Upgrade Film Quotes

Siebel, The Magazine has a man in a suit on the cover. He's not smiling, or frowning. He wears a beard that isn't a beard; it's a quotation from a film nobody can put their finger on. 'Customer satisfaction,' says the brochure. 'Seamless integration.' 'Comprehensive upgrade.' Of what? I want to scream. 'Solutions provider.' Siebel has solutions for questions that have not yet been asked, will never be asked. A Sino-American businessman holds a tiny screen in his hand: 'You're always connected and always available. Some call it a revolution; others call it evolution.' Language is de-fanged, homogenised. Yellow E-tab faces leer at you. Ecstasy without frenzy. Satisfaction, whether you want it or not.

I flew home with Iran Air, which gave me six and a half hours to truly appreciate the impact of the international sanctions first hand. The scratchy seat fabric, cigarette-burned plastic washbasins and whiff of engine oil throughout the cabin reminded me of late seventies coach travel, which was probably the last time these planes had had a facelift. I tried to convince myself that Iran Air had prioritised the maintenance of engines and safety features over the interior decor but I wasn’t convinced, especially when the seatbelt refused to budge. The in-flight entertainment had certainly been spared an upgrade, consisting of one small television at the front of the plane showing repeat screenings of a gentle propaganda film featuring chador-clad women gazing at waterfalls and flowers with an appropriately tinkly soundtrack. The stewardesses’ outfits were suitably dreary too. Reflecting Iran Air’s status as the national carrier of the Islamic Republic, they were of course modest to the point of unflattering, with not a single glimpse of neck or hair visible beneath the military style cap and hijab. As we took off, I examined my fellow passengers. Nobody was praying and as soon as we were airborne, every female passenger removed her headscarf without ceremony.

As theaters were the first point of revenue collection for the entire industry, this side of the business often had insights on how to keep the halls full every weekend and therefore needed some control of the product, the films themselves. Unlike a producer, who usually hired people one movie at a time and could scale down expenditures, a theater owner had substantial leases or mortgage payments on his real estate and faced ongoing pressure. Further, theater owners suddenly had to spend large amounts of capital to upgrade their facilities for a new technology.