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INTRODUCTION

Within the media, the amount of viewing figures is criteria for a successful product, or not.
In the communication via the conventional Audio Visual mass media channels, such as TV and cinema, there is a one-way traffic between transmitter and receiver by images language.
If the receiver does not like the offered product, the connection will break fast.

THE PRODUCTS OF CASTING INTERNATIONAL

The product of Casting International is interactive. There, too, if the receiver does not like the offered product, this can break the connection fast.

The breakup of the communication by the recipient is thus negatively to successful.
Therefore, it is important to make an AV product that attracts attention of viewer/user, who wants to (continue to) consume the product, because it continues to appeal to him/her.

To achieve this, the problems are that each viewer/user:

1. has a self-subjectivity that is unlimited diverse; and
2. Each viewer/user has his/her own image/idea of what appeals to him/her.

• Ad 1:
  Here the product needs the ' own 'my / me / myself' subjectivity of the consumer.
  Each individual consumer has the idea of a "self". This is starting point of 'one-taste'.
  The doctrine of one-taste is part of the EDUCATIONAL portion of the film/TV-product of Casting International.

• Ad.2:
  Here, the AV product visualize thát image, which corresponds to his/her 'own' idea image (= identification).
  The doctrine of identification is part of the ENTERTAINMENT portion of the film/TV-product of Casting International.

Ad. 1 and 2 are essences for all employees within Casting International to please each viewer/user, our customers.
All employees serve that communication between themselves and the outside world.
That requires cooperation in the form of production in one-line-of-thinking, collectively for each viewer/user.
That is why we train our ''own'' home-grown staff and crews.

THE COMPANY CULTURE

The company culture (the whole of events, processes, atmosphere, and product realizations) within CI(SU) focuses on many different functions, with each particular input contributes to the total of the end product.
This is a holistic* management * vision.
The core of the corporate culture relates to process management.

In process management, the creation of the product is Central, employees take multiple steps, they plan their own work, and carry out themselves quality measurements (incl. independently minor conduct maintenance).
A whole team is ultimately responsible for an entire product.
Staff and crew know their customers and are aware of his/her requirements.
Consequence is that mutual relationships in the team has a high degree of transparency and participatory variants. This leads to great involvement and satisfaction of employees

The language of communication within the organization is Dutch/English.
There are people trained from Austria, Greece, Spain, Australia, Chile, Côte d'Ivoire, Nigeria, Germany, United States, Ireland, Serbia, Bosnia, Angola, Iran, Russia, Hungary, but also many native and non-native Dutch (Surinam, Antilles, Moroccan and Turkish origin).
The aim is to an international workforce composition, not nationalistic, but especially as World civilians.
All religions are welcome, if not fundamentalist.

CONFLICTS OF INTERESTS

During the production process* there are on 3 levels constantly business interests conflicts.
The film-director* wants clear story-telling by pretty pictures (which takes a lot of time) and preferably without advertisements.
On the other hand, the production* wants speed, because time is money.
The account managers* represent the interests of the advertisers and sponsors according to the undersigned option contracts.
This clash of business interests is named 'conflict of production interests*', and is actual during the shootings and the editings.

Of great importance is that the functional collisions are not personally interpreted.

For these (internal) production conflicts*, priority rules are created in the mind-setting of the middle way.

Such an appearance is also to find during the shootings on the set, particularly on the street, to show the effective collaborative mechanism of staff and crew and cast, among other recognizable uniform clothing including the visibility of who is who.

Above is given as a summary.
For more information, such as how we train very specifically to those collaborations, please contact Casting International using the button below.

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