![Image](https://m.media-amazon.com/images/M/MV5BY2ZiMzU4ZmUtNzU1MC00MmZiLTkzODYtOTMxOGQyY2U3NTViXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR3,0,500,281_.jpg)
Emma Riley, the White House communications chief of staff, is leaving her post for a job in the Labor Dept.
Earlier this week, the communications director for Kamala Harris, Ashley Etienne, said she was leaving the vice president’s office.
Both departures come as polls show strong disapproval of the Biden-Harris administration, with VIce President Harris in particular trouble in the public’s perception of her performance.
“It was an honor and privilege to serve @Potus and the American people at the @White House … I’m excited to be moving down Pennsylvania Ave. and traveling around the country with @SecMartyWalsh and @Usdol,” Riley tweeted.
It was an honor and privilege to serve @Potus and the American people at the @WhiteHouse
I’m excited to be moving down Pennsylvania Ave and traveling around the country with @SecMartyWalsh and @Usdol
Follow along on the road to #BuildBackBetter: @Emma_E_Riley
— Emma Riley...
Earlier this week, the communications director for Kamala Harris, Ashley Etienne, said she was leaving the vice president’s office.
Both departures come as polls show strong disapproval of the Biden-Harris administration, with VIce President Harris in particular trouble in the public’s perception of her performance.
“It was an honor and privilege to serve @Potus and the American people at the @White House … I’m excited to be moving down Pennsylvania Ave. and traveling around the country with @SecMartyWalsh and @Usdol,” Riley tweeted.
It was an honor and privilege to serve @Potus and the American people at the @WhiteHouse
I’m excited to be moving down Pennsylvania Ave and traveling around the country with @SecMartyWalsh and @Usdol
Follow along on the road to #BuildBackBetter: @Emma_E_Riley
— Emma Riley...
- 11/20/2021
- by Bruce Haring
- Deadline Film + TV
![David Lean](https://m.media-amazon.com/images/M/MV5BMjM3NzIzMzg4M15BMl5BanBnXkFtZTcwOTA1Mzg3Mw@@._V1_QL75_UX140_CR0,2,140,207_.jpg)
![David Lean](https://m.media-amazon.com/images/M/MV5BMjM3NzIzMzg4M15BMl5BanBnXkFtZTcwOTA1Mzg3Mw@@._V1_QL75_UX140_CR0,2,140,207_.jpg)
Opportunities are opening up to restore classic assets on new formats - but film restoration is an art form in danger. Ann-Marie Corvin reports from Screen International and Broadcast’s Restoration & Archive Forum
“If there’s been a gold rush in film archive then it’s kind of passed me by,” says Paul Collard, vice-president of film and digital services at film processing company Deluxe Digital.
While there have been a few showcase renewals in the Us, such as Sony’s 4K restoration of David Lean’s 1962 classic Lawrence Of Arabia, the main drivers for restoration of archive in Europe are commercial - the Blu-ray sell-through market and broadcasters looking to release TV classics on new distribution formats - or cultural, from national institutions and trusts that find the money to achieve a handful of significant projects.
Deluxe, for example, recently completed full Digital Intermediates (Di) restoration of the 1927 silent film The Battles Of The Coronel And Falkland...
“If there’s been a gold rush in film archive then it’s kind of passed me by,” says Paul Collard, vice-president of film and digital services at film processing company Deluxe Digital.
While there have been a few showcase renewals in the Us, such as Sony’s 4K restoration of David Lean’s 1962 classic Lawrence Of Arabia, the main drivers for restoration of archive in Europe are commercial - the Blu-ray sell-through market and broadcasters looking to release TV classics on new distribution formats - or cultural, from national institutions and trusts that find the money to achieve a handful of significant projects.
Deluxe, for example, recently completed full Digital Intermediates (Di) restoration of the 1927 silent film The Battles Of The Coronel And Falkland...
- 10/13/2014
- ScreenDaily
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