This made me realize just how far we’d come as an industry from those days when film bookings were still made by phones attached to land lines. Going through emails in my cramped seat, I came across one from Vista Group with data from the opening weekend of the “Taylor Swift | The Eras Tour” release. Soon enough, ShowEast (and every other such trade show) would spend years consumed by an industry transition from analogue 35mm film to digital cinema. Back then the conference was focused on all the titles making their way into theatres like “The Green Mile” starring Tom Hanks and Lasse Hallstrom’s “The Cider House Rules” from Miramax.
It got me thinking about the countless flights I’d been on to ShowEast in the past and how, when I first started going to the conference, it was being held in Atlantic City at Trump Taj Mahal. I write this from the economy section of a plane on my way to ShowEast in Miami. I may have ultimately emptied my retirement fund for two seats to one of Swift’s Los Angeles shows, but what father of teenage girls hasn’t done that in 2023? Besides, my daughters tell me the concert was so good they’ll be happy to take care of me in my old age, a promise I plan on holding them to. Sure, I’m annoyed at having spent countless hours cursing at Ticketmaster last year trying to secure tickets to her concerts for my teenage daughters, and even more time this year on secondary ticketing websites attempting to do the same. But bear with me and you’ll see that I’m using her, or more specifically her concert film, to highlight how she benefited from the technological advances the motion picture industry has adopted over the past twenty years.Īnd before anyone asks, (as some of you already have), while I may not be a Swiftie, I don’t have anything against the singer personally.
Given the amount of complaining I’ve done about Taylor Swift recently in this newsletter, many of you may wonder why I would focus my attention on the pop-star for yet another week.
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