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3 Q's with Simone Gialdini

For this month's edition of Big Screen Feature - providing a behind-the-scenes look at the world of cinema exhibition through the eyes of professionals themselves - Simone Gialdini, General Director, ANEC, discusses the job itself and the value of the Big Screen.

Describe your typical day at work.

Working in the national cinema exhibitor association (ANEC) as CEO means to always manage something different, according to political and policy changes and business requests. First of all I read the daily report of Cinetel, an Italian company which collects attendance and box office numbers every day, and then I read press reviews. I do both early in the morning. ANEC works on all cinema exhibition laws drafted and adopted by the Ministry. Our role is to encourage them to adopt the best measures for all our members and to improve the cinema-going experience. In addition, we organise many meetings, as well as panels during large festivals and cinema events, like Venice, Rome, MIA, etc. ANEC also promotes new activities like AnecLAB and new projects like LED-Leader Esercenti Donne.

The moment you fell in love with the Big Screen?

Well, my love for the Big Screen was born with me! My family has been in the cinema exhibition business since the Second World War and in my town, Lucca (Tuscany), we still manage cinemas. The love for the Big Screen offered me a lot of opportunities – I worked in international cinema companies for several years, and I’m now leading the national association. I always support the family-owned cinema - still one screen only! - , with the best technologies and comfort that the industry can provide.

The best thing about the cinema experience?

There’s no other way to watch a film than in a cinema. Being seated with a room full of people, most of them strangers, sharing emotions, fear, laughter, sadness, happiness, sometimes clapping at the end, is something that can’t be replicated anywhere. Cinema exhibitors must offer their audience the best place with the best technology, but often it’s not enough. Cinemas must have an identity. People who choose cinemas to spend time in before or after the screening look for something more. The place needs to have a soul, the idea that the exhibitors are sharing their own place.

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