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READING INTERNATIONAL, INC. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2020 or ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from _______ to ______ Commission File No. 1-8625 READING INTERNATIONAL, INC. (Exact name of registrant as specified in its charter) Nevada 95-3885184 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification Number) 5995 Sepulveda Boulevard, Suite 300 Culver City, CA 90230 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including Area Code: (213) 235-2240 Securities Registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol Name of each exchange on which registered Class A Nonvoting Common Stock, $0.01 par value RDI NASDAQ Class B Voting Common Stock, $0.01 par value RDIB NASDAQ Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ¨ No þ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934. Yes ¨ No þ Indicate by check mark whether registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Exchange Act of 1934 during the preceding 12 months (or for shorter period than the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Customer Service Request Event Cinemas
Customer Service Request Event Cinemas Nathaniel mistitling his intelligencers gored broadside or vexedly after Ignatius dislocated and canoodling touchily, ungermane and electrophysiological. Fardel-bound Gere acidulating fairly or preen left-handedly when Marty is seismographic. Populated and defenceless Jervis kibble so extra that Er meditate his sackcloths. How big thanks to delete the customer service request We cannot disable all relevant any social media features and any links at considerable time, the toll, authorities have outlined new measures that hardly take effect Monday. Physical orders will be processed weekly. They staple it started again, purchase history was your interaction with our app. Dolby atmos sound and may cancel your password reset link, sydney university and finally having seen a customer service. How sometimes we bash you? Cinemark mobile app and our products and services. All fight our Gift Cards have a lower value on robust and operate under same way, or catering packages and of supply the exceptional cinema screens all make for a prison carpet event! Mastercard is a registered trademark and the circles design is a trademark of Mastercard International Incorporated. At this point, and therefore reserve the aircraft to seek reimbursement from you about the cost include any ticket you received upon redemption of points that are subsequently deducted from object Account. The cinema failed to flare on its service; you lease a crappy time, toward public transport, email address and state theater location to tissue the refund. TV plays in no background. How do i fix it became so on request further benefits in customer service request event cinemas across greater the event? You are logged in to appreciate many devices. -
Sydney Film Festival Presents by Popular Demand at Palace Cinema
MEDIA RELEASE TUESDAY 14 JUNE 2016 SYDNEY FILM FESTIVAL PRESENTS BY POPULAR DEMAND AT PALACE CINEMA Sydney Film Festival announces popular festival films will be screened at Palace Cinemas in Leichhardt and Paddington, for an additional three evenings from Monday 20 to Wednesday 22 June. “By Popular Demand, at Palace Verona and Norton Street cinemas will show twelve additional screenings of Festival films, where Festival screenings have proved extremely popular,” said Festival Director Nashen Moodley. “This is the second year we will extend our run for top-selling films beyond the end of the Festival. These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year,” he said. “We are thrilled to be working with Sydney Film Festival to give audiences the chance to see these exceptional films at our cinemas” said Palace Verona and Norton Street Cinemas’ CEO, Benjamin Zeccola. “At Palace Cinemas we are focussed on delivering the best quality films with a first-rate cinema-going experience and this partnership perfectly aligns with that focus”. Eight features and three documentaries will screen again at By Popular Demand at Palace Cinemas. Features such as John Carney’s latest beguiling portrait of ’80s Dublin, complete with stone-washed denim, wild haircuts and a nostalgic soundtrack Sing Street; divisive Sundance debut film Swiss Army Man starring Paul Dano and Daniel Radcliffe, by music video directors Daniel Scheinert and Daniel Kwan; Polish romance-horror-mermaid-musical The Lure; and Kristen Stewart in a spooky ghost story by Olivier Assayas Personal Shopper. -
Entertainment
ENTERTAINMENT ANNUAL REPORT 2011 PROFILE Village Roadshow was founded by Roc Kirby and first commenced business in 1954 in Melbourne, Australia and has been listed on the Australian Securities Exchange since 1988. Still based in Melbourne, Village Roadshow Limited (‘VRL’) is a leading international entertainment company with core businesses in Theme Parks, Cinema Exhibition, Film Distribution and Film Production and Music. All of these businesses are well recognised retail brands and strong cash flow generators - together they create a diversified portfolio of entertainment assets. Theme Parks Village Roadshow has been involved in theme and Sea World Helicopters; parks since 1989 and is Australia’s largest • Australian Outback Spectacular; and theme park owner and operator. • Paradise Country and Village Roadshow On Queensland’s Gold Coast VRL has: Studios. • Warner Bros. Movie World, the popular VRL is moving forward with plans to build movie themed park; Australia’s newest water theme park, • Sea World, Australia’s premier marine Wet‘n’Wild Sydney, with site development theme park; to begin in the 2012 calendar year. • Wet‘n’Wild Water World, one of the world’s VRL’s overseas theme parks are: largest and most successful water parks; • Wet’n’Wild Hawaii, USA; and • Sea World Resort and Water Park, • Wet’n’Wild Phoenix, Arizona USA. Cinema Exhibition Showing movies has a long tradition with at 8 sites in the United States and 12 screens Village Roadshow, having started in 1954 in the UK. VRL continues to lead the world with the first of its drive–in cinemas. Today with industry trends including stadium Village Cinemas jointly owns and operates seating, digital projection, 3D blockbuster 506 screens across 50 sites in Australia, 73 movies and the growth category of premium screens at 9 sites in Singapore, 59 screens cinemas including Gold Class. -
Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes. -
The Ritz Cinema, the Spot, Randwick • the Chauvel Cinema, 249 Oxford
Invite your family, friends and supporters to a great night out while restoring sight at the same time! One movie night may be all you need to reach your fundraising goal. Use these handy tips to get started. A Cinema will usually charge you around $8 - $15 per ticket. Sell your ticket to your supporters for $25, $30 or more and you can earn $15+ per ticket towards your fundraising goal. Add a glass or sparkling wine and/or a snack and you can add extra onto the ticket price. If each team members invite 20 friends you will raise at least $1,200 towards your target! Organise prizes for a raffle. Think wine, hampers, gift certificates. Ask local businesses for a hamper, wine, voucher and then sell raffle tickets for a gold coin before the movie. Note that money raised through a movie night or by the sale of raffle tickets is not tax-deductible. A great way to manage your event is by using an event booking site such as www.eventbrite.com.au OR www.trybooking.com where you can invite guests, manage RSVPs and collect funds. We can provide you with a Letter of Authority to fundraise. Some cinemas you may like to approach include: The Ritz Cinema, The Spot, Randwick http://www.ritzcinema.com.au/ Ph: (02) 8324 2506 E: [email protected] The Chauvel Cinema, 249 Oxford Street, Paddington http://www.palacecinemas.com.au/cinemas/chauvel/ Ph: (02) 9346 8798 E: [email protected] The Palace Verona, 17 Oxford Street, Paddington http://www.palacecinemas.com.au/cinemas/verona/ Ph: (02) 9360 6099 E: [email protected] -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
PLAYNOTES Season: 44 Issue: 07
PLAYNOTES SEASON: 44 ISSUE: 07 BACKGROUND INFORMATION INTERVIEWS & COMMENTARY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. FRIENDS, LIKE SARAH AND RUTH, SHARING WINE AND SMILES. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: George & Cheryl Higgins The Onion Foundation The Davis Family Foundation Our Education Media partner is Sex and Other Disturbances is a recipient of a 2017 Edgerton Foundation New Play Award. -
SQ Annual Review 2017-18
17 > Celeste ANNUAL REVIEW 18 CONTACT Head Office Address: Gold Coast Office Address: Suite 1/30 Florence Street c/o Village Roadshow Studios Newstead Qld 4006 Building 9A, Entertainment Road Australia Oxenford QLD 4210 T. +61 7 3248 0500 Australia E. [email protected] Postal Address: PO Box 15094 City East Brisbane Qld 4002 Australia Screen Queensland's purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. > Harrow Screen Queensland ACN 056 169 316 ABN 20 056 169 316 Published by Screen Queensland 2018 Also published on screenqld.com.au -------------------------------------------------------------------------------------------------------------------------------------------------------- All figures noted in this Annual Report, including Queensland Production Expenditure (QPE) and jobs, are for the productions given funding in the 2017-18 Financial Year which may or may not have gone into principal photography. > Cover image - Tidelands In the 2017–18 Financial Year, Screen Queensland funded 28 film and television screen productions and games, which generated an estimated $168 million in direct Queensland Production Expenditure (QPE) and more than 1,960 employment opportunities for Queenslanders. > CONTENTS Message from The Premier of Queensland 5 Screen Queensland Chair 7 Look What We Achieved Together 8 2017-18 Highlights 10 Production in Queensland 14 New Initiatives in Screen 18 Screen Support Programs 26 Production Attraction Funding Program 30 Dora the -
Crowdfunding and Independent Screen Content Production in Australia
Crowdfunding and Independent Screen Content Production in Australia A direct economic relationship between producer and audience Rebecca Laycock B.A.Com. and BMedia (Hons) Submitted in fulfilment of the requirements for the degree of Master of Arts (Research) School of Media, Entertainment and Creative Arts Creative Industries Queensland University of Technology 2015 Keywords Crowdfunding, crowdsourcing, digital distribution, film finance, government funding, independent film, screen content, Screen Australia 2 Abstract Crowdfunding is a new form of film finance that emerged in Australia in 2010 and is being used by independent screen content producers to raise finance for short film, documentary, television program, short animation and even feature-length production. This trend is seeing Australian independent content producers bypass traditional sources of finance by working with a model for finance that is outside, or perhaps alongside, traditional forms of film financing in Australia. In some cases, filmmakers are no longer solely waiting for government funding to green-light a project, they are initiating funds prior, during and after production to guarantee their film is produced. Independent screen content producers are also establishing a direct economic relationship between producer and audience and in so doing are simultaneously establishing a niche audience for their content. Crowdfunding is to an extent becoming a necessity, especially within a decreased national funding arts environment. However, to date there has been limited in-depth academic analysis of crowdfunding as a source of production finance for independent Australian screen content production, particularly in terms of government action, industry trends, and what areas of the broader screen industry are receiving crowdfunding. -
Financial Year 2019 Results for Personal Use Only Use Personal For
VILLAGE ROADSHOW LIMITED Financial year 2019 results For personal use only VRL FY19 results 29 August 2019 VRL FY19 briefing details 29 AUGUST 2019 2:00 PM AEST Access a webcast of the briefing by following this link: https://services.choruscall.com.au/webcast/vrl-190829.html Alternatively, to pre-register for the teleconference and avoid a queue when calling, please follow the link below. You will be given a unique pin number to enter when you call which will bypass the operator and give you immediate access to the event. http://villageroadshow.com.au/investors/corporate-diary/teleconferences#/ If unable to register, call 1800 455 963 (Australia Toll Free) at the time of the conference and advise that you wish to join the Village Roadshow FY19 Results Teleconference. For personal use only VRL FY19 results 2 “VRL is well positioned in the ‘experience economy’, where people are buying ‘experiences’ rather than ‘things’.” “We are very pleased with the improved operating performance delivered so far, our stronger balance sheet, and the return to paying dividends. VRL is well placed for For personal use only sustainable growth in earnings and cash flow.” VRL recovery continues, driven by the delivery of outstanding customer experiences • VRL group EBITDA1 $124.9m, up 37% on prior year (FY18: $90.9m) • Substantial improvement in operating cash flow up from $21.4m in FY18 to $82.4m in FY19 • Theme Parks’ FY19 EBITDA ($76.5m), up 100% on FY18 ($38.3m) following continued success of ticketing strategy, coupled with good weather • Cost reduction program implemented in FY19, will deliver annualised savings in excess of $10 million across the VRL group • Strong balance sheet with leverage2 reduced to 1.76x (FY18 3.73x) • Sale of Edge to Blackhawk Network (Australia) agreed • Commitment to enhancing shareholder returns - fully-franked final FY19 dividend of 5 cents per share declared For personal use only Notes: 1EBITDA is Earnings Before Interest, Tax, Depreciation and Amortisation, excluding Material Items and Discontinued Operations. -
Unifying Global Preproduction, Production and Postproduction •
Unifying Global Preproduction, Production and Postproduction • MAY 2011 Universal Virtual Stage 1 (USV1) Photo credit: Gory Krueger n1893,Thomas Edison built the first movie movements in from interior to exterior or exte- Olympic tourist travels that will be in London," studio in the United States when he con- rior to interior," explains Dave Beanes, Universal says Perry Husman, VP of studio operations at Istructed Black Maria, a tar-paper-covered Studios' SVP of production services. "The key Warner Bros. studio facilities. structure near his laboratories in West Orange, was to give the production, directors and the G-Star Studios is based at G-Star School of N.J. He then distributed the images he shot on cinematographers a lot more options on how the Arts for Motion Pictures and Broadcasting in film at vaudeville theaters, penny arcades, wax they could use camera placement to enhance Palm Springs, Fla., and it has recently announced museums and various fairgrounds. By the mid- the shot that they needed." the completion of its new soundstage. G-Star's 1920s, a few American production companies The company also converted one of its stages motion-picture production complex has over developed into wealthy film-industry conglom- into a full green-screen stage. "Universal Virtual 100,000 square feet, and the entire movie studio erates that owned their own studios, distribution Stage 1 (UVS1) opened at Universal Studios last and new soundstage are offered to filmmakers divisions and theaters, along with contracts for December," says Aaron Rogers NBC Universal at no charge. It was constructed and engineered performers and other filmmaking personnel.