2018 issue of school house.


text:
HAVE YOU TALKED TO YOUR CHILDREN ABOUT IT?
ITS A BOOK ABOUT A MOTHER HAVING A BABY AND NOT RETURNING HOME TO A LITTLE GIRL WHO BECOMES HURT & ANGRY. SHE THOUGHT DEATH WAS FOR THE OLD AND GRAY.LIKE HER GRANDPA, BUT SOON LEARNS THAT DEATH CALLS YOU HOME AT ANY AGE.
ITS NEVER TO EARLY TO TALK ABOUT IT. BUT SOMETIMES ITS TO LATE.
When Mommy Went to Heaven has been added to your wish list.

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have you talked to your children about it?
its a book about a mother having a baby and not returning home to a little girl who becomes hurt & angry. she thought death was for the old and gray.like her grandpa, but soon learns that death calls you home at any age.
its never to early to talk about it. but sometimes its to late.
when mommy went to heaven has been added to your wish list.


text:
Where is the Skeleton Key?
including the ones with the big locks on them.
Where is the Wise Man in the Palace?
2. Work your way up to the door in the upper-left (don't enter it).
ceiling(railing) is in the way.
the way back to the left.
Thief and press up to enter the invisible door.
hear his words of wisdom.
Where is the fourth Crown Jewel?
1. Enter the Underworld and look for an orange spot in the background.
until you see four diamond-shaped holes in the wall.
4. Next, go back to the left and jump onto the first platform you come to.
jump to the left ledge.
Dragon to appear. Defeat the Dragon to get the Final Jewel.
and fire your sword at the Dragon's heads until he is destroyed.
Where do you get the Level Three Knight Statue?
entrance (tall blue archway) but don't enter.
you can land on a ledge with four windows.
3. Change into the Level three Thief and enter the right window.
room, then change into the Level Two Knight and go back into the room.
5. Defeat the Knight and go through the door on the left to get the Statue.
Where is the Level Three Knights Guide?
up until you reach the blue towers on top of the Palace.
door at the top of the left tower.
Where is the Level Three Thieves Guide?
then jump up to the log building.
jump to the tall log building to the right.
jump right to the pink building.
roof of the pink building to the left.
9. Jump up to the roof of the log building, then up again to the green building.
the flashing soldier, then jump right to the green building.
12. Unlock the door to enter the Level Three Thieves Guild.
Where is the Wizards Guild?
the ledge on the left.
2. Work your way left until you reach the second pink shaft doing down.
Drop down the pink shaft into the green cavern.
then fall down the blue shaft into the purple cavern.

lowercased:
where is the skeleton key?
including the ones with the big locks on them.
where is the wise man in the palace?
2. work your way up to the door in the upper-left (don't enter it).
ceiling(railing) is in the way.
the way back to the left.
thief and press up to enter the invisible door.
hear his words of wisdom.
where is the fourth crown jewel?
1. enter the underworld and look for an orange spot in the background.
until you see four diamond-shaped holes in the wall.
4. next, go back to the left and jump onto the first platform you come to.
jump to the left ledge.
dragon to appear. defeat the dragon to get the final jewel.
and fire your sword at the dragon's heads until he is destroyed.
where do you get the level three knight statue?
entrance (tall blue archway) but don't enter.
you can land on a ledge with four windows.
3. change into the level three thief and enter the right window.
room, then change into the level two knight and go back into the room.
5. defeat the knight and go through the door on the left to get the statue.
where is the level three knights guide?
up until you reach the blue towers on top of the palace.
door at the top of the left tower.
where is the level three thieves guide?
then jump up to the log building.
jump to the tall log building to the right.
jump right to the pink building.
roof of the pink building to the left.
9. jump up to the roof of the log building, then up again to the green building.
the flashing soldier, then jump right to the green building.
12. unlock the door to enter the level three thieves guild.
where is the wizards guild?
the ledge on the left.
2. work your way left until you reach the second pink shaft doing down.
drop down the pink shaft into the green cavern.
then fall down the blue shaft into the purple cavern.


text:
A truly transformative day that will leave buzzing with ideas, raring to go, and with a roadmap for your next steps.
How would it feel to have someone sit with you for an entire day and help you figure out your next steps to achieving your dream life?
That’s what I do in a 1 day Intensive.
A 1 day Intensive begins for you when you make the booking.
After I receive your booking, I send to you a series of pre-session questionnaires. I also get you to complete a series of tasks for me that get the ball rolling towards your desired change. This usually occurs at least 3 weeks before we meet.
By the time we meet for the day, we have both been working on your change! I am already familiar with your life, desires and have pre-planned the work to do, and you are already in the frame of mind and have done the prep to get started.
We will meet in a mutually convenient place which is usually a hotel/meeting space near to your home.
I will pre-book a meeting room for private use for the day and you will be provided with drinks throughout the day as well as lunch.
The day is entirely tailored to you and what you wish to achieve.
You will receive a follow up report which outlines what we addressed and your tailored planned action. Your report will also outline the agreed plan to take you forward and details regarding your strategy. You will also typically receive a reading list to accompany your plan.
As part of your package you also receive an hour follow up conversation to check in with where you are at in terms of your plan.
This meeting is conducted by Skype or FaceTime and must be taken within 3 months of your initial consultation.
If you would like to book your day all you need to do is to CLICK HERE to be taken to a booking form stating in the subject line ‘1 Day Intensive’. I will then get back to you with details of payment and the options of dates for your day.

lowercased:
a truly transformative day that will leave buzzing with ideas, raring to go, and with a roadmap for your next steps.
how would it feel to have someone sit with you for an entire day and help you figure out your next steps to achieving your dream life?
that’s what i do in a 1 day intensive.
a 1 day intensive begins for you when you make the booking.
after i receive your booking, i send to you a series of pre-session questionnaires. i also get you to complete a series of tasks for me that get the ball rolling towards your desired change. this usually occurs at least 3 weeks before we meet.
by the time we meet for the day, we have both been working on your change! i am already familiar with your life, desires and have pre-planned the work to do, and you are already in the frame of mind and have done the prep to get started.
we will meet in a mutually convenient place which is usually a hotel/meeting space near to your home.
i will pre-book a meeting room for private use for the day and you will be provided with drinks throughout the day as well as lunch.
the day is entirely tailored to you and what you wish to achieve.
you will receive a follow up report which outlines what we addressed and your tailored planned action. your report will also outline the agreed plan to take you forward and details regarding your strategy. you will also typically receive a reading list to accompany your plan.
as part of your package you also receive an hour follow up conversation to check in with where you are at in terms of your plan.
this meeting is conducted by skype or facetime and must be taken within 3 months of your initial consultation.
if you would like to book your day all you need to do is to click here to be taken to a booking form stating in the subject line ‘1 day intensive’. i will then get back to you with details of payment and the options of dates for your day.


text:
Large paintings are the "patriarchs" of the more frequent large walls in new homes and loft residences. Great art provides proportional, upscale decorating and creates a presence of art beyond the bounds of past experiences. Like a critic's narrative, I usually write a brief story for my large works to add interest for the owner and provide more information for introspective viewing. All the original oil paintings shown here are 7 ft. x 5 ft. or 5 ft. x 7 ft. oil on canvas.
Contact Donn Ziebell if you have an interest in a fine art 28 in. x 40 in. digital print reproduction.
Copyright © 2006 Yur Art. All rights reserved.

lowercased:
large paintings are the "patriarchs" of the more frequent large walls in new homes and loft residences. great art provides proportional, upscale decorating and creates a presence of art beyond the bounds of past experiences. like a critic's narrative, i usually write a brief story for my large works to add interest for the owner and provide more information for introspective viewing. all the original oil paintings shown here are 7 ft. x 5 ft. or 5 ft. x 7 ft. oil on canvas.
contact donn ziebell if you have an interest in a fine art 28 in. x 40 in. digital print reproduction.
copyright © 2006 yur art. all rights reserved.


text:
I’m really excited to announce the release of my latest CD covering the works of CPE Bach.
The music was played on my copy of a Schantz fortepiano dating from 1795. The piano was built by Christopher Barlow of Frome, Somerset.
To buy a copy of my CD online, click on the “Buy Now” button (below). This will take you to my page at PayPal where you can arrange payment. I am selling the CD online for £12.99 including P&P to UK addresses only. Please contact me if you would like to place an order for delivery overseas.

lowercased:
i’m really excited to announce the release of my latest cd covering the works of cpe bach.
the music was played on my copy of a schantz fortepiano dating from 1795. the piano was built by christopher barlow of frome, somerset.
to buy a copy of my cd online, click on the “buy now” button (below). this will take you to my page at paypal where you can arrange payment. i am selling the cd online for £12.99 including p&p to uk addresses only. please contact me if you would like to place an order for delivery overseas.


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The Cirro by Everoll is a convection heating style vaporizer that boasts a mighty vapor production, strong tasting flavor, hidden extra storage, mouth piece, and powered by a single 1600 mAh battery. The heating chamber of the Cirro utilizes a full metallic heating chamber making sure users will always have a thorough session. While being able to use dry herbs the user can also use a stainless steel mesh pad for any herbal concentrate use. The OLED display shows precision temperature control that ranges from 374°F to 428°F, remaining battery life, and a vibration to notify the user that the Cirro is ready for use. The Cirro uses an easily accessible twist off top that pairs with a hidden mouth piece while the bottom doubles as a hidden storage that integrates into the unit for a perfect quick, simple, and convenient use. This vaporizer is a compact and pocket friendly device that any on-the-go vapor should use.
Please Note: This device is designed for dry herb and herbal concentrate use only. This is not intended to be used with any other media.

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the cirro by everoll is a convection heating style vaporizer that boasts a mighty vapor production, strong tasting flavor, hidden extra storage, mouth piece, and powered by a single 1600 mah battery. the heating chamber of the cirro utilizes a full metallic heating chamber making sure users will always have a thorough session. while being able to use dry herbs the user can also use a stainless steel mesh pad for any herbal concentrate use. the oled display shows precision temperature control that ranges from 374°f to 428°f, remaining battery life, and a vibration to notify the user that the cirro is ready for use. the cirro uses an easily accessible twist off top that pairs with a hidden mouth piece while the bottom doubles as a hidden storage that integrates into the unit for a perfect quick, simple, and convenient use. this vaporizer is a compact and pocket friendly device that any on-the-go vapor should use.
please note: this device is designed for dry herb and herbal concentrate use only. this is not intended to be used with any other media.


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In addition to the outstanding performance metrics, the company introduces a brand-new website to improve user experience.
Tickmill Ltd, a Seychelles FSA-regulated ECN broker, announced today that record-high volumes were reached in June, buoyed by heightened volatility in the wake of the Brexit vote in addition to some promotional campaigns, as per an official statement.
Looking at the specifics, Tickmill reported $49.1 billion in monthly volumes for June, the highest and most impressive figure in the company’s history.
The global ECN broker attributed the outstanding performance to its diversified range of trading instruments, mobile-based platforms, and extensive array operational tools available to its customers and partners. However, more recent developments have propelled Tickmill’s trading volume to record highs including a ‘zero commissions’ policy during the Brexit week and a promotional campaign that rewarded traders with genuine gold bars.
Finance Magnates interviewed Mr. Agarwal in June last year, a few months after Tickmill acquired clients of Armada Markets and employed some of its staff in January 2015, following Armad’s exodus from the retail market.
Tickmill has also refreshed its brand with a new and improved website which is now officially open. The company says the new website has been revamped with both client and internal team feedback incorporated during the development cycle, meant to provide supreme online trading experience for traders all over the world.
“We believe the redesigned site does a better job of explaining who we are, what we do and what we offer traders. Additionally, traders should find it easier to navigate to key sections whether they are on their home computers or on their favored mobile devices,” noted Olga Kikas, Head of Marketing at Tickmill in an accompanying statement.

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in addition to the outstanding performance metrics, the company introduces a brand-new website to improve user experience.
tickmill ltd, a seychelles fsa-regulated ecn broker, announced today that record-high volumes were reached in june, buoyed by heightened volatility in the wake of the brexit vote in addition to some promotional campaigns, as per an official statement.
looking at the specifics, tickmill reported $49.1 billion in monthly volumes for june, the highest and most impressive figure in the company’s history.
the global ecn broker attributed the outstanding performance to its diversified range of trading instruments, mobile-based platforms, and extensive array operational tools available to its customers and partners. however, more recent developments have propelled tickmill’s trading volume to record highs including a ‘zero commissions’ policy during the brexit week and a promotional campaign that rewarded traders with genuine gold bars.
finance magnates interviewed mr. agarwal in june last year, a few months after tickmill acquired clients of armada markets and employed some of its staff in january 2015, following armad’s exodus from the retail market.
tickmill has also refreshed its brand with a new and improved website which is now officially open. the company says the new website has been revamped with both client and internal team feedback incorporated during the development cycle, meant to provide supreme online trading experience for traders all over the world.
“we believe the redesigned site does a better job of explaining who we are, what we do and what we offer traders. additionally, traders should find it easier to navigate to key sections whether they are on their home computers or on their favored mobile devices,” noted olga kikas, head of marketing at tickmill in an accompanying statement.


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The ever-shifting notion of what constitutes Art is based on both esthetic rules and commercial laws. Stolen Art is a philosophical entertainment documentary that offers viewers an opportunity to question these rules and laws.
The film revolves around the imaginary character of Czech post-modernist artist Pavel Novak, who totally vanished in 1978, after his work had evolved from reproducing classic master paintings (from Rembrandt to Gauguin) to actually stealing the originals from various museums and private collections, to sell them as his own art, at a very cheap price, thus expressing a synthetic – and quite radical – criticism of these rules and laws that govern the art scene.
By presenting Novak as a real-life character, whose career and eventual fate we pretend to investigate, through meetings with perfectly real art dealers, forgers and policemen, collectors, curators and critics, we’d like to bring viewers to doubt what they see, so that they might eventually reconsider their own relationship to Art, beyond the cultural constructions that impose themselves upon our perception of what we call Beauty.

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the ever-shifting notion of what constitutes art is based on both esthetic rules and commercial laws. stolen art is a philosophical entertainment documentary that offers viewers an opportunity to question these rules and laws.
the film revolves around the imaginary character of czech post-modernist artist pavel novak, who totally vanished in 1978, after his work had evolved from reproducing classic master paintings (from rembrandt to gauguin) to actually stealing the originals from various museums and private collections, to sell them as his own art, at a very cheap price, thus expressing a synthetic – and quite radical – criticism of these rules and laws that govern the art scene.
by presenting novak as a real-life character, whose career and eventual fate we pretend to investigate, through meetings with perfectly real art dealers, forgers and policemen, collectors, curators and critics, we’d like to bring viewers to doubt what they see, so that they might eventually reconsider their own relationship to art, beyond the cultural constructions that impose themselves upon our perception of what we call beauty.


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compelling epidemiological evidence," Hitchcock said in an e-mail.
WASHINGTON, April 13 (Reuters) - U.S. Public health officials said on Thursday they were concerned about an outbreak of mumps in the Midwest and said some people may have been infected on airline flights.
More than 600 people were reported sick in Iowa with the virus, once a common childhood illness but virtually eradicated with widespread use of the measles, mumps and rubella vaccine.
"The state of Iowa has been experiencing a large mumps outbreak that began in December 2005," the U.S. Centers for Disease Control and Prevention said in a statement.
The Iowa Department of Public Health said it was investigating 605 cases.
"This outbreak has spread across Iowa, and mumps activity, possibly linked to the Iowa outbreak, is under investigation in six neighboring states, including Illinois (four cases), Kansas (33 cases), Minnesota (one case), Missouri (four cases), Nebraska (43 cases), and Wisconsin (four cases)," the CDC said.
Mumps is an infection of the salivary glands caused by a virus. It causes unpleasant illness including fever, headache, and swelling of the glands around the jaw.
It can sometimes cause more serious complications including meningitis, encephalisits, inflammation of the testicles or ovaries, inflammation of the pancreas and permanent deafness.
It is transmitted by coughing and sneezing and is "about as contagious as influenza", the CDC said. People can pass it along from three days before they are ill.
The CDC said it was tracking two people who took nine flights in April and asked anyone showing symptoms of mumps to report to state health officials if they had been on the flights. The CDC has been using a new system to track travelers who may pass viruses on airplanes.
Penny Hitchcock, an infectious disease expert at the University of Pittsburgh Medical Center's Center for Biosecurity, said the CDC had not explained fully why it was worried about the airline travelers.
"Warning the general public about the dangers of acquiring infection from air travel is arguably irresponsible, unless supported by compelling epidemiological evidence," Hitchcock said in an e-mail.
Other researchers at the Center have questioned CDC's plans for monitoring international travelers in case of a pandemic of H5N1 bird flu.

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compelling epidemiological evidence," hitchcock said in an e-mail.
washington, april 13 (reuters) - u.s. public health officials said on thursday they were concerned about an outbreak of mumps in the midwest and said some people may have been infected on airline flights.
more than 600 people were reported sick in iowa with the virus, once a common childhood illness but virtually eradicated with widespread use of the measles, mumps and rubella vaccine.
"the state of iowa has been experiencing a large mumps outbreak that began in december 2005," the u.s. centers for disease control and prevention said in a statement.
the iowa department of public health said it was investigating 605 cases.
"this outbreak has spread across iowa, and mumps activity, possibly linked to the iowa outbreak, is under investigation in six neighboring states, including illinois (four cases), kansas (33 cases), minnesota (one case), missouri (four cases), nebraska (43 cases), and wisconsin (four cases)," the cdc said.
mumps is an infection of the salivary glands caused by a virus. it causes unpleasant illness including fever, headache, and swelling of the glands around the jaw.
it can sometimes cause more serious complications including meningitis, encephalisits, inflammation of the testicles or ovaries, inflammation of the pancreas and permanent deafness.
it is transmitted by coughing and sneezing and is "about as contagious as influenza", the cdc said. people can pass it along from three days before they are ill.
the cdc said it was tracking two people who took nine flights in april and asked anyone showing symptoms of mumps to report to state health officials if they had been on the flights. the cdc has been using a new system to track travelers who may pass viruses on airplanes.
penny hitchcock, an infectious disease expert at the university of pittsburgh medical center's center for biosecurity, said the cdc had not explained fully why it was worried about the airline travelers.
"warning the general public about the dangers of acquiring infection from air travel is arguably irresponsible, unless supported by compelling epidemiological evidence," hitchcock said in an e-mail.
other researchers at the center have questioned cdc's plans for monitoring international travelers in case of a pandemic of h5n1 bird flu.


text: And cooking.... I hate everyone & cooking...... the only thing I do like is horses. So what better than have one like & two dislikes?

lowercased: and cooking.... i hate everyone & cooking...... the only thing i do like is horses. so what better than have one like & two dislikes?


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It is interesting to note (as recounted by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia) that this movie was never released. Still, its prints are available and have been uploaded online. So we can see the picturisation of the songs of the movie.
Here is the fifth song from “Chaar Paise”(1955) to appear in the blog. This song is sung by Asha Bhonsle. Sartaj Rahmani is the lyricist. Music is composed by B D Burman.
The song is picturised as a club dance song on Sheila VazKammo. Those present in the club include Kishore Kumar and Shyama, among others.
This song can be described as one of the earlier “club” dance songs in Hindi movies.
“Chaar Paise” (1955) was produced and directed by N K Ziri. The movie had Kishore Kumar, Shyama, Johnny Walker, Agha, Kammo, Nishi, Nazir Kashmiri etc etc. in it.

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it is interesting to note (as recounted by mr arunkumar deshmukh, our beloved inhouse encyclopaedia) that this movie was never released. still, its prints are available and have been uploaded online. so we can see the picturisation of the songs of the movie.
here is the fifth song from “chaar paise”(1955) to appear in the blog. this song is sung by asha bhonsle. sartaj rahmani is the lyricist. music is composed by b d burman.
the song is picturised as a club dance song on sheila vazkammo. those present in the club include kishore kumar and shyama, among others.
this song can be described as one of the earlier “club” dance songs in hindi movies.
“chaar paise” (1955) was produced and directed by n k ziri. the movie had kishore kumar, shyama, johnny walker, agha, kammo, nishi, nazir kashmiri etc etc. in it.


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Located in Northeast Georgia, the middle of furniture united states, Robertson brings together craftsmanship and traditions with the very best top quality requirements. Throughout the years, Robertson has expanded from that modest community firm into an company head in commitment home furniture developing. For the past several years, we have served quite a few customers from your bistro enterprise offering them innovative patterns, amazing quality and sturdy furniture items that will last for years. Native indian furniture screens distinctive mythological styles and showcases the religious heritage in the prior. At Rathwood we’re pleased with our past and encouraged for future years! Keep in mind, people are aesthetic and viewing a crafter is intriguing.
Discover a dependable retail store which gives all motel-related products at competitive importance. Bar feces form a main element of coffee retailer furniture that happen to be principally composed of metals. The secret is usually to take advantage of the place in the top manner by using the best home furniture and proper location. Creating a reliable, cohesive design in your restaurant’s dining spot lets you construct your wonderful restaurant furniture design and style that will create an event that might boost folks approaching more and more. Too much or not enough fixtures both of them are hazardous, so busniess’s have to hit a wonderful stableness among litter and irritation. There had been small issue the financial bad times manufactured businesses require a a good deal nearer take a look at their company method.
An additional industry that interior decorating program graduates can look into is home staging with Emu Restaurant Furniture For sale Delray Beach, Florida. Those that scholar receive Associate degrees or accreditations in Interior Decorating. On the other hand, a lot of men and women is there who happen to be looking for sales space seats in the diner after they book a dinner table for dinner. You might want brighter lights and colors on the wall space for those who have a pizza shop on the other hand. Additionally, if when you have a sizable living room, especially when it believes too big, a deeper colour could make it really feel more homey and seductive. Today an attempt is manufactured with the craftsman to help make elegant furnishings from the reused forest.

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located in northeast georgia, the middle of furniture united states, robertson brings together craftsmanship and traditions with the very best top quality requirements. throughout the years, robertson has expanded from that modest community firm into an company head in commitment home furniture developing. for the past several years, we have served quite a few customers from your bistro enterprise offering them innovative patterns, amazing quality and sturdy furniture items that will last for years. native indian furniture screens distinctive mythological styles and showcases the religious heritage in the prior. at rathwood we’re pleased with our past and encouraged for future years! keep in mind, people are aesthetic and viewing a crafter is intriguing.
discover a dependable retail store which gives all motel-related products at competitive importance. bar feces form a main element of coffee retailer furniture that happen to be principally composed of metals. the secret is usually to take advantage of the place in the top manner by using the best home furniture and proper location. creating a reliable, cohesive design in your restaurant’s dining spot lets you construct your wonderful restaurant furniture design and style that will create an event that might boost folks approaching more and more. too much or not enough fixtures both of them are hazardous, so busniess’s have to hit a wonderful stableness among litter and irritation. there had been small issue the financial bad times manufactured businesses require a a good deal nearer take a look at their company method.
an additional industry that interior decorating program graduates can look into is home staging with emu restaurant furniture for sale delray beach, florida. those that scholar receive associate degrees or accreditations in interior decorating. on the other hand, a lot of men and women is there who happen to be looking for sales space seats in the diner after they book a dinner table for dinner. you might want brighter lights and colors on the wall space for those who have a pizza shop on the other hand. additionally, if when you have a sizable living room, especially when it believes too big, a deeper colour could make it really feel more homey and seductive. today an attempt is manufactured with the craftsman to help make elegant furnishings from the reused forest.