US state visit needs about six months of meticulous planning, says historian Matthew Costello
Under the Biden administration, only two world leaders, French president Emmanuel Macron and South Korean president Yoon, have been hosted for a state visit so far
Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
A US state visit, an honour given to the closest friends and allies, involves about six months of meticulous planning by the White House and displays the best of American hospitality, according to an eminent American historian.
The remarks by Matthew Costello, vice president and interim director of the David M Rubenstein National Center for White House History, came ahead of prime minister Narendra Modi’s first state visit to the US.
Prime minister Modi is visiting the US from June 21-24 at the invitation of US president Biden and first lady Jill Biden.
“Typically, there is an invitation. There are about six months of planning leading up to the White House events,” said Matthew.
“The day of (the state visit), there will be a state arrival ceremony at the White House, typically on the South Lawn. The President and the visiting Head of State will exchange remarks,” he said.
“They’ll listen to the national anthems of the respective countries, review their troops, and then they’ll go into the White House for conversation, and diplomatic exchanges later that night, there is a state dinner held in their honour, and then they spend the night there as the overnight guest of the President, the First Lady at Blair House, the president’s official guest house,” he said.
According to Matthew, the first state visit is recognised as that of King Kalakaua of Hawaii in 1874.
On state dinners, he said a lot of people just think of them as fancy meals.
“…but there’s a lot that goes on that not only shows an acknowledgement and respect for the visiting country, their culture, and their ideals but also what are our shared, ideas and goals and objectives that we can work together as a united bilateral relationship,” Matthew said.
The earlier state dinners, he said, were much more simple. There wasn’t nearly as much pomp and circumstance.
“And what we’ve seen because the United States has become a global power, this invitation to be hosted at the White House is something that is very coveted. There are many leaders of other countries that want to go to the White House,” he said.
“That’s beneficial to them, not only in terms of their political capital at home, but it’s beneficial to them on the international stage. People start to recognise and acknowledge that this person has quite a bit of leeway. They have a good relationship with the President,” he said.
The state dinners started becoming more and more elaborate, probably beginning with the (John F) Kennedy administration.
“Before that, they were fairly straightforward, there were state dinners, obviously, throughout Franklin Roosevelt’s time, but the United States was fighting World War II, so they had to be mindful of not overspending, and not seeming too extravagant,” he said.
“But when we get to the Kennedy administration, a big part of this is the Kennedys themselves; they used these occasions not only for diplomacy, but as an opportunity to demonstrate and display some of the best of American culture,” he said.
In addition to that, the Kennedys hired the first White House executive chef, who was French-born.
“And, so you’re starting to see now what we think of today as more of the modern state dinner,” he said.
“It was during the Kennedy administration, they decided to use the South Lawn more as the backdrop for a state arrival ceremony because then they could invite people, they could include members of the Diplomatic Corps, members of Congress and what better backdrop to have for the President of the United States and a visiting head of state than to have the south side of the White House,” he said.
The State Dining Room, where most of the state dinners have been held, is not a big one, he said.
Typically, it holds anywhere from about 120 to 140 people. But, as people have probably noticed, recent state dinners have many more people. The Bidens recently had a state dinner that had more than 300 people.
The last state visit was hosted by Biden for South Korean president Yoon Suk Yeol on April 26.
“What we’ve seen, I would say in the last 20 years or so, is this shift away from doing the more traditional state dinners inside the White House, to now we’re seeing more of the White House grounds being used as the outdoor venue for state dinners,” he said.
Former president Barack Obama did this quite a bit.
“President (Donald) Trump had one of his state dinners in the Rose Garden. And the Bidens have done this as well, putting up a tent on the South lawn so that you can invite 300 to 400 people to be part of a state dinner,” he said.
“The other thing that we’ve noticed that’s been a difference since, especially with Reagan, (George W) Bush and (Bill) Clinton, is that state dinners are not happening with the same frequency as they were,” he said.
Ronald Reagan holds the record for the most state dinners. He held upwards of 59 state dinners in his two administrations.
“And then you start to see them slow down with Bush and Clinton. And now it’s become more typical to see Presidents have anywhere from maybe five to ten, depending on how many terms they serve in office,” he said.
Those earlier presidents were holding dozens of state dinners, mainly because state dinner was much more critical to Cold War diplomacy, Matthew said.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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